Tango is an intimate dance that involves intent physical contact and emotional exchanges between dancers. Such an intimate activity can affect people deeply on many levels and hence should not be taken lightly. One's tango experience relies not only on one's dance skills but also on one's relationship with other dancers and the social environment of the milonga impacted by each and every participant's conducts. With the evolution of tango, codes of conduct have been developed and become an important part of the dance. Learning these codes and mastering the proper way to behave and treat others in the milonga is an essential part of a dancer's education. The following are things you must know when you go to a milonga.
Part One: Preparation and seating
1. Personal hygiene
Tango is danced in close embrace in which the partners touch each other's body, therefore personal hygiene is important. You need to take a shower, wash hair, brush teeth and change cloth before going to a milonga. Smells from the hair, mouth or cloth will make your partner uncomfortable.
You should avoid using heavy makeup, oil and hair coloring because in the dance your head will touch your partner's head, body or outfit and both of you may sweat. You should select a perfume that has a pleasant fragrance and avoid odd smells. You should be aware that certain scents or chemicals may cause allergic reaction to others.
Your outfit should enhance the beauty of the dance, not reduce it. Men look good in suits, not T-shirts and jeans. Women look good in skirt or dress - not too long or too exposed. Women should avoid wearing ornaments that may scrap the outfit of the man or rub his chest. Men should wear leather shoes and women should wear high-heeled tango shoes. Sneakers and sandals are inappropriate.
In Buenos Aires, when the guests enter a milonga, they are cordially received by the host, who will then take them to the seat. In a small venue, men and women are seated separately on different sides of the room. In a large venue, men and women sit at different tables, but the tables are mixed to facilitate cabeceo. Unless a request to sit together is made, couples and friends who come together are seated separately to ensure everyone the same opportunity to invite others or be invited by others.
In Buenos Aires, women change shoes in the lady’s room instead of at the table. Men, too, go to the men’s room to comb hair, tidy tie, change shirts, or put on perfume between tandas. This is not only for looking good, but also for showing courtesy and respect to others and the dance.
6. The couple
If a couple are not dating, they would be better sit separately, otherwise people may avoid inviting the lady out of respect and courtesy. A dating couple only dance with each other; therefore they should not occupy seats easily accessible by others. Such seats should be left to people who need to do cabeceo. In Buenos Aires, a dating couple usually sit at a quiet corner. They do not dance with others, neither do other people bother them.
7. Equal opportunity
With the exception of dating couples, all dancers have equal opportunities to dance with anyone else in the milonga. There should not be discrimination and coterie. Cliquing is inappropriate in the milonga because it creates segregation, making it difficult for others to invite members of the clique. Women should avoid sitting with male friends and dance only with them. Separate seating helps to prevent cliquing and create integration.
Part Two: Invitation
1. Active participation
Women should not sit there talking with each other and wait passively for men to come to invite them, but should actively participate in the invitation process by paying attention to men’s eye contact and being responsive to men's cabeceo. Everybody must behave in a friendly, respectful and polite manner and be considerate of other’s feelings. Indifference, arrogance and rudeness do not conform to the spirit of tango.
Dancing tango involves repeated change of partner and hence a frequent partner selection and invitation process. In a place where tango culture has not yet formed, people tend to use verbal invitation, which could put the woman into the dilemma of either accepting unwillingly or saying no to the inviter. The correct way to invite a woman to dance is nodding at her from a distance. The woman may accept the invitation by nodding her head, or she may turn her head away to decline. This way of invitation is called cabeceo. Cabeceo gives women the freedom to accept or reject an invitation without being obliged to dance or causing public embarrassment to the man. (See Women's Role in Cabeceo.)
3. Eye contact
For cabeceo to work, women must participate the process. If women sit there chatting with each other and pay no attention to men, then men cannot cabeceo them. Women need to know that making eye contact with men is crucial because men can only cabeceo those who look at them. In order not to miss the opportunity to be invited, women must stop talking with each other and must pay attention to men who are looking at them, especially at the beginning of a tanda. (See Tango Etiquette: Eye Contact, Talking, Clique and Hierarchy.)
The light in the milonga, therefore, should be bright enough for people to see each other and do cabeceo. Some milonga organizers set the light too dim, or use the flashing light of a disco room in order to create special effects, which only does a disservice to the milonga.
