Neun Mal Sechs

Argentine Tango as a dance can look back on a long history (Intangible Cultural Heritage – Weltkulturerbe) and yet it’s still very much alive — and perhaps, no, quite certainly, more vibrant than ever before. Because by now, you can learn it in practically every city around the world, and wherever you travel, you’ll find a Milonga where you can spontaneously dance with complete strangers. Without speaking their language — because Argentine Tango has become its own language, one that transcends borders and nations. I would confidently claim that more people than ever are dancing Argentine Tango today.

However, Argentine Tango has always been more than just a fashionable dance and, above all, a movement that has constantly drawn inspiration from other influences, integrating and absorbing them. In fact, this was the very origin of Tango in Uruguay and Argentina — the merging of a multicultural society in the working-class neighborhoods along the Rio de la Plata into a new music and a new dance.

Inspired by blogger Vio and Yokoito’s attempt to summarize the topic into German with AI assistance (and his announcement that he would also share his own opinion), I too have spent some time reflecting on the future of Tango.

There are two methods for predicting such developments: one is by extrapolating trends and developments that have already begun (e.g. from the “Guardia Vieja” to the “Guardia Nueva”); the other is by envisioning disruptive innovations (like the emergence of Astor Piazzolla’s music). The later prediction method is often driven by personal hopes or fears. I’ll mix both approaches here, though I’ll try to focus more on extrapolating from what already exists. The problem with such forecasts, however, is that they are always shaped by subjective perceptions and opinions. So I’m not claiming to be right — I’m just throwing my two cents into the conversation.

I will discuss music, TJ-ing, aspects of the dance (technique), and the codigo, look into how events might develop and how (I wish) teaching might change and finish with a look into what impact technology might soon have on Tango.

But before I do that, I’d like to disagree with one basic assumption underlying the two aforementioned articles: the claim that the Tango world is divided into two factions camps – the ‘neonuevos’ (aka Neotangos) and the ‘newclassics’ (aka “traditionalists”). Even though both extremes certainly exist out there somewhere, they do not constitute a split running through the Tango community, but rather fringe phenomena within a very broad spectrum of tastes and preferences. From what I can tell, about 80% of the dancers I know move between both worlds, adapting (more or less) to the event at hand. Of the remaining 20%, it feels like 15% are die-hard Newclassics and 5% purist Neonuevos.

When bloggers and other outspoken protagonists claim such a stark polarization, it’s probably because it makes for a better “story.” But it also creates division and unnecessary, unhelpful conflicts that — at least in my experience — have little to do with reality.

And yet, behind this artificial polarization lies a question that is indeed relevant to Tango: namely, what is it that you appreciate in…

Music?

Opposite to Vio I do not believe that the main difference between ‘neonuevos’ and the ‘newclassics’ springs from social or aesthetic preferences. I believe in its core its really different tastes in music – some people feel so strongly about (their) music, that they want to restric what is played at „their“ events and therefore establish rules that didn’t even exist in the golden aera of Tango. But the diversity of tastes (and music) is bigger out here then any binary destiction will allow for.

The one distinctive feature of Tango (as a dance) is that it is NOT bound to one kind of music. Since Tango enables us to improvise to any beat, any melody, any sound, even silence, our love, our sadness, our pain, our happiness, our whatever, we can use Tango to interpret any sound we hear and express any emotion we feel.

So the question is: What do I personally appreciate in Music? What attracts me? What touches me, inspires me, and motivates me to keep dancing and engaging with this dance? And what rather puts me off?

And this, of course, can be answered very differently by different people — and that’s a good thing.

Diversity in Tango music will grow

And this diversity is precisely what has made Tango Argentino so adaptable and long-lasting. That brings me to my first and perhaps most important prediction: Tango Argentino will remain a highly diverse and dynamic dance movement, whose diversity will continue to grow rather than decline.

