How big should the dance floor be

How to Keep the Dance Floor Packed All Night Long

No one wants an empty dance floor at their reception. Here's how to start the party—and keep it going strong.

Pictures by Katie

Here's one wedding nightmare you might not think of until it's too late: an empty dance floor. You've booked the band or DJ, planned your playlist and specifically carved out time for dancing—so why isn't anybody on the dance floor? You don't want to force people to get out there, but, like, seriously, why isn't anybody dancing? Trust us, if you follow our advice, you won't have to deal with this wedding reception dilemma. Your guests will find their way to the dance floor naturally and willingly (and that's an understatement). Here are the 11 best ways to ensure a packed and lively dance floor the entire night. Let the party begin!

1. Set the Mood Early

Cocktail hour is a great time to get the party going. Consider hiring specialty performers. Entertainment like a mariachi band, jazz trio, bluegrass group or barbershop quartet will energize the crowd postceremony and get everyone in the mood to celebrate. Look to your love story when deciding on specialty music: Hire a brass quintet if you met in marching band, an accordion player if you took an unforgettable trip to Paris together, or get a steel drummer in honor of your upcoming Caribbean honeymoon. The main idea is to make sure your guests aren't noshing and drinking in silence.

2. Make Sure There's Enough Space

Small dance floors are too cramped and big ones make people too self-conscious. Here's a good rule of thumb: There should be at least three square feet of dance floor space for every two guests. So, if you have 150 guests, you would need a 15' x 15' dance floor; 200 guests would be about an 18' x 18' area; 400 guests calls for about 25' x 25' of space. Ask your reception site about adding on extra flooring if the standard seems too small. And one more thing—make your dance floor the focal point of the room, not tucked into a corner. By highlighting it, you send guests the message that dancing will be a big part of the evening.

3. Align Your Seating Chart

Seat friends and family who love to dance closest to the dance floor. They'll be more likely to get up and start moving early if they have easy access. And once they're out there, others will follow (some people just need a little encouragement). As for your more elderly guests, do them a favor and keep them away from the speakers. They'll appreciate it. Mind your decibel levels too. You want your friends and family out there dancing, but you also want your nondancing guests to be able to enjoy themselves without having to yell. Talk to your musicians about how they plan to handle volume and accoustics within your reception space.

4. Skip the iPod Idea

You may have the most genius playlist in mind, but there's a reason why DJs and bands are so common at weddings—they're pros at reading and interacting with the crowd, and adjusting to their mood throughout the evening. They're there to ensure everyone is dancing and having an amazing time (so you don't have to). Besides, do you really want a friend or family member getting up to grab the microphone all night to announce your cake cutting and bouquet toss? Didn't think so. If you do your homework, you'll find a band or DJ in your price range who fits your style. Trust us—it's worth the money knowing your guests will be entertained all evening.

5. Don't Limit the Genre

Even if you both truly love indie rock, there's a good percentage of your guests who probably haven't heard of Modest Mouse and won't appreciate it like you will. A playlist made up entirely of '80s dance music, rap or country is the same story. Don't get us wrong, including your favorite genre at your wedding is great, but it's important to include a little mix of everything—that way there's a little something for everyone. Your wedding is a celebration of your relationship—one that probably involves music—but it's also a time to share with your extended family. Keep them in mind when developing your playlist. Throw grandparents a nod with Frank Sinatra and give your aunts and uncles a chance to dance to a little "We Are Family"(unless you're truly averse). Seeing them enjoy the night will be well worth a few minutes of Sister Sledge.

FOR YOU

6. Make Music Interactive

Let guests in on the fun by allowing them to request songs via the RSVP card. Or set up a poll on your wedding website and ask everyone to vote on your first dance song or the last song of the evening. You'll have everyone looking forward to the voters' choice song reveal.

7. Create a (Short) Do-Not-Play List

There's no bigger dance floor turnoff than hearing your least favorite song (ahem, "Chicken Dance"). Put together a short list of please-don't-play songs for your DJ or band to avoid. But at the same time, don't micromanage. While your music pro should know which genres you like and dislike, let them figure out the best way to mix the music.

8. Keep Your First Dance Brief

You may have fallen in love listening to "Free Bird," but imagine how long nine minutes and eight seconds will feel alone on the dance floor. (And if it's dragging for you, imagine how your guests will feel.) Pay careful attention to your favorite song's length before committing to it for your first dance. Time your song and practice dancing to it beforehand. Even four minutes can kill you if you're just rocking back and forth. If your heart is set on a certain (long) ballad, try to have it cut down to a reasonable length. Work with your DJ or band to come up with the perfect shortened version. Same goes for your parent dances too.

9. Keep Things Exciting

Surprise your guests with something unexpected, like introducing a never-seen-that-before act. Think live entertainers, like break dancers or flamenco dancers. Time it right so they make their entrance just as the toasts are wrapping up to get all your guests back up and moving on the dance floor and out of their food coma.

10. Serve Dessert (or Snacks) on the Dance Floor

Ready for this genius idea? Instead of breaking up the flow of your dance party, have your traditional cake-cutting moment earlier in the evening, say, right after toasts or your first dance, before the first course is served. That way, guests will already be seated and paying attention, while you'll still be in focused, newlywed mode (not trying to get low during "Shout"). Then, once the party gets going, have your caterer pass perfect bites of cake around the dance floor, instead of serving plated slices at people's seats or way in the back at a designated dessert table.

11. Dance!

Here's the simple truth: The most fun weddings are those at which the newlyweds are having an absolute blast. Set an example for everyone by getting your happy selves out there as soon as possible. Your guests will notice and be more likely to join you when they see how much fun you're having. And when in doubt, enlist your wedding party. Your reception will be a long, busy evening, so let your crew know beforehand how important it is to you that your guests dance, and ask them to lead the movement to the floor. That way, if you do get caught up talking to guests, they'll have your back.

Ready to turn your wedding into a party? Search bands and DJs right here.

DANCE FLOOR for our wedding or corporate event- How big to go? – Hey Mister DJ

When planning a wedding reception, party, or corporate event and hiring a DJ, most clients have visions of a non-stop dance party.

Regardless of what else is on the agenda, the goal inevitably at some point (if not the main focal point) is to get as many guests on the dance floor as possible for as long as possible.

They imagine all they have to do is hire an amazing DJ, and their floor will magically be packed all night!

Yes, we believe it’s crucial to hire an experienced & talented DJ with great room awareness, but even the best DJ can only work so much magic if the logistics of the room are working directly against them.

A common oversight from clients when planning their wedding or corporate event is overestimating how big the dance floor needs to be in the room or event venue in relation to the number of guests. Another mistake is not renting an actual square dance floor because they venue floor is already made of wood, concrete etc..

If room layout and dance floor size are planned incorrectly, the dance party can sadly look like this:

At Hey Mister DJ, we specialize in keeping dance floors constantly packed in Los Angeles and the greater Southern California area.
It’s our specialty, but there are many factors which will help or hinder the our ability to create and maintain dancing.

Room size, lighting levels, guest count, timeline floor, bar & photobooth placement etc.. which all play a crucial role in funneling guests where you want them moment by moment.

For today we are just talking specifically about dance floor SIZE and placement.

In a nutshell…the key points are these:

A small floor that is packed and hard to get onto always looks better than a giant floor you can’t quite fill.
A dance floor that is too far removed from the dinner area or logistically hard to get to may end up empty.
A room that has no dance floor and instead just an open wood/concrete floor is confusing to guests.

