precedes the sharp turn-in with an outward turn sufficiently marked to give the former a telling contrast. The same is true of the Flamenco dances in Spain. Their superior use of the trick justifies attention on the part of those under whose influence the new dance is determining its final form.
In point of merit, the Tango measures up to a standard which, though by no means a true measure of quality, has a certain practical value: it is sufficiently picturesque to cover the faults of a half-good dancer. Conversely, as a vehicle for the equilibrium and style that unite in a very good dancer, it is not excelled by any social dance of modern times.
It should be noted that the most suitable music is among the compositions of the Argentinos themselves.
1. The Tango Walk (Spanish, el Paseo; French, le Promenade} is used as a variety to figures. The man moves forward, starting with the left foot, the woman backward. The step brings the advancing foot to position squarely in front of the supporting foot, both (by the present mode) pointed straight forward. The full weight is transferred to the advanced foot as soon as possible, the knee of the leg in posterior position promptly relaxed, the posterior foot resting, for a moment, lightly on the point. The step in advance is made with a light gliding movement.
In turning, follow the reverse direction invariably.
Technique of the step backward: Start the foot with a glide, letting it rise from the floor toward the end of the step, meanwhile toeing inward; plant the foot squarely to the rear of the supporting foot. At the moment of placing the retreating foot, the knee of the advanced leg is relaxed, and the advanced foot is turned