5. What if you made a mistake?
When doing cabeceo, you need to make sure that a person is nodding at you and not someone next to you or behind you. However, in a crowded milonga, error could occur. Sometimes a man thought that a woman has accepted his cabeceo, only to find that she goes to join another man. In such case he has to quickly cabeceo someone else while on his way, or change direction and go to the men's room instead. Sometimes two women at the same table both thought they have been cabeceoed by the same man. To avoid confusion, the man needs to look into the eyes of the woman that he is inviting while walking towards her and avoid making eye contact with the other woman even if the latter stares at him. (See The Issues on Cabeceo.)
6. Changing seats
Cabeceo could be hindered by dim light, distance, crowd and bad eyesight. As a remedy you may consider rotating seats in different parts of the room if the seats are not fixed. If the seats are fixed, you may temporarily leave your seat and walk to where you are able to make eye contact with the person of your choice, and then do cabeceo.
7. How to invite a woman who is talking?
A gentleman does not interrupt a woman when she is talking. If you want to invite a woman but she is talking with someone – which unfortunately is a frequent occurrence in the US, you should move closer to where she can see you and wait there patiently while look into her eyes until she notices you, and then seize the opportunity to cabeceo her. If she keeps on talking without paying any attention to you, then you should give up on her and search for another woman.
8. Do not oblige a woman to dance
If a man tries to make eye contact with a woman, but she turns a blind eye, what does that mean? "She did not see me, I should go directly to ask her." Wrong. She does not see you because she does not want to dance with you. If she wants you she would see you. You should not force your way to her seat to ask her, as which may put her into the dilemma that she might want to avoid in the first place. Instead, you should stay where you are and wait until she makes eye contact with you, and then cabeceo her to see if she will accept your invitation.
9. Listening to what she means
If a man verbally asks a woman to dance and she replies, "I am resting my feet", what does that mean? "She wants me to give her a few minutes." Wrong. No matter how tactful her words are, so long as she does not immediately join you, that is a decline. You should give up on her for the moment and turn to someone else. Do not linger there waiting, as which, if she is expecting someone else, could make her feel uneasy.
10. Acting in good faith
The woman who said "I am taking a break now" to one man should not accept another man’s invitation right away. She should at least wait until the next tanda, otherwise she could hurt the feelings of the first inviter. Neither should another man go immediately to invite a woman who just rejected someone. You would break her faith with the first man if she accepts your invitation. Or, you would bring contempt to yourself if she keeps her words.
11. Practicing good manner
The way to avoid guessing or misunderstanding is to be honest and considerate. For example, the woman may friendly say, "I am taking a break, may I dance with you later?" Such polite decline gives the inviter a way out without feel rejected and humiliated. Women who are resting may take off their shoes. That way, nobody will bother them.
12. Going all out
Some women have accepted an invitation for fear of hurt the inviter’s feelings, but then they dance perfunctorily without emotional involvement, letting the man feel disappointed. This is also improper. If a woman does not want to dance with a man, she should not accept his invitation. If she accepts the invitation, then she must spare no effort to assume her role as his partner. Declining an invitation is normal. Perfunctoriness, on the other hand, antagonizes the spirit of tango. Of course, all such mistakes could be avoided if cabeceo is used as the way of invitation. (See How to Get More Invitations in the Milonga.)
Part Three: Dancing
1. Taking a detour
The woman who has accepted the cabeceo should sit at her seat and wait for the man come to take her to the dance floor. To avoid interrupting the people already dancing on the floor, the man picking up the woman should not walk through the dance floor but should make a detour around the dance floor to where the woman is.
2. Seeking permission
Before taking the woman into the dance floor, the man should make eye contact with the leader of the approaching dancing couple and get his permission. Forcefully squeezing into the floor is impolite. If the oncoming couple are novices who do not know how to slow down, it would be better to let them pass. Dancing in front of them does you no good because they are likely to cause a rear-end collision. Skilled dancers will leave a gap for you to enter, and it is safe with such people dance behind you.
3. Dancing social tango only
There are different styles in tango, some are suited to social dancing, others are not. (See The Styles of Tango.) A milonga is a social tango party and should be free from styles and behaviors that conflict with its purpose. Dancers should observe the milonga codes and dance only social tango in the milonga. Using the milonga to demonstrate and promote performance tango does a great disservice to the milonga. (See Social Tango and Performance Tango.)