Clients always worry about if the floor will be big enough, but if you have guests dancing on the carpet that is a happy problem. In other words, the larger the dance floor the harder it is to keep it full and create the appearance of a rocking party.

Does this look inviting to you?

With these, there is no lighting on the actual floor itself and no perimeter to define where dancing begins or ends it still feels intimidating and uncomfortable to the eye.

Guests need the dance floor area to be clearly defined and separated from the rest of the room so they feel comfortable.

With this next one, they did a great job lighting the perimeter of the room, but again, the dance floor has no defined beginning or end. In this situation we’d use pattern & wash lighting to help create a perimeter in lieu of an actual dance floor boarder.

Lighting can help to offset this problem (See our BLOG) “Why dance floor lighting matters” but clearly defining the area you want guests to dance is always a plus and helps draw them in. Human nature dictates that people like clear direction and containment, it’s just how the brain works.
When you have 4 corners it’s easy for the brain to day “I should dance here” but when you have an open space it creates anxiety because the brain can’t map where the space begins or ends.

Now, let’s look at a room that has placed down a dance floor that is the appropriate size in relation to the room and lit it nicely to make it appealing and inviting. They even used couches for framing and to fill in “dead” space in the room instead of adding more tiles to the floor. Your wedding planner or room designer will usually have ideas on how to utilize furniture, lighting, pipe & drape, and other elements to make a big room feel more cozy and inviting.

Keep in mind that you will maybe have about 40% of your guests dancing at any given time.
Others may be at the bar, conversing, bathroom, photo booth, updating their Instagram, eating dessert, etc.

Our Jewish wedding or Mitzvah clients are usually concerned with doing an amazing HORA (group) dance and want enough space for everyone. But it’s a critical mistake to build a dance floor that accommodates the entire guest count for only those 10 minutes when we will be struggling the rest of the night to keep it filled.

If during the HORA some guests are on the carpet, it’s totally fine!

One of the most common situations that put clients in this challenging position is when they book a venue that is too large for their guest count. Once the venue figures out how many tables they need and exact placement, they realize they have too much dead space, so start adding extra tiles to the dance floor to fill in space. Now you have a HUGE floor that you’ll never be able to fill with enough guests, but the edges of the room don’t look as empty.

It’s ok to have some empty space on the perimeters of the room. Here’s another great example of a room with a dance floor that is an appropriate size in relation to total room size:

Here is a handy chart to use as a reference based on guest count assuming that roughly 40% of your guests are dancing simultaneously:

#of guests # of dancers Size of dance floor

60 14-20 10 x 10

100 32-40 12 x12

150 50-70 15 x 15

200 78-90 18 x 18

The industry standard suggests that each wedding will need 9 sq ft per couple (that’s over 4.5 ft per person). Example: Let’s assume a party has 200 guests. 40%, or 80 guests, will be dancing at any one time. This means that you would need approximately 360 square feet of dance floor for this party, or about a 16×20 dance floor.

If you figure 40 of 100 guests will dance, then you need about a 200 square foot dance floor. If you double that for 200 guests you would need a 400 square foot dance floor. With 300 guests you need a 600 foot dance floor. You can see how easily that rule could get out of hand.
(When it comes to choosing your dance floor size, we have found that a 12’x12’ dance floor usually accommodates a small to medium size wedding or event. That’s 144 square feet)

However, you do have to consider other factors like the age of your guests, and how many people you really think will be dancing at one time.

Keep in mind that every event has 3 times of people:

Group #1: I will dance for sure no matter what! (The party starters- small in numbers but reliable)
Group #2: I most likely will NOT dance (Although with enough alcohol…)
Group #3: I am unsure/on the fence but might dance if the situation is ideal (usually the largest # of guests)

This last group is who we should always be thinking about when designing a room/event venue for a wedding, party or corporate event. Group #3 is saying “well, if I feel comfortable enough and the energy is good I will possibly jump on board” so the room must always be setup in a way that maximizes the potential for them to join.

So take this dance party for example:

If you count, there are about 45 people on the floor, and they are clearly having fun.

But because the entire room is a wood floor and there are no corners telling guests where the dance floor ends, they all spread out, and consequently it looks like it’s not a packed floor and thus not as much energy in the room as possible.

Now compare that to this dance party:

Notice that there are only about 20 people on this floor. Almost HALF less than the previous photo but it appears to have more energy because everyone is grouped together tight because they are on a rental dance floor that has defined edges.

There is also much better lighting in this room which helps add additional energy visually.

To Recap: Hey Mister DJ always recommends having some type of dance floor for every event…even when the venue has a natural concrete or wood floor. Again, the reason is that the perimeter creates what we call “defined space” that draws people in and helps ensure more dancing. An open area is “undefined space” and often guests feel uncomfortable dancing in such an area.

Here’s a few venues in Los Angeles area we play often that always get the dance floor size right:
www.laventa.com
www.belairbayclub.com
www.calamigos.com
www.calamigosequestrian.com
www.laac.com

It’s counter-intuitive but when you have a SMALLER dance floor, you are likely to get MORE people dancing. Now go out and have the best dance party ever!

P.S.
Are you searching for an amazing DJ/MC for your wedding?
We service the following areas in Southern California:
Greater Los Angeles, Malibu, Calabasas, Westlake Village, Ventura, Bel Air, Beverly Hills, Hollywood, West side, Valley, Downtown, Santa Barbara, Orange County, Anaheim, Palos Verdes, Pacific Palisades and more.

See a full list of the venues we work with often HERE

Three rules for organizing a dance floor

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1. Know how to use the 3 types of floor space available;

2. Ronda has the right of way.

3. Move counterclockwise and "make concessions".

Personal Space

(Or... Photoshop Fun)

There are three main types of space on the dance floor: Free Space, Shared Space and Personal Space. Personal Space is a place where you have the right to dance without worrying about anyone else.

This drawing shows a couple's "private" space on a crowded dance floor. It gives them enough room to take a small step in any direction or hero.

The figure above shows the approximate minimum amount of space you must dance in. It can get a little bigger depending on how crowded the dance floor is, but if there's less space, it's time to sit down. In general, you have the right to take a step of medium length (about 0. 5 meters) in any direction. You can go backwards or do a hiro without fear of hitting someone with your feet, legs, or arms. If someone hurts you while you are in your Personal Space, it is their fault and they should apologize (usually a look or a nod, an acknowledgment of their mistake, which you accept by bowing and smiling back).

Notice that I added a bit of extra space behind the man. This does not necessarily mean that you can take a bigger step back. I added it because this drawing not only shows the Personal Space that belongs to you, but just as importantly, the space that you must give to others - and especially in the blind spot, directly behind other men on the floor.

Many experienced couples like to dance in an "open embrace". They dance with space between them or they dance close to each other and then move away to make figures. The open embrace dance as such is a controversial subject in tango and I won't discuss it here, but from an objective point of view, it's a selfish way to dance in a milonga. Such a dance takes up extra space, reduces the ability to quickly change direction, which is essential for good navigation, and encourages lengthening of pauses in figures and postures. We've already discussed this in detail (in other chapters), but here's a little drawing. The couple on the left do a hiro in a close embrace around a common axis. The couple on the right do the same hiro, but in a far hug around the partner's axis. The difference in the amount of space used by each pair might amaze you:

The couple on the left do a hero around a common axis in a close embrace.
The couple on the right do a typical lesson hiro with the woman circling the partner's axis in a distant embrace. The difference in the space used is striking.

