Report 2014 Tango Attributes and Preferences (English Version)

Report 20 20 20 201 11 14 44 4
Tango Tango Tango Tango Attributes and

Preferences

Tang Tecnia

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Rep"b#ica Argentina

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(echo e# dep&sito )ue marca #a #e* 11.+2,
Argentine -ndustr*
Printed in Argentina

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2014 Report Attributes and Preferences in Tango 8 Page ,8
4etter from TangoTecnia6
9i#ongueras * 9i#ongueros:
:ith great p#easure we present the 2014 Report Attributes and Preferences in Tango 2014 Report Attributes and Preferences in Tango 2014 Report Attributes and Preferences in Tango 2014 Report Attributes and Preferences in Tango.
2or the first time7 the tango has a comp#ete picture about the tastes7 habits and preferences of the dancers.
TangoTecnia TangoTecnia TangoTecnia TangoTecnia 3responsib#e for this report5 is an Argentine organi;ation that co##ects and ana#*;es information from tango
and this time dedicated to the wor#d of dancers.
Thanks to the massi6e participation of near#* 17,00 17,00 17,00 17,00 dancers from around the wor#d we ha6e ana#*;ed in detai# a## aspects
re#ated to the dance.
/ou wi## find in this report a 6ariet* of information that wi## a##ow *ou to #earn more about this g#oba# phenomenon that
brings together thousands of peop#e of a## nationa#ities.
!ut the m*ster* of the passion that turns out from tango can<t and mustn<t be measured statistica##*.
Tango is a po#*theistic re#igion.

=orge Are##ano
.0$ .0$ .0$ .0$ TangoTecnia TangoTecnia TangoTecnia TangoTecnia

Technica# detai#s of the sur6e*

>cope >cope >cope >cope: -nternationa#.
Target Target Target Target: Tango dancers7 ?sa#&n@and ?escenario@. %ifferent #e6e#s and ages.
>amp#e >i;e >amp#e >i;e >amp#e >i;e >amp#e >i;e: 172A2 responses.
>amp#ing point >amp#ing point >amp#ing point >amp#ing point facebook facebook facebook facebook: https://www.facebook.com/tangotecnia
>amp#ing point >amp#ing point >amp#ing point >amp#ing point #ink #ink #ink #ink: https://es.sur6e*monke*.com/s/:%,9B,R
%ate %ate %ate %ate: Apri# 227 2014 to 9a* 2C7 2014
Produc Produc Produc Produced ed ed ed b* b* b* b*: TangoTecnia

2014 Report Attributes and Preferences in Tango 8 Page D8
E-ndeF6
TA!40 $2 .$'T0'T> TA!40 $2 .$'T0'T> TA!40 $2 .$'T0'T> TA!40 $2 .$'T0'T>
%09$GRAP(-. -'2$R9AT-$'........................................................................................................................................................ +
Regions participating in the sur6e* ............................................................................................................................................. +
Answers b* seF .......................................................................................................................................................................... +
Responses b* countr*: ............................................................................................................................................................... A
Responses b* age: ..................................................................................................................................................................... A
Responses b* dance #e6e#: ......................................................................................................................................................... B
ATTR-!1T0> $2 9-4$'GA> .......................................................................................................................................................... 10
Peop#e ................................................................................................................................................................................... 10
-nfrastructure ......................................................................................................................................................................... 12
-nfrastructure H %ance f#oor .................................................................................................................................................... 1,
>er6ices ................................................................................................................................................................................. 14
4i6e $rchestras... *es or noI .................................................................................................................................................... 1D
Age ana#*sis ........................................................................................................................................................................... 1D
Ana#*sis b* seF ....................................................................................................................................................................... 1D
Ana#*sis b* 4e6e# %ance .......................................................................................................................................................... 1D
Pre6ious c#asses: Ana#*sis b* dance 4e6e# of the respondent ................................................................................................... 1C
.oup#es eFhibition .................................................................................................................................................................. 1C
Jua#it* of customer ser6ice: The ?mi#onguero@ is a#so a customerK ........................................................................................... 1+
.$'>19PT-$' -' T(0 9-4$'GA ................................................................................................................................................. 1A
.onsumption in the mi#onga per person 3a6erage b* age5 ......................................................................................................... 1A
A6erages b* countr* ................................................................................................................................................................ 1A
9onth#* A6erage per person 3L5 ............................................................................................................................................... 1B
(A!-T> $2 A>>->TA'.0 T$ 9-4$'GA .......................................................................................................................................... 20
%a*s of attendance per month ................................................................................................................................................ 20
%a*s of the week preference b* countr*/ region ....................................................................................................................... 21
Assistance habit b* countr* / region ....................................................................................................................................... 22
Attendance habits b* age........................................................................................................................................................ 2,
Assistance habit b* #e6e# of dance ........................................................................................................................................... 24
Accompanied b* a dance partner M 06o#ution b* age ................................................................................................................. 24
Accompanied b* a dancing partner M !eha6ior ......................................................................................................................... 2D
40E04 of %A'.0 .......................................................................................................................................................................... 2C
/ears of dancing b* countr*/region ......................................................................................................................................... 2C
(ours of dance c#asses b* dance #e6e# ..................................................................................................................................... 2A
N:(/ %$ /$1 %A'.0 TA'G$I .................................................................................................................................................... 2B
The other reasons ... ............................................................................................................................................................... 2B
The beginnings ....................................................................................................................................................................... ,0
%A'.-'G T0A.(0R> ................................................................................................................................................................... ,1
-'E0>T90'T -' 9-4$'GA ............................................................................................................................................................ ,A
/$1R 91>-.A4 TA>T0> ............................................................................................................................................................... 40
Preferred duration of the ?tanda@ 3genera# resu#t5 .................................................................................................................... 42
PR020RR0% $R.(0>TRA> for %A'.-'G ...................................................................................................................................... 44
$6era## resu#ts ........................................................................................................................................................................ 44
.omposition of preferences b* region 3ordered from highest to #owest preference in >outh America5 ......................................... 4D
.omposition of preferences b* age 3ordered from #owest to highest age range5 ......................................................................... 4C
.omposition of preferences b* gender .................................................................................................................................... 4+
PR020RR0% TA'G$> 2$R %A'.-'G ............................................................................................................................................ 4A
$6era## resu#t .......................................................................................................................................................................... 4A
.hart of preferences b* region 3ordered from highest to #owest preference in >outh America5 .................................................... 4B
.hart of preferences b* age 3ordered from #owest to highest age range5 .................................................................................... D0
.hart of preferences b* gender................................................................................................................................................ D1
Preferred attributes in the occasiona# dance partner ..................................................................................................................... D2
%ancing is a p#easure7 but ... ........................................................................................................................................................ D,
.omments from respondents .................................................................................................................................................. C0

9-4$'GAO> .$%0> ..................................................................................................................................................................... C2
Are we read* for a changeI ..................................................................................................................................................... C2
%o *ou want to dance7 >irI ..................................................................................................................................................... C2
:ho are those who strong#* agreeI ......................................................................................................................................... C,
(ow do *ou in6ite to dance or how wou#d *ou #ike to be in6itedI ............................................................................................... C4
/ou in6ite or accept an in6itation to dance when... .................................................................................................................. C4
>tud* case ............................................................................................................................................................................. CD
!* countr* / region ................................................................................................................................................................. CD
!* seF: 9enPs opinion ............................................................................................................................................................. CC
!* seF: :omen<s opinion ....................................................................................................................................................... CC
Tango in *our #ife ......................................................................................................................................................................... C+
>entimenta# situation of mi#onga attendants ........................................................................................................................... C+
-f *our #ife partner does '$T share tango with *ou7 what is genera##* their attitudeI................................................................... C+
:hatOs dancing tangoI ................................................................................................................................................................ CB
!* age .................................................................................................................................................................................... CB
!* dance #e6e# ........................................................................................................................................................................ +0
!* countr*/region ................................................................................................................................................................... +1

2014 Report Attributes and Preferences in Tango 8 Page +8
%09$GRAP(-. -'2$R9AT-$'

Regions participating in the sur6e* Regions participating in the sur6e* Regions participating in the sur6e* Regions participating in the sur6e*

Answers b* seF Answers b* seF Answers b* seF Answers b* seF

Responses Responses Responses Responses b* countr* b* countr* b* countr* b* countr*: :: :
'orth America 'orth America 'orth America 'orth America .anada A

Tota# Tota# Tota# Tota# .entra# America .entra# America .entra# America .entra# America + ++ +
9eFico 14D

0urope 0urope 0urope 0urope German* 24
The 1>A 1,

Austria 1
Tota# Tota# Tota# Tota# 'orth America 'orth America 'orth America 'orth America 1CC 1CC 1CC 1CC

