女人必须站在脚掌前端才能象针尖点地一样容易转动。但她不是转动整个身体，而只转动腰部以下的半身。腰就象连接上身和下身的旋转接头。因为她的上身靠在面前的男人身上，她只有转动她的下身，使其面对不同的方向，才能让腿绕着他迈步。这被称为“上下身分离”。
有经验的跟随者知道，她的上身稍微被领舞者一拧转，就表示而且必须导致她的下身立刻有个大转动。男人把她的躯干稍微拧向他想要她移动的方向，这只是一个信号。在接收到信号时，她需要转动她的臀部，直到它与上身成九十度。在这种扭曲的状态下，她能够在上身靠在男人身上的同时向他的侧边迈步。这个技巧适合女人柔软的身体并能突出她的女性美，因为她的臀部交替从一侧转到另一侧，而她的胸部却始终面对着领舞者。
运用上下身分离的一个典型舞步是“8”字步，其中男人带领她用一只脚在地上画一个“S”，然后用另一只脚在地上画另一个“S”。两个“S”是反向重叠的，所以它们看起来象个“8”。要跳“8”字步，她得把臀部转向男人的一边，用一只脚向前侧迈一步，然后把臀部转向他的另一边，用另一只脚向前侧迈另一步，最后再把臀部转回来面对他。运用上下身分离的另一个类似的舞步是后“8”字步。跳后“8”字步，她首先把臀部转向一边，用一只脚向后侧退一步，然后把臀部转向另一边，用另一只脚向后侧退另一步。运用上下身分离的第三个例子是葡萄藤步。葡萄藤步是一个“8”字步，一个侧步，一个后“8”字步，再一个侧步的环形组合。在所有这三个例子中，女人都保持胸部与男人相连，而臀部交替从一边转到另一边。
臀部的转动导致她的上身在他的怀里滚动，产生一种被称为“齿轮效应”的舒服感觉。胸部是她关注的中心。一切，包括情绪，感受，对音乐的诠释，意图和引诱，都是通过胸部来表达和交流的。女人不应该将胸脯粘在男人身上，而应该让它随着臀部的转动在男人胸前滚动。臀部每转向一边，她的胸脯也跟着滚向一边，直到其一侧与他身体的一侧接触。当臀部转向另一边时，她的胸脯也跟着滚动，直到其另一侧与他的另一侧接触。
胸脯的滚动是由臀部的转动引起的。要产生齿轮效应，跟随者得将臀部转足，直到她的胸脯跟着臀部一起滚动。她应该避免突然和生硬的转动，而使胸脯能够滚动得柔顺，舒适而有音乐感。这并非易事，需要相当的功夫才能做到。不熟悉上下身分离的初学者往往使用交叉步来代替转臀，结果其上身一直保持贴附而不滚动。探戈是一个用身体互相取悦的舞蹈。有经验的跟随者善于用自己的身体来挑逗领舞者，正如有经验的领舞者善于把跟随者的女性美充分展现出来。齿轮效应能增加舞蹈的感官享受。贴身探戈的这一特点是开式探戈所缺乏的。两种舞蹈风格截然不同，这是其中的原因之一。
胸脯的滚动是由臀部的转动引起的。要产生齿轮效应，跟随者得将臀部转足，直到她的胸脯跟着臀部一起滚动。她应该避免突然和生硬的转动，而使胸脯能够滚动得柔顺，舒适而有音乐感。这并非易事，需要相当的功夫才能做到。不熟悉上下身分离的初学者往往使用交叉步来代替转臀，结果其上身一直保持贴附而不滚动。探戈是一个用身体互相取悦的舞蹈。有经验的跟随者善于用自己的身体来挑逗领舞者，正如有经验的领舞者善于把跟随者的女性美充分展现出来。齿轮效应能增加舞蹈的感官享受。贴身探戈的这一特点是开式探戈所缺乏的。两种舞蹈风格截然不同，这是其中的原因之一。
Dissociation and Gear Effect
The woman must stand on the ball of the foot so that she can pivot as if on a fixed pin. But she does not pivot her whole body. She only pivots her lower body from the waist down. The waist is like the swivel that joins the upper body and the lower body. Because her upper body is connected to the man who is in front of her, she has to rotate her lower body, making it face a different direction to facilitate her movement around him. This is known as “dissociation.”
An experienced follower knows that a small twist of her
torso by the leader indicates, and must result in a big swivel of her lower
body. The man leads her by turning her torso slightly to the direction that he
wants her to go. On receiving the signal, she needs to make a big rotation of
her hips until they are perpendicular to her upper body. In this twisted
position she is able to walk on the side of the man while her chest is
connected to his. The technique suits the flexible body of the woman and
highlights her femininity, as she alternately turns her hips side to side while
her chest is permanently facing the leader.
A typical figure using dissociation is the ocho, in which
the man leads her to draw an S on the floor with one foot, and then draw
another S on the floor with the other foot. The two S’s are overlapped in the
opposite directions so they look like the figure 8. To dance the ocho, she has
to swivel her hips to one side and make a forward step with one
foot, then swivel her hips to the other side and make a forward step
with the other foot, and then swivel her hips back to face the man. A similar
figure using this technique is the back ocho, in which she dances the ocho
backward. To do so, she first swivels her hips and steps backward to one side
of him with one foot, then swivels her hips and steps backward to the other
side of him with the other foot. A third example using this technique is the
molinete, which is a combination of the front and back ochos with a side step
in between in a circular motion. In all three examples the woman keeps her
chest connected to the man and rotates her hips from one side to the other
alternately.
The rotation of her lower body causes her chest to roll
slightly on his torso, generating a pleasant sensation known as “gear
effect.” The chest is the center of her attention through which everything,
including emotion, feeling, music interpretation, intention and seduction, is
expressed and exchanged. The woman should not glue her chest on the man’s
torso, but should let it roll side to side as she swivels her hips back and
forth. At each swivel, only one side of her chest is in touch with his. As she
rotates her hips to the other side, her chest rolls along until the other side
touches his.
The rolling of the chest is caused by the rotation of the hips. To create the gear effect, the woman has to swivel her lower body fully until her chest rolls along. She needs to make the rolling void of abruptness and bumpiness so it feels smooth, musical and comfortable, which is not easy and needs a lot of practice to master. A beginner who cannot do dissociation often uses crossed steps instead. Consequently, her chest remains square and does not trundle. Tango is a dance in which both partners pleasure each other with their bodies. An experienced follower knows how to use her body to seduce the leader, just as an experience leader knows how to display her feminine beauty. Gear effect increases the sensual pleasure of the dance, a feature of the close-embrace tango that is missing in the open-embrace style. It is one of the things that make the two styles fundamentally different.
The rolling of the chest is caused by the rotation of the hips. To create the gear effect, the woman has to swivel her lower body fully until her chest rolls along. She needs to make the rolling void of abruptness and bumpiness so it feels smooth, musical and comfortable, which is not easy and needs a lot of practice to master. A beginner who cannot do dissociation often uses crossed steps instead. Consequently, her chest remains square and does not trundle. Tango is a dance in which both partners pleasure each other with their bodies. An experienced follower knows how to use her body to seduce the leader, just as an experience leader knows how to display her feminine beauty. Gear effect increases the sensual pleasure of the dance, a feature of the close-embrace tango that is missing in the open-embrace style. It is one of the things that make the two styles fundamentally different.
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