The pair on the right uses nearly four times as much space within the pair as the pair on the left, and that's not even counting the extra space needed for the leg swings that often accompany this type of dance. Good milongas in Buenos Aires usually have a crowded dance floor, so it's pretty selfish and ignorant to take so much space from other couples.

Ronda - dance circle

"Ronda is the best place to dance...
as long as people know what they are doing."
Milonguero

Ronda is a line in which the dancers move counterclockwise along the edge of the dance floor. In most milongas, it runs along the tables, and it is important to remember that the dancers in the ronda have right of way. But dancing in ronda is based on concessions. In general, you limit your space and freedom of movement for the safety of dancing. You need to beware of men approaching the tables across the dance floor behind their partners, couples leaving the tables, and waiters with drinks walking along the edge of the dance floor. They all have a right to be there, and you must be vigilant and share the space with them. Here's what the ronda looks like from above, with the blue circles representing the tablecloths on the tables:

ronda with idlers (pair 1) and pushers (pair 2).

Couples move from left to right, but there is a problem. Notice the empty space between pair 1 and pair 2. The reason could be either a lagging pair (1) or a rushing pair (2). The rules of the dance in ronda are simple. All you need to know is where the pair is ahead and behind you, and then be in the middle between those pairs.

Everyone in the ronda should gently drift forward like jellyfish in a stream. In addition, each pair can move forward and backward within their space. They may advance close to a pair ahead or behind, but they must always return to the middle of the gap. The space between you and the couples in front or behind you is Common Space, and you can use it if you are sure that the other couple is not moving there. This place is yours for a few bits (or maybe just one bit if another pair claims it). You not only can, but you must use it, and then return home to the center of your Personal Space.

The Squeeze Zone

The Squeeze Zone

The problem is that there are always pushers and idlers. If you think about it, what could be more stupid? Why push a couple in front of you in a ronda? Where are you going to move? And why not go to the center of the space free for you? In both cases, you destroy your own dance after everyone else. You don't use all your space and create a congestion, with less freedom of movement and more risk of collision. The situation below is surprisingly common:

Compression: ronda with pushers (pair 1) and idlers (pair 2).

"Pushers" and "idlers" really make a mess. The "pushers" (Couple 1) huddle couples after "Bums" (Couple 2) and even though the three couples in the middle respect the rules and try to dance in the middle of the gap, there is little they can do but run to the center of the dance floor (as I did last night). This kind of displacement from the ronda by bad dancers happens quite often and the milongueros don't like it.

This is more than a navigation problem for me. I just can't ignore someone behind me. It breaks my mood. Instead of dreaming along with Vargas, I start thinking how to take a big step back right on the leg of the idiot behind me. And the guy who's lounging around in the ronda is like a dog that needs to be barked at until he finally wakes up. You start to wonder what the hell is this fool thinking? Why is he standing there doing all those ochos instead of walking three meters of empty space in front of him?

If everyone keeps the intervals between the pair in front and behind more or less even, then the ronda will work. The picture below shows what it should look like. You can add another couple, making the dance floor very crowded, but still have enough space for everyone to dance comfortably:

This is what it supposedly looks like. Notice that nine couples are dancing comfortably here, instead of eight in the previous drawings. The spacing isn't perfect because some pairs have moved a bit back or forward - but they'll be back in the center of their space in a few beats.

***

Next, we will look at the entire dance floor and discuss the different types of space available in the milonga.

Entire dancefloor

Tango navigation is a complex subject, but two simple things can solve almost all problems on the dancefloor. We saw above how the ronda can work effectively if the pairs are placed in the center of the gap between the pairs behind and in front of you. The secret is to use all the free space in the best possible way. Couples should use the full length of the ronda, dancing to opposite tables and towards the center of the dance floor when space is available (more on this below). They can dance near the couple in front or behind them - but then they must always move back to the center of their "private" space between the couples. Now let's apply this concept to the entire dance floor.

Milonga-Photoshop

(or... I have too much time)

I sat around and complained about people's misnavigation so much that Alex got tired and told me: "If it bothers you so much, stop complain and make your own milonga. " So I did! I made a dance floor and set up a few tables. Then, since I'm a basketball fan, I decided to mark it up like a basketball court. I drew lines for the ronda with arrows, direction signs and in the center I drew our sponsor's emblem. Finally, I added a pair of referees in striped shirts to control the behavior of the couples:

My milonga, with dance line, arrows, two referees and our sponsor's emblem in the middle.

I hope you like the blue tablecloths, I chose them myself. Now let's randomly arrange pairs of dancers on the dance floor. Some parts of the dance floor will be crowded with dancers huddled together, and other parts will be relatively empty. In other words, a typical messy milonga:

Why do milongas follow this pattern all the time?

It is time for the referee to blow the whistle to stop the action. The music stops and he warns everyone: "Step away from the couple closest to you. If you see an empty space, move into it. All right... dance!" They all follow his instructions and dance, taking a step or two from the couple closest to them. They drift into open space and try to be the same distance from nearby pairs. So they continue to dance, following the direction of movement and slowly drifting around the hall. Just like basketball players after a few whistles, they learn not to hold up or push other people, and the dance floor starts to look like this:

The problem can be fixed by two simple, intuitive rules: when you dance, move into free space and away from the couple closest to you.

Now you can dance in this milonga! All that was required was to select the pairs that were pinched and move them a few steps further away from the pair closest to them. I only moved half of the pairs and I didn't move them far. It was incredibly easy. In the previous drawing, many of the couples are squeezed or trying to dance close to the neighboring couples. But the people in the second picture have a real chance to express the music! By preparing ahead of time, they can even take a few big steps when they feel the need to.

Fines would apply in my milonga. Couples with two penalties would need to get advice. Repeat offenders would be required to wear collars that would deliver a safe electrical shock whenever they lounged too long in one place or pushed on other couples.

Inner

Square rooms (on the left) often have room to dance in the middle. On rectangular courts (on the right), there are situations where couples pass each other in opposite directions (red area).

The inner ronda is often more chaotic than the outer. The vapors move IN and OUT of it, passing through the center. Obviously one has to be on the lookout when pairs pass close in opposite directions (red area). I'm sure most people already know all this, but certainly not all. Even in the best milonga, sometimes there are people who do not follow the direction of movement on the dance floor. Some of them are newbies, others just don't care. But there is another group that deliberately breaks the codigos. Next, we'll look at an example of how a couple can "goof around", "jump" and even use leg swings to steal space from other dancers.

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navigation - International Federation of Argentine Tango

April 19, 2009

Basics

Navigation is the pinnacle of mastery in tango. To do this well, you must notice everything around you. You must be ready to change your direction immediately without losing contact with your partner, your technique... or your music. Just like with flying an airplane, the more hours you put into it, the better you get. Over time, you will begin to acquire unique experiences, thousands of minor elements of which cannot be learned otherwise, and like an experienced pilot, you will begin to notice and react to things that less experienced people may not even notice.

Of course, I understand that many people reading this do not have the opportunity to learn how to navigate by spending a thousand hours in a crowded milonga. But this does not mean that there is no hope. Let's look at a few things that will help you become competent in tango navigation. Let's start with the simplest one:

You must WANT to do it

The first step to good navigation is simply deciding not to disturb the other dancers. I know that this can be difficult to do, especially in places where a lot of people dance without thinking about others. I started dancing attentively only when I arrived in Buenos Aires. The milongueros were all so friendly and tactful that the thought of pushing or disturbing them was simply unacceptable to me, so I made a conscious effort to become a polite and controlled dancer.