Yes, trends will come and go, but this idea that Tango can only survive by following one „true“ path is both naïve and historically incorrect. On the contrary — every time Tango was declared dead, it was precisely the newcomers, crossovers, and hybrid forms that revitalized it. This was true in the 1920s, just as it was in the 1950s and 1980s.

The distinction between so-called “newclassics” and “neonuevos” will continue to blur.

In practice, most dancers already navigate comfortably between different styles, venues, and music types. This can be observed at events like the Tango Biathon or Tango Bar (Frankfurt) or TanzVilla Richard (Wiesbaden) were dancers switch between to dance floors based on their mood and taste in individual music pieces, not those big labels. Tango Armónico (Darmstadt, 1/3 trad., 1/3 modern, 1/3 non) also always draws a considerable crowd. The binary labels of “neonuevos” and “newclassics” will become increasingly obsolete, as the overlaps grow and new formats emerge that naturally combine both. Purity of music selection will become less important then a good flow in the music. Which will not exclude having events with purely traditional music or only non Tangos – but divercity will increase and there will be many more events that settle between those extremes.

Musically, Tango (music) will keep evolving and absorbing new influences.

Just as the Tango of the Guardia Vieja integrated European, African, and indigenous rhythms, contemporary Tango will integrate electronic, classical, jazz, and even pop influences. New orchestras and TJs already demonstrate this today. Electro Tango (Narcotango, Otros Aires, Calavera Acid Tango, et.at.), and ATR (Argentine Tango RAP) are only first shy glimpes into a future were Tango music is re-invented by more and more artists that transform the rhythm, melodies, singing (yes, we will see a return of sung Tango) and lyrics.

The return of large orchestras

With the growing popularity of Tango, dancing to live music has already become more common in the years that I have been dancing. However, it is still limited by the availability of suitable venues and willing organizers. As Tango’s popularity continues to rise, it will become possible to finance larger venues, and we will witness the return of full orchestras, reaching the sizes that were once typical during Tango’s golden age. And the thrill of that experience is undeniable.

Complexity will rise

When you first start dancing Tango, you’re usually overwhelmed by complex music and naturally crave simple melodies and rhythms that are easy to follow and interpret. For some dancers, this remains perfectly fine — the music can stay simple throughout their Tango journey, even as their technical skills develop. This is true both for the traditionalists and the neo crowd alike; Electrotango, for example, gained particular popularity among neo dancers because of its steady, uncomplicated beat. And I’ll admit, it can be wonderfully relaxing to just surrender to a simple, flowing rhythm.

But since Tango is, at its heart, an improvisational art form, some of us are drawn to more complex, layered music — the kind composed by geniuses like Pugliese, Piazzolla, or even Zappa. These compositions challenge both our physical and mental abilities and push us to grow as dancers.

As Tango continues to diversify and attract new audiences, this increasing demand will hopefully open doors for fresh compositional and interpretive talents, offering us new musical treasures to discover and dance to.

Tango Jockey-ing (TJ)

When Tango was still a niche scene with a small circle of people meeting again and again, it was enough to announce the TJ by name — everyone would already know what kind of music he or she would play. Typically, there was only one event happening on a given night, so your choice was simply between going out or staying home.But as the community of dancers grows and tastes become more diverse, it’s good advice for TJs to include a description of their music in event announcements. This helps avoid disappointment and makes it easier for dancers to choose the kind of experience they’re looking for.Here’s an example I recently came across — and I believe we’ll see such descriptions becoming much more common in the future:

schwungvoll traditionell mit einer Prise gut tanzbarer Non-Tangos (jeweils nach der Vals-Tanda).

I also believe we’ll see more themed events and TJ performances that curate their music around a specific topic and perhaps even combine Tango with other forms of art. Tango is perfectly suited for this kind of creative exploration.

The Dance

With the growth of the Tango scene, there will inevitably be attempts to commercialize and capitalize on it by introducing new styles of dancing designed to make dancers appear cooler, trendier, or simply stand out. While there’s nothing wrong with inventing new moves or even figures, we should be careful to avoid any developments that break away from the core principle of movement as a form of communication between partners.

