What Is Tango Doing Right/Wrong: Recruiting and Retaining

On the contrary, we could create a new didactic concept: Most beginners' courses always start with walking and ochos. Many people already fail at this. Why not just teach standing on the spot to begin with. You can learn so much from this: swaying, breathing, embracing in the flow of the music.
A teacher I like teaches stopping in the 1st lesson. Some teachers start with weight changes. I agree with both, and have taught both in the whopping 3 whole beginners' classes I have taught.

If a beginner struggles with how to go from stopped to moving, I give them 60 seconds on weight changes, and you move the unweighted foot. I think some teachers forget some people need instruction that basic when they start -- I did.
 
I have a short question, Bailango: Is the #1 instructor self-employed, employed or self-employed within a franchise chain?

They used to be employed. Now most are like contractors. They are expected to earn their own way through privates and group lessons I think. Somewhere around mid-2000s is when I think these studios started reducing the employee count until they shut down.
In Germany, the core business of the #1 dance school is the ten ballroom dances. But everything else from hip hop to Argentine tango is offered, provided it is profitable.
It is the same here. It was the same here.
There are almost no chains here,

There are chains here. But I don’t know anyone who went to the chains. I am not sure how healthy their business is. The space they have is very small compared to #1.


but the school is a member of an association, whether in popular sports or dance sport. At least the owner has acquired his teaching license from one of these associations.
Ballroom instructors here are always certified I believe.
In order to teach hip hop or TA, available #2 and #3 instructors are hired.
Same. They have some kind of arrangements. Either side can initiate it.
What they then will teach afterwards is what we disdainfully call ballroom AT.
I only know of international standard Ballroom Tango and American smooth Ballrom Tango. And AT. None of they mix anywhere as you can imagine. And yeah, I heard of Finnish Tango but no one dances it here :)
Technically, the lessons from these instructors are certainly not bad. But above all, the spirit is missing. Interestingly, the advanced training courses for ballroom instructors are often held by real Argentinian tango teachers who otherwise sell social TA in their own #2 studios.

Very first private I signed up for AT was before I danced first step. It was taught by a ballroom instructor in #1. We only did walking. Not in partner hold. Only walking around the floor. I don’t remember why I took that. It has slipped from my memory like it never happened. The ballroom instructor didn’t know AT, that’s why perhaps she only taught the walk.

Much later some times she started dropping into salsa socials that I used to go to. By that time I was a decent salsa dancer. She was a good ballroom dancer but not so good salsera. I would ask her to dance, but it was akin to dancing with a beginner. After a gap of almost 15-16 years I saw her at salsa again earlier this year or late last year.

There was another ballroom instructor that started at the same studio. After the studio shutdown, she bought the naming rights and started another one by the same name. In a hired space (by a hour) with only one floor. This was a few years before Covid. She started dancing tango and would drop at tango class of the instructor i liked. Whenever I partnered with her in the class, she wanted the left arm hold to be a certain way - more extended like in ballroom. I only seen her once after Covid and not at a milonga.

Most Argentine #2 teachers themselves studied at conservatories and academies in BsAs.
Yes they start with established names locally. Also take a lot of lessons with well known visiting BsAs instructors and visited BsAS for intensive immersive training. We have a lot of traffic from BsAs. A lot of people also go there. Half of our instructors are Argentinians who cut their teeth teaching in BsAs. We do have a lot of instructors.
 
On the contrary, we could create a new didactic concept: Most beginners' courses always start with walking and ochos. Many people already fail at this. Why not just teach standing on the spot to begin with. You can learn so much from this: swaying, breathing, embracing in the flow of the music.
Of course, you put a rope on the floor as a flexible barrier, let the participants breathe, find contact, listen to the music, and at some point walk a bit sideways. At some point then walk forwards with a balloon in between and so on.
But then we are further into the therapeutic area than what dance beginners usually expect from a class and are willing to pay for.
 