Putting limits on your dance may not add to the fun, but it must be done. I did not understand it at first, but by dancing more carefully, I began to dance much better. I began to express the music in subtler and more varied ways. Let's go back to the flying analogy: anyone can get on a plane on a fine day and perform aerobatics. You can take a beginner and in half an hour explain to him or her how to pull the levers and control the plane during flips, loops, how to roll. But learning to fly in a precise and controlled manner, something like learning how to land on an aircraft carrier, is a whole world. In a way, it's like a good tango. You do less, that is, you do not pull the levers and do not loop, but, oddly enough, the sensations are much richer, as if you just fly in the empty sky. So you can think of it this way: we don't want to be the type that has learned how to do a few tricks but can't actually fly a plane. We want to change. We want to be accurate, professional pilots who know the rules and fly with awareness. Let's start with three fundamental concepts.

Three Rules for Organizing the Dance Floor

1. Know how to use the 3 types of floor space available;
2. Ronda has the right of way.
3. Move counter-clockwise, and "make concessions".

Personal Space
(Or. .. Photoshop Fun)

There are three main types of space on the dance floor: Free Space, Shared Space, and Private Space. Personal Space is a place where you have the right to dance without worrying about anyone else.

This drawing shows a couple's "private" space on a crowded dance floor. It gives them enough room to take a small step in any direction or take a hero.

The drawing above shows the approximate minimum amount of space in which you must dance. It can get a little bigger depending on how crowded the dance floor is, but if there's less space, it's time to sit down. In general, you have the right to take a step of medium length (about 0.5 meters) in any direction. You can go backwards or do a hiro without fear of hitting someone with your feet, legs, or arms. If someone hurts you while you are in your Personal Space, it is their fault and they should apologize (usually a look or a bow, an acknowledgment of their mistake, which you accept by bowing and smiling).

Notice that I've added some extra space behind the man. This does not necessarily mean that you can take a bigger step back. I added it because this drawing not only shows the Personal Space that belongs to you, but just as importantly, the space that you must give to others - and especially in the blind spot, directly behind other men on the floor.

Many experienced couples like to dance in an "open embrace". They dance with space between them or they dance close to each other and then move away to make figures. The open embrace dance as such is a controversial subject in tango and I won't discuss it here, but from an objective point of view, it's a selfish way to dance in a milonga. Such a dance takes up extra space, reduces the ability to quickly change direction, which is essential for good navigation, and encourages lengthening of pauses in figures and postures. We've already discussed this in detail (in other chapters), but here's a little drawing. The couple on the left do a hiro in a close embrace around a common axis. The couple on the right do the same hiro, but in a far hug around the partner's axis. The difference in the amount of space used by each pair might amaze you:

The couple on the left do hiro around a common axis in a close embrace.
The couple on the right is doing a typical class hiro, with the woman circling the partner's axis in a distant embrace. The difference in space used is striking.

The couple on the right uses nearly four times as much space within the couple as the couple on the left, and that's not even counting the extra space needed for the leg swings that often accompany this type of dance. Good milongas in Buenos Aires usually have a crowded dance floor, so it's pretty selfish and ignorant to take so much space from other couples.

Ronda

"ronda is the best place to dance...
as long as people know what they are doing."
- milonguero

Ronda is the line in which the dancers move counterclockwise along the edge of the dance floor. In most milongas it runs along the tables and it is important to remember that the dancers in the ronda have the right of way. But dancing in ronda is based on concessions. In general, you limit your space and freedom of movement for the safety of dancing. You need to beware of men approaching the tables across the dance floor behind their partners, couples leaving the tables and waiters with drinks walking along the edge of the dance floor. They all have a right to be there, and you must be vigilant and share the space with them. Here's what the ronda looks like from above, with the blue circles representing the tablecloths on the tables:

ronda, with "loafers" (pair 1), and "pushers" (pair 2).

The pairs move from left to right, but there is a problem. Notice the empty space between pair 1 and pair 2. The reason could be either a lagging pair (1) or a rushing pair (2). The rules of the dance in ronda are simple. All you need to know is where the pair is in front and behind you and then in the middle between those pairs.

Everyone in the ronda should gently drift forward like jellyfish in a stream. In addition, each pair can move back and forth within their space. They may advance close to a pair ahead or behind, but they must always return to the middle of the gap. The space between you and the couples in front of or behind you is Common Space, and you can use it if you're sure the other couple isn't moving there. This place is yours for a few bits (or maybe just one bit if another pair claims it). You not only can, but you must use it, and then return home to the center of your Personal Space.

The problem is that there are always pushers and idlers. If you think about it, what could be more stupid? Why push a couple in front of you in a ronda? Where are you going to move? And why not go to the center of the space free for you? In both cases, you destroy your own dance after everyone else. You don't use all your space and you create a congestion, with less freedom of movement, and more risk of collision. The situation below is surprisingly common:

Compression: ronda with pushers (pair 1), and idlers (pair 2).

"Pushers" and "slackers" really make a mess. The "pushers" (couple 1) huddle couples after "loafers" (couple 2) and even though the three couples in the middle respect the rules and try to dance in the middle of the gap, there is little they can do but run to the center of the dance floor ( like I did last night). This kind of displacement from the ronda by bad dancers happens quite often and the milongueros don't like it.

For me, this is more than a navigation problem. I just can't ignore someone who is behind me. It breaks my mood. Instead of dreaming along with Vargas, I start thinking how to take a big step back right on the leg of the idiot behind me. And the guy who messes around in the ronda is like a dog that needs to be barked at until he finally wakes up. You start to wonder what the hell is this fool thinking? Why is he standing there doing all those ochos instead of walking three meters of empty space in front of him?

If everyone keeps the intervals between the pair ahead and behind more or less even, then the ronda will work. The picture below shows what it should look like. You can add another couple, making the dance floor very crowded, but still have enough space for everyone to dance comfortably:

This is what it supposedly looks like. Notice that nine couples are dancing comfortably here, instead of eight in the previous drawings. The spacing isn't perfect because some pairs have moved back or forward a bit - but they'll be back in the center of their space in a few beats.

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Next, we'll take a look at the entire dance floor and discuss the different types of space available in a milonga.

Entire dancefloor

Tango navigation is a complex subject, but two simple things will solve almost all problems on the dancefloor. We saw above how the ronda can work effectively if the pairs are placed in the center of the gap between the pairs behind and in front of you. The secret is to use all the free space in the best possible way. Couples should use the full length of the ronda, dancing to opposite tables, and heading towards the center of the dance floor when space is available (more on this below). They can dance near the couple in front or behind them - but then they must always move back to the center of their "private" space between the couples. Now let's apply this concept to the entire dance floor.

Milonga Photoshop

(or... I Have Too Much Time)

I sat and complained about people's misnavigation so often that Alex got tired and told me, "If it bothers you so much, stop complaining and make your own milonga." So I did! I made a dance floor and set up a few tables. Then, since I'm a basketball fan, I decided to mark it up like a basketball court. I drew lines for the ronda, with directional arrows and in the center I drew our sponsor's emblem. Finally, I added a pair of referees in striped shirts to control the behavior of the couples:

My milonga, with the dance line, arrows, two referees, and our sponsor's emblem in the middle.

