The Hold / Abrazo or Embrace

It is often said that in Tango, the Embrace is more important than any moves or steps. It is therefore worthwhile spending some time familiarising yourself with the way in which the man and woman come together.

The Hold, or Embrace as it is known in Tango, is different in important aspects to the standard Ballroom hold. In Tango, there is Close Embrace or Open Embrace and the embrace will change according to the type of move being danced. Walks, for example, are usually danced in Close Embrace while moves like an Ocho or a turn where one dancer moves outside the other, or between the dancers, will need a more Open Embrace.

For a Close Embrace, the man creates a frame through which he will lead the woman and within which she will dance. His right arm extends around the woman’s back at waist height for normal Salon hold, or shoulder height for Milonguero hold, so that his right elbow is flexed at the corner of her back and his hand cups the other corner, thumb vertical, fingers together. With more generously proportioned ladies, it may not be possible to enclose the lady so, but the key is to have at least the upper part of the lower right arm operating on the corner of the lady’s back. For Salon style, the hold also need not be so tight. The upper area of the man’s right upper arm, rather than the right hand, is used to guide and to confirm the type, direction and pace of the movement required. The man’s right elbow will not be as wide or high as in the equivalent Ballroom hold but will be lower, more ably to restrict or allow the woman’s movement on the man’s right side.

The man takes the woman’s right hand in his left. The woman places the middle finger of her right hand between the thumb and forefinger of his left hand. Her next two fingers fold gently on top of her middle finger and then the small finger. The man does not grasp the woman’s right hand. The man’s left arm is raised to the side, elbow flexed and level with the back, with the hand at or just below eye level and often lower than a Ballroom style hold. In classic Tango style, the underside of the wrist may be turned inward to produce a “strongman” look of the left arm. In this hold, the man positions the woman slightly to his right so that the button line of his shirt is opposite the woman’s right shoulder with shoulders parallel. This is to avoid the potential for foot fouling when a forward walk is trying to occupy the same space as the partner’s backward walk has vacated and vice versa. Thus a forward walk with the left foot will be taken outside the line of the partner’s right foot while a forward walk with the right foot will be taken between the partner’s feet. For a Milonguero style hold, the relative positions are more centrally opposite, but this will restrict the length of step and the flow of other moves.

The woman places her left arm right across the man’s upper back with the woman’s left hand on his upper left shoulder blade, arm parallel with the floor for a close embrace. This hold will adjust according to the move and the woman’s left hand may move to be placed on the man’s upper arm, shoulder, upper back according to the movement required and the woman’s choice of hold.

The man and woman should both be poised slightly forwards towards each other on the balls of their feet. The dancers should not lean on each other but rather lift their diaphragm to avoid feeling “heavy” on their partners. The feeling should be of a shared mutual space at the limits of one’s own axis. This poise will result in no hip contact allowing more free movement of the feet and legs. The poise and hold may change according to the figures danced.

In a neutral position, the man looks straight forward through an area over and to his left of the woman’s right shoulder. The woman may have her head to the right, inviting a more open embrace, or, straight ahead towards the man’s right shoulder, inviting a closer embrace. In a close embrace the right side of woman’s face/head may be in contact with the right side of the man’s.

Some ladies choose to close their eyes whilst dancing in close embrace. This is perfectly acceptable while the couple are walking and it is frequently said that this enhances the woman’s complete enjoyment of the dance. It is neither advisable nor acceptable however when the moves and figures being led necessitate a more open hold.

It is also not really recommended for beginners as competency in floorcraft is a skill achieved over time and should not be a responsibility laid squarely at the feet of the novice male dancer. The woman looking over the man’s right shoulder allows awareness of floor traffic from behind and in the man’s blind spot, helping the man to be aware of other couples or potential hazards on the floor.

In other moves such as an Ocho, the woman can look in the direction in which she is moving forward, although it is preferable aesthetically, and for maintaining the connection between the dancers for the woman’s head (and upper body) to remain facing her partner. In Salon Tango, the man may open his left side slightly to a V‑shaped frame, in which case the woman may respond by moving her head to right and in contact with the man’s.