Dancing is one of Tango most important way of expression. Its visual beauty is undeniable, and it illustrates the spirit that the music transmits.

  is said that dancing tango, is like “walking with a scribble”. This definition shows the spirit of dance without much theory, but as dancers move one foot on each compass, it is similar to walking. Tango has many choreographic possibilities, and it constitutes a spectacle of incredible visual beauty. It is important to differentiate choreographic dance from improvised dance. In the first one, what is most important is the ability of the dancers, generally professional, who dance to offer a show. In the amateur dance, on the other hand, the figures are not the result of previous rehearsals, but of improvisation, and the dancers want to shine in order to pursue the original spirit of tango, which is seduction. The scribble, which refers to the steps and figures that the couple make as a proof of their ability to ornament the dance and to seduce, is the detail that turns tango into an attractive show.

   is not a dance that can be enjoyed individually. The couple is its basic and indivisible unit. The woman seduces and the man conducts. The man gives the woman shelter and guides her; the woman, during the whole dance, evolves under his protection and breaks the balance when she leans on his chest. The woman’s attitude of surrender puts her in a dependent position, and it is the man who decides when, where and at what speed the different movements tango allows will happen. However, woman’s function is not less important: she has to accompany the man’s proposal and understand her partner in a seductive game where the fragility and the delicacy of her performance have a prominent place. This relationship is the base of tango.

   variants allowed by tango make necessary the existence of a fluid communication between the dancers. The same in improvisation as in the carefully rehearsed choreography, each couple creates its own communication code. Generally, the right hand of the man is the one that holds the woman by her back and with which turns and forward movements are indicated. With his hand, the man “accommodates” the woman’s waist to show her the rotation movement she must do. When the man presses on her back with his fingers, he is indicating a counter-clockwise turn; on the contrary, when he presses on the woman’s back with the palm of his hand, the turn will be clockwise. If the man presses his hand on his partner’s back like he is trying to attract her towards him, he is indicating her to start a forward movement.  The left hand and both shoulders are used to indicate lateral and backwards glides. They also accompany rotations. An important thing to consider is the tonicity of the free arm; the right in the woman’s case, and the left in the man’s case. The arm ought to have tonicity, this means that it has to offer resistance but, at the same time, it has to stay flexible, so the man can use it as a lever, as a continuation of the woman’s body to indicate her a lateral movement. The arm’s tonicity is also important for indicating the woman a backwards glide: if her arms are firm, her movement will show a natural accompaniment of her partner’s, but if they are loose, he will stumble with her.