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- Teacher cliques - Tango performances at milongas (Unless its celebrating members of the community, birthday dances are fine) - Older men that never dance with anyone in their age group - Facebook in general

that was a long milonga wasn't it? Tanturi has a few good songs which lose effectiveness from being overplayed, Demare and OTV mostly suffer from bad quality transfers, Rodriguez was good at vals/foxtrot but sucked at tango, and I don't have anything positive to say whatsoever about Malerba.

I think there are enough young dancers whose age is 20+ less than average than their local community that this sort of event fills a useful social niche.

No I agree, people ritualised the entire thing for no good reason. Really we could just explain that you can invite by eye contact, this interaction also works outside tango, and that "advanced" dancers often invite this way. And have sensible etiquette for verbal invitations.

I think it is mostly not necessary, I think the interaction flows smoother and it is safe if the follower is the one who decides between open/closed. I do agree it can be useful to clarify that temporarily switching from closed to open isn't a rejection though On the subject of cabeceo, I've...

The creepy guys are bad dancers anyway so difficulty doesn't matter since they aren't getting dances based on skill. they just ask the victims directly and try and social pressure them into dancing

Well, I don't disagree, I am on the record on this forum that a good dancer should have everything. There is an uncanny valley type of effect when you're missing one aspect, it really stands out.

Most of the "talented" people have previous dance experience and some already good fundamentals. I should know, I was one. I remember the days of answering the question "how long have you been dancing tango" and getting a WTF followup reaction.

It can be more than one feeling but I'm not sure it is possible to teach it in classes, you have to go and dance and discover it yourself. And then it is one thing to be able to experience it with a few people and another to be able to create the feeling with a larger variety of partners.

Well, if you have all these fundamentals at a high level then boleos are very easy and you don't need the workshop.

They should communicate the prerequisites clearly then, otherwise how are the students supposed to know if they're ready for the workshop or not?

If I have off days it generally also comes in the form of mistakes that other people don't notice, ie musicality timing errors or ambiguous leads which the followers might apologize for not following. (I always claim responsibility for those) I think I'm mostly very consistent in terms of...

I would note that even if people make a good faith attempt to evaluate dance skill, the results are very subjective

I do agree that cross-training is valuable, but I think it is better to go to the primary source. We talked about small communities sometimes being a bubble, but tango as a whole can be a bubble too, and it is very important to step outside from time to time.

For example: I just played a set where the traditional tango count ended up like this: di Sarli x2 Pugliese x2 d'Arienzo x2 Troilo x1 Calo x1 Biagi x1 (this was the tanda where people were slowest to enter the ronda, which confirmed that a lower proportion of staccato music was correct on...

But this is a systemic problem with teaching really. The mechanics of doing step X, which is all you'll get from tango teachers, won't get you past the intermediate level which most people including the teachers are stuck at. What makes a good dancer is WHY you are doing X instead of Y or Z in a...

Well, I don't see why this would be any more straightforward for leaders.

Most DJs don't play enough di Sarli and Pugliese. There is no reason why you can't, for example, play one Pugliese tanda in the middle and a second contrasting one near the end.

That's just the follower learning curve. All other things being equal, it is inherently faster and plateaus out faster. Therefore the dynamic is unstable.

Transport connectivity is very important in large cities. Many central London milongas really are central (near major train stations or in the West End), the ones out in the suburbs draw a more local clientele