I hope you like the blue tablecloths, I chose them myself. Now, let's randomly arrange pairs of dancers on the dance floor. Some parts of the dance floor will be crowded with dancers huddled together, and other parts will be relatively empty. In other words, a typical, messy milonga:

Why do milongas follow this pattern all the time?

This is the time for the referee to blow the whistle to stop the action. The music stops and he warns everyone: "Step away from the couple closest to you. If you see an empty space, move into it. All right... dance!" They all follow his instructions and dance, taking a step or two from the couple closest to them. They drift into open space, and try to be the same distance from nearby pairs. So they continue to dance, following the direction of movement, and slowly drifting around the hall. Just like basketball players, after a few whistles, they learn not to hold up or push other people, and the dance floor starts to look like this:

The problem can be fixed by two simple, intuitive rules: When you dance, move into free space and away from the couple closest to you.

Now you can dance in this milonga! All that was required was to select the pairs that were clamped and move them a few steps away from the nearest pair with the mouse. I only moved half of the pairs and I didn't move them far. It was incredibly easy. In the previous drawing, many of the couples are squeezed or trying to dance close to the neighboring couples. But the people in the second picture have a real chance to express the music! By preparing ahead of time, they can even take a few big steps when they feel the need to.

In my milonga, fines would apply. Couples with two penalties would need to get advice. Repeat offenders would be required to wear collars that would deliver a safe electrical shock whenever they lounged too long in one place or pushed on other couples.

Inner

When the outer circle is full, a second circle is usually formed inside. There is often enough space inside the venue for several couples to dance in the middle. In rectangular halls, it sometimes happens that couples pass each other in opposite directions, like two lanes on a highway (second image below).

Square rooms (on the left) often have room to dance in the middle. On rectangular courts (on the right), there are situations where couples pass each other in opposite directions (red area).

The inner ronda is often more chaotic than the outer one. The vapors move IN and OUT of it, passing through the center. Obviously one has to be on the lookout when pairs pass close in opposite directions (red area). I'm sure most people already know all of this, but certainly not all. Even in the best milonga, sometimes there are people who do not follow the direction of movement on the dance floor. Some of them are newbies, others just don't care. But there is another group that deliberately breaks the codigos. Next, we'll look at an example of how a couple can "goof around", "jump", and even use leg swings to steal space from other dancers

Kung Fu Tanda

"We found out one night that there were
98 possible ganchos in a turn!"
-Gustavo Naveira

If you're like me, you're often disappointed that you didn't show your elements in the milonga. I know, I know... that you could only take steps because you didn't have room. All those nasty dancers kept getting in the way. Okay, I feel your pain. Now we're going to show you some tricks to make sure you get "captured space". Previously, these methods were only available in expensive seminars and correspondence courses, but now the magic of the computer allows us to bring them directly to your home or office (or home office) for free. Let's start.

Step I: "Be My Bitch"

Here's the scenario: You dance quietly, enjoying the milonga like any other normal, unimaginative couple. But looks are deceiving. People around you will get a glimpse into the future and for them, Future Shock will no longer be just the title of a book they once intended to read in college. You are going to send them back to school. You are going to show "New Tango".

In this guide, we will describe it simply. We will only consider five couples on a small dance floor, and we will take one step per unit of time. We start with couples dancing normally, counterclockwise around the ronda. You are the red billiard ball in the charts below:

First, slow down so that space opens up in front of you (left picture).
Then do a quick turn around to stop the pair behind you (middle picture). Finally, "hold and scare" (right picture).

First brake and start to fall behind (picture on the left). When you slow down, the couples behind you will also start to slow down and a gap will form in front. (This is the space you are about to capture.) Now if you have the eggs (or "Bolivianos" as we say below in Rioplatense), it's time to take the first shot. Take a deep breath, turn around and walk straight ahead a couple behind you (middle drawing). Ask them the heat, let them understand that you are serious! Freeze and hold on until they retreat (right picture).

Step II: "House of Flying Daggers"

Look for the target (fig. 1), fake a strike (fig. 2), retreat and celebrate (fig. 3).

Now it's time to deal with the couple in front of you. The main thing is to appear unexpectedly, from nowhere, like a rocket in the sky, launched from a terrorist camp. Go straight for them and fake a kick (left picture). You don't have to physically make contact. Miss, but they must feel your power. And when they feel it, they will run away... game over! Now all you need to do is go to the center of the captured space (middle picture) and use it (right picture). You've won the Super Ball game and it's time to celebrate. Be proud of your abilities!

Now, we'll let Gustavo Naveira show you how it works in the real world. At the very beginning of the clip, he just reined in a couple behind him. Then, he moves to deal with a couple dancing next to the wall in front of him. He steps back to them, swings his leg, placing his foot blindly behind him, inches from theirs. Finally, he returns across the dance floor, and fires a warning swing across the room. By the end of this short clip, he has moved everyone to the far corner of the dance floor:
Video 1
http://www. youtube.com/v/2AKHlyHfWQQ&hl=ru&fs=1
http://www.youtube.com/v/2AKHlyHfWQQ&hl=ru&fs=1

It happens so fast that we'll take a look at it all again in the photos. Here are the three keys to owning the dance floor:

1. "In your face": Turn against the line of dance, and pressure the couple behind you until they walk in the opposite direction.
2. "Shock and Fear": Move to the couple in front of you in ronda, and fake a kick to startle them.
3. "Be proud of your ability!": You are now the new owner of enough space for four normal couples!

Step III: "Possessor"

The entire yellow area is now yours, but you must guard its perimeter. Just as the Aryan Brotherhood defends their pew in San Quentin, you must defend your turf against anyone. If you show weakness, the selfish dancers will try to return:

The only way to secure the perimeter is through a show of force.

Want to keep other milonga dancers away from you? Then go to this school:
Video 2

You can see that Naveira has taken almost half of the dance floor to herself. This video demonstrates how you can use postures, leg swings, and the St. Vitus dance to ward off other dancers. It's like biting off the head of a live chicken. You will attract everyone's attention and you will be given a lot of space.

3,000 Years of Naveira and Salas

Looking at the strange things Naveira did, I wondered what was going on in his head. So while browsing the Internet, I found several interviews where he and his partner Fabian Salas discuss tango. These are amazing works. From time to time they border on “Our amps go to eleven” insanity in their Spinal Tap interview. Here are the highlights:

From the very beginning, Naveira and Salas were keen to discover the mysteries of tango - but when they talked to people who had been dancing for 50 or 60 years, they obviously didn't get the answers they wanted. So they reluctantly decided that these "so-called great dancers" had "personal problems" and should look elsewhere. Salas remembers the fateful day when their real work began: “Gustavo, we're on our own… it's hard to talk to these people. We must start learning ourselves!”
Salas (right) says their research was mostly about figuring out what they had to say to each other — and they worked tirelessly on it: "Talk! We spent hours playing pool and talking. Drinking coffee. If we kicked out of one place, we went somewhere else. “They were looking for something big: “We have to come up with something that will have significance like a boleo!” Naveira tells Salas. “Imagine the first person who invented gancho. .. how important it was!”

After weeks or maybe even months of chatting and playing pool, their efforts were rewarded because they found... a twist! “One day we realized that the basic structure in Argentine Tango is the turn…but you have to be able to see it!” Then, after further research, they found that there are three ways to step: “Each foot has three possible movements. You can step sideways, forward or backward. And it is. You must be in one of these three positions. “This was logically followed by the discovery that because most people have two legs, you have to multiply that number by two — so there are actually six ways! “This implementation opened all the doors for us at once!” Salas says.