Anything that results in learners of a fashionable new style losing — or never acquiring — the ability to dance with other unknown Tango dancers at a Milonga undermines a fundamental aspect of Tango. This essential, unspoken connection should not be sacrificed for commercial gain or fleeting trends.

Leading / Following

The gender-specific role ideology of post-war Argentine Tango has already begun to dissolve — driven by feminists, LGBTQ+ dancers, non-binary people, simple curiosity (in my case), and progressive teaching methods. In many ways, this marks a return to the early roots of Tango, when men traditionally learned the dance from and with other men (often to impress women later) and the few women involved practiced with one another to keep up with the men they were drawn to.

At milongas, we are increasingly seeing women leading women, women leading men, men leading men, and non-binary dancers both leading and following. And while it should always be a personal choice who one dances with and in what role, I firmly believe that any attempt to exclude, ridicule, or belittle these dynamics should be actively challenged by the Tango community.

Moreover, I believe the scene will continue to evolve even further. In my view, the historically rigid, pre-assigned roles of leader and follower — while once necessary in a patriarchic society — limit the full expressive potential of both dancers to interpret the music together. Tango communication doesn’t require a prearranged agreement about who leads an entire tanda, just as it doesn’t require agreement on which foot to start with. Who initiates a movement or figure can be negotiated in the moment and continuously shifted through the subtle, wordless dialogue that Tango allows.

What I call „fuid role change“ (or Fluid Role Tango) has already attracted a critical mass of dancers and will continue to spread through the community — because it’s fun, adventurous, and opens up fresh ways to connect with both the music and each other.

We’ll also see more embrace-based role changes, where the desire to swap roles is communicated through the embrace itself, and a growing interest in Contact Tango, as dancers experiment with the different roles and techniques they’ve learned.

Embrace

With more — mostly younger and often single — beginners entering the Tango scene, we will inevitably see an increasing number of dancers choosing to dance in open embrace. This trend is driven by several factors:

• In many Western societies, the close embrace involves a level of physical closeness with strangers that feels culturally unusual or uncomfortable at first.
• The majority of Tango performance videos and shows that beginners encounter online are danced in open embrace, reinforcing the impression that this is the standard or preferred form.
• Only a limited number of teachers today truly focus on teaching how to dance in close embrace. New moves and figures are generally easier to demonstrate and learn in open embrace, which makes it the default teaching style for many.

As a result, some newclassics will decry this development as the downfall of Tango civilization and retreat even more fiercely into their traditionalist circles. But having myself made the transition to dancing in close embrace whenever the follower is comfortable (and as a follower as well), I believe we can gently and persuasively convince many of the new dancers of the unique pleasures and advantages of close embrace — provided we approach it with patience and respect for individual boundaries.

El Codigo

Mirada and Cabeceo

One of the greatest achievements of Tango, in my opinion, is the creation of the concept of mirada and cabeceo (provided it’s practiced with equal rights for everyone). I value it for several reasons:

• It helps even very shy people get into the dance and onto the dance floor.
• It minimizes the embarrassment of being rejected.
• It enables dancing between people without the need to speak the same language.
• It makes the partner selection process highly efficient.
• It keeps the dance floor safe and organized, reducing unnecessary traffic.
• And — it simply has a lot of style.

That said, I dislike the ideological demand for mirada and cabeceo to be the one and only acceptable way of asking for a dance, because:

• It’s extremely difficult for people with impaired eyesight (especially across a crowded dance floor).
• It’s prone to confusion when two people sitting directly next to each other are trying to make contact (particularly across the floor). One of the more unpleasent situations in Tango if the wrong person (or both) believe(s) to have been asked.
• It feels awkward when you’re seated next to the person you want to dance with, both having to turn your heads at an uncomfortable 90-degree angle at precisely the same moment.
• It’s rendered impossible when views are blocked by people stepping onto the dance floor before the tanda begins.

