Tango Diaries

Women, in particular, often feel that they can't find enough dance partners within their everyday community which meet their standards
Not just women! There are male leaders who won't dance because some follower doesn't satisfy their exceptional standard (and I'm not talking about injury!). There are some exceptional egos there as well.

Maybe the encuentro, or similar, is their solution?
 
Not just women! There are male leaders who won't dance because some follower doesn't satisfy their exceptional standard (and I'm not talking about injury!). There are some exceptional egos there as well.

Maybe the encuentro, or similar, is their solution?
Since tango dancing is significantly less attractive to men here in Northern Europe, they already receive a significant bonus of better-dancing women. At a festival, I can only dance marginally better than at a regional milonga. At a gender-balanced encuentro or marathon, it can sometimes even be worse. I think I go there to experience a different setting and generally become more stress-resistant. For women, it's often the opposite.
 
At a gender-balanced encuentro or marathon, it can sometimes even be worse.
I do not attend such events, so take this with as much salt as you need . . .

I have friends who attend such events here. They share videos – sometimes openly, sometimes despite "no video" policies (so, sure, some of my friends are rules-breakers, which may be relevant to my perception). In those videos, I consistently notice two things:

1. A lot of dancers (by no means all, but more than I would expect at an "exclusive" event) who are – by any meaningful standards you care to apply – less capable than my partner and me. I see lackluster musicality, skewed posture, limited stability, small vocabulary, and even shoddy floorcraft (despite the USP of a lot of these events being "good floorcraft"). Yet they are invited. My partner and I are not.

2. A style of dance that irons out large categories of movements (the categories are large, not always the movements) and looks cookie-cutter. My partner refers to it as "living dead" or "zombie" dancing, as it appears to lack energy and creativity, often amounting to marking 1-1-1-1-... interminably with short steps and rocks.

So, after a period of whining about never being invited, I've stopped whining. I've come to realize that the appeal is mostly the exclusivity and, perhaps, being able to claim mastery by limiting the dance to a style that hides peaks of skill by removing elements that require it and that rewards conformity. In short, I'd say "sometimes worse" is accurate.

Which said, I can imagine that "dance among peers who are totally in agreement with me on style and expression, without the distraction of diversity" could be seen as "better" by some, for reasons similar to why some people prefer to live in gated communities where all their neighbors are similarly wealthy and, often, of the same skin color.
 
I actually think the point of these sorts events is to avoid being challenged.
So do I.

I happen to have tanguera friends who are mainly encuentro dancers. I dance with them only when they're en route to or from an event, stop by here (not always the destination), and decide to attend a milonga for a tango fix. They all have one thing in common: They dance "correctly."

They do nothing that falls outside the classic lead-follow dynamic – like make creative counterproposals – and that might challenge a leader. Even within the compass of "correct" following, they never surprise me with individual zest. It's as if their entire dance identity is tofu for the leader's choice of seasonings, and as with tofu, unless I do all the work, it's boring.

This is not a judgment on their technique. That's usually great. In fact, that's usually what drew me to invite them in the first place, which is why we became friends. It's a comment on independence and creativity.

But then, I like to be challenged. I don't want to dance with a follower who's 10 out of 10 in creativity at the cost of 1 out of 10 in technique, breaking my back . . . but I'd prefer one who's 6 out of 10 in creativity and 5 out of 10 in technique over one who's 3 out of 10 in creativity and 9 out of 10 in technique, even if the second scores marginally higher and is the "better" dancer. After years of accompanying beginner classes, I can compensate painlessly for so-so technique, but I find it fatiguing to compensate for poor creativity.

To return to tofu: I don't want to dance with throat-scorching spice, but I'd rather dance with spice that makes me sweat a bit than with plain tofu.
(personally, I'd just be bored)
Less "bored" for me and more "fatigued." I can make the dance interesting for me, but doing so without help means I tire more quickly – not out of physical effort (as when correcting for poor technique) but out of the creative kind. I write for a living, and I am intimately familiar with just how much energy creativity takes.
 
I actually think the point of these sorts events is to avoid being challenged.
It was definitively interesting because I wound up dancing with a few of the beginner guys as a guy from the smaller communities I go to simply because they were a bit intimidated to ask the women to dance at such large events. It had an interesting effect where I felt many women wouldn’t dance with me afterwards but did get a great dance with a woman that asked if it was ok to lead me.

I also went to my first alt tango milonga and there were a few folks I knew there that danced other styles. I added a bit of salsa variations ( little spins and shimmies, not lifts or anything ) simply because I knew the other person had a salsa background ( from chatting in other events ). The tandas were fun but also immediately felt that I wasn’t supposed to be doing that from some of the looks. Made me hesitant to invite other follows after and got a few no’s for sure. Maybe they just assumed that is the only way I danced tango and were super turned off.
 
They do nothing that falls outside the classic lead-follow dynamic – like make creative counterproposals – and that might challenge a leader. Even within the compass of "correct" following, they never surprise me with individual zest. It's as if their entire dance identity is tofu for the leader's choice of seasonings
I'm not sure whether I've been extremely lucky with my encuentros or you've been extremely unlucky with your interception of dancers en-route to them! My experience is the complete opposite: that encuentros have a very high proportion of collaborative followers.
 
To return to tofu: I don't want to dance with throat-scorching spice, but I'd rather dance with spice that makes me sweat a bit than with plain tofu.

Less "bored" for me and more "fatigued." I can make the dance interesting for me, but doing so without help means I tire more quickly – not out of physical effort (as when correcting for poor technique) but out of the creative kind. I write for a living, and I am intimately familiar with just how much energy creativity takes.
Here, technical skill levels decrease drastically the further you remove from real tango music, especially in anything advertised as World/Alt/Neo/Non/50:50. In my opinion, this is mainly because it's easier for beginners to just sway along.
Regarding creativity, you have to consider the average age of the participants at encuentros; there are some that my SO and I don't really value. And then there are elitist marathons for a younger crowd where things can get quite dynamic.
 
(As a preface) I don't have the complete overview anymore, but your observation contradicts my experience. And I don't want to defend anyone here; I myself have a classical orientation in tango.
..technical skill levels decrease drastically the further you remove from real tango music… In my opinion, this is mainly because it's easier for beginners to just sway along..
The neo-tango scene has been home to experienced and long-serving dancers who are body-orientated, master of on- and off-axis movement, can dissociate and show a extreme degree of flexibility. There simply are only very few “easier for beginners“ around. There still is no significant trend towards rejuvenation in that scene. And I still constantly watch the footage, I know several neo-organizers, and my former girlfried ist a heavy neo-marathon addict.
…easier ..to just sway along..
Secondly, there's a significant overlap with the solo dance community. You're seriously underestimating their technical skills. Prior to judging, please try participating in Contact Improvisation or 5-Rhythms Dance.
…then there are elitist marathons for a younger crowd where things can get quite dynamic.
I suspect you are comparing apples and oranges if you only look at the extreme outliers from either side of the respective distributions.
 
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I'm not sure whether I've been extremely lucky with my encuentros or you've been extremely unlucky with your interception of dancers en-route to them! My experience is the complete opposite: that encuentros have a very high proportion of collaborative followers.

Post some publicly available videos of European encuentro dancing you consider close to your experience for @JournalInTime to examine?
 
Post some publicly available videos of European encuentro dancing you consider close to your experience for @JournalInTime to examine?
I don't think it's common to see video footage from the smaller ones, and I have no idea how you would spot collaborative dance from the outside, but I would say that the dancing shown here, for example, is reasonably representative:

 

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