4. Tanda and cortina
In the milonga, tango music is played in a set of three or four songs, called a tanda. Between two tandas is a short interlude, called cortina. One should dance the entire tanda with the same partner. Unless you have a very good reason, withdrawing in the middle of the tanda is impolite.
5. Dancing only one tanda
You have danced one tanda with a woman and felt very good, could you ask her continue for another tanda? While this is up to the two of you, you should keep in mind that there may be others who are waiting for her, and that her husband or boyfriend may not feel comfortable because dancing multiple tandas in a row with the same woman means you like her, whether that is beyond normal or not. For a woman, accepting such a request signals the reciprocal feeling. It would be wise not to encourage the man if you have no intention to get involved.
6. Brief conversation
The prelude of a tango song often does not have normal rhythm; therefore, dancers usually begin to dance after the prelude. People customarily use this short period of time for a small talk. But this brief conversation sometimes becomes too long. Some people stand there talking even after others all start to dance. As a rule of thumb, when the rhythm of the song becomes regular, or when people around you start to dance, you should begin to move to avoid blocking traffic.
7. Do not advise your partner
Criticizing or giving advice to your partner in the milonga puts yourself in a superior position and may affect the relationship. Milonga is where people come to enjoy dancing with each other. Teaching should be left in the classroom. If you admire a master, attending his/her class is a good idea, but do not ask him/her to teach you there, as which could oblige him/her to do things that they should not do in the milonga. (See The Art of Love.)
8. Complying with navigation rules
The outer edge of the dance floor is divided into two or more lanes, just like the racing tracks of a sport arena. These tracks or lanes are for skilled dancers who can keep up with the flow of traffic. Beginners who want to practice new steps should do so at the center to avoid causing obstruction to traffic. Zigzagging between lanes or moving against the line of dance can easily cause a collision and should be avoided. (See Spot Dancing in Tango.)
9. Keeping a proper distance
The couple behind should maintain a proper distance and not be too close or too distant from the couple in front of them. Novices concentrating on doing the steps may forget about slowing down or speeding up as necessary, often cause collision with the people in front, or block the people behind. Dancers who like to show off their skills may intentionally keep a large distance from the people in front of them, or stay at the same spot doing the exhibition. These are all inappropriate. (See Cadencia and the Flow of Tango.)
10. Safety first
Novices may think that dance is the most important thing on the dance floor. In fact, that is safety. The man who leads the woman has the responsibility to protect her and prevent her from being bumped, kicked or stepped on by others. For the same reason, he should not lead her dance too close to others and do things that could hurt others, such as high boleos, kicks and ganchos. The woman, too, should be considerate of the people dancing nearby and avoid doing things that may put other's safety in jeopardy.
11. Maintaining a good dance environment
A successful milonga depends on the efforts of all participants. Everybody in the milonga must behave in his/her best manner - friendly, polite, respectful, considerate, cooperative and accommodating. Misconducts should be subject to public opposition. If someone behaved disrespectfully to others, the rest of the crowd need to boycott him/her for a while as the milongueros all do in the milongas of Buenos Aires to let the person feel the public disapproval. This can help to create a healthy dance environment.
12. Evacuating the dance floor
The cortina between the two tandas lasts only for thirty seconds or so. This very short interval is used to clear the dance floor and change partners. All dancers should leave the dance floor during the cortina. Talking without leaving the floor would hinder the preparation of the next round.
13. Escorting the woman to her seat
Some women may be disoriented on a crowded dance floor, escorting them back to their seats after the tanda is a common practice in Buenos Aires. However, the man should not talk with the woman after sending her back lest delaying her being invited for the next tanda.
14. The last tanda
Near the end of the milonga the DJ usually will announce, “This is the last tanda.” If you share a table with a couple, it would be nice to let the couple dance the last tanda and not preempt the invitation to the woman, unless her company is too tired but she still wants to dance. Your good manner will be a blessing to the community.
This post is written in reference to Mark Word 's article, Tango Etiquette: The Pocket-Sized Version. I originally wanted to translate Word 's article into Chinese. In the translation process I felt the need to make some changes to suit Chinese readers. The result is this version, in which I added some contents and canceled some contents that are culturally difficult for the Chinese. Unfortunately, the original American humor is lost as a result. Those who want to read Word's article please click here.