[TANGO-L] Conflicting Tango Styles (was: Cliques, factions, and tango)

[Ron Weigel <tango.society @gmail.com>]

On 6/7/05, Leonardo Kunkayo <leonardok  @mac.com> wrote:
> I have listened to ideas that each style is its own language. I do not
> believe in my experience or agree. I would hope to promote a slightly
> different idea. That the Argentine tango is one language but with
> different dialects. This would promote a singular appreciation and
> support of all. I think there is enough common ground in all styles to
> promote the entire community. If all can accept the way a person owns
> and dances their own style then the community stays friendly.
> 
> When it gets down to the bottom line it is the egos that conflict. The
> arguments if not overt leave the impression that their style is better
> than others. Their tango is more refined or precise. They can do it
> better. They are a better teacher. etc.

Conflicting egos can be a problem for community unity, even when there
is similarity of dancing styles or agreement about the best music for
dancing tango.

Differences in music preferences are unlikely to cause major
conflicts, as long as there are choices available in a community. If
people don't like the music, they just won't go to a particular
milonga.

However, differences in dancing style can be disruptive to community
harmony even if there are no ego battles or there is general
acceptance of the music played at milongas.

The greatest potential for conflict that I see is when there are
numerous fantasia style dancers at the milongas. It is quite common in
tango communities across the US (perhaps more correct to say - outside
Buenos Aires) to have a half dozen, a dozen, or more couples who
utilize on the milonga dance floor figures that are characteristic of
stage choreography. These patterns are large, space consuming, and
often move independently of the line-of-dance. On crowded floors (and
sometimes even on sparsely populated floors) these movements become
hazardous to other dancers. Under these conditions it is quite common
to hear reports of bumps, kicks, and the like. A small number of
dancers like these can disrupt the atmospher at a milonga and make it
unpleasant for other dancers who adhere to the line-of-dance and
respect other dancer's space.

Solutions for this problem are not easy, particularly if there are
instructors teaching students stage moves. In such cases, community
harmony can be disrupted. In large communities there may be fission
along the lines of style (i.e., separate milongas for different tango
styles), but in smaller communities separation of dancers by style can
fail to generate a sufficient number for an enjoyable milonga.

Ron
Urbana IL