No, no, no! The dancing-by-numbers method of teaching tango using this syllabus calls for introducing the forward ocho first. So you take your existing 8CB, but stop at position 5: the cruzada. Now you can introduce the lead for the followers forward movement into her first step & pivot. Note that there is a hint in the charts (in the body turn column) of what might be required - but strangely the chart assumes that the cross, itself, happened automatically. Now, the syllabus, itself, sequences its own material wrongly. If we are building competence, we skip figure three (Back Eights) and move straight to figure four: Cross Basics. Odd name: there's only one of them, and of course, all it is is the 8CB with the leader moving to the side with the necessary weight change to come forward in cross system to lead the follower's cross. Once the leader can switch system reliably, go back to the Back Eights, and discover that steps 1-3 are common with the Cross Basic(s), and having adapted the follower's existing knowledge about the ocho action forward, she can dance it backward. The figure concludes with the remainder of the Cross Basic(s) (from step 4), exactly as previously learned, so this is the better way to sequence your teaching. But don't use Very Close Embrace, yet. The follower won't be able to execute the pivots 'properly', and will need to explore an alternate method of movement. Leave that for the 'next level'. Obviously, I'm not trying to tell DB how to run his class, but just making a general point about using such materials. You can make effective use of some of the content of this syllabus. In particular, you take note of the suggestion with the 8CB that omitting the leader's back step on step 1 is acceptable, and then omit it, using instead one of the alternatives. By-and-large, the figures chosen (certainly for that all-important Bronze Medal) are exactly the ones that you would expect to see. There are some dreadful errors in the charts, but a new edition could sort that out. If the syllabus-based teaching approach is ineffective, then the fault probably lies with the way in which the teacher takes the materials and uses them. If a typical Ballroom Teacher (I'm an atypical Ballroom Teacher ) took the syllabus off the shelf, and decided to launch a class based on its content, then I think the results would probably be laughable. But then the same could be said for crossing over to many Latin club dances, or even, Rock & Roll. Those of us who have put in the work to acquire teaching qualifications in dance (any style) come to understand that the experience and knowledge required is considerably wider than the narrow requirements of a printed syllabus. It may be possible to pass the exam with rather less, but not to gain high marks (the examiners are not fools, and can't be fooled), and a pass will not, really, set you up to take your training any further (and most of us continue our studies to attain higher degrees of membership in our respective societies). This syllabus is likely to get a pretty comprehensive overhaul within a year or two, and meanwhile, there are others. I do hope that the Society involves (or at least consults) the holders of its AT Diploma, when considering changes to the syllabus (and more particularly to its substantive content), as they could reasonably be assumed to have more than a passing interest in the dance. I don't expect many here to agree with me, but I think it would be a good thing if one of the major teaching societies became a credible source of expertise in such a popular dance style. Apart from anything else, it could do much to spread the popularity of the style. In the Golden age in BsAs, dancing tango was not the preserve of a relatively few people, coming largely from a very narrow cross-section of society, and behaving like a cell-based secret society. It has long-since ceased to be the dance of BsAs, and is a dance with international reach. I don't care if you want to dress up and behave like the members of an historical re-enactment society, speaking Spanglish (badly), and only playing music transcribed from '78s. I wouldn't want to stop you, but I don't want to join you. That's not tango: tango is for everyone.