!e#gium C
>outh America >outh America >outh America >outh America Argentina DDD

%enmark 1
!o#i6ia 2

>pain 12,
!ra;i# 1A

0stonia 1
.hi#e ,C

2in#and ,
.o#ombia 24

2rance D,
0cuador A

Greece ,
Paragua* 1

(o##and ,
Per" 1B

-ta#* D1
1rugua* CC

9a#ta 1
Eene;ue#a DB

Po#and 1
Tota# Tota# Tota# Tota# >outh America >outh America >outh America >outh America +AA +AA +AA +AA

Portuga# B
Anti##es Anti##es Anti##es Anti##es (aiti 1

1nited
Qingdom ,
Tota# Tota# Tota# Tota# Anti##es Anti##es Anti##es Anti##es 1 11 1

Romania 1
Asia Asia Asia Asia =apan 1

>weden 1,
Russia 2

>wit;er#and 12
Tota# Asia Tota# Asia Tota# Asia Tota# Asia , ,, ,

Tota# Tota# Tota# Tota# 0urope 0urope 0urope 0urope ,0B ,0B ,0B ,0B
. .. .aribbean aribbean aribbean aribbean Puerto Rico ,

$cean $cean $cean $ceani ii ia aa a Austra#ia 1
Tota# Tota# Tota# Tota# .aribbean .aribbean .aribbean .aribbean , ,, ,

Tota# $cean Tota# $cean Tota# $cean Tota# $ceani ii ia aa a 1 11 1
.entra# America .entra# America .entra# America .entra# America .osta Rica ,

9idd#e 0ast 9idd#e 0ast 9idd#e 0ast 9idd#e 0ast -srae# 1
Guatema#a 1

Tota# Tota# Tota# Tota# 9idd#e 0ast 9idd#e 0ast 9idd#e 0ast 9idd#e 0ast 1 11 1
'icaragua ,

Tota# genera# Tota# genera# Tota# genera# Tota# genera# 1.2A2 1.2A2 1.2A2 1.2A2

Responses b* age: Responses b* age: Responses b* age: Responses b* age:
AG0 GR$1P AG0 GR$1P AG0 GR$1P AG0 GR$1P P0R.0'TAG0 $2 P0R.0'TAG0 $2 P0R.0'TAG0 $2 P0R.0'TAG0 $2 R0>P$'>0> R0>P$'>0> R0>P$'>0> R0>P$'>0>
2rom 1A to ,0 *ears 2A.A+R
2rom ,1 to 40 *ears 2,.1BR
2rom 41 to D0 *ears 1A.C2R
2rom D1 to C0 *ears 1B.D1R
2rom C1 to +0 *ears B.0,R
$6er +0 *ears 0.+AR

2014 Report Attributes and Preferences in Tango 8 Page B8
Responses Responses Responses Responses b* dance #e6e#: b* dance #e6e#: b* dance #e6e#: b* dance #e6e#:
-n one of the sur6e* )uestions the respondent was asked to define their dance #e6e#7 considering the fo##owing definitions
as references:
PR$20>>-$'A4 40E04: PR$20>>-$'A4 40E04: PR$20>>-$'A4 40E04: PR$20>>-$'A4 40E04: The person for whom tango is their so#e profession and means of income.

A%EA'.0% 40E04: A%EA'.0% 40E04: A%EA'.0% 40E04: A%EA'.0% 40E04: The* ha6e the abi#it* to he#p others impro6e their #e6e# of dance 3and e6entua##* teach c#asses5.
1sua##* participate in tournaments and eFhibitions.

-'T0R90%-AT0 40E04: Regu#ar#* -'T0R90%-AT0 40E04: Regu#ar#* -'T0R90%-AT0 40E04: Regu#ar#* -'T0R90%-AT0 40E04: Regu#ar#* attends mi#ongas7 dance without difficu#ties. $ften take c#asses to impro6e their #e6e#. .. .

!0G-''0R 40E04: !0G-''0R 40E04: !0G-''0R 40E04: !0G-''0R 40E04: -n #earning stage7 sti## re#ies on c#asses. Attends mi#ongas or practices but a6oids dancing with peop#e
outside their en6ironment.

PAS>/R0G-T' A%EA'.0% -'T0R90%-AT0 !0G-''0R PR$20>>-$'A4
German* ,D.00R D0.00R 0.00R 1D.00R
'orth America 1C.C+R ++.+AR 0.00R D.DCR
>outh America 4D.4DR ,A.C4R 11.,CR 4.DDR
Argentina ,1.1+R D,.ADR D.C+R B.,1R
.hi#e 2+.2+R C,.C4R C.0CR ,.0,R
.o#ombia 1D.00R +0.00R 0.00R 1D.00R
>pain 24.+CR CC.C+R 2.ACR D.+1R
0urope 2D.00R C4.DAR 4.1+R C.2DR
2rance ,2.DCR DA.14R 2.,,R C.BAR
-ta#* 21.+4R D2.1+R 10.A+R 1D.22R
9eFico 2B.0,R D,.2,R 10.4AR +.2CR
1rugua* 2C.BAR C,.4BR B.D2R 0.00R
Eene;ue#a 2D.00R D0.00R 1D.,AR B.C2R

-t shou#d be taken into account that the definition of dance #e6e# depends on each person who answered the sur6e*7
being this a subUecti6e data.

ATTR-!1T0> $2 9-4$'GA>

The attributes of ?mi#ongas mi#ongas mi#ongas mi#ongas@ are those characteristics of the ph*sica# p#ace where the dancer wi## dance tango.
These attributes are often those that decide preferring one p#ace o6er another. :e ha6e di6ided them 3in the sur6e*5 in
three groups:
P0$P40 P0$P40 P0$P40 P0$P40
-'2RA>TR1.T1R0 -'2RA>TR1.T1R0 -'2RA>TR1.T1R0 -'2RA>TR1.T1R0
>0RE-.0> >0RE-.0> >0RE-.0> >0RE-.0>
:ith VPeop#e Peop#e Peop#e Peop#eV we mean the pub#ic who attends certain mi#onga7 V-nfrastructure -nfrastructure -nfrastructure -nfrastructureVrefers to the ph*sica# )ua#ities of the
p#ace and V>er6ices >er6ices >er6ices >er6icesVrefers to benefits recei6ed for attending the mi#onga..
Peop#e Peop#e Peop#e Peop#e

2igure 1: 9i#ongaOs attributes M Peop#e

The 4e6e# of 4e6e# of 4e6e# of 4e6e# of %ancing %ancing %ancing %ancing 3peop#e who dance we##5 and 'umber of Peop#e 'umber of Peop#e 'umber of Peop#e 'umber of Peop#e ha6e simi#ar percentage ratings as VEer* Eer* Eer* Eer*
-mportant -mportant -mportant -mportantV and V-mportant -mportant -mportant -mportantV 3A2.,R A2.,R A2.,R A2.,R and A1.1R5 A1.1R5 A1.1R5 A1.1R5 respecti6e#*

!ut the 4e6e# of %ancing is an attribute that is on#* considered outstanding for those who define their #e6e# of dance as
Ad6anced Ad6anced Ad6anced Ad6anced or -ntermediate -ntermediate -ntermediate -ntermediate7 as seen in 2igure 2 2igure 2 2igure 2 2igure 2:

2014 Report Attributes and Preferences in Tango 8 Page 118

2igure 2: 4e6e# of %ance ?Eer* -mportant@ W ?-mportant@ H .onformation of A2.,R

The Ad6anced Ad6anced Ad6anced Ad6anced and -ntermediate -ntermediate -ntermediate -ntermediate #e6e#s in the mi#onga #ook for peop#e with a simi#ar #e6e# of dance that a##ows them to
enUo* it. Professiona# Professiona# Professiona# Professiona#s ss s dance in genera# with their peers and beginners beginners beginners beginners do not go with eFpectations in this regard.
The percentage resu#ting fromVpossi possi possi possibi#it* to meet with friend bi#it* to meet with friend bi#it* to meet with friend bi#it* to meet with friends ss s/ known peop#e / known peop#e / known peop#e / known peop#eV c#ear#* defines the socia# aspect of
dancing tango.
As Traditiona# %ancing >t*#e >t*#e >t*#e >t*#e we mean the ?sa#&n@ st*#e or ?mi#onguero@7 and as 6aried dancing st*#e we refer to the one
that besides the traditiona# st*#e a#so inc#udes newer st*#es.
2ina##*7 the VA6erage age A6erage age A6erage age A6erage age of attendees of attendees of attendees of attendeesV attribute recei6es a #ow rating of importance7 being c#ear that what is sought
after is a good partner dance and not a par in terms of age.
2rom the ana#*sis of the percentage considered VEer* -mportant / -mportant Eer* -mportant / -mportant Eer* -mportant / -mportant Eer* -mportant / -mportantV to VA6erage age of attendees A6erage age of attendees A6erage age of attendees A6erage age of attendeesV 3,4.+R ,4.+R ,4.+R ,4.+R5 no
decisi6e conc#usion that ref#ects beha6ior of a particu#ar group can be obtained 3age7 seF7 b* countr* or #e6e# of dance5.
Then it wou#d be a persona# and circumstantia# account.