I have been attending a local Argentine Tango Competition in Washington, DC area for several years with my students. They have amateur, pro/am, and professional events. I find it very helpful to get my students motivated, basically striving together to the next level. The event is called DC Tango Challenge and is part of the DC Tango Weekend (cool Argentine Tango festival with workshops, milongas, live music , show and the tango challenge I mentioned. DC tango weekend.com
 
Seems they have jack & jill, too!
As a social dancer with no interest in show tango or choreography, that would motivate me more than any other competitive model, as it would mirror social dance by being a tango or tanda with whomever happens to be there, and couldn't be choreographed in any meaningful way. It would measure everyday, sustainable skill under fairly realistic conditions, not fine-edge skill that can't be maintained through dozens of ordinary social tandas.
What motivates the students, since the DCTC is not recognized as a preliminary round for the "Mundial de Tango"?
I can't speak for the original poster, but not everybody cares about the Mundial. The Mundial doesn't crown the world's best AT dancers, only the best AT dancers among those who opt to compete in what is a highly commercial and controversially judged event that serves mainly as an advertisement for AT and a way for unknowns to jump-start festival-touring careers. Plenty of excellent dancers, including some of the greatest masters of our time – and, important to me if not to others, nearly all of the best teachers and performers in my region – never bother to participate.

So, for someone who doesn't care about, isn't impressed by, or doesn't bother to participate in the Mundial, some other, less shiny prize might carry more sentimental or practical weight. Being the best in front of your local peers, at improvised rather than choreographed dancing, in quasi-social rather than potted dance, or in the eyes of specific, respected judges who happen to be present at that event, might be important in a way that being the best at choreography with one known partner in the opinion of Mundial-followers is not.

I can say with certainty that most AT students here aren't aware that the Mundial exists! Yet they would hear about a local contest because our community is aggressively present on social media and our organizers stop every milonga to make 5-10 minutes of announcements about their events and those of their friends and associated festivals. We've already had a few like that.
 
I liken it to the Olympics: Everybody knows that there are better athletes who don't participate because they are disadvantaged, are from a disadvantaged or shunned region, lack a national sponsorship, didn't follow the specific championship path specified for their discipline, are in violation of some fairly random rule set by the IOC, or whatever. Boxing is an excellent example, with even fans of the Olympic sport acknowledging that many gold medalists would likely lose to many top prizefighters . . . meaning they're not the best, just the best of a rarified lot.

Something similar goes for Nobel prizes. In the words of Steven Jay Gould: "I am, somehow, less interested in the weight and convolutions of Einstein's brain than in the near certainty that people of equal talent have lived and died in cotton fields and sweatshops."

The Mundial is an equally rarified contest. It looks at people who follow one specific path, and who have a certain minimum level of sponsorship or other support, while ignoring better dancers who choose other paths or just don't have the right fan club. The latter might prefer to win a prize that matters to them, much as prize money matters to a prizefighter, or they might not have the means to participate in a contest that requires them to put half their life on hold to choreograph, train, and travel, but be willing to toss their name in the hat for a competition that they can just show up to across town on a whim.
 
Here the two guys with four feet are doing a kind of brainstorming session, for example how newcomers and outsiders can be integrated, e.g. through "mixer tandas". Well, I'm not a fan of such games. But anyone who thinks that more needs to be done in terms of recruiting and retaining in tango will hopefully join in enthusiastically and recommend something similar to all organizers (exept the ones around me):

 
how newcomers and outsiders can be integrated, e.g. through "mixer tandas"

I don't dance if I don't like the music, and "mixer tandas" are no exception. So only if I'm in a very good mood, which is increasingly rare these days. :)

We have this tradition at some local milongas (where I'm friends with the organisers and help them out often), and it's explicitly announced that, regardless of role, dancers are free to invite each other verbally, so I usually sit down and wait for followers to invite me. Let them do the legwork for once :D
 
I have been attending a local Argentine Tango Competition in Washington, DC area for several years with my students. They have amateur, pro/am, and professional events.
Interesting, I thought pro/am was a ballroom term. How large was the field of participants exactly?
 

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