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There are records of 18th and early 19th century tango styles in Cuba and Spain,  while there is a flamenco tangos dance that may share a common ancestor in a minuet-style European dance.
Argentine tango is danced in an embrace that can vary from very open, in which leader and follower connect at arms length, to very closed, in which the connection is chest-to-chest, or anywhere in between.
Tango dance is essentially walking with a partner and the music. Dancing appropriately to the emotion and speed of a tango is extremely important to dancing tango.
A good dancer is one who transmits a feeling of the music to the partner, leading them effectively throughout the dance. Also, dancers generally keep their feet close to the floor as they walk, the ankles and knees brushing as one leg passes the other.
Argentine tango dancing relies heavily on improvisation ; although certain patterns of movement have been codified by instructors over the years as a device to instruct dancers, there is a "basic step" called "basico".
One of the few constants across all Argentine tango dance styles is that the follower will usually be led to alternate feet.
Another is that the follower rarely has his or her weight on both feet at the same time. In many modern variations of Argentine Tango, particularly in Europe, teachers of Tango may establish a "basic step" in order to help students to learn and pick up the "feel" of the dance.
Argentine tango is danced counterclockwise around the outside of the dance floor the "line of dance" and dance "traffic" often segregates into a number of "lanes"; cutting across the middle of the floor is frowned upon.
In general, the middle of the floor is where one finds either beginners who lack floor navigation skills or people who are performing "showy" figures or patterns that take up more dance floor space.
It is acceptable to stop briefly in the line of dance to perform stationary figures, as long as the other dancers are not unduly impeded. The school of thought about this is, if there is open space in front, there are likely people waiting behind.
Ballroom tango steps were standardized by dance studios. The steps have been relatively fixed in style for decades.
However, Argentine tango has been an evolving dance and musical form, with continual changes occurring every day on the social dance floor in Argentina and in major tango centers elsewhere in the world.
Argentine tango dance is, still based heavily on improvisation. While there are patterns or sequences of steps that are used by instructors to teach the dance, even in a sequence every movement is led not only in direction but also speed and quality a step can be smooth, pulsing, sharp, Although Argentine tango evolves mostly on the dance floor, the government of Argentina does host an annual competition of Argentine tango dance in Buenos Aires , attracting competitors from around the world.
A striking difference between Argentine tango and ballroom tango is in the shape and feel of the embrace. Ballroom technique dictates that partners arch their upper bodies away from each other, while maintaining contact at the hip, in an offset frame.
In Argentine tango, it is nearly the opposite: In open embrace, there can be as much space as desired between the partners, but there should always be complete contact along the embracing arms to give optimum communication.
Since Argentine tango is almost entirely improvisational, there needs to be clear communication between partners. Even when dancing in a very open embrace, Argentine tango dancers do not hold their upper bodies arched away from each other; yet, each partner is not always over their own axis, there are even styles that demand a constant leaning against each other.
Whether open or closed, a tango embrace is not rigid, but relaxed, like a hug. One characteristic of Argentine tango is the walk outside of the legs of the follower.
The inside walk belongs originally to the American Tango. It is seen in Argentine Tango, but it does not belong to it originally [ citation needed ].
Another difference is that the leader may freely step with his left foot when the follower steps with her left foot.
In English, this is sometimes referred to as a "crossed" e. This is another major difference with ballroom tango, where a weight change by one partner usually leads to a weight change by the other.
In dance the changing of feet is named contrapaso , or "contra-step". This change can be made off or on the normal beat.
Unlike the majority of social dances, Argentine tango does not have a basic step; instead is a completely improvised dance combining various elements in a spontaneous manner, as determined by the lead.
To be able to improvise, the dancer needs to learn the lead and implementation of the different single elements of Tango, so they can be produced later by leading appropriately in space and music.
The elements are just a few as caminar walk , cruce cross , ochos figure-eight , ganchos leg hooks , giros turns , contragiros turns in the other direction , sacadas displacements , boleos this expression comes from boleadoras, balls linked with cords, thrown to hunt animals , llevadas de pie moving foot by foot , cortes cuts , and quebradas breaks.
Some of the elements are named as a figure. It is done during a cortina or early in the tanda. The advantage of the cabaceo is that it allows for unwanted dances to be avoided, and prevents any embarrassment that comes with a rejected dance.