After these early discoveries, incredible things began to happen. Naveira remembers: “We discovered one evening that there were 98 possible ganchos in a corner!” (Unfortunately, the interviewer forgot to ask if you could do them all in one turn.) They also discovered the ocho cortado: "Gustavo came up with this ocho cortado idea one night... he invented it, the milongueros use it and they don't even know where it came from." Unfortunately, he says, Susana Miller ended up stealing it from them. As we saw above, they also detected leg swings.

At one point, an obsequious interviewer asks Salas, “Where did the cross system come from? It's your job?" and Salas replies, “cross system? Yes. We called things by names that were new to most people… we came up with the idea of a cross with feet and called it that.” (Alex was a little surprised because she remembers that when her father was a young man, he was famous for dancing the vals crusado. But never mind.)

Over time, they began to realize that tango had nothing to do with culture or tradition at all, because it wasn't old enough for that. “Tango is only 50 years old,” Naveira declares: “But what we do is very important… it could last 3,000 years!”

The interviews come to a standstill, but basically they return to the same topic: That it was them who invented most of the important things that exist in tango today. It's quite an achievement, and both Salas and Naveira consciously resist being called Tango Nuevo because it's so much more. At first they called it CosmoTango, emphasizing a kind of all-absorption, "all" kind of tango that exists in the universe. Today, however, both believe that the correct name for what they do is simply Argentine Tango.

The meaning of the interview is obvious: Naveira and Salas are the true pioneers of tango! And like cockroaches and duct tape, their tango is destined to survive global warming, economic collapse, and nuclear winter. Tango for space. Tango for 3,000 years!

Practicing Tango

The more I dance and study, the more I get closer to one simple idea: In the end, tango is nothing more than friends getting together to share music. This is where everything starts and ends. Tango is love for music and caring for each other. It may sound a bit like “new age”, but it's true. Another way to describe it is that the continued existence of tango requires respect for the music, and respect for each other. If you have an environment where these two things exist, then you can celebrate tango. If it doesn't, then you can't. If you have teachers who, by word and deed, teach how to dance in a way that does not disturb other dancers, then you can have milongas. If not, you will have lessons and practices where people work out steps and figures - but that's all you'll have.

Let's continue our discussion about navigation. We'll get back soon to specific things we can do to help each other dance tango together in peace and harmony. But first, we'll look at a few things that don't work. We see these things that people always do in crowded halls. I think most of them try very hard to fit in, but even when they don't bother anyone else, they often look upset. They look sad. The first kind of tango that doesn't work in a crowded milonga is...

Square Corners

This type of dance is based on the basic 8 steps. Today, this can sometimes be seen by watching top pairs. They are often very polite on the floor, but their dance has too many sharp edges. I'm talking about older couples because this is probably the first type of tango that was taught in the classroom, and because many young people prefer the new figure-based version of tango. This is a tango from the 1990s. Probably Dinzels popularized this technique and it's amazing how many modern tango celebrities started with this. The dinzels came to tango from Argentine folk dances and their approach was to identify as many elements as they could, name them, and then join them together in a rectangular pattern of steps. This kind of early academic tango looks somewhat outdated today, but there are still many teachers using this technique. I'm familiar with it because that's how I started learning tango:

Video 3 (there should be a video showing a dance based on the basic 8 steps)

This tango of pattern steps gives a kind of predictability and security, and it's great for lessons. There are routes to follow, and small figures with different names, a place to pause and complete them. The model looks like a wiring diagram. Picture of what it looks like on a crowded dance floor:

Apparently this style of dance is disastrous in the milonga. You sometimes see couples who have learned this tango and stand in one place, waiting for enough space to complete the figure they have begun.

Individual Areas

This is a classic tango from stage dancers. I would use the words, "defend the area and perform" or "pause and tango pose" to describe it. I also like the term "universal star" of tango - but then, I'm just sassy. This is a tango that is based on complex, learned choreography:

Video 4 (there should also be a video showing examples of the described choreography: a wide hiro around the partner who makes decorations and a sequence of steps with parades and decorations, which the partner walks with his back)

This tango not only requires rehearsal from both partners, but uses up a large amount of space for extended periods of time. The problem is that if everyone starts using a space larger than their normal Personal Space (see above) for more than a few beats, everyone will stop and the dance floor will look like a map of Buenos Aires:

This map model is great for practices where people occupy their own areas to work on tasks. For some time in the US, there was a belief that it was good to take a seat in the middle of the room to make figures. But we're talking about a crowded milonga where the center of the dance floor has to circulate just like the rondas that surround it. (I remember once I was at a big milonga in the USA where people were circling more or less normally, but a famous ballroom couple was posing in the middle of the dance floor. A woman could raise her leg high and hold it like that. Or they could, embracing, lower themselves down to the floor together and then slowly grow upwards. The effect was eerie. It was like a queen bee surrounded by drones slowly circling around as she posed and performed. Or some ancient Aztec ritual.)0011

Big Steps

There is a young guy who stood out in one of the milongas we went to. He is a good dancer and everyone respects him. But he has the academic dancer's habit of taking big dramatic steps all the time and that creates a lot of problems for him. He's like the guy who spent a lot of money on a big, fast car, but spends most of his time on winding lanes. Or stuck in traffic. The little taxis and motorcycles were long gone, and he barely made it in first gear between the intersections.

The solution for him would be to understand that big steps are very good, but small tiny steps are just as good. In fact, without small steps, big steps don't mean much. Even weight changes from foot to foot without progress can be very expressive. Art in the ability to diversify. And the highest art is in using this variety to creatively express music while skillfully navigating the dance floor. The task of dancing all together and each couple separately and understanding this is one of the great pleasures of tango. This is the opposite of the restlessness of the other dancers because it actually adds to the enjoyment for everyone. I won't include a video example of tango with big steps since it's pretty obvious. But I do have an idea in my mind of what tango should be like. We will stick to our theme of Buenos Aires and present it that way. This imaginary picture of the movements that Alex and I create when we dance; trajectory we are following:

I think of the trajectory of our milonga dance as something similar to these traditional Buenos Aires patterns.

Patterns

So this is what our milonga should look like when people use rhythm to curve their dance path. It's a mix of varying step sizes, random pauses, and spins in hero. For me, this is a great way to express all the nuances of tango. I think if you watch the videos of most of the great dancers on our site, you will see the dance floor moving around, which looks like blue lines here, similar to the traditional mural art that adorned Manoblanca's wagon:

The yellow couple stops to complete the pieces and takes big steps. Blue lines
imagine the paths of couples who dance curved corriditas, or "bring out patterns".

Obviously the yellow couple is having a hard time. This is a young guy who tries to dance by stopping to perform figures and then using big steps to move to a new place on the dance floor. You can look at this drawing for a moment and consider which way is closer to the physical expression of music.

Milonga Scenes

Navigation is a difficult subject. The problem is that after you understand a few general rules, you can turn into a moody guy (like me) telling story after story about bad dancers. It's very tempting to do just that, I have enough stories for a whole page from just last week. But I, and most of you, have a lot of stories of your own, so I've disarmed you. Instead, I'll keep practicing Photoshop and make some more diagrams. (Drawing by hand drives me crazy). Next, we will introduce some exercises for turning and apply them to bending the trajectory of the tango dance.

