Cabeceo and Other "Rules"

[Bailango]

I can see how this might differ from place to place in its details (dress, for example). But we all know that the basic format of a milonga is the same throughout the world. The cabeceo is not some ancient mystery, it's simply an extension of social behavior. They are not being followed for the reasons stated above: people are aware of them but choose not to observe them. Some folks are just thickheaded, others don't seem to care much for the craft or technical aspects of the dance floor. This, as has been stated, does not only apply to beginners.

I fully agree. This my pov as well. The expected codigas were told by number of instructors that I thought it must be common for AT instructors to make it part of teaching. Most of the so called codigas are majorly about the floor craft. The other is about Cabaceo. First time I saw them listed out on a post card was many years later. At first I chuckled about having to put the obvious in writing. I assumed everyone knew it. Apparently not.

Unlike other social dances, AT is a traveling dance. That alone requires consideration for others around you in the line of dance, that isn’t an issue in the other social dances.

 

[Brummbaer]

But we all know that the basic format of a milonga is the same throughout the world

Is it? I suppose if you define a 'basic milonga' as somewhere with a defined set of codigos [and tanda structure] then it is. Unless I travel to some metropolitan area, in my experience, it isn't. The AT 'room' at the local jive/WCS venue does 2 tunes per 'tanda'** and mixes some old with modern. People invite verbally. You start where you are. If it follows some 'lesson' then you might get some of the jivers trying to work out some sequence and stopping. Overtaking is sometimes necessary. Some of the participants have never heard of 'codigos'. Probably not a 'milonga' by your definition.

**I say 'tanda' because there's sometimes little variation and no cortinas, but most seem to do 2 dances with a partner, unless locked together for [most of] the evening (usually the ballroom AT couple).

On the other hand, the little club out in the sticks does have tandas, but no cortinas, and an occasional cabeceo unless you're talking to the person.

The milonga which tries to be like BsAs (the couple who run it spend ~4 months of the year in BsAs) has no effective cabeceo/mirada simply because the seating arrangements mean your usually looking at the back of someone's head.

The rest of the 'codigos' basically amount to 'respect others' (or similar words), but 'respect' is fairly broad.

 

[Brummbaer]

A good thing about AT anywhere is most of the floor etiquettes are uniform and do get followed

Isn't that contradicted in part by your next sentence?

As said some local milongas I avoid due to bad floorcraft

Or do you get etiquette which is both followed and which has poor floorcraft?

AT is a traveling dance. That alone requires consideration for others around you in the line of dance

It's become a travelling dance. Another legend is that it used to be about dancing in a small, intimate, space. Fitting the dance into the space available was considered a key aspect of the leader's skill. Doing that in a small space and tailoring your moves required consideration for those around. I've seen too many now who just have to 'travel' and overtake.

 

[ArbeeNYC]

I assumed everyone knew it. Apparently not.

I'm wondering if the bad floor craft you observed was the result of a ronda full of beginners?

 

[ArbeeNYC]

The AT 'room' at the local jive/WCS venue does 2 tunes per 'tanda'** and mixes some old with modern. People invite verbally. You start where you are.

That is not a milonga.

 

[Brummbaer]

That is not a milonga.

Alice asks Humpty Dumpty: Must a name mean something?

And gets the response: When I use a word… it means just what I choose it to mean – neither more nor less.

I agree it's different, but milonga usually refers to:

• the dance (milonga, as opposed to vals and tango)
• the musical form (not always danceable!)
• the event where AT is danced
• the venue where AT is danced

It has evolved from the strict BsAs viewpoint as AT has spread. You might not consider the dance there AT. We don't always like the offspring, and some are indeed doomed to fail, whilst some take another name (I hate jango - a mix of jive and tango). On the other hand, they do promote participatory interest, and hopefully someone there decides to find out more.

Recently read a promo on teaching AT from somewhere in Berlin. I wouldn't have described the hedonism of that tribe as AT, but that's the label that's attached.

 

[ArbeeNYC]

I agree it's different, but milonga usually refers to:

Yeah, I know what a milonga is in all its various sense, but the initial comment was specifically about the milonga as an event. Which is what I was referring to.

 

[opendoor]

...I hate jango - a mix of jive and tango..

Thank you for that! I like it. Never heard it before, but I will use it if I should organize a milonga again. Either word is of african origin, both words are quite open and vage in meaning.

 

[TTanguero]

There's also Blango for blues and tango.

 

[Tango Newbie]

Funny thing happened at our weekly practica yesterday; a Russian woman my GF and I know who is part of our local community attended our practica (without her husband this time around) came over and verbally 'asked' me to dance. But beforehand, she quickly looked at my GF with a smile and asked permission from her first (in a fun way). We laughed about it, and I looked at my GF and said; "see, that's the etiquette I spoke about..." My GF's response was; "I've never heard that before..."

