The Rogue Dancer: Your Problem

Passive-Aggressive Behavior is not to confront
the rogue dancer assertively.

The tango community and the joy of dance belong to everyone.  But then comes along the rogue* dancer who runs into everyone, causing injuries and even causing people to leave the community to find another place to dance or just give up.  The rogue dancer is not the problem!

The problem is being passive-aggressive.  Rogue dancers come and go, but passive-aggressive behaviors stays.   The rogue dancer needs feedback.  The rogue navigator-guide is usually the problem, but safe dancing is the responsibility of everyone.  Also if you end up dancing with a rogue, you are now part of the "rogue team." A partner not only can but must influence the good-but-
dangerous dancer by saying a few kind things before outright refusing to dance with the navigator-guide or breaking the tanda.  

"I understand you nevermore will dance with me,
but why?"

Passive-Aggressive Community Members
Below, the following document has a link for MS Word or Adobe's PDF.  There is some risk that this document will upset someone. 

Oh, well!

I am recommending an assertive way to preserve your community's social tango scene.   The assertive approach is psychologically more developed than doing nothing, and stewing with anger as a passive victim.  Also more developed is to be kind, firm but assertive over being an aggressive, self-appointed floorcraft police officer. 

Organizers really should be the one who confronts the rogue dancer firmly but courteously.  But what do you do when the organizers do nothing?  Try the assertive middle road:  Speak to the person directly, or (less assertively) leave this below "self-assessment" printout in the rogue dancer's shoe bag.  

• Link to printable version of the "Self-Assessment Inventory" (below) (Adobe PDF) or 
• MS Word changeable version.

*Rogue's second definition.

Self-Assessment Inventory for Listener-Guides / Navigators

Perceptions of Space for Advanced Dancers ///   1 = “not true” through 5= “very true”			1	2	3	4	5
1	A milonga is best when I have lots of space on the dance floor.  The more room the better.
2 *	I hardly ever bump into others, and I am good at protecting my partner from other dancers.
3	I prefer dancing in the middle, or if I start at the outside edge I often pass others a lot.
4	Traffic on the roadways is a nuisance, and “traffic” on the dance floor is very much the same.
5	Direction of dance is not important when there is room.  I sometimes go backwards.
6	People should be aware that at a crowded milonga getting bumped into is normal.
7	One of my preferred places to dance is the empty space that is created of those dancing at the edge and those creating a loose second “lane.”
8 *	As the navigator or “guide,” I catch the eye of the oncoming dancer before entering the ronda.
9	I very aware of those around me, and enjoy going faster in the ronda than most.
10	I notice that I like going slower or faster than those around me.
11	Tango is a social dance, so it is only natural to talk while dancing.
12 *	I tend to dance once the music starts rather than to continue chatting on the pista.
		Subtotals
Grade yourself:  First reverse values of questions: two, eight and twelve		Total
Reversed values are for questions 2/8/12 (numbers with *)  5=1 / 4=2 / 3 / 2=4/ 5=1

If you have strong ego-strength gives this to others and have them anonymously grade you! 

Values

40-60 points	Consider dancing only on stage not a milonga. We are cramping your style.
21-39 points	Find milongas that are never crowded and large movements are the norm.
12-20 points	You are a social dancer, able to dance in crowded or open floors. People enjoy dancing near you. Twelve is the lowest score.  The majority of your psychological work is to know how to kindly but firmly deal with those who are risking the well-being of others on the pista.

 
Dear Great Dancer: 
I am putting this in your shoe bag or am willing to discuss this with you because I value you as a dancer. But the same time, there are moments when you make the dance floor more risky than it needs to be.  I do not want to be part of an accident or hurt; so please consider these often forgotten or never-learned tips for advanced dancers on the next page. We can talk about this if you would like to.

                                                       _____________________________

Important Notice for Advanced Dancers: This below explanation of "The Joy of Tango Traffic" is NOT for beginners; they learn from experts’ behavior on the dance floor. "Advanced" dancers are usually the biggest problem. 

You will notice the analogy with dancing and driving.  But what is the most outstanding difference between auto and social tango?  In four words: "Tango traffic's a joy." 

--------------------------------///------------------------------------

Floorcraft Guidelines for experienced dancers and those who mentors beginners:

.  Direction of dance: Partners with their eyes closed are at times startled by a navigator/guide going against the line of dance.  Even when there is room, many partners prefer not to go backwards.

.  Lack of white lines: In reality we dance with the entire group on the floor; however, once it is crowded enough, “lanes” form.  The most dangerous dancers love passing and taking more than their share of the dance floor.

.   Changing lanes: With an auto, changing lanes is normal, but this is not so with a crowded floor.  Especially passing on the right of those who are closest to the edge is dangerous. Even when changing lanes to the left, lane changing creates the second highest risk of harm to others.

.  Dancing on lane 1.5 (between lanes) and on the safety border is extremely unsafe. The safety border may be only a few centimeters.  Do not dance on it between lane one and two! Navigator/guides going between two lanes are the most dangerous dancers, only second to lane changers.

.  Merging into traffic: On a highway, one must get up to speed up to join the ongoing traffic. This is not possible in dancing. Instead the Navigator (most often a man) must have eye contact with the oncoming navigator and then enter. Men are used to offering “ladies first.” This is dangerous on the dance floor. Just as with conventions of everyday etiquette, a woman does not enter and push through a revolving door for a man. Navigators: Be creative about making sure your partner does not jump out into traffic and get run over!

.  Pedestrians: Be aware that as you walk at the edge of the dance floor that the dancers have the right of way. Dancers often cannot see you. It’s a low moment in thoughtfulness when someone walks across the middle of the floor, unless it is the very start of the tanda before dancing starts.

.  Speed limit (going too slow): Someone driving on the Autobahn at a slow speed (or doing stunts in place] is a safety hazard. If there is a lot of room in front of you on a crowded floor, you are a safety hazard.

.  Speed limit (going too fast): The only way to speed on a crowded floor is to change lanes, and to swerve through dancers on the invisible “white line,” the safety border of others’ dancing space. Beware: Speedsters may lose their “license” to dance at certain milongas!

.   Putting it in reverse: Step backwards on a crowded floor as much as you might shift into reverse on a highway: Rarely. Both followers and leaders dancing backwards in the direction of dance are going forwards! However, the leader must be very aware that the flow of dance is making room for him because it still is a dangerous blinded-side step for a leader.

.  Parking: The dance floor is not a parking lot; it is a wooden highway. A song is usually about 3 minutes. Why park-and-chat 1/3 of a song away? Rent a room and chat there! At the end of the tanda leave the floor at the cortina! Others are trying to catch the eyes of those sitting across the room. Reenter when the music starts. Also, please do not stand on the edge of the dance floor to chat. Parking is generally done in a chair to keep your voice farther away from standing/moving dancers.

.  Wheelies and stunts: As a rule of safety ganchos, boleos or large movements on a crowded dance floor are dangerous. When no one is near you or on a sparsely crowded  floor "stunts and wheelies" are okay. Warning: Some Tango Fundamentalists will insist never at their milonga. So be aware.

Have fun in traffic!

More on this subject at this link: 
http://tango-therapist.blogspot.de/2014/07/the-joy-of-tango-traffic.html
Also see:  Tango Etiquette (also in German):  http://tango-therapist.blogspot.de/p/tango-etiquette_10.html



 Photo credit:
Two men: http://geri-hristova.blogspot.de/2012/12/passive-aggressive-on-focus.html
The passive-aggressive raven:  http://www.neatorama.com/2013/04/09/The-Passive-Aggressive-Raven/#!bk3lYS