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Here is the first diagram. It features a medium filled milonga surrounded by blue tables and two dance lines painted on the dance floor in light yellow. The dark gray line represents the trajectory of one of the pairs. Question: What did they do wrong?

This is one of the two most common navigational errors. The trajectory of this couple wanders back and forth, oscillating between the inner and outer lines of the dance. Instead of being in one of the two rondas, they drift from one to the other. They squeeze between the dancers like a motorcycle squeezes between different lanes. If you look closely, you will see that they have disturbed at least seven other couples (marked in red, below). They disturbed several people at the tables and made themselves uncomfortable. (Actually, for the partner, since he is the one who leads.):

This couple is ambivalent, wandering, and creating problems for themselves and others.

Like other misnavigation situations, this is pointless. Although in the diagram this may look like avoiding obstructing people, in reality they usually just drift along with everyone else, and randomly crash into other couples. What are these travelers between the lines thinking? It's hard to understand. This is not an easy way to dance, but such couples often appear in milongas. It may just be an attempt to occupy a small open space between two rondas. Or perhaps a misunderstanding that there are several lines of dance and an obsessive desire to bypass people.

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How about the situation below? Do you see something wrong in the trajectory of this pair?

This couple got squeezed and moved to the inner ronda to find more space.

For me, no. This pair was somewhat wedged in the ronda by the "pusher" behind them and two pairs of "loafers" in front. So they moved to the next line, moved forward, and returned to the outer ronda when they found an empty spot. By doing so, they helped themselves and everyone else. They eased the traffic behind the slacker and moved to an unused spot on the dance floor. This is an example of how good navigation helps everyone. (Note that no one on the trajectories of these diagrams is moving fast. We assume that they are dancing smoothly in a normal manner. They may sometimes move a little faster than usual in the general flow, but they do not run or take huge steps.)

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Here is another situation:

This is one of the worst navigational errors and it happens all the time. The gray line represents the trajectory of the pair who can't stop themselves from closing the slightest gap and they are confronting the pair in front of them. The couple in red, (below), are their victims.

Pressing couples in front when they can't move is just... stupid.

Often, during the first tango of the tanda, the movement stops at the places where the couples enter the dance floor (lower right corner). They have the right to do so and the only solution for the ronda is to stop moving forward until the new dancers can spread out on the dance floor. But sometimes, people can't resist the urge to move forward. Here, the couple, marked in red, attempt to dance in place until the dance floor clears ahead, but they are pushed into the crowd by the couple behind. The solution is simple. If you see a traffic jam ahead of you in the ronda, don't move forward. Continue to keep a distance between the couple forward and behind, but dance in place until forward movement is restored again. Or go to the middle of the dance floor and look for an empty seat.

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What can you say about the trajectories of these two pairs?

These trajectories show ways to enter the dance floor.

I think everything is fine here. The couple on the left entered from a corner, and instead of trying to dance where the couples were tight enough, they moved to the center of the dance floor to look for a place in the ronda. Another couple entered from behind the tables, which they have the right to do, and moved to the inner ronda. But what about if the first pair entered in the wrong direction (red arrow below)?

If no one is around, go wherever you want, in any direction.

There is nothing difficult. I don't see anything wrong with moving against the line of dance in the ronda if no one is there. In fact, when we dance in ronda, we are constantly moving back and forth within our shared space.

By the way, this couple does what Alex and I often do. You could call it "convenient" (lawyers use a term to mean getting into court with a sympathetic judge). If they know other dancers, they will probably look for a place in the ronda between two couples they know.
Dancing between two soft, rhythmic couples who know what they are doing is very comfortable and enjoyable. This helps you avoid pushers, slackers, and people who are careless or unpredictable. It's probably not well known, but it's one of the big draws of the polite, controlled dancers in Buenos Aires. If you dance neatly the milongueros will get to know you and give you space or they will slide in front of or behind you in the ronda.
As I became very careful with my navigation, I began to notice that some very good milongueros began to dance close to me and Alex all the time. After a while, I realized that neat dancers tend to group up to help each other. (This is for people who are concerned about the impression their dancing makes). The way to find true respect and recognition as the best dancers is to master the art of navigating the dance floor. The best dancers in Buenos Aires are always very aware of the way other people dance, and if they respect you, they will start looking for you and give you a little extra space for you.) (The same goes for pecking order in bike racing. The best riders will allow good riders to get close to them in the peloton and make life harder for careless riders.)

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How about this guy:

Good dancers often take advantage of the free space outside of the ronda.

This is fine. This is what good dancers do all the time. Rules are not made for handcuffing people. If there is a free space and you can use it without disturbing anyone else, go to it. Take a big step if you want. In a way, this actually helps the milonga because it's an efficient use of the dance floor. This couple saw an unused space in the inner ronda, in the middle of the dance floor, and took a short trip back and forth. The couples in front and behind them in the ronda should be aware that the dancers sometimes do this, and leave the space open for them for a few beats, in case they want to come back. Directions of movement and rotation are there to prevent conflicts, but if no one is around, you can go where you want.

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How about the following situation:

This is very bad - and very common. The couple in this chart is "dancing wide". They curve the line of their dance, but they step too far, which makes their dance wider than the ronda, and its path intersects with the next line of dance. This sometimes happens in the inner ronda, and in the middle of the dance floor too, with people taking big steps and hiro that hurt and disturb people in other dance lines. You do not have to always stay in your line of dance if there is space (previous example), but you should never dance while attacking other couples (in red below).

Very bad, and very selfish. People who cannot dance within their space should not come to the milonga.

If you dance this way, arrive early and leave before other people arrive - or go to practice.

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What can be said about the drawing?

One of the needs of a crowded milonga: men cross the dance floor towards their partners.

Difficult question. These lines represent the men who cross the dance floor towards their partners. In most milongas, men and women look out for each other and after an arrangement with the cabeceo, the men usually go between the other dancers to invite their ladies. If you are dancing, you must be aware of this and you must pass them through the ronda in front of you. If you are walking towards your partner, remember that the dancers on the floor also have the right to move and may not expect you to pass behind them. A few times I took a step back and almost collided with a person crossing the dance floor who appeared out of nowhere, so never walk right behind a dancing person. Look for a gap in the ronda along the tables when you invite a woman over and start dancing.

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One way to think about the trajectory of a dance is to visualize three types of space. The first is the personal space that surrounds each couple. This is usually a medium sized step in each direction. No one should ever enter it. The second type of space is the most complex. This is "shared space" and I've colored it light blue below:

The light blue circles surrounding the couples represent the "common space".

You have the personal and absolute right to dance within your own private space (red areas below), but shared space is more difficult. At the moment, let's say that's about three medium-sized steps from each couple, or maybe two or three beats of a tune on a crowded dance floor. You can move IN and OUT of the common space when dancing, but you must be alert to what the couples around you are doing. If you sense that the other couple is also moving into the common space in your direction, you may need to stop or turn around to avoid a collision. You must continuously monitor the total space around you in order to decide which part of it is the most accessible at the moment. Dance a couple of beats in it and then come back to your center between the couples around you.

The light blue circles surrounding these pairs show "shared space". Red Trajectories
represent acceptable ways to approach other couples, and then return to their center.