The ironic thing about this was, prior to this my GF suggested I dance with any of the other ladies sitting around without a partner, and this woman's name was mentioned. So it all worked out and this Russian lady was actually 'fun' to dance with.

The moral of the story; seems codigos and etiquette are used (and known) by some, and not by others, even if they're not universally used, including at practicas.

 

[ArbeeNYC]

The moral of the story; seems codigos and etiquette are used (and known) by some, and not by others, even if they're not universally used, including at practicas.

People who have been dancing awhile are aware of them (or should be) and use them appropriately (most of the time). Sounds like the lady went about it the right way and it worked out well for everyone involved.

 

[itwillhappen]

I recently attended three events in large rooms where the cabeceo is mandatory - except for friends, of course. But the dancers seem to prefer inviting in a crowd around the entrance or at other rather short distances, by a diagonal direction or moving around.

I think the long-distance cabeceo is more for locations where food is also served at tables. Here in northern Europe it is often the case that you sit packed around the dance floor and side tables are used for glasses and mineral water.

 

[Bailango]

Isn't that contradicted in part by your next sentence?

Or do you get etiquette which is both followed and which has poor floorcraft?

I guess it is relative. Compared to what you wrote in your post prior to this one and what I experienced at the recent festival, the “poor floorcraft” at local milongas which I avoid would be “excellent”

Zigzagging is rare. Almost no overtaking - may be less than half dozen occurrences across all milongas I will attend in a year. What I meant by “poor floorcraft” is - a few bad apples that don’t know how to enter the ronda politely and will barge in ignoring you are about to move into that space, slowing down/traffic jamming the ronda by doing some sequence that doesn’t match the music, not dancing according to rhythm and the tempo of the music, the couple behind rushing and closing down your space (but not bumping), beginners or less skill who perhaps should be dancing in the middle and not in the outer line where they hold it up. The general skill level is lower perhaps being the reason. Most places I danced, the more proficient dancers are in the outer most line. Those who want to do sequences or are beginners generally dance in the middle where it is easier. Some might think I am nitpicking and calling a generally good ronda as a poor floorcraft Many milongas I do enjoy don’t exhibit much of above.

I've seen too many now who just have to 'travel' and overtake.

Overtaking a dancing couple is something I haven’t experienced in almost any milongas I have danced all these years in at least a dozen different cities on three continents. Except for the experiences I had last month.

 

[Bailango]

I'm wondering if the bad floor craft you observed was the result of a ronda full of beginners?

No. It was a festival. Though their skill level or proficiency wasn’t as high as you would expect at a festival, it was obvious they had been dancing for at least a few years or more. In fact the skill level of most was equivalent of average someone dancing for two years.

I have attended very few festivals or marathons. But I have danced at local festival milongas ever year. I found average level of dancers at the festival milongas to be higher than compared to average level at popular milongas say in NYC, Paris, or Berlin. May be I got lucky.

 

[JournalInTime]

What I meant by “poor floorcraft” is - a few bad apples that don’t know how to enter the ronda politely and will barge in ignoring you are about to move into that space

That's the #1 problem I see. I was taught the so-called "leader-leader cabeceo" before I was taught how to invite a follower: A good leader always looks toward the approaching couples and visually requests permission to enter. If they have to wait, then they wait. They never barge in because "nobody is letting me in," and they definitely never back onto the floor as if escorting their partner out of a carriage.

some sequence that doesn’t match the music

That's #2 (#1 at some places). I recently saw some guy dance a turn with eight sacadas in the space of a measure. His partner was literally spun off her feet.

Overtaking a dancing couple is something I haven’t experienced in almost any milongas I have danced all these years in at least a dozen different cities on three continents.

I've seen it. It's as if these guys see the ronda as a motor course and the tanda as a race to be won. It's linked to #2 above: They have their steps all planned out in advance and are seeking space to do them. If the ronda isn't moving fast enough, they bolt ahead into any visible free space to dance their sequence.

One chap here is so bad for it that my partner and I count his position sometimes as a joke: "He's five couples behind!" "Two!" "Here he comes!" "He's three couples ahead!" . . . We might as well, because his presence breaks all concentration.

A good leader invents movements on the spot to suit the available space, the speed of the ronda, and of course the music. This entire idea of dancing sequences no matter the music, no matter the space, no matter what . . . it's a hallmark of a terrible leader. If you can't create, go back to class and return when you can.

When a follower asks me who's a good leader, this stuff is what I have foremost in mind when I answer: Does the guy enter politely? Does he invent his dance to suit the space and music? Does he stay in his place in his lane? Having amazing technique nd memorized vocabulary isn't relevant if the person who has those things can express them only at the expense of others.