Therefore, I predict (and hope) that mirada and cabeceo will continue to prevail as the standard method for inviting someone to dance — but with reasonable exceptions being accepted and taught that way. Unfortunately, most Tango teachers I’ve encountered never address this topic, leaving dancers to figure it out on their own.

Ronda and Floorcraft

Speaking of Tango teachers: another topic that’s often neglected — or completely absent — in Tango classes is ronda, floorcraft, and mutual respect. There are already some milongas that are no fun to dance at because chaos reigns where humility and courtesy should. And while part of this is naturally caused by beginners still struggling to navigate the floor (which I can absolutely relate to), the other part is caused by experienced dancers who selfishly claim space for their moves, recklessly change lanes, or disregard the flow of the ronda. This is especially noticeable at large, popular events.

With more beginners joining the scene — many of them never properly taught how to behave on the dance floor — I believe it’s crucial to address this issue if we want to keep those events enjoyable for everyone. That means giving clear feedback to teachers to include these topics in their classes and kindly but firmly reminding those of us who forget (or choose to ignore) the etiquette of shared space.

Events (Milongas, Festivals, Marathons)

Milongas will become increasingly conceptual, as I outlined earlier, with more themed events and TJ performances curating their music around specific topics and blending Tango with other art forms. Immersive video animations surrounding the dance floor (like those by Tanguerilla Visual Poetry) and themed cortinas (which I personally enjoy creating) are already here — but there’s still vast potential to expand on this. Tango is perfectly suited for this kind of creative exploration, and I believe this trend will continue to grow.

On a personal note, I consider show dances an annoying interruption to the flow of a Milonga. I’d be happy to see them moved to the start of an event — or removed entirely. But they are part of Tango culture, and I’ll live with them… begrudgingly. The same goes for lengthy announcements, which disrupt the dance floor’s energy. Let’s keep them brief and to the point — no need to introduce me as a helping hand, dwell on topics, or deliver impromptu lectures on códigos. That said, these announcements serve their purposes, and while many people dislike them as much as I do, they’re likely to remain as long as organizers prefer them. They’re typically handled better at marathons, where the format encourages less interruption or they are just less noticable because of longer dancing hours.

I think we’ll see more marathons than festivals in the future. With more younger people joining the scene — many of whom care less about the chi-chi factor of Tango and crave longer, more intense, and uninterrupted dancing — the format of marathons seems to fit this desire better.

As climate change is likely to make the world warmer, Tango venues with no or insufficient cooling might need to reconsider their infrastructure. Tango dancers are famously capable of heating up a cold room in winter, and I’ve seen air conditioning systems give up entirely after just two hours of dancing. This is not just about extensive sweating: A colapse or even death on the dance floor might just completely spoil the event. Consider crowd funding if the event itself can’t afford it.

As a result, we’ll very likely see more open-air Tango events. It would be great if we could share knowledge on how to create good, danceable floors in outdoor locations — anywhere it would be beautiful to dance. Outdoor Tango will itself bring also new people to Tango – being more visible will attrakt more interest.

Climate change also might make traveling to Tango events elsewhere increasingly expensive and harder to justify in the short term. However, this could change once we fully transition to renewable energy, potentially making energy — and by extension, travel — far more affordable. Add AI replacing much of the workforce, and soon we might only be covering the salaries of CEOs and shareholders with our travel fees… unless we find a way to get rid of them too. 🙂

So in the long run, I remain optimistic that Tango travel will become accessible, sustainable, and affordable again. The joy of dancing with people from different cultures, experiencing local Milongas around the world, and sharing the universal language of Tango is too valuable to lose. Whether through greener travel, smarter event concepts, or new technologies bridging distances, the global Tango community will find ways to stay connected, inspired, and in motion.

Teaching

Now, this is more of a personal wish list than a prediction — but I’ll sneak it in anyway. Each of these points deserves a longer explanation (which I might write another time) but would go beyond the scope of this article. If you are only interested in real predictions — feel free to just skip this part.