-nfrastructure -nfrastructure -nfrastructure -nfrastructure

2igure , M 9i#ongaPs infraestructure
A H Good dimension of the dance f#oor ! H Good refrigeration in summer . H!athrooms (*giene/comfort
% H >ecurit* of the area 0 H 'ice st*#e of decoration 2 H 2aci#ities of access
G H Good heating in winter ( H ProFimit* to *our home
The information in the graph abo6e is particu#ar#* usefu# for the mi#ongasPs organi;ers mi#ongasPs organi;ers mi#ongasPs organi;ers mi#ongasPs organi;ers and re)uire no further
eFp#anation. As organi;er organi;er organi;er organi;er7 we refer to that personM or associate groupM who group peop#e around dancing tango7
se#ecting the music and a p#ace suitab#e for the occasion.
(owe6er7 consideration of the attribute V>ecurit* >ecurit* >ecurit* >ecurit* of the area of the area of the area of the areaV 6aries depending on the countr* of the respondent:

2igure 4 M Eariation of the atributte V>ecurit* of the areaV

2014 Report Attributes and Preferences in Tango 8 Page 1,8
.urious#* 3or not or not or not or not5 the order of the graph abo6e is broad#* consistent with the terms of documents generated b*
internationa# agencies re#ated to crime rates per countr*.
!oth in V(eating (eating (eating (eatingV and VRefrigeration Refrigeration Refrigeration RefrigerationV women are the most demanding group:

2igure D: V(eatingV and VRefrigerationV Atributtes

-nfrastructure -nfrastructure -nfrastructure -nfrastructure H HH H %ance %ance %ance %ance f#oor f#oor f#oor f#oor

2igure C H %ance f#oor

>er6ices >er6ices >er6ices >er6ices

2igure + H 9i#ongaOs >er6ices
A H?9usica#i;ador@ ! H .ustomer ser6ices . M Prices % M 2inding tab#e faci#ities
0 M 4i6e $rchestras 2 M Pre6ious c#asses G HGastronomic 6ariet* ( M .oup#es eFhibition
The importance assigned to @musica#i;ador musica#i;ador musica#i;ador musica#i;ador? does not need an* ana#*sis and is a c#ear message to the mi#onga<s
organi;ers. :e refer to 9usica#i;ador 9usica#i;ador 9usica#i;ador 9usica#i;ador as the person in charge of choosing the music. !eing an amateur preparing tracks
pre6ious#* on a computer7 or a professiona# %=.
:ith respect to the attribute VPrice Price Price PriceV7 its consideration a#so 6aries according to the countr* of the respondent:

2igure A M .onsideration of prices b* countr*

2014 Report Attributes and Preferences in Tango 8 Page 1D8
The position of >pain >pain >pain >pain in the #ist abo6e is striking7 and it can be considered as the resu#t of the recent economic crisis that
has hit the countr*7 sti## ha6ing a high unemp#o*ment rate and #ow current consumption #e6e# in process of reco6er*.
4i6e 4i6e 4i6e 4i6e $rchestras... *es or noI $rchestras... *es or noI $rchestras... *es or noI $rchestras... *es or noI
-t is a di#emma for organi;ers hiring or not #i6e orchestras7 since opinions are a#most e)ua##* di6ided 34B.C 4B.C 4B.C 4B.CR RR R and
D0.4R D0.4R D0.4R D0.4R7VEer* -mportant/ -mportant and 4itt#e/ 'ot at a## important7 respecti6e#*5 and usua##* means a significant cost.
The fo##owing information wi## he#p the organi;er decide on this )uestion:
Age ana#*sis Age ana#*sis Age ana#*sis Age ana#*sis

Eer* -mportant/-mportant 4itt#e/'ot at a## important
2rom 1A to ,0 *ears D0.,BR 4B.C1R
2rom ,1 to 40 *ears D2.40R 4+.C0R
2rom 41 to D0 *ears D0.,0R 4B.+0R
2rom D1 to C0 *ears 40.B4R DB DB DB DB. .. .0CR 0CR 0CR 0CR
2rom C1 to +0 *ears 41.2DR DA DA DA DA. .. .+DR +DR +DR +DR
-t is in the age group of D1 or more *ears D1 or more *ears D1 or more *ears D1 or more *ears when #i6e orchestras #ose more interest. An*wa* in other age ranges
considerations are distributed e6en#*.
Ana#*sis b* seF Ana#*sis b* seF Ana#*sis b* seF Ana#*sis b* seF
(ombres 4C.CAR D,.,2R
9uUeres 4B.,BR D0.C1R

Ana#*sis b* 4e6e# %ance Ana#*sis b* 4e6e# %ance Ana#*sis b* 4e6e# %ance Ana#*sis b* 4e6e# %ance
!eginner 4C.++R D,.2,R
-ntermediate 4B.10R D0.B0R
Ad6anced 4,.4,R DC.D+R
Professiona# C0 C0 C0 C0. .. .2BR 2BR 2BR 2BR ,B.+1R
-t is within Professiona# Professiona# Professiona# Professiona# #e6e# that presentation of #i6e bands are best considered7 perhaps because the orchestra#
arrangements a##ow them a greater cha##enge when dancing..
-t shou#d a#so be considered at the same time reputation7 eFperience and renown of the hired orchestra

Pre6ious c#asses: Ana#*sis b* Pre6ious c#asses: Ana#*sis b* Pre6ious c#asses: Ana#*sis b* Pre6ious c#asses: Ana#*sis b* dance dance dance dance 4e6e# 4e6e# 4e6e# 4e6e# of the of the of the of the respondent respondent respondent respondent
!eginner D1 D1 D1 D1. .. .C1R C1R C1R C1R 4A.,BR
-ntermediate ,1.1BR CA.A1R
Ad6anced 2D.40R +4.C0R
Professiona# 2,.1BR +C.A1R
As eFpected7 !eginners !eginners !eginners !eginners and -ntermediate -ntermediate -ntermediate -ntermediate are the ones who consider best the a6ai#abi#it* of preMmi#onga c#asses. -n
addition7 a pre6ious c#ass often ser6es as a wa* to meet other peop#e of the same #e6e# of dance and agree to
subse)uent#* dance at the start of the mi#onga.
.oup#es eFhibition .oup#es eFhibition .oup#es eFhibition .oup#es eFhibition
:ithin the #ow importance #ow importance #ow importance #ow importance assigned to this attribute7!eginners !eginners !eginners !eginners and Professiona#s Professiona#s Professiona#s Professiona#s are those who assigned greater
re#ati6e importance:
!eginner ,,.A+R CC.1,R
-ntermediate 21.A0R +A.20R
Ad6anced 22.44R ++.DCR
Professiona# ,4 ,4 ,4 ,4. .. .+AR +AR +AR +AR CD.22R
2or Professiona#s7 eFhibition can be a source of income or a marketing too#. !ut c#ear#*7 coup#e eFhibition is not is not is not is not ser6ice ser6ice ser6ice ser6ice
con6ening con6ening con6ening con6ening mass audience mass audience mass audience mass audience.
!* this ser6ice ana#*sis ser6ice ana#*sis ser6ice ana#*sis ser6ice ana#*sis b* countr*/region resu#ts striking how #itt#e importance is assigned to ser6ice in 0uropean
countries:
Eene;ue#a ,B.C2R C0.,AR
.hi#e ,D.2BR C4.+1R
>outh America 2B.ADR +0.1DR
9eFico 2B.DDR +0.4DR
Argentina 2A.+CR +1.24R
1rugua* 2C.DCR +,.44R
'orth America 2D.00R +D.00R
0urope 1A 1A 1A 1A. .. .0CR 0CR 0CR 0CR A1 A1 A1 A1. .. .B4R B4R B4R B4R
>pain 1+ 1+ 1+ 1+. .. .D4R D4R D4R D4R A2 A2 A2 A2. .. .4CR 4CR 4CR 4CR
2rance 10 10 10 10. .. .A+R A+R A+R A+R AB AB AB AB. .. .1,R 1,R 1,R 1,R
-ta#* A AA A. .. .+0R +0R +0R +0R B1 B1 B1 B1. .. .,0R ,0R ,0R ,0R
This information can he#p the mi#onga organi;er to effecti6e#* address in6estment on areas that generate an effecti6e
return of it. 2or eFamp#e7 hiring additiona# staff for customer ser6ice or training them7 as it is an attribute high#*
considered b* assistants to the mi#onga 3A2.4R A2.4R A2.4R A2.4R5. -t is considered as fo##ows b* countr*/region:

2014 Report Attributes and Preferences in Tango 8 Page 1+8
Jua#it* of customer ser6ice: The ?mi#onguero@ is a#so a customerK Jua#it* of customer ser6ice: The ?mi#onguero@ is a#so a customerK Jua#it* of customer ser6ice: The ?mi#onguero@ is a#so a customerK Jua#it* of customer ser6ice: The ?mi#onguero@ is a#so a customerK
VEer* -mportant / -mportant Eer* -mportant / -mportant Eer* -mportant / -mportant Eer* -mportant / -mportantVgrade assignment to the attribute7 separated b* countr*::
PaXs/Regi&n Perc.