If you accept a dance, you are expected to finish all of the songs with that partner. Dancing two or more tandas with the same person is usually not done.
It implies interest in your partner, and is seen as a flirtatious act. It is traditionally a non-tango song that lasts approximately a minute.
During this time the dancers return to their seats. Never walk across the dance floor while people are dancing. When you get up to meet your dance partner, move to the outside edge of the dance floor.
It is important to be mindful of those already dancing. Entering the line of dance in a crowded dance floor can be tricky.
It is important to establish eye contact with the dancer approaching at your left before you enter the line of dance to avoid collision.
Always be mindful of the distance between you and your partner, and the couple ahead of you. Do not dance too closely to the couple ahead of you, or there could be a collision if they make a turn.
Conversely, do not allow that distance to become too large. Never move backwards into the space of the couple behind you.
It is important to adapt your movements to the size of the crowd dancing. Minimize large sweeping steps to avoid possibly hit another couple.
It is frowned upon to talk whilst dancing. Small talk is appropriate in between songs, or if you are sitting and not dancing.
It is not appropriate to give or receive feedback during Milongas. Correcting someone during this time takes away from the mutual enjoyment of the dance.
Somewhat related is "yeta" - superstitions. In the history of Argentine tango, dancing two or more tandas with the same person was usually not done as it was seen as a flirtatious act.
This is especially true in smaller communities of tango dancers. The music played for cortinas is distinct, and cannot be confused with tango music.
In Buenos Aires it is traditionally not acceptable to dance to cortinas. In the United States it is merely awkward to dance to them. Argentine tango dancers usually enjoy two other related dances: Tango dancers dance the vals in a rather relaxed, smooth flowing dancing style in contrast to Viennese Waltz where the dancers often take 3 steps per measure and turn almost constantly.
Experienced dancers alternate the smooth one-beat-per-measure walk with some double time steps often incorrectly called syncopated walks , stepping on one- two- or rarely all three beats in a measure.
Vals dancing is characterized by absence of pauses; continual turns giros in both directions are not done as in ballroom quick waltz, although turns are sometimes introduced for variety.
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EP Kind code of ref document: A1 Designated state s: HK Ref legal event code: A search was launched by ISMERLO , however after 15 days of searching the Argentine Navy declared the end of the rescue operation, and solely focused on the recovery of the submarine - not the crew.
The Argentine navy has four main commands: Puerto Belgrano Naval Base Spanish: Most of the fleet is based there. The Submarine Force Command Spanish: As of the force is based at Mar del Plata.
The Tactical Divers Group is also under the submarine force command structure. The Naval Aviation Command Spanish: Argentina is one of two South American countries to have operated two aircraft carriers.
The Naval Infantry Command Spanish: Rank insignia consists of a variable number of gold-braid stripes worn on the sleeve cuffs or on shoulder-boards.
Officers may be distinguished by the characteristic loop of the top stripe in the manner of British Royal Navy officers. Combat uniforms may include metal pin-on or embroidered collar rank insignia.
Rank insignia is worn on the chest when in shipboard or flying coveralls. Officers are commissioned in either the Command line Corps those who attend the Escuela Naval Militar- Naval College or the Staff Corps Professional Officers who only attend a short course in the Naval Academy after getting a civilian degree, except for the Paymasters who indeed attend the Naval College.
The Line Corps is divided into three branches: Other common insignia is the Naval War College insignia, parachute wings, etc.
Medals and Ribbons, if awarded, are worn on the left breast, just above the chest pocket. Seamen and Seamen Recruits wear their insignia on their sleeves.
Following a global trend, Argentine armed forces have prohibited beards since the s. This was reinforced in the Cold War era when they were deemed synonymous with leftist leanings.
The only exception were Antarctic service within the three armed forces as a protection from cold weather, and submarine service within the Navy as a way of saving water.
However, shaving was mandatory upon return to headquarters. In the Navy broke with this tradition within the Argentine armed forces as Adm. Stella gave the example himself by becoming the first bearded Argentine admiral since Adm.
Non commissioned officers can wear beards from Suboficial Segundo rank, and upwards. However, beards were prohibited again in , except for some specific office positions.
From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
Unsourced material may be challenged and removed. Shield, the red Phrygian cap symbolizing pursuit of liberty.
South American dreadnought race. List of active Argentine Navy ships.