Here’s what I would love to see (more) in Tango teaching in the future:

• No requirement to bring a partner to classes
  Tango is a social dance. If classes require a partner, it discourages people from joining, especially beginners, singles, and newcomers. Removing this barrier fosters inclusivity and community growth. It also mirrors the reality of a Milonga, where you dance with different people.
• Encourage participants to change partners at least three times per hour
  Dancing with multiple partners improves adaptability, communication, and listening skills — key elements in Tango. You learn how to respond to different embraces, interpretations of the music, and physical cues. It also breaks up cliques and cliques kill Tango scenes in the long run.
• Do not only talk about the ronda and floorcraft, but actively practice it.
  (see above)
• Ideally teach both roles, or at the very least give people the opportunity to experience the other role from time to time
  Understanding both the leader and follower perspective makes you a more empathetic and responsive dancer. It breaks gender stereotypes, improves technique, and allows for richer improvisation. Even a brief experience in the other role teaches you a lot about connection and communication.
• Place more focus on body awareness and personal experience rather than rigid ideas of „correct“ or „incorrect“
  Tango is not a competitive ballroom dance; it’s about connection, musicality, and improvisation. Focusing too rigidly on correctness stifles creativity and alienates people whose bodies may not conform to textbook posture or movement. Emphasizing body awareness and comfort makes dancers more expressive and safe. See Klaus Wendel for a good argument about this.
• Teach more modular movement concepts instead of fixed, choreographed figures
  Modular concepts (like pivots, weight changes, ochos, crosses) can be combined and recombined freely. This builds improvisational ability — the core of Tango. Teaching rigid sequences can create dependency on memorized patterns and limits spontaneity on the social dance floor.
• More of an pedagogic approach to teaching
  I think (and hope) to focus will shift from copying figures a teacher shows, to how students of Tango manage to controll their body, move to music, communicate minimal movements with each other
• Have teachers actually dance with their students at Milongas
  It builds community. It breaks down hierarchies. It allows students to feel what experienced dancing is like in a social setting. It also shows teachers are part of the scene, not just instructors. Students gain confidence when respected teachers invite them to dance, and it makes for a warmer, more inclusive Milonga culture.

This approach makes Tango teaching:

• More inclusive
• More connected to the social reality of Milongas
• Better at developing improvisational and communication skills
• Focused on body awareness and musicality, not performance anxiety
• Healthier for the long-term culture and diversity of the Tango community

Technology and Digitalisation

Technology and digitalisation will bring three changes to Tango – they will come -if we like it or not.

VR Dance suits

A VR suit is a form-fitting suit equipped with sensors that capture data about every movement made by the person wearing it. This data can be transmitted, analyzed, or even shared in real time with another VR suit. Additionally, the suit can provide resistance, restrict certain movements, or guide the body through controlled motions.

This technology opens the door to three exciting applications:

1. Movement Analysis:
An external comuter can analyze your dancing movements recorded by the suit in detail and suggest ways to improve your Tango technique, posture, and balance.

2. Teaching & Training:
A VR suit can physically guide you through specific movements, helping your body internalize and remember them — making it easier to apply those techniques when dancing with a real partner.

• Smart suits could give real-time feedback on posture, balance, alignment, and musical timing.
• Devices could gently guide body movement during practice, helping dancers internalize technique faster.
• A student’s movement data could be compared to that of a master dancer to identify improvement areas.

3. Remote Dancing:
In theory, two people wearing VR suits could dance together without being in the same room. The suits would record and transmit each dancer’s movements to the other, simulating resistance, space, and connection — creating the sensation of a shared dance floor from a distance.

Body modifications and enhancements

What do I mean by body modifications and enhancement?

• External: Wearable devices like smart exosuits, haptic feedback systems, intelligent footwear, or posture-correcting apparel that guide or enhance movement, prevent injury, or improve balance.
• Internal: Implants or biologically integrated systems — think neural links, smart joint replacements, muscle stimulators, or sensory augmentation systems that enhance proprioception, balance, and reaction time.