Personal space and the surrounding common space are impermanent. They drift usually counter-clockwise around the dance floor. When navigating, the dancer controls several things at once. He is responsible for micromanaging within his own personal space and the common space around him. In addition, he must drift counterclockwise, and he must also be aware of any free space that may be nearby. If he sees unused areas on the dance floor next to him, it's usually best to move into them. The red arrows below represent possible ways in which couples could have moved to an open space to equalize the intervals on the dance floor and avoid crowds:

Good dancers control both the general space around them and the free space of the entire dance floor.
The red arrows show how the various couples might move to avoid the pandemonium.

In a good milonga, where people know how to navigate properly, there is a constant movement to free space and adjustments in the use of free space. Small convergences may occur, but after a few bits they correct themselves. There are many ways to watch tango videos, but if you look at the videos posted on the site again, you will notice that people manage their personal space and also constantly adjust the entire dance floor, instinctively moving into unused space.

The Bratboy effect

What we have seen here is part of the rules (codigos) of the milonga. We have discussed many of them on this site, but as far as I know, they are not recorded anywhere. They have been around for a long time, but they were not compiled by one person. Just like English common law, codigos came into use among the common people because they were needed. At its core, tango is nothing more than people coming together to enjoy the music. That is why music and words were created. It is the basis of all music, and all tango dance. Getting together to dance is what tango is. This is the reason for the life of tango. Without the codigos, the milonga cannot exist, and without the milonga, there will be no tango.

But today there is a revolution. This is a tango revolution led by people like the colleague we looked up to at Kung Fu Tande and I am the first to admit that the revolutionaries are winning. Gustavo Naveira and his clones travel the world and are wildly popular. Their revolution is based on the idea that the traditions and codigos of tango limit creativity. For them, self-expression is everything. They believe that tango should include all kinds of music and all kinds of movement. Fair. Sometimes a revolution is necessary, but every revolution has a cost.

Two weeks ago, I noticed an invitation to practice posted on a US forum. It was in capital letters:

Alternative Practice

Join us for an evening of authentic Argentine Tango…
Let your mind be open to the new. Everything will work out!

At first I didn't pay attention to it. But as I started working on the navigation pages and thinking about the problems on the dance floor, the phrase "it'll work" used with "authentic Argentine Tango" began to get under my skin. I think people have every right to hold "alternative" tango events if they want to, but why do they call it "authentic Argentine Tango"? It looks like a deliberate slap in the face. Like sticking your nose into the culture of tango and Argentina. These people do not hesitate to use the work of the Golden Age maestro whenever they need it to make money from their events. But then they turn around and insult them, calling the music they play "alternative" and the tricks they picked up somewhere "authentic Argentinean Tango"...why do they do that?

Since the forum was located in the city where Alex and I live when we are in the US, I decided to write there. I was under no illusions about the results, as the issue of imposing restrictions on some of the things people did in the milonga had already been raised before by other people on the forum, and responses included words like "tango police", "amateur rules", and even " tango Nazis. But I went further. My question was short and concise:

I noticed that you advertised your practice as an evening of "authentic Argentine Tango" where "everything works out." Isn't this somewhat misleading?

The forum was rather sluggish. There were announcements for classes and practices every few days, and that was about it. The answer to my question, however, was swift. Someone called "Bratboy Tango" showed up almost immediately: "Who's rocking our boat? Where's the moderator when you need one??"

The people who lead the new tango are impeccable dancers who know how to express themselves; but people like Bratboy are the ultimate product of their revolution. This is the type of people who come out of their seminars to the local milongas. While part of my disagreement with the announcement was that I didn't think people should distort tango to get new clients, that was still not my primary reason for saying so. The problem is that if you give new dancers the idea that "authentic Argentine Tango" is everything and everything, then they will be furious if someone says they can't do whatever they want in the milonga. . And if people do whatever they want, tango cannot exist.

But wait... maybe it could exist! Let's take a closer look at what the traditional tango revolutionaries are promoting around the world. Let's see what their vision means for the future of tango.

Revolutionary coup

People betrayed you
like christ
Needle of your Obelisk (here - a monument in the center of BA, a metaphorical Cross of the crucifixion)
hurt and hurt your body.

You're sad to be ours,
it's hard for you to carry your cross
-Tristezas de la Calle Corrientes

If you think about it, it's a strange revolution. This is not politics, and most revolutions happen when the social system becomes frozen and a large number of people below have no future. The people above have power and money, and the people below are deceived - as a result, people storm walls and castles.

But look at this new tango revolution. For 100 years, tango has been the big equalizer in Argentine society. This is the only place where everyone comes together. Rich ladies from Recoleta hug taxi drivers from Avellaneda. Doctors and lawyers share tables with unemployed carpenters, and dance alongside uneducated people from the poorest parts of the city. No classes, no discrimination. Tango, literally, from people and for people. It is for everyone and the only thing that is needed is to love the music and respect each other. It may not always be obvious to someone who comes to Buenos Aires for a few weeks, but the longer I dance, the more I feel the power of brotherhood and friendship in the milonga. It exists and it pervades all levels of Argentinean society. Alex and I always talk about it when we leave the milonga at night, about the beauty of being able to share music with thousands of people from all over the city.

But imagine for a moment what the revolutionaries are pushing so hard all over the world. They have no interest in the old system where people can spend their lives learning and sharing music in the milongas. For them, tango consists of high-level workshops, performers - and they are all stars. The appeal of their system lies in the dream that keeps their most ambitious students - the dream of someday polishing steps and figures to the point where they can start performing and giving their own classes. And then, students of students can dream about the same. In essence, their system is a pyramid scheme that requires a constant influx of new people who buy illusions and figures, all the way down to the Bratboys.

This is a revolution in which leaders gain everything without losing anything. For them, the fact that their system is causing some sort of low-grade "thug tango" to enter the milongas is a small price to pay. In fact, the revolutionaries have no motive at all to teach the finer dance skills necessary to join the brotherhood and friendship in the milongas. Their tango is the tango of workshops, in workshops, and for workshops.

In short, what we see: a revolution in reverse! The kings, queens and princes of tango want to replace the milongas with a system of stars! Their world would not even exist without the work of the poets and musicians of the Golden Age, but they only use them. And the great maestros get nothing but the disrespectful manipulation of their music for pathetic tango nuevo arrangements, danced in ways that would only sadden them.

But what to do? The revolution is popular, and if you say anything, you will be shouted down by Bratboy. It's a difficult problem, but one thing I've learned is that sometimes the answers exist within tango. For those who love revolution, here's something to think about. These words have already been translated on another site and I just translated them:

think hard
Think hard,
before, do this step
after which most likely
can't go back

****
My intrusion into the Internet forum did not bring much. Bratboy, who originally answered my question, with his "Who is rocking our boat?" continued to post venomous, anonymous messages. And 5 minutes after his first reply, there was a personal attack from a woman who wrote, "BRAVO!!!! Empty talk... judgment... ego... individualist party... who needs them?" Both of them were in tango for about three years and I don't think I've ever been to Buenos Aires. But they were deeply offended by the idea that dancing the authentic Argentine Tango might limit their right to self-expression.

About a week later, the person who posted the ad responded. He said it was not misleading in any way. "No misleading!" he said. Finally, a woman spoke out - the moderator of the group. She lectured me that the purpose of the forum is to discuss tango and bring the community together. Apparently she didn't see any problem with Bratboy's barbs, or the woman's personal attack. But she said that learning to tango was not an easy task and she would not tolerate any criticism from her fellow teachers.