Eene;ue#a B4.44R

'orth America AB.4+R

1rugua* AD.B4R

-ta#* A4.+AR

Argentina A4.0+R

.hi#e A2.,DR

9eFico +B.+0R

>outh America +B.10R

0urope +A.,AR

>pain ++.,BR

2rance +1.+4R

:h* is so much importance gi6en to this attribute in Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#aI 9a*be because it is in this countr* where the habit of
dining at the same mi#onga is most widespread7 as it wi## be detai#ed in this report on the fo##owing pages.

.$'>19PT-$' -' T(0 9-4$'GA

:e refer here to foods and be6erages consumed during the time the assistant is in the mi#onga.
.onsumption in the .onsumption in the .onsumption in the .onsumption in the mi#onga per person 3a6erage b* mi#onga per person 3a6erage b* mi#onga per person 3a6erage b* mi#onga per person 3a6erage b* age5 age5 age5 age5
1A to ,0 *ears ,1 to 40 *ears 41 to D0 *ears D1 to C0 *ears C1 to +0 *ears
>odas / 2#a6ored :ater 0 00 0. .. .A4 A4 A4 A4 0.C, 0.+, 0.+2 0.D,
9inera# water 0.+B 0 00 0. .. .AD AD AD AD 0.+, 0.+C 0.+B
.offee / tea 0.2A 0.,1 0.40 0 00 0. .. .4+ 4+ 4+ 4+ 0.,D
!eer 3bott#e5 0 00 0. .. .AD AD AD AD 0.DC 0.,B 0.,, 0.4A
:ine 3bott#e5 0.,A 0 00 0. .. .44 44 44 44 0.21 0.2C 0.2,
.hampagne 3bott#e5 0.0B 0 00 0. .. .1, 1, 1, 1, 0 00 0. .. .1, 1, 1, 1, 0.10 0.0B
:hisk* 3bott#e5 0 00 0. .. .0D 0D 0D 0D 0.02 0.02 0.01 0.02
0mpanadas 3units5 1 11 1. .. .,1 ,1 ,1 ,1 1.0+ 1.02 0.BA 0.B0
Pi;;a 3#ots5 0 00 0. .. .BC BC BC BC 0.DA 0.,C 0.2C 0.44
$nsite 9enu 0 00 0. .. .24 24 24 24 0.1A 0.20 0.22 0.14
>weets / %esserts 0 00 0. .. .,2 ,2 ,2 ,2 0.1A 0.1C 0.20 0.14
'ote: 'ote: 'ote: 'ote: in !o#d are higher 6a#ues of the hori;onta# series.
-n a#most a## items ana#*;ed abo6e the age group of 1A 1A 1A 1AM MM M,0 *ears ,0 *ears ,0 *ears ,0 *ears is the #argest consumer of food and be6erages7 and can
be specifica##* attributed to bio#og* aspect.
A6erages b* countr* A6erages b* countr* A6erages b* countr* A6erages b* countr*
Argentina .hi#e .o#ombia >pain 2rance -ta#* 9eFico 1rugua* Eene;ue#a
>odas / 2#a6ored :ater 0.+C 1 11 1. .. .D4 D4 D4 D4 0.+2 0.4+ 0.2B 0.2+ 0.BB 0.AA 0.C2
9inera# water 0.DB 0.AD 0.A, 0.C+ 1.00 1.22 0.CC 0.+D 1 11 1. .. .C0 C0 C0 C0
.offee / tea 0.,B 0 00 0. .. .A1 A1 A1 A1 0.C+ 0.10 0.2C 0.4C 0.,2 0.1A 0.1B
!eer 3bott#e5 0.D4 0.CB 0.+A 0.+D 0.,B 0.41 0.4B 0.4D 1 11 1. .. .C0 C0 C0 C0
:ine 3bott#e5 0.,0 0.2+ 0.,B 0.1+ 0.24 0.24 0 00 0. .. .C0 C0 C0 C0 0.2B 0.D2
.hampagne 3bott#e5 0.14 0.1D 0.11 0.0C 0 00 0. .. .1A 1A 1A 1A 0.1D 0.04 0.04 0.02
:hisk* 3bott#e5 0.02 0.04 0.00 0.04 0.00 0.02 0.04 0 00 0. .. .10 10 10 10 0.00
0mpanadas 3units5 1.44 1 11 1. .. .+, +, +, +, 1.11 0.,D 0.+1 0.41 1.0D 0.B0 0.+B
Pi;;a 3#ots5 0.A, 0.A1 0.2A 0.11 0.1, 0.12 0.DB 0 00 0. .. .A4 A4 A4 A4 0.D+
$nsite 9enu 0.1B 0.,1 0.22 0.0+ 0.0A 0.22 0.,D 0.1A 0 00 0. .. .4A 4A 4A 4A
>weets / %esserts 0.20 0.,D 0 00 0. .. .D0 D0 D0 D0 0.0+ 0.1C 0.20 0.41 0.14 0.,1
'ote: 'ote: 'ote: 'ote: in !o#d are higher 6a#ues of the hori;onta# series.
%o not draw attention to beer consumption in Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a7 because it is countr* with the highest consumption per capita
in the region. The tab#e abo6e ma* a#so ser6e as a reference for a potentia# organi;er of a mi#onga7 in order to anticipate
which cou#d be the consumptions of the assistants.

2014 Report Attributes and Preferences in Tango 8 Page 1B8
9onth#* A6erage 9onth#* A6erage 9onth#* A6erage 9onth#* A6erage per person 3L5 per person 3L5 per person 3L5 per person 3L5
Argentina .hi#e .o#ombia >pain 2rance -ta#* 9eFico 1rugua* Eene;ue#a
>odas / 2#a6ored :ater C.4+ 1, 1, 1, 1,. .. .D0 D0 D0 D0 D.B2 ,.AD 2.B2 2.4, +.+1 +.+A 4.,+
9inera# water D.02 +.4D C.A2 D.4B 10.0D 10.BA D.14 C.C, 11 11 11 11. .. .2A 2A 2A 2A
.offee / tea ,.,2 + ++ +. .. .10 10 10 10 D.D1 0.A2 2.C1 4.14 2.4B 1.DB 1.,4
!eer 3bott#e5 4.C0 C.0D C.41 C.14 ,.B2 ,.CB ,.A1 ,.BA 11 11 11 11. .. .2A 2A 2A 2A
:ine 3bott#e5 2.DD 2.,+ ,.21 1.,B 2.41 2.1C 4 44 4. .. .C+ C+ C+ C+ 2.DC ,.C+
.hampagne 3bott#e5 1.1B 1.,2 0.B0 0.4B 1 11 1. .. .A1 A1 A1 A1 1.,D 0.,1 0.,D 0.14
:hisk* 3bott#e5 0.1+ 0.,D 0.00 0.,, 0.00 0.1A 0.,1 0 00 0. .. .AA AA AA AA 0.00
0mpanadas 3units5 12.2C 1D 1D 1D 1D. .. .1+ 1+ 1+ 1+ B.1, 2.A+ +.14 ,.CB A.1+ +.BC D.D+
Pi;;a 3#ots5 +.0+ +.10 2.,0 0.B0 1.,1 1.0A 4.DB + ++ +. .. .4, 4, 4, 4, 4.02
$nsite 9enu 1.C2 2.+2 1.A1 0.D+ 0.A0 1.BA 2.+2 1.DB , ,, ,. .. .,A ,A ,A ,A
>weets / %esserts 1.+0 ,.0+ 4 44 4. .. .11 11 11 11 0.D+ 1.C1 1.A0 ,.1B 1.24 2.1B
'ote: 'ote: 'ote: 'ote: !o#d higher 6a#ues of the hori;onta# series.

