跳闭式探戈的感觉与跳开式探戈非常不同。当两个舞伴用贴身拥抱跳舞时，男性领舞者感觉到女性跟随者柔软，富有弹性，灵活和有反应的身体。她完全委身于他，融化在他的怀抱里，成为他顺从的一部分。不管他做什么，她都倾心跟随。她的身体在他怀里左右扭动，她的乳房摩擦着他的胸脯，她的腿触碰他的腿，她的肌肉时而紧张时而放松，她的身体灵巧而女性地不断随着他姿势的改变而改变...... 所有这些带给他一种非常愉悦的感觉。他感觉到一个有血有肉的女人。他享受她的存在。她美丽的身体和女人味激发着他的灵感。他喜欢这与她在一起的时刻，因为只有她作为女人才能唤醒他内心中作为男人的感觉，强壮，负责，呵护，可以依靠，正如只有他作为男人才能激起她内心中作为女人才有的柔情一样。他的阳刚之气，力量，支持和保护让她感到安全，被爱和美丽。在他的怀抱里她返回到她的女性和童真。只有在这一刻，她才能真正感觉并享受做女人的快乐，因为在现实生活中她不能完全那样。探戈被称为避难所。但是这种效果只有当异性在一起跳舞时才会产生。当男人跟男人或女人跟女人跳舞时，探戈的神奇便消失了。在我看来，同性跳舞是反探戈的。也许有人不同意我这么说。但那是我。我喜欢女人，并喜欢阳刚与阴柔之美并具的舞蹈。
但这还不是全部。如果说闭式探戈富有肉体感，那么，它同时也是浪漫和诗意的。没有人把探戈的浪漫和诗意描述得比尤金·格里戈里耶夫更好。我想在此全文引用在他的短文《什么是探戈？》因为我自己不能比尤金写得更好，而离开对这种内在，神奇，梦幻和震撼灵魂的感受的描述，对闭式探戈的描述就是不完全的。以下全文援引的是尤金的杰作。
“探戈不仅仅是一个舞蹈或序列舞步。它是感情的表达，是内心体验的反射，是以运动的方式宣泄我们的感受。探戈是以动作表达感受的语言，由音乐所激发，与舞伴相和谐。它以不同的方式进入你我的生活，从一个单纯的兴趣，嗜好，或迷恋......竟至在不知不觉中渐渐变成一个瘾。
一个简单的眼神，手势，微笑，流盼，他请求做她的带领者，她接受他的带领，这一切都是在无言中进行。在音乐的推动下，她来到他面前。他们拥抱。他们感觉到对方的呼吸。他们感到充满激情的歌曲展开，流经他们的身体，鼓舞着他们，激发他们的情绪。他们共享这情绪。在现实生活中他们可能是素不相识的陌生人，但在这探戈瞬间他们却可以是任何他们想作的人......你不必知道你的舞伴，甚至不想知道他/她。时间在此刻不复存在。舞者双双随乐起舞，听音乐告诉他们该怎么跳，时而缓慢，时而停顿，时而加速，时而悬置，都在这一瞬间，好象被音乐附身一样。在这瞬间以外是真实的世界，充满日常的烦恼，对策，责任，限期......但不在这里，不在此刻。此刻只有探戈，一个避难所，一种对欲望和向往的超现实的体验......语言是难以形容的。
探戈舞会的社交功能非常奇妙。它拥有期待，惊喜，迷人的音乐，短暂的聚合与分离。把我们吸引到探戈中来的是有节奏地与异性同步起舞的挑战和满足。这感受既是物理的，又是超现实的。在一首三分钟的歌曲中，你可以体验象坐过山车那样时起时落的情绪，但你不是独自体验，因为在这三分钟里有一个人拥抱你，与你分享他/她的感受......一切都在默默无言中进行，通过运动而表达出来的纯净，原始的情感。”
Close Embrace and Open Embrace (III)
The feeling of dancing close embrace is very different from that of dancing open embrace. When two partners are in a close embrace, the male leader feels his female follower’s soft, springy, flexible and responsive body. She surrenders herself to him, melting in his embrace and becoming an obedient part of him. Whatever he does, she follows wholeheartedly. As he leads her dancing, her body twists to his left and right, her breasts rub his chest, her thigh touches his thigh, her muscles relax and tense, and her whole body adapts ingeniously and femininely to his changing posture... All these generate a very pleasant feeling and sensation. He feels a real flesh-and-blood woman. He enjoys her company. The beauty of her body and her femininity excite him. He enjoys that moment being with her because only she as a woman can stir the feelings within him that make him a man, strong, in charge, protective, and dependable, just as only he as a man can stir within her the feelings that she enjoys as a woman. His masculinity, strength, support and protection let her feel safe, loved, and beautiful. In his embrace she returns to her womanhood and childhood again. Only in that moment she can truly feel and enjoy being a woman, as in real life she has to be less. Tango is known as a refuge, and it has to be danced between a man and a woman to have that effect. When tango is danced by men or women alone, something mysterious and magic is missing, and that to me is anti tango. I know some may argue with me about this. But, hey, that’s me. I like women and enjoy a dance that contains the beauty of both masculinity and femininity.
But that is not all. If close embrace is physical and sensual, then it is also romantic and poetic. No one has described this aspect better than Eugene Grigoryev in his essay What Is Tango? I want to quote the essay in its entirety here because I cannot say it better than Eugene, and the description of close embrace would not be complete without a depiction of this inward, heavenly, dreamy and soulful feeling. The following is the entire quote of Eugene’s masterpiece.
“Tango is more than just a dance or a sequence of steps. It is an expression of our emotions, an inner reflection of who we are and what we experience, a way to channel what we feel through movement. Tango is a language of expressing what we feel through motion, stirred in us by music, in unison with our partner. It comes into your lives in many different ways, as simple interest, a hobby, or a fascination… and ever so slowly it becomes an addiction.
A simple look, a gesture, a smile, an eye contact, his askance to lead, her acceptance to be led, all done without any need of verbal communication. As the music compels them, she comes close to him, they embrace… they feel each other breathe, they feel the passionate song unfold, it flows through their bodies, invigorating them, stirring emotions, which they both share… they can be strangers in real life, but as long as they are in this tango moment, they can be anyone they want… You don't have to know the person or even want to know them. Time ceases to exist during this moment, both dancers are moving to the music, listening for it to tell them what to do… they slow down, pause, accelerate, suspend, all in the moment… almost as being possessed by the music. Outside of this moment is the real world, with its everyday problems, solutions, responsibilities, deadlines… but not here, not now… Now it is only tango, a refuge, a moment of surreal experience of desire, longing… words are not meant to describe it.
The social aspect of milonga is fascinating. It holds anticipation, surprise, heavenly music, moments of contact and separation. The challenge and satisfaction of rhythmically moving in unison with another person is what lures us to Tango. The experience is both physical and surreal. In three minutes of a song, you can experience a rollercoaster of emotions, but you will not experience them alone. For those three minutes there will be a person embracing you, sharing what they are feeling with you… all without a single word being spoken… pure, raw emotions expressed through motion.”
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