This is a derivation of the Tango Lexicon developed by David Lampson and Mitra Martin of Oxygen Tango in Los Angeles. I feel grateful for their inspirations: in the method itself, in their teaching style, and in their generous sharing.
What is this good for?
This deals with a single aspect of all that is Argentine tango: the fundamental steps, Open, Front-cross, and Back-cross. By looking at all the possible combinations for two partners, two feet, Parallel and Cross Systems (defined later), and just these three three unique steps, we get 24 combinations that can be strung together in an infinite variety.
These simple, fundamental movements that don’t require memorizing have helpful uses as:
- Glue to connect our memorized big figures.
- A lens to help us see new possibilities in the movements that make up big figures.
- Navigational elements to help us out of a jam.
The fundamental steps
David Lampson describes these this way. My partner is stationary in front of me. Standing with my weight over one leg, I can make a move to step around my partner by opening my legs apart; we call this an Open step. But if I try going around my partner with that same leg in the other direction, I have two choices. I can pivot and move my free leg across in front of me; we call this a Front cross. I can also pivot and move my free leg around behind me; we call this a Back cross.
Open step — a step anywhere in an arc of 180-degrees, ranging through straight forward, forward and slightly side, sideways, back and slightly side, straight back, and anywhere between those.
Front cross — my moving leg crosses the imaginary line from my middle to my partner’s middle. (Try turning your torso toward your partner. If your legs twist against each other, you are crossed.)
Back cross — my moving leg crosses the imaginary line behind me that came from my partner’s middle, through my middle and out the back. (Try turning your torso toward your partner. If your legs twist against each other, you are crossed.)
The Systems
Parallel System (PS) — refers to the situation where both partners move their leg on the same side of the embrace. Both partners together move their legs on the hand-side of the embrace, or both move their legs on the arm-side of the embrace.
Cross System (CS) — refers to the situation where both partners move their leg on opposite sides of the embrace. Hand-side to arm-side, and vice-versa. So the leg movement happens diagonally across the embrace.
Now consider that at any time both partners have a choice of making an Open step, Front cross, or Back Cross. Let’s abbreviate those ‘O’, ‘F’, and ‘B’ and put them in a matrix to show all nine possibilities.
FOLLOWER
| O | F | B |
--+------+------+------+
l o | 1 Oo | 2 Fo | 3 Bo |
e --+------+------+------+
a f | 4 Of | 5 Ff | 6 Bf |
d --+------+------+------+
e b | 7 Ob | 8 Fb | 9 Bb |
r --+------+------+------+
| 0 p/c|
+------+
(Later, we introduce the ‘0 p/c’ as a parallel/cross system changer.)
We put the Follower at top, in capitals, and list that movement first, because typically my intention asks my partner to step before me. (But you are free to reference the matrix by row before column.)
As a shorthand for identifying the matrix combinations we can number the boxes like a telephone keypad.
123
456
789
0
We assume that any sequence of movements stay in whatever system that we started in, PS or CS, until we change system.
To change from one System to the other it requires that one, and only one partner takes an extra step. They can take that step as an O, F, or B. (Keep in mind that a simple weight change is merely an O step in place!)
The 8-Count Basic figure in PS would be: 11612111.
Forward ochos would be a switch into CS, then 222…
Back ochos would be a switch into CS, then 333…
A choreographed figure could be represented by a specific sequence of numbers 1..9, while a challenge sequence could be some random sequence.
How to denote a System change
In order to allow every step to be represented by single digit numbers we will add ‘0’ to indicate a system change. Then take the digit after the ‘0’ to indicate who does what kind of extra step. 1, 2, 3 for Follower’s O, F, B; and 4, 5, 6 for Leader’s O, F, B. Ignore anything else.
Follower system changer 0 1 2 3 O F B Leader system changer 0 4 5 6 O F B
So a CS 8-Count Basic would be: 1 1(04) 34(02) 1 1 1.
(The parentheses just make it easier to read.)
From the Leader’s perspective:
1, 1 = Back, Left
04 = Leader’s weight change in place, Follower holds position
3 = Bo
4 = Of
02 = Forward intention invites Follower’s extra, (mini-front) cross step, leader holds position
1, 1, 1 = Forward, Right, Close
Tango practice challenges
Even more simply, there are LOTS of random number generators available for smartphones. Pick a simple one that lets you specify the range of numbers, 0..9, and how many random numbers you want to generate.
For exploring new possibilities in existing figures you know, walk through the figure with your partner and encode each movement. Now dance that code sequence using any of the many possible choices for direction, size, and dynamics of the movement.
Where a figure doesn’t flow as nicely as you’d like, encode the three: Before, trouble movement, and After steps. Try varying foot pivots and geometry of foot placements to discover the nicest flow.
Design notes
I sought to make useful simplifications in nomenclature. Where Lexicon defines 24 terms with special characteristics to denote 9 possible movements in Parallel System, 9 in Cross System, and 3 possible movements for each partner to switch between systems, I have chosen to merely number the movement matrix with 1..9, then use ‘0’ in a simple convention with the numbers to indicate a system change, who does it, and how.
Additionally, I took the liberty of rearranging the FOB movement order to OFB, with the thought that this goes in order from most simple to least simple movement. Note, this does break the pretty symmetry of sacada opportunities in the original, where the “chasing” steps for PS are the even numbered cells, while for CS they are the odd numbered cells. But I did away with any special consideration for sacadas, as they can be either Leader or Follower sacadas (a distinction the Lexicon doesn’t make either), or no sacada at all (since it is possible, though maybe not as elegant or interesting, or maybe more interesting, to simply step around your partner’s supporting leg). The dancers decide how to make their chasing step; the choice isn’t dictated.
When I am decoding a number I find it easier to place the number on the keypad in my mind’s eye, then look up for partner’s move, then left for my move. When I am encoding a movement I find it easier to get my movement from the row on the left, then look right for the column corresponding to my partner’s movement, to get the number at the intersection of that row and column. With extensive practice I expect for the number-movement association to become automatic.