3L5 3L5 3L5 3L5 $btained b* mu#tip#*ing the a6erage consumption per person b* the a6erage number of da*s per month attending the
mi#onga.
The tab#e abo6e can ser6e as a persona# reference7 to estimate month#* eFpenses associated with attendance to the
mi#onga7 to which it shou#d be added the price of admission to the mi#onga7 a##owances7 eFtra for c#asses if an*7 etc. for
greater accurac*.

(A!-T> $2 A>>->TA'.0 T$ 9-4$'GA
%a*s of attendance per month %a*s of attendance per month %a*s of attendance per month %a*s of attendance per month
'o doubt the da*s of attendance to mi#onga per month speak c#ear#* of the passion for the dance. (owe6er7 there are
factors that make it difficu#t to dance as often as it is desired7 such as ob#igations7 work7 eFhaustion7 fami#* or coup#e and
no doubt the costs associated with going to the mi#onga7 too.

2igure B M A6erage da*s of dancing b* countr* / region

'ote: 'ote: 'ote: 'ote: 'orth America inc#udes the 1>A and .anada. 0urope eFc#uding -ta#*7 >pain and 2rance. >outh America eFc#udes countries that
are #isted in the figure.

The ?sentimenta# factor sentimenta# factor sentimenta# factor sentimenta# factor@ a#so affects the a6erage number of da*s per month dance:

2igure 10 M A6erage da*s of dance b* re#ationship status

The ones who are not in coup#e dance 3per *ear5 near#* ,0 more da*s in contrast to the person whose partner does not
share the dance.
.#ear differences are a#so obser6ed in the number of da*s according to the dance #e6e# dance #e6e# dance #e6e# dance #e6e# and the age age age age of the person:

2igure 11 H !* dance #e6e#

2igure 10 H !* age

% %% %a*s of the week a*s of the week a*s of the week a*s of the week p pp preference reference reference reference b* countr*/ region b* countr*/ region b* countr*/ region b* countr*/ region
9onda* Tuesda* :ednesda* Thursda* 2rida* >aturda* >unda*
'orth America 44 44 44 44. .. .44R 44R 44R 44R ,,.,,R 44.44R 44.44R +2.22R DD.DCR ,A.ABR
>outh America 20.4DR 2+.2+R ,1.A2R ,C.,CR D2.2+R DB.0BR D4.DDR
Argentina 1+.+CR 2C.1DR ,4.B,R ,2.B,R DA.0AR DA.0AR 4+.B0R
.hi#e B.0BR 4A.4AR 21.21R 4A.4AR C0.C1R CC.C+R 1A 1A 1A 1A. .. .1AR 1AR 1AR 1AR
.o#ombia 4 44 4. .. .+CR +CR +CR +CR 1B.0DR 14 14 14 14. .. .2BR 2BR 2BR 2BR D+ D+ D+ D+. .. .14R 14R 14R 14R D2.,AR B0 B0 B0 B0. .. .4AR 4AR 4AR 4AR 42.ACR
>pain A.41R 10 10 10 10. .. .2AR 2AR 2AR 2AR 20.DCR 2A.04R C0.+DR C0.+DR CC.,CR
0urope 1B.+2R 2C.+CR ,2.,BR 2B.DAR +1.A,R +,.24R D+.+DR
2rance 24.44R D1 D1 D1 D1. .. .11R 11R 11R 11R 42.22R 44.44R D+.+AR C4.44R +1.11R
-ta#* A.+0R ,0.4,R 1+.,BR 10 10 10 10. .. .A+R A+R A+R A+R D4.,DR A4.+AR A0 A0 A0 A0. .. .4,R 4,R 4,R 4,R
9eFico 12.B0R 1+.+4R 2,.,BR 41.1,R D0.00R +2.DAR 4D.1CR
1rugua* 2B.2,R 2,.0AR ,D.,AR 4B.2,R +D +D +D +D. .. .,AR ,AR ,AR ,AR 41 41 41 41. .. .D4R D4R D4R D4R 2,.0AR
Eene;ue#a 1C.BAR 1D.0BR 4D 4D 4D 4D. .. .2AR 2AR 2AR 2AR 22.C4R 4B 4B 4B 4B. .. .0CR 0CR 0CR 0CR C4.1DR 2A.,0R
'ote: 'ote: 'ote: 'ote: -n green are the highest 6a#ues of the 6ertica# series7 the #owest are in orange.

The fo##owing tab#e shows the preferences of weekda*s b* age:
1A to ,0 *ears 1D.A,R 2,.B4R ,2.4,R ,+.A4R D+.D,R CC.41R 44.+BR
,1 to 40 *ears 1C.A,R 2+.AAR ,D.10R ,+.BAR DD.2BR D+.21R 4,.+DR
41 to D0 *ears 1C.2+R 2C.D1R ,2.D,R ,4.B4R C1.4DR DA.4,R D1.20R
D1 to C0 *ears 1C.00R 20.00R 2+.4,R 2B.14R C0.D+R C+.4,R D2.D+R
C1 to +0 *ears 1+.24R 2C.44R ,D.C,R ,4.4AR CC.C+R DB.++R DA.C2R
'ote: 'ote: 'ote: 'ote: -n green are the highest 6a#ues of the 6ertica# series7 the #owest are in orange. .. .

2ina##*7 be#ow preferences %ancing %a*s b* 4e6e# of respondent::
!eginner 12 12 12 12. .. .+0R +0R +0R +0R 2C.BAR 2A 2A 2A 2A. .. .D+R D+R D+R D+R ,1 ,1 ,1 ,1. .. .+DR +DR +DR +DR 41 41 41 41. .. .2+R 2+R 2+R 2+R ,A ,A ,A ,A. .. .10R 10R 10R 10R 2, 2, 2, 2,. .. .A1R A1R A1R A1R
-ntermediate 1D.11R 2, 2, 2, 2,. .. .0CR 0CR 0CR 0CR ,,.C0R ,,.C0R DA.CDR C,.22R 44.D,R
Ad6anced 1C.1DR 2C.1DR ,0.00R 40 40 40 40. .. .00R 00R 00R 00R C1.B2R CD CD CD CD. .. .++R ++R ++R ++R DA.0AR
Professiona# 2A 2A 2A 2A. .. .D+R D+R D+R D+R ,1 ,1 ,1 ,1. .. .4,R 4,R 4,R 4,R ,D ,D ,D ,D. .. .+1R +1R +1R +1R ,2.ACR +0 +0 +0 +0. .. .00R 00R 00R 00R C4.2BR C4 C4 C4 C4. .. .2BR 2BR 2BR 2BR
'ota: 'ota: 'ota: 'ota: -n green are the highest 6a#ues of the 6ertica# series7 the #owest are in orange.

A AA Assistance ssistance ssistance ssistance h hh habit abit abit abit b* countr* / region b* countr* / region b* countr* / region b* countr* / region
Attendance to the mi#onga is the wa* peop#e usua##* attend dance. :hi#e there are circumstances which often determine
with whom we attend7 there are countries or regions where *ou t*pica##* attend in compan* with a group of peop#e7 6er*
common practice in Argentina Argentina Argentina Argentina7 1r 1r 1r 1rugua* ugua* ugua* ugua* and Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a. >pain >pain >pain >pain stands out as a usua# practice to attend with a dance
partner estab#ished7 whi#e in 'orth America 'orth America 'orth America 'orth America 3the 1>A and .anada5 is common to attend a#one to the mi#onga.


2igure 1, H Assistance habit b* countr*/region

Attendance habits Attendance habits Attendance habits Attendance habits b* age b* age b* age b* age

2igure 14 H Assistance (abit b* Age

Age a#so inf#uences the habit of assistance. 'ote in the upper graph how as *ou increase a6erage age of the wi;ard it
decreases the percentage of peop#e who attend in group.
Assistance habit b* #e6e# of dance Assistance habit b* #e6e# of dance Assistance habit b* #e6e# of dance Assistance habit b* #e6e# of dance

2igure 1D H Assistance (abit b* 4e6e# of dance
Accompanied b* a dance partner Accompanied b* a dance partner Accompanied b* a dance partner Accompanied b* a dance partner M MM M 06o#ution b* age 06o#ution b* age 06o#ution b* age 06o#ution b* age

2igure 1C H Assistance 06o#ution b* Age

Accompanied b* a Accompanied b* a Accompanied b* a Accompanied b* a dancing dancing dancing dancing partner partner partner partner M MM M !eha6ior !eha6ior !eha6ior !eha6ior

2igure 1C H Accompanied b* dancing partner M !eha6ior

The CD.4DR CD.4DR CD.4DR CD.4DR of peop#e who on#* dance with the person the* are 6isiting the mi#onga with7 are coup#es and a#so share the
dance.

