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.