(video at the end of the article)
In the Intensive Study Program, we study the ‘Argentine Cross’ as well as all Crossing Technique’ for BOTH ROLES. When that happens, I usually end up talking about “The Dirty Cross” that can, and does, happen a lot in Tango.
What is it ?
The Dirty Cross is where when either role crosses their feet, in 1 of 5 specific pieces of vocabulary, there is space between them after the crossing step has occurred. That space is considered, by some, to be less than visually pleasing or as it is colloquially known > A Dirty Cross.
Is a Drity Cross desirable ?
It depends on if one of a few possible exclusive conditions are true:
1.) Is the Crossing Step being done in a Tango Performance ?
2.) Is the Crossing Step being done in Social Tango ?
3.) Is the vocabulary a Milonguero Turn ?
4.) Is the vocabulary either Floating or a Series of Back Crosses out of Lazy or Milonguero Ochos ?
5.) Is the vocabulary a Linear Ocho Cortado, and not a Circular Cortado ?
6.) Is the vocabulary one of the 256 Types of Argentine Crosses ?
7.) Is the vocabulary one of a Lead Cross ?
A little explanation:
1.) IF it s a Tango Performance, then it s, more than likely, a deliberate choice of the couple to be expedient and to get to the flashy stuff that will sell their tango classes and weekend workshops. It s a non-issue as far as most are concerned. And as those performances are usually very big displays, it is sometimes necessary to sacrifice cleanliness over expediency or fastidiousness with one s feet.
2.) IF it s Social Tango, at your local milonga, most people are unaware, and frankly don t care how their feet look in a crossed position. So it s a non-issue. Some see it as perfectionistic, unrealistic, and just plain stupid tango technique that doesn t serve any practical purpose other than to satisfy some teacher somewhere. It s a milonga not the end of the world! To some it is!
3.) IS it a Milonguero Turn ? IF so, then space or distance between the feet as the ending crossing step happens is a requirement of completing the turn in 3 steps. There is a sacrifice of technique towards expediency in this case.
4.) IS the vocabulary a Floating or a series of Back Crosses from Lazy Ochos ? IF so, then in this instance, then it is absolutely required to pay attention to the cleanliness or fastidiousness of one s crossed feet collection!
5.) Is the vocabulary a Linear or Circular Ocho Cortado ? IF so, then cleanliness of one s crossed feet collection is required here. It sharpens the musical point and accentuates it. Keep ij mond that the Cortado wants to arrive on an accent note.
6.) Is it an Argentine Cross ? IF so, then we want a clean cross and not a dirty one for all the reasons listed below.
7.) Is the vocabulary a Lead Cross ? IF so then people notice when the feet are NOT collected at all! Not to mention the Follower will feel it as either a split weight position OR an unstable step being generated by the Lead.
What s the Detail here ?
Let s get real about something, this is arcane, detailed information that nobody gives a rat s F about. And there are more than a few people that when they see the video will state unequivocally that Nobody does that, Miles or That s just stupid , or Useless perfectionism! !
However there are also more than a few people that DO notice the details of these things, and do count the attention to detail with one s feet in every movement, in every articulation, and every brush against the floor, and, yes, EVERY crossing step!
In short, how one s feet come together in collection, crossed or otherwise, contributes to the overall visual detail of the couple as they re dancing together. It s something that stands out to you but you re not necessarily able to verbally state why. It s a little like seeing a Lead s hand (left) in the embrace and seeing them rest it flat like a waiter, or their right hand as it grabs their Follower s back. Or when either partner is watching their partner s feet. Or when the Follower is dancing in the Lead s Armpit (either deliberately or by ignorance). You know it s less than desirable but you don t know why. These things detract from the overall visual of the couple in the embrace. And a small thing like a dirty cross is a detail, to be certain, but it speaks to a larger area of overall fastidiousness with one s own technique.
Sidebar: In the 4 examples above, I mention those because they happen with such frequency that you d think there was a class on this stuff, or like it s taught to begin with. When in fact it s nothing of the kind. We are taught that all 4 of those things are less than desirable for a wide range of reasons, and yet they happen due to ignorance, laziness, willful arrogance, and/or sometimes all 3 at the same time.
Who cares ?
Some people do and some people don t. It s the people that do care about this stuff that you want to concern yourself with. And most times you can t tell the ones thst dont care from the ones that do!
What I tell my students is this > Do this, or don t do it. However if at some point in the future you see a dancer that is watching you, they re more than likely looking at your feet first, and the rest of you second. In that case you are being watched as a potential dance partner. Which is to say, your attention to detail is being gauged and how you execute that detail will be a deciding factor in whether or not you get the dance later on. So in that instance, this stuff DOES matter.
By itself a Dirty Cross doesn t matter. However when stack it up with everything else that one is doing with one s feet then it contributes to the overall visual cleanliness of the person and their application of technique.
So if you want the dance, isn t it better to be prepared to do this stuff than not ?
What I tell my students is this, which is something that one of my teaching assistants used to say all the time > IF you stay ready, you don t have to get ready! . Think of this level of attention to detail as anal but keeping a state of readiness for that dancer that you want to dance with one day!