40E04 of %A'.0
/ears of dancing b* countr*/region /ears of dancing b* countr*/region /ears of dancing b* countr*/region /ears of dancing b* countr*/region
.ountr*/ !eginner -ntermediate Ad6anced Professiona# Prom. fina#es
Region A6erage *ears A6erage *ears A6erage *ears A6erage *ears A6erage *ears
%ance Age %ance Age %ance Age %ance Age %ance Age
'orth America M M D.BD D2.20 M M M M D.BD D2.20
>outh America 2.1, D2.2D C.1+ 4,.04 +.4+ 41.+4 11.D0 ,2.2D C.+2 42.4C
Argentina 2.02 ,B.C1 C.,A 42.D1 10.C1 4,.1A 1D.D1 ,C.4, A.2C 41.BC
.hi#e 1.2D 4D.D0 4.+0 ,B.1, B.1, ,,.AA C.00 ,D.00 D.AD ,+.AD
>pain 4.,, D1.C+ +.1A 4A.A1 11.,0 4D.20 14.C0 41.00 A.4B 4+.C0
0urope 2.D0 D,.00 C.C, 4D.B, A.0C ,B.2B 12.,, 4D.,, +.,1 4,.AA
2rance 2.00 ,0.00 D.B1 ,B.0B B.D4 4C.D4 20.D0 ,C.00 +.A2 41.24
-ta#* 1.+D 42.D0 C.,B 4B.AC 10.44 4B.22 1D.A, 4,.C+ A.21 4A.10
9eFico 1.1+ ,+.22 ,.B2 ,4.DA C.4, ,1.C, 1D.A, ,+.A, D.1A ,4.11
1rugua* 1.,, ,D.C+ D.0, 41.1D B.00 ,+.0A M M D.D, ,B.DD
Eene;ue#a 1.,C ,2.2B ,.,, ,2.0D C.1+ ,0.,, C.2D 2D.D0 4.0C ,1.02

-mportant 'ote: -mportant 'ote: -mportant 'ote: -mportant 'ote: The s*mbo# VMV means that there is not enough statistica# information to assume the representation of a
group ana#*sis in particu#ar.
2rom the information abo6e7 ana#*sis suggests the fo##owing:

2igure 1+ H Ad6anced 4e6e#: *ears to reach it

The #earning cur6e of the countries of >outh America >outh America >outh America >outh America 3eFcept Argentina and 1rugua*5 is considerab#* shorter than the
a6erage for the other countries. 34earning .ur6e: the degree of success in #earning during a specific time period5.
A #ogica# eFp#anation cou#d be the combination of high mensua# a6erages of da*s of assistance to the mi#onga with a
#arge number of c#asses taken month#*.
!ut particu#ar#* Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a and 9eFico 9eFico 9eFico 9eFico are the countries with the #owest a6erage of attendance to the mi#onga7 +.20 +.20 +.20 +.20 and
+.+A +.+A +.+A +.+A da*s per month respecti6e#*.
Regarding the number of hours of c#asses taken per month hours of c#asses taken per month hours of c#asses taken per month hours of c#asses taken per month 3another factor that cou#d he#p reduce the #earning cur6e5 the
ana#*sis b* countr*/region *ie#ds these resu#ts:
.$1'TR//R0G-T' AE0RAG0
Eene;ue#a A.++ hours per month
>outh America A.11 hours per month
-ta#* +.+4 hours per month
Argentina +.C4 hours per month
9eFico +.4A hours per month
1rugua* C.AB hours per month
.hi#e C.AD hours per month
'orth America D.1A hours per month
2rance D.1+ hours per month
0urope 4.A2 hours per month
>pain 4.CA hours per month
-n fact7 both Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a and 9eFico 9eFico 9eFico 9eFico are in first p#ace in terms of hours of c#asses per month7 but a#so are Argentina Argentina Argentina Argentina and
-ta#* -ta#* -ta#* -ta#*. .. . (owe6er7 these two countries ha6e #earning cur6es 3to reach the Ad6anced Ad6anced Ad6anced Ad6anced #e6e#5 #arger 310.C 10.C 10.C 10.C and 10.4 10.4 10.4 10.4 *ears7
respecti6e#*.5
-t becomes e6en more striking for Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a if other #earning cur6es are ana#*;ed:
!eginner !eginner !eginner !eginner: 1 11 1. .. .,C ,C ,C ,C
*ears of dance
-ntermediate -ntermediate -ntermediate -ntermediate:
, ,, ,. .. .,, ,, ,, ,, *ears of
dance
Ad6anced Ad6anced Ad6anced Ad6anced: C CC C. .. .1+ 1+ 1+ 1+
*ears of dance
Professiona# Professiona# Professiona# Professiona#:
C CC C. .. .2D 2D 2D 2D *ears of
dance
-n comparison to Argentina Argentina Argentina Argentina7 as a reference:
!eginner !eginner !eginner !eginner: 2 22 2. .. .02 02 02 02
*ears of dance
-ntermediate -ntermediate -ntermediate -ntermediate:
C CC C. .. .,A ,A ,A ,A *ears of
dance
Ad6anced Ad6anced Ad6anced Ad6anced: 10 10 10 10. .. .C1 C1 C1 C1
*ears of dance
Professiona# Professiona# Professiona# Professiona#:
1D 1D 1D 1D. .. .D1 D1 D1 D1 *ears of
dance
The time a dancer in Argentina Argentina Argentina Argentina spends in order to consider himse#f an -ntermediate -ntermediate -ntermediate -ntermediate dancer7 eFceeds one of Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a
to reach a Professiona# Professiona# Professiona# Professiona# #e6e#.
!ut there is a significant fact in both Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a and 9eFico 9eFico 9eFico 9eFico: their Vmi#ongueras mi#ongueras mi#ongueras mi#onguerasV are the *oungest popu#ations in the
countries and regions ana#*;ed in this report: ,1.02 ,1.02 ,1.02 ,1.02 and ,4.11 ,4.11 ,4.11 ,4.11 *ears respecti6e#*.

This offers two readings:
$n one side7 the tango wi## enUo* Vgood hea#thV in these countries as #ong as *oung peop#e continue Uoining the
dance.
-t cou#d a#so be assumed that short #earning cur6es are re#ated to the natura# ease in a *oung person to
incorporate techni)ues and mo6ements in contrast to o#der peop#e.
Regarding professiona# status7 the s#ogan of the sur6e* was to consider VProfessiona# Professiona# Professiona# Professiona#V as VTh Th Th The ee e person person person person for whom for whom for whom for whom tango is tango is tango is tango is
*our so#e profession and source of income *our so#e profession and source of income *our so#e profession and source of income *our so#e profession and source of incomeV.
Therefore the eFistence of these two conditions is understood as part of being a Professiona#:
To possess the know#edge7 eFperience and eFpertise for teaching tango to others.
The eFistence of an 3interna# or eFterna#5 market that re)uires ser6ices re#ated to dance7 such as those
connected to the show and genera##* found in capita# cities or in a certain number of inhabitants.
1rugua* 1rugua* 1rugua* 1rugua*7 a countr* of eFce##ence concerning tango7 has a popu#ation of ,.2 mi##ion inhabitants7 and its capita#
9onte6ideo7 with 1., mi##ion inhabitants 3eFc#uding the metropo#itan area5. -n re#ati6e terms it is a ?sma##Vmarket which
difficu#ts VProfessiona# Professiona# Professiona# Professiona#V conditions to outstanding dancers of the countr*7 natura##* forcing them to emigrate to de6e#op
their careers abroad.
A different situation constitutes a metropo#is #ike 9eFico .it* 9eFico .it* 9eFico .it* 9eFico .it*7 whose greater metropo#itan area tota#s more than 21
mi##ion peop#e.

-9P$RTA'T -9P$RTA'T -9P$RTA'T -9P$RTA'T: Remember that in this report the #e6e# of dancing #e6e# of dancing #e6e# of dancing #e6e# of dancing has been defined b* each person7 without
an estab#ished process of genera# common assessment. Therefore it wi## be co#ored b* the subUecti6e
e#ements of each indi6idua# and a#so the conteFtua# conditions. There wi## be cases of o6erMe6a#uating the
own #e6e#7 as we## as under H e6a#uating onese#f.

