Social Tango and Performance Tango

The more I think about the challenges that tango is facing, the more I feel the need to distinguish between social tango and performance tango. People who promote performance tango often say, “Why draw a line? They are all tango. The tango is one.” But that is not true. Social tango and performance tango are different dances that serve different purposes. They are different in almost every aspects, including appearances, embraces, feelings, steps, techniques, lead/follow methods, and philosophies. (See Three Theories on Leading.) Any definition describing one dance automatically excludes the other. In fact, people who have only learned one dance are not able to dance the other dance without learning it. Instead of peddling performance tango to beginners, it's better to tell the truth, so students would know what they actually are getting into.

Social tango is a popular dance form catered to the tastes, needs and abilities of ordinary people. It is a spontaneous and improvisational dance, typically danced in close embrace with substantial physical contact, serving the need for affinity and intimacy between the two sexes. It is danced for personal pleasure in milongas under the guidance of the milonga codes. Although containing many aesthetic elements, its steps are uncomplicated, allowing dancers to concentrate on the inner aspects such as emotions, intimacy, comfort, and feelings. Dancing social tango is a deeply personal and soulful experience. What matters is how it feels and not how it looks. (See Highbrowism and Populism in Tango.)

Performance tango, on the other hand, is a highbrow dance form designed for stage performance. It is a theatrical rendition of tango, incorporating intricate steps and techniques that are beyond the scope of ordinary individuals but tailored for trained professionals with advanced skills. It is a choreographed and rehearsed dance, typically danced in an open dance hold to allow for expansive movement possibilities. Its steps are wide, fancy, often dangerous, and demanding ample space. Unlike social tango, performance tango is not aimed at providing an intimate, soulful, or personal experience; rather, it serves as a showcase for flashy figures and dazzling movements intended to impress and entertain the audience. It does not abide by the milonga codes and is unsuitable for crowded dance floors. Safety, comfort and user-friendliness are not its concern. What matters is how it looks and not how it feels.

I believe it's not in most students' interest to learn performance tango, especially before they have mastered social tango, because it's a waste of their time and money since very few of them will ever become stage performers, because without the foundation of social tango they cannot achieve high-level performances anyway, and because the bad habits acquired from learning performance tango, such as using arms and hands to lead and follow, the inability to use the torso to communicate, the focus on the look rather than feelings, the disregard of safety and comfort of others, and the difficult movements and dangerous footwork, not only hinder their own enjoyment of social tango, but also cause disturbance to others in the milongas.

For most students, social tango should be the focus of their learning, because their purpose is to dance in the milongas for pleasure and not on stage to entertain the autience, because they want a user-friendly dance suited to their abilities and not a difficult dance beyond their reach, because they want a dance that serves their need for affinity and intimacy, not a gaudy and uncomfortable dance to show off their ego, and because they want to be a good social dancer and lay a solid foundation before, if ever, they decide to learn performance.

In the US, social tango and performance tango are mixed, which is the cause of many problems in our milongas. In Buenos Aires, the two dances are separated. Social tango is danced in the milongas. Performance tango is danced on stage. (See The Styles of Tango.) The professionals who dance performance tango on stage will dance social tango exclusively when they go to a milonga. Those who teach social tango will say they teach social tango, and those who teach performance tango will say they teach performance tango. They don’t hang up a sheep’s head and sell dog meat. Separate competitions are organized for each dance. I believe that is how it should be elsewhere in the world.

Highbrowism and Populism in Tango

Art forms that cater to the preferences, requirements, and educational backgrounds of the general public are known as popular arts. Conversely, highbrow arts are regarded as having cultivated tastes and exceptional skills that exceed those of the general public. Highbrow music, for instance, has limited singers because its range and complexity are beyond the capabilities of most individuals. In contrast, a pop song has a narrower range and simpler technique, making it accessible to everyone.

The belief that intricate and challenging forms of art are inherently better than straightforward and accessible ones is flawed. Painting does not necessarily surpass photography, and pop songs can be just as beautiful as those in opera. In fact, simplicity and ease often result in superior outcomes. Being simple does not equate to being artistically inferior, and being easy does not imply a lack of skill. In truth, attaining simplicity and ease requires a great deal of sophistication. Accomplished artists can execute their work with ease, and those who simplify their craft are often more virtuosic than those who cannot. (See Simple Is Beautiful.)

Individuals who believe in art for art's sake don't understand that arts, particularly popular arts, are for people. What’s the value of a pop song if it is too complex for the general public to enjoy? What's the worth of a social dance if only the elite can dance it? Argentine tango is a social dance. It was created by sailors, gauchos, immigrant workers, and street women. It remains a grassroots dance in Argentina today. Most people who dance tango are ordinary people. They love tango because it is a simple and easy dance that serves their need for connection and affinity with other souls. Those who regard themselves above the crowd try to make tango increasingly intricate and challenging. I don’t think that attempt serves tango well. Tango will continue to evolve as an art form, of course, but transforming it into a highbrow dance akin to ballet is a step in the wrong direction, in my view. The life of tango lies in its popularity and sociability, without these qualities, it risks becoming a castle in the air.

Schopenhauer's well-known quote "Man is either vulgar or lonely." can be interpreted in various ways. It can be taken to mean that one should embrace their individuality rather than conforming to the crowd. It can also be interpreted as a warning against becoming too aloof and ending up lonely. Alternatively, it can be seen as a call to balance refined and popular tastes to avoid extremism. Concerning tango, I believe the latter interpretation is more prudent. As a Chinese proverb goes, "Water that is too clear has no fish, and a man who is too high standard has no followers." Schopenhauer's words, therefore, can also be viewed as a cautionary note.

Tango and Romanticism

Romanticism, originating in late 18th century Europe as a response to the negative impacts of industrialization, celebrates human experiences such as imagination, emotion, and idealism. In today's increasingly dehumanized post-modern era, embracing Romanticism holds even greater significance, particularly in the arts like tango.

Critics often deride certain tango performances as resembling gymnastics or acrobatics, highlighting a lack of Romanticism. While gymnastics and acrobatics prioritize physical prowess and entertainment, tango, as a social dance, emphasizes connection, intimacy, and communication between the partners. Tango is suggestive of a beautiful romance. In the soul of tango is romanticism, contrasting sharply with the athletic spectacle of gymnastics and acrobatics. Tango dancers should place their attention on the subjective experience such as intimacy, comfort, connection and feelings rather than on physical feats of tricks.

If we take romanticism away from tango, what's left is a sport or show. Unfortunately, in a culture where games rather than classics, sports rather than arts, and technologies rather than humanity are the main influences, that is what tango increasingly becomes. People, especially young people brought up in this culture, exhibit a lack of depth and lasting quality. They focus too much on the flashy forms rather than the substance, and constantly seek for change and novelty. To preserve tango's classic beauty, we must infuse more Romanticism into our teaching and dancing. This includes prioritizing simplicity and natural movements, focusing on elegance over flashy tricks, and conveying genuine emotions and feelings. Fashion may fade, but Romanticism, inherent in our humanity, endures – waiting only to be rekindled.