Positive Potentials

Improved Access and Inclusivity

• Dancers with physical limitations or impairments could fully participate in Tango.
• Elderly dancers might extend their active Tango years through balance-assistive systems or joint support.
• Those recovering from injury could safely return to dancing with movement-assist exosuits.

Safer, More Sustainable Dancing

• Real-time injury prevention: posture monitors, tension sensors, and load-balancing wearables could prevent overuse injuries and fatigue.
• More accessible high-intensity Tango dancing at marathons or festivals with support for tired muscles and joints.

New Aesthetic and Experiential Dimensions

• Wearables with integrated lighting or haptics could visually or tactilely express musicality.
• Augmented tactile feedback might heighten the sensory aspect of connection.
• New performance formats integrating responsive technology and immersive environments.

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Potential Challenges and Controversies

Dilution of Organic Improvisation

• Over-reliance on movement aids might reduce the raw, intuitive nature of improvisation in Tango.
• Feedback loops or „perfect movement correction“ could sterilize the personal quirks and micro-errors that make social Tango feel human and alive.

Inequity of Experience

• A divide might grow between dancers with access to high-end smart wearables and those without.
• Events might need to clarify whether tech-enhanced dancing is allowed (if it can even be detected by the eye)

Ethical and Cultural Questions

• Will wearing a movement-enhancing suit or implant still be considered ‘your’ dance?
• Could the embrace and physicality — central to Tango — feel less authentic if heavily mediated by technology?
• Could the social, egalitarian spirit of Milongas erode if tech-enhanced dancers dominate or alienate traditionalists?

Loss of Embodied Learning

• Traditional Tango is about slow, patient, physical learning through trial, error, and years of milongas.
• Fast-tracked learning via AI feedback and enhancement might shortcut this path, but at what cost to the depth of bodily knowledge and community-building experience?

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The integration of internal and external smart body technologies into Tango holds thrilling possibilities: greater accessibility, safety, longevity, and learning. But it also risks homogenizing the dance, creating new social divides, and disrupting the fragile, beautiful humanity at the core of Tango’s embrace.

In the end, it will come down to how the community chooses to integrate (or resist) these tools — whether to enhance the art and spirit of Tango or to commodify and over-optimize it.

Dance robots

Robotics and AI have made remarkable progress in recent years, and robots capable of dancing Tango are no longer a distant vision (watch this).. This technology can — and will — be used for two main purposes:

1. Teaching:
A robot will be able to analyze your movements and teach you Tango in much the same way a VR suit can. It could demonstrate correct technique, provide real-time feedback, and help you practice sequences with consistent precision.

2. Dance Partner:
At milongas, no one will ever have to remain seated for lack of a partner. Robots will be able to step in — and yes, you’ll be able to assign different characteristic dance styles to each one. Whether you want a Pugliese-inspired dance style, a playful D’Arienzo rhythm, or a smooth salon style, your robotic partner will be ready to deliver. Or you let yourself be surprised.

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This ended up becoming a wild brainstorming session. I don’t see a clear overarching pattern or a dominant trend emerging in Tango, except perhaps this: That more and more people are discovering Tango because it offers something society lacks — something other dances can only partially provide. And as more people join, Tango itself will become even more colorful, diverse, and multifaceted. Not everything that comes from this will last, but what is truly meaningful and valuable will naturally emerge through an organic process of evolution — no rules or restrictions needed.

Such an evolution also depends on thoughtful, constructive criticism — both of established traditions and of new, innovative ideas. But in a civilized community, this kind of discourse must take place without personal attacks or insults. Those unable or unwilling to uphold that standard should be prepared to lose my respect, and likely that of many others within the Tango scene. There’s no place for that kind of behavior in a community built on connection, trust, and mutual respect.

And maybe it helps, if we take ourselves and our dance a little less serious.

Vamos a bailar!