(ours of dance c#asses b* dance #e6e# (ours of dance c#asses b* dance #e6e# (ours of dance c#asses b* dance #e6e# (ours of dance c#asses b* dance #e6e#
$n the pre6ious page we ana#*;ed the a6erage hours of c#asses per countr*7 on the fo##owing comes the same ana#*sis b*
%ance #e6e# %ance #e6e# %ance #e6e# %ance #e6e# of respondent:
%A'.0 40E04 AE0RAG0
!eginner B.0B hours per month
-ntermediate +.21 hours per month
Ad6anced C.01 hours per month
Professiona# +.+A hours per month

N:(/ %$ /$1 %A'.0 TA'G$I

:hat dri6es a person to #earn to dance tangoI 9ost respondents were unab#e to find in the options of the )uestion
V:hat was the main reason *ou decided to dance tango :hat was the main reason *ou decided to dance tango :hat was the main reason *ou decided to dance tango :hat was the main reason *ou decided to dance tangoIV the reason or moti6e that #ed them to embrace it.

2igure 1A H Reasons for tango
The other reasons ... The other reasons ... The other reasons ... The other reasons ...
:e ha6e registered more than C00 comments C00 comments C00 comments C00 comments regarding to the reasons that #ed to tango7 making it impossib#e to inc#ude
them in this ana#*sis. !ut we can summari;e much of it with the fo##owing:
!ecause of curiosit*
!* chance
To seduce someone
2or the sensua#it* of the dance
!ecause of the m*ster* of the embracement
2or the 9usic
2or medica# prescription
2or therapeutic recommendations
2or constituting a persona# cha##enge
2or #istening to tango since chi#dhood
2or being a dancer of other dances
!ecause of 4o6e
!ecause of passion
!ecause of necessit*
!ecause of the energ*

T TT The beginnings he beginnings he beginnings he beginnings
A## those dancing tango necessari#* o6ercome7 with more or #ess difficu#t*7 !eginner stage. -t is at this point where the
character of the future mi#onga dancer is shaped7 to the eFtent that he or she can o6ercome what !eginners define as
greater difficu#ties in this stage:

2igure 1B H!eginners %ifficu#ties

'o doubt tango is a dance that re)uires continua# practice to aim for impro6ement. And the #ack of a partner to practice
constitutes a practica# impediment and has a detrimenta# effect to the #earning process. 2rom DD.,AR DD.,AR DD.,AR DD.,AR sa*ing not ha6ing
a partner to practice with7 C2.0+R C2.0+R C2.0+R C2.0+R are women and ,+ ,+ ,+ ,+.B,R .B,R .B,R .B,R are men.
Regarding the une6en number of men and women in c#asses 3which forces the teacher to repeat eFercises that can be
considered boring for !eginners57 40R 40R 40R 40R eFpressing this difficu#t* is made up of A+.D0R A+.D0R A+.D0R A+.D0R of women and on#* 127D0R 127D0R 127D0R 127D0R of
men.
Those who sa* the* Vdo not be#ie6e do not be#ie6e do not be#ie6e do not be#ie6e ha6ing ha6ing ha6ing ha6ing an aptitude for dancing an aptitude for dancing an aptitude for dancing an aptitude for dancingV are most#* men 3B0R B0R B0R B0R5.

2014 Report Attributes and Preferences in Tango 8 Page ,18
%A'.-'G T0A.(0R>
9uch time has passed since tango was #earned on the basis of tria# and error7 and when it was taught b* parents7 o#der
sib#ings and friends. >ince the g#oba# spread of tango7 a fundamenta# ro#e in the de6e#opment of the dance has
appeared: the teachers the teachers the teachers the teachers.
The graph be#ow shows the genera# resu#t to the )uestion V:ho :ho :ho :ho are are are are the the the the teachers or references that ha6e teachers or references that ha6e teachers or references that ha6e teachers or references that ha6e most most most most
contributed to impro6ing *our dancingI contributed to impro6ing *our dancingI contributed to impro6ing *our dancingI contributed to impro6ing *our dancingI?. 3$n#* 100 teachers with the highest number of mentions inc#uded5.

2igure 20 H The Teachers 31 a D05
'ote: 'ote: 'ote: 'ote: Parentheses indicate their position in the count7 brackets the number of V6otesV recei6ed.

2igure 11 H The Teachers 3D1 a 1005
'ote: 'ote: 'ote: 'ote: The* ha6e recei6ed 3at #east one 6ote5 D+B teachers or references.
Tango G#oba#i;ation a#so created the opportunit* for Professiona#s to disseminate their know#edge on a g#oba# sca#e. The
fo##owing four graphs show the composition of the V6otes 6otes 6otes 6otesV recei6ed b* each of the teachers according to the countr* of
the respondent 3ordered a#phabetica##*5:

2014 Report Attributes and Preferences in Tango 8 Page ,,8

2igure 12 H Eotes .omposition 31 a 2D5

2igure 1, H Eotes .omposition 32C a D05

2014 Report Attributes and Preferences in Tango 8 Page ,D8

2igure 14 H Eotes .omposition 3D1 a +D5

2igure 1D HEotes .omposition 3+C a 1005

2014 Report Attributes and Preferences in Tango 8 Page ,+8
-n the fo##owing figures the V6otesV b* %ance 4e6e# of the respondent:

2igure 1C H !eginners 6otes

2igure 1+ H -ntermediate 6otes

2igure 1A HAd6anced 6otes

2igure 1B H Professiona#s 6otes

-'E0>T90'T -' 9-4$'GA

-t is said that tango is not an eFpensi6e acti6it*. $n the who#e7 the entrance to the mi#onga is economica# and
consumption prices 3food/ drinks5 are simi#ar to those in other socia# acti6ities.
!ut where there ma* be a considerab#e in6estment is in c#othing and footwear which each mi#onga dancer wants to
ac)uire to de6ote eFc#usi6e#* to tango. The fo##owing graph shows the a6erage:
Pair of shoes/ s#ippers and dance c#othing7 toda*.
Purchases of shoes/ s#ippers and c#othes 3pants7 skirts7 dresses7 etc.5 ac)uired in the past twe#6e months.

2igure 20 H -n6estment b* gender

The same information is presented in the fo##owing graph but grouped b* %ancing %ancing %ancing %ancing 4e6e# 4e6e# 4e6e# 4e6e#:

2014 Report Attributes and Preferences in Tango 8 Page ,B8

2igure 21 H -n6estment b* %ance 4e6e#

As might be eFpected7 Professiona#s Professiona#s Professiona#s Professiona#s are those who make more in6estment in tango.

2ina##*7 the fo##owing chart shows the a6erage in6estment in a *ear of dance supp#ies b* countr* / region:

2igure 22 H .ountr*/ Region -n6estment

/$1R 91>-.A4 TA>T0>

The tango7 mi#onga and 6a#s are the primar* genres taken into account b* each musica#i;ador p#anning Vtandas tandas tandas tandasV of
dance. >ome e6en dare to inc#ude batches of Va#ternati6e tangoV 3e#ectronic tango7 fusion7 etc..5..
The truth is that each indi6idua# has its own tastes and preferences7 de6e#oping a predi#ection for dancing7 for eFamp#e7
more rounds of tango7 mi#ongas7 or 6ice 6ersa. 0ach genre has its own 6ariet* of c#imates7 energies and intensities.
The ke* to Vsuccess success success successV for each musica#i;ador wou#d be to achie6e the correct proportions of each gender to obtain a fina#
product that meets the eFpectations of dancers..
And if eFpectations are concerned7 *ou must first pa* attention to the a6erage age of the danceMf#oor:

2igure 2, H 9usica# Genre preferences b* Age

'ote that7 in regards to tango tango tango tango7 the o#der the respondent7 the greater the preference for it at the eFpense of the other
genres. 'atura##* age brings some #imitations and especia##* 6a#s and mi#onga re)uire greater mobi#it* and speed of the
dancing coup#e.

As shown in the graph be#ow7 there are no differences in the dance genres between peop#e of different dance #e6e#:

2igure 24 H Genre Preferences b* dance #e6e#

2ina##*7 *ou must a#so respect the regiona# tastes of the attendees:
Tango 9i#onga Ea#s
A#ternati6e
Tango
'orth America DA.42R 1D 1D 1D 1D. .. .1+R 1+R 1+R 1+R 1A.D0R +.B2R
>outh America DA.1DR 1B.++R 1C.2DR D.A,R
Argentina DB.2+R 1B.C1R 1D.4DR D.C+R
.hi#e C0 C0 C0 C0. .. .BCR BCR BCR BCR 22.D0R 1, 1, 1, 1,. .. .ADR ADR ADR ADR 2 22 2. .. .CBR CBR CBR CBR
>pain DA.DAR 1+.B,R 1C.B4R C.DCR
0urope DA.12R 1+.B2R 1B.1CR 4.A0R
2rance DD.11R 1A.DBR 1B.00R +.,0R
-ta#* D+.1,R 1A.,,R 20 20 20 20. .. .0AR 0AR 0AR 0AR 4.4CR
9eFico D0.C0R 21.+,R 1A.C,R A.A,R
1rugua* DA.BCR 20.+4R 14.,0R C.00R
Eene;ue#a D0 D0 D0 D0. .. .00R 00R 00R 00R 2, 2, 2, 2,. .. .20R 20R 20R 20R 1+.4,R B BB B. .. .,CR ,CR ,CR ,CR
'ote: 'ote: 'ote: 'ote: -n green the highest 6a#ues of the 6ertica# series7 the #owest in orange.
9eFico 9eFico 9eFico 9eFico and Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a are the two countries where a#ternati6e tango is more popu#ar. Reca## that both ha6e popu#ations
of *ounger tango dancers.

