For this sequence, we start with “Salida cruzada“.
Then, on 5 (see “Salida básica” and “Salida cruzada”), the leader crosses after he made the woman cross, maintaining the crossed system.
Crossed system: when the man moves his left foot, he makes the woman move her left foot, and vice versa.
If you have any questions about this sequence, please write in the comments👇🏻
In previous videos, we have seen the follower’s cross. Soon we will apply crosses to the leader’s moves.
Let’s start with this exercise.
It starts like a salida básica.
After movement “Two”, the leader changes weight to his right foot, leaving the left foot free of weight. You can embellish with your left foot; for example, a circle.
The follower can also take her opportunity to make an embellishment with her left foot.
Movement “Three” is with the left, and movement “Four” is with the right for the leader.
For the follower, the Salida cruzada is same as Salida básica.
After position “Five” (follower cross), it continues as a Salida básica.
The Salida cruzada utilizes the “crossed system”. This is when the leader and the follower move both their left foot or their right foot simultaneously, instead of the leader’s right foot simultaneous with the follower’s left, and vice versa.
The crossed system is unique to Argentine Tango and was one of the innovations its first dancers brought into the partner’s dance.
Argentine Tango is an improvisational dance. However, elements like this one are useful in your learning process.
I like to imagine the first milongueros making this move never seen before, with an air of innovation and defiance.
“Como el hornero” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1944.
“Motivo sentimental” by Carlos Di Sarli y su Orquesta Típica with Alberto Podestá in vocals, 1944.
“Caserón de tejas” by Pedro Laurenz y su Orquesta Típica with Alberto Del Campo in vocals, 1942.
“Vieja luna” by Carlos Di Sarli y su Orquesta Típica with Jorge Durán in vocals, 1945.
“El encopao” by Anibal Troilo y su orquesta Típica with Francisco Fiorentino in vocals, 1942.
“Dice un refrán” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1942.
Argentine Tango performances with Maria Olivera
