# Modern Dancing/Chapter 5

THE CORTEZ
V
THE TANGO ARGENTINE—THE CORTEZ—THE PROMENADE—THE MEDIA LUNA—THE SCISSORS
The Tango is not, as commonly believed, of South American origin. It is an old gipsy dance which came to Argentina by the way of Spain, where in all probiability it became invested with certain features of the old Moorish dances. The Argentines adopted the dance, eliminating some of its reckless gipsy traits, and added to it a certain languid indolence peculiar to their temperament.
After Paris had taken the dance up a few years ago, its too sensuous character was gradually toned down, and from a rather obscene exhibition, which is still indulged in by certain cabaret performers, it bloomed forth a polished and extremely fascinating dance, which has not had its equal in rhythmical allurement since the days of the Minuet. Beyond doubt, the Tango correctly practised is the essence of the modern soul of dancing, the autocrat of the up-to-date "soiree dansant." For it is not only a dance, it is a style; ​to master the Tango one must first master its style, absorb its atmosphere.
Among the many points in its favor, not the least is this: that it not only commands grace, and especially repose, but it develops and even creates these endowments. The only drawback in America to this lovely dance lies in the fact that nearly all teachers teach it differently. A variety of steps which do not belong to the dance at all—nor to the ball-room, for that matter—have been taught and practised by inefficient teachers. In order to give the dance the absolute popularity it deserves it must be "standardized."
The Argentine Tango is unquestionably the most difficult of the new dances. Perhaps that is why some people still maintain that they "do not like it." Others, never having seen it, declare it "shocking." On broad general principles it is human to disapprove of that which is beyond our understanding or ability. We like best the games we play best. And so for a long time society looked askance upon the Tango. Here and there in the corners of ball-rooms one saw a few hardy couples tripping a tentative measure. But usually as soon as the music slides into the wailing, seductive notes of the South American dance everybody developed a sudden interest in supper! Moreover, it was rumored that the Argentine ​Tango was composed of one hundred and sixty different steps. Enough to terrify the most inveterate dancer!
There may be one hundred and sixty different Tango steps, but I doubt it. I have never seen so many, and Mrs. Castle and I do not dance anything like that number. For the average ball-room Tango a knowledge of six fundamental steps is quite enough. One may work out variations of these. But you will find that when you once have mastered the Cortez, the Media Luna, the Scissors, the Promenade, and the Eight Step you can dance with any exponent of the Tango you are apt to meet.
Nor is the Tango as difficult as it was at first supposed. More difficult than the old-fashioned Two Step, yes. Certainly more difficult than the One Step. But once you get into the swing and rhythm of music more alluring than a Viennese Waltz—well, you are lost. You have become a Tango enthusiast. Personally I believe the Tango and the Maxixe Brésilienne are the dances of to-morrow. The Maxixe is described in the next chapter. More and more people are becoming proficient in the variations of both these South American dances. In the smart ball-rooms of New York, London, and Paris the One Step and the Hesitation Waltz lead the dances this ​season. Next season it will be the Tango and the Maxixe.
I would like to add a word of warning to those who take lessons in the Tango, and that is: Take your lessons, if possible, from some one who has danced professionally in Paris, because there are so many good dancers there that anybody who can dance the Tango (and get paid for it) in Paris must really be a good dancer. American teachers go abroad for a few weeks, take a few lessons in the Abaye or some of the other places which live on the American tourist, come back home, and, having forgotten all they learned coming over, start in teaching. There are others who go to one of our seaside towns, such as Narragansett, and read of a new dance and begin teaching it. There is, unfortunately, no way of stopping these people. You can only pay your twenty-five dollars an hour. If you don't learn the dance, you get a little exercise and a lot of experience.
INNOVATION—THE CORTEZ
THE CORTEZ
THE PROMENADE
You must not be discouraged over this step. It is very difficult to do smoothly, and you will not get it without a great deal of patience and trouble. Indeed, many good dancers have never mastered it at all, and probably never will. But that is because they do not appreciate its difficulty or are unwilling to give the necessary time to the step. It can be done, and done well, by any one who has patience enough to learn it. To get it perfect you should do several steps of the Cortez and then walk, and then go back again into the Cortez. If you can do this you have practically mastered the Tango Argentine.
THE PROMENADE
The position is the same as in the figure eight of the One Step. The man, who should be walking forward, turns the lady so that she is facing in the same direction as himself. They then walk forward, the man with his left and the lady with her right, one, two—and three. On the "and" the man steps forward on his left heel, and on the third count ​the right foot shifts forward to the back of the left heel, taking the weight, so you see there are really four steps to three counts like this—one, two, and three; left foot, right, left-right. This step can be repeated as many times as desired.
MEDIA LUNA
This step is practically a double Cortez. The man steps forward with his right foot, holding it two counts. The left slides forward one count, and the right takes the weight for one count; thus four counts have been occupied. The man then steps back with his left, holding it two counts; the right slides back one count, and the left takes the weight for one count. The complete step itself occupies eight counts, but to get the effect the dancers must keep in mind that it must be done smoothly and easily. The position is the same as in the Cortez. The lady's step is, of course, just the opposite. She steps back left, holding it two counts, and then slides the right back one count; the left takes the weight for one count, repeating the step forward with the right.
SCISSORS
TANGO—THE SCISSORS
THE MEDIA LUNA
EL CHARRON
This step is begun with a Cortez. The man turns the lady so that she walks backward three straight steps, the man going forward three straight steps at the right side of the lady. Keeping this position, the man walks backward three straight steps, the lady going forward, the man goes forward, etc., as many times as desired, turning to the left as much as possible. They finish the step by the man leading the lady into the Cortez step.
THE RING
THE SCISSORS The dancers do a half-turn inward.
THE RING
INNOVATION—MEDIA LUNA
TANGO—EL CHARRON
TANGO VOLTA
This is simply an ordinary Waltz step done very slowly in time to the music, one step to each count—left, right, left, and right, left, right; it is a very important and useful step, and should be used to fill in between the more difficult steps.
THE EIGHT STEP
The Eight Step has already been explained in the chapter on the One Step. In the Tango it is exactly the same except that instead of the dancers ​looking over their elbows, as in the One Step, they remain as much as possible facing each other, and the knees are a trifle more bent, which gives a slight up-and-down motion to the walk very similar to a very modified Cake Walk. This is important, because it is only done when the dancers are doing plain walking steps, and so when the lady feels her partner doing this slight "Cake Walk" she knows, or should know, that he is going to do plain steps, and not Cortez or fancy steps. In this, as in all Tango steps, the knees must be kept as close together as possible; don't try to take big strides; the charm of the Argentine Tango lies in its apparent simplicity.
THE INNOVATION
INNOVATION Just before turning into the Scissors Step.
SCISSORS IN THE INNOVATION
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