Social Tango and Performance Tango

The more I reflect on the challenges facing tango, the more I recognize the need to distinguish between social tango and performance tango. Advocates of performance tango often say, “Why draw a line? They are all tango. Tango is one.” But this is not true. Social tango and performance tango are fundamentally different dances, each serving a distinct purpose. They differ in nearly every aspect, including structure, embrace, appearance, feeling, steps, techniques, leading and following methods, and philosophy (see Three Theories on Leading). Any definition that applies to one excludes the other. In fact, those who have learned only one form cannot dance the other without additional training. Instead of promoting performance tango to beginners, it is better to be honest so that students understand what they are truly getting into.

Social tango is a popular dance form designed to suit the tastes, needs, and abilities of ordinary people. It is a spontaneous and improvisational dance, typically danced in close embrace with substantial physical contact, fulfilling the need for connection and intimacy between partners. It is danced for personal pleasure in the milongas, guided by the milonga codes. While incorporating technical and aesthetic elements, its steps are simple, allowing dancers to focus on inner aspects such as emotions, feelings, intimacy, comfort, and connection. Dancing social tango is a deeply personal and soulful experience—what matters is how it feels, not how it looks (see Highbrowism and Populism in Tango).

Performance tango, by contrast, is a highbrow dance form created for stage performance. It is a theatrical rendition of tango, featuring intricate steps and techniques that exceed the capabilities of most people and are tailored to trained professionals with advanced skills. Unlike social tango, this form is choreographed and rehearsed. It is typically danced in an open dance hold to allow for expansive movements. Its steps are wide, elaborate, and often dangerous, requiring ample space. It is not intended to provide an intimate, soulful, or personal experience, but is designed to showcase flashy figures and dazzling movements to entertain an audience. Performance tango does not adhere to the milonga codes and is ill-suited for crowded dance floors. Safety, comfort, and user-friendliness are not its priorities. What matters is how it looks, not how it feels.

I believe learning performance tango—especially before mastering social tango—is not in the best interest of most students. It is a waste of time and money for several reasons: very few students will become stage performers; 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. Moreover, without a solid foundation in social tango, high-level performance is unattainable.

For most students, social tango should be the focus of their learning. This is because their goal is to dance in milongas for enjoyment, not on stage to entertain an audience; they need a user-friendly dance suited to their abilities, not a difficult and inaccessible form; they seek a dance that fulfills their need for connection and intimacy, not a showy, uncomfortable display of ego. Furthermore, becoming a good social dancer will provide a solid foundation if they ever decide to pursue performance.

In the United States, the blending of social tango and performance tango has caused numerous problems in our milongas. In Buenos Aires, the two forms are distinct. Social tango is danced in the milongas, while performance tango is reserved for the stage (see The Styles of Tango). Professional performers who dance performance tango on stage exclusively dance social tango when attending milongas. Teachers in Buenos Aires are transparent about what they teach: those who teach social tango specify it as such, and those who teach performance tango make that clear as well. They do not “hang up a sheep’s head to sell dog meat.” Separate competitions are organized for each form. I believe this separation is how tango should be handled everywhere.

Highbrowism and Populism in Tango

Art forms that appeal to the general public's preferences, needs, and educational backgrounds are often classified as popular arts. In contrast, highbrow arts are characterized by refined tastes and exceptional skills that surpass the abilities of most individuals. For instance, highbrow music often demands a level of complexity and range that only a few performers can achieve, whereas pop songs, with their simpler techniques and narrower range, are accessible to nearly everyone.

The notion that intricate and demanding art is inherently superior to straightforward and accessible forms, however, is misguided. Painting does not inherently surpass photography, and pop songs can be just as captivating as operatic pieces. In fact, simplicity and accessibility often lead to extraordinary results. Simplicity does not imply artistic inferiority, nor does ease signify a lack of skill. On the contrary, achieving simplicity and ease often requires a high degree of sophistication. Truly accomplished artists perform their work effortlessly, and those who masterfully simplify their craft often demonstrate greater virtuosity than those who do not (see Simple Is Beautiful).

Individuals who believe in art for art's sake often overlook a crucial reality: art, particularly popular art, is ultimately created 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 an elite few can dance it? Argentine tango is a prime example of a social dance—it was created by sailors, gauchos, immigrant workers, and street women. It maintains its grassroots essence in Argentina even 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 vitality of tango lies in its popularity and sociability, without these qualities, it risks becoming a castle in the air.

Schopenhauer's famed observation, "Man is either vulgar or lonely," lends itself to multiple interpretations. It could be understood as an encouragement to embrace individuality rather than conforming to the crowd. It might serve as a warning against excessive aloofness that leads to isolation. Alternatively, it could be interpretated as a call to strike a balance between refined and popular tastes, avoiding extremism. In the context of tango, the latter interpretation seems most pertinent. As a Chinese proverb wisely observes, "Water that is too clear has no fish, and a man with overly high standards has no followers." Schopenhauer's words, therefore, could also be viewed as a cautionary note.

Tango and Romanticism

Romanticism is a cultural and artistic movement that emerged in the late 18th century to celebrate the human spirit, emphasizing emotion, imagination, heroism, romance, and idealism. It arose as a response to the dehumanizing effects of industrialization, which prioritized mechanization and efficiency over the complexities of the human condition. Romanticism sought to reclaim the depth of humanity, the beauty of human experience, and the power of emotions. Its enduring influence on literature, art, and culture has been both transformative and timeless.

In our postmodern world, where modernity, technology, and superficial impressions often take precedence, the principles of Romanticism hold even greater relevance. This is particularly evident in tango, a dance intrinsically tied to the expression of longing, emotion, and connection. Tango was not created solely for entertainment but as a deeply expressive medium for the yearnings, desires, dreams, and aspirations that lie at the core of human experience—capturing the very essence of Romanticism (see Tango Is the Search for a Dream).

Critics frequently lament that certain tango performances have devolved into displays of gymnastics or acrobatics, prioritizing physical spectacle over the emotional intimacy that defines true tango. While gymnastics and acrobatics showcase impressive technical skill and entertainment value, they lack the essence of tango, which is fundamentally about the relationship between partners—their connection, emotional interplay, and the communication of feelings. Tango is evocative of a beautiful romance, where the two partners face all kinds of challenges but remain united, connected, supportive, and inseparable. At its heart, tango is imbued with the spirit of Romanticism, standing in stark contrast to the athletic spectacle of gymnastics or acrobatics. Instead of focusing outwardly on physical tricks, tango dancers should turn inward to emphasize the human spirit, connection, intimacy, and emotional expression (see The Conceptional Beauty of Tango).

When stripped of these elements, tango becomes merely a sport or a show—a hollow performance devoid of its emotional depth and richness. Sadly, in a culture increasingly dominated by games over classics, sports over art, and technology over humanity, tango risks losing its essence. Many individuals raised in such a culture tend to prioritize form over substance, constantly seeking novelty and change without appreciating the timeless qualities that give tango its lasting beauty.

To preserve tango's classic beauty, we must rekindle the Romantic spirit in our teaching and dancing. This means embracing simplicity and naturalness, valuing elegance over flashy displays, and striving to convey authentic emotions through the dance. While fashion trends may come and go, Romanticism is a timeless facet of our humanity. It endures, waiting to be revived. When brought to life in tango, Romanticism transforms the dance into a profound expression of human connection and emotion, resonating powerfully across time (see Embracing Elegance).