-t is a#so the responsibi#it* of musica#i;ador the ?cortina@ 3.ortina .ortina .ortina .ortina: Piece of music of 20 to 40 seconds separating
musica# ?tandas@5.

2igure 2D H Preffered ?cortinas@ betweeen batches 3?tandas@5

Preferred duration of the ?tanda@ Preferred duration of the ?tanda@ Preferred duration of the ?tanda@ Preferred duration of the ?tanda@ 3genera# resu#t5 3genera# resu#t5 3genera# resu#t5 3genera# resu#t5

2igure 2C H Preferred %uration of the ?Tanda@

-t is not an insignificant percentage ,0.DDR ,0.DDR ,0.DDR ,0.DDR who prefer a ?tanda tanda tanda tanda@ of , songs. This percentage is made up b* D+.C2R D+.C2R D+.C2R D+.C2R
women and 42.,AR 42.,AR 42.,AR 42.,AR men.
The preference of the ?tanda tanda tanda tanda@ of , themes 6aries considerab#* when 6iewed from countr* / region:
2 themes , themes 4 themes 9ore tan 4
>outh America 0 00 0. .. .00R 00R 00R 00R 2+.+AR +2.22R 0 00 0. .. .00R 00R 00R 00R
Argentina 1.D+R 21.+AR +2.44R 4.20R
.hi#e , ,, ,. .. .ADR ADR ADR ADR 11 11 11 11. .. .D4R D4R D4R D4R A4 A4 A4 A4. .. .C2R C2R C2R C2R 0 00 0. .. .00R 00R 00R 00R
>pain ,.D+R 44.0DR D1.1BR 1.1BR
0urope 2.0AR 2D.00R +0.A,R 2.0AR
2rance 2.C,R ,1.DAR C0.D,R D DD D. .. .2CR 2CR 2CR 2CR
-ta#* 2.D0R 2+.D0R C+.D0R 2.D0R
9eFico 2.0CR D4.C4R 42.2+R 1.0,R
1rugua* 0 00 0. .. .00R 00R 00R 00R 2+.4DR +2.DDR 0 00 0. .. .00R 00R 00R 00R
Eene;ue#a 2.2+R DC DC DC DC. .. .A2R A2R A2R A2R ,A ,A ,A ,A. .. .C4R C4R C4R C4R 2.2+R
'ote 'ote 'ote 'ote: -n green the highest 6a#ues of the 6ertica# series7 the #owest orange.
Again 9eFico 9eFico 9eFico 9eFico and Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a stand out for ha6ing the highest percentages of preference ?tandas@ of , songs.

PR020RR0% $R.(0>TRA> for %A'.-'G
$6era## resu#ts $6era## resu#ts $6era## resu#ts $6era## resu#ts

2igure 2+ H Preferred $rchestras for %ancing

-n the neFt graphs the resu#ts of the top 20 orchestras in the chart abo6e wi## be ana#*;ed.
.omposition of preferences b* region 3ordered from highest to #owest preference in >outh .omposition of preferences b* region 3ordered from highest to #owest preference in >outh .omposition of preferences b* region 3ordered from highest to #owest preference in >outh .omposition of preferences b* region 3ordered from highest to #owest preference in >outh
America5 America5 America5 America5
The fo##owing chart shows how the 6otes recei6ed are made b* each of the top 20 orchestras in the o6era## resu#t.

2igure 2A H Preferences b* region

.omposition of preferences b* age 3ordered from #owest to highest age range5 .omposition of preferences b* age 3ordered from #owest to highest age range5 .omposition of preferences b* age 3ordered from #owest to highest age range5 .omposition of preferences b* age 3ordered from #owest to highest age range5

2igure 2B H $rchestras Preferences b* age

.omposition of preferences b* gender .omposition of preferences b* gender .omposition of preferences b* gender .omposition of preferences b* gender

2igure ,0 H $rchestras Preferences b* gender

PR020RR0% TA'G$> 2$R %A'.-'G
$6era## resu#t $6era## resu#t $6era## resu#t $6era## resu#t

2igure ,1 H Preferred Tangos for %ancing

. .. .hart hart hart hart of preferences b* region 3ordered from highest to #owest preference in >outh America5 of preferences b* region 3ordered from highest to #owest preference in >outh America5 of preferences b* region 3ordered from highest to #owest preference in >outh America5 of preferences b* region 3ordered from highest to #owest preference in >outh America5

2igure ,2 H Preferred Tangos b* region

. .. .hart hart hart hart of preferences b* age 3ordered from #owest to highest age range5 of preferences b* age 3ordered from #owest to highest age range5 of preferences b* age 3ordered from #owest to highest age range5 of preferences b* age 3ordered from #owest to highest age range5

2igure ,, H Preferred Tangos b* Age

2014 Report Attributes and Preferences in Tango 8 Page D18
. .. .hart hart hart hart of preferences b* gender of preferences b* gender of preferences b* gender of preferences b* gender

2igure ,4 H Preferred Tangos b* Gender

Preferred attributes in the occasiona# dance partner
:hat is the importance gi6en to persona# and dance attributes for someone who in6ites us to dance or who we in6iteI

2igure ,D H :omen .riteria

2igure ,C H 9en .riteria

Gi6en that 1 11 1 is the most important and D DD D the #east7 both seFes are characteri;ed b* prioriti;ing V'eatness and h*giene 'eatness and h*giene 'eatness and h*giene 'eatness and h*gieneV
and Vdance #e6e# dance #e6e# dance #e6e# dance #e6e#V.

2014 Report Attributes and Preferences in Tango 8 Page D,8
%ancing is a p#easure7 but ...
2ew dances ha6e the characteristic of dancing with the highest number of casua# partners as tango. %uring a night *ou
can dance mi#onga with o6er 10 different peop#e. This high interaction often makes indi6idua#s #i6e different situations7
some p#easant and some not so. The fo##owing tab#es show unfa6orab#e situations most often occuring in a mi#onga.
!* age !* age !* age !* age
1A T$ ,0 /0AR> 1A T$ ,0 /0AR> 1A T$ ,0 /0AR> 1A T$ ,0 /0AR>
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >itua >itua >itua >ituat tt tions ions ions ions Perc. Perc. Perc. Perc. Pos Pos Pos Pos. .. . >itua >itua >itua >ituation tion tion tions ss s Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me D+.,0R Y1Z (is/her dance is uncomfortab#e to me CD.C0R
Y2Z Poor persona# h*giene 4+.C0R Y2Z Poor persona# h*giene DA.00R
Y,Z Tries to correct m* dance 4C.C0R Y,Z Tries to correct m* dance DC.+0R
Y4Z >peaks during the songs 40.A0R Y4Z 9akes insinuations outside the conteFt of dance 42.+0R
YDZ The person has a #ow #e6e# of dance ,+.B0R YDZ >weats a #ot 42.+0R
YCZ >ings during the songs 2,.,0R YCZ >peaks during the songs ,B.D0R
Y+Z >weat a #ot 1A.40R Y+Z The person has a #ow #e6e# of dance ,,.A0R
YAZ -s drunk 1+.D0R YAZ -s drunk 2B.B0R
YBZ 9akes insinuations outside the conteFt of dance 1D.D0R YBZ >ings during the songs 21.00R

,1 T$ 40 /0AR> ,1 T$ 40 /0AR> ,1 T$ 40 /0AR> ,1 T$ 40 /0AR>
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >itua >itua >itua >ituation tion tion tions ss s Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >ituation >ituation >ituation >ituations ss s Perc. Perc. Perc. Perc.
Y1Z >peaks during the songs D0.C0R Y1Z (is/her dance is uncomfortab#e to me DC.00R
Y2Z (is/her dance is uncomfortab#e to me 4B.40R Y2Z Tries to correct m* dance D,.C0R
Y,Z Poor persona# h*giene 4+.00R Y,Z Poor persona# h*giene D0.40R
Y4Z Tries to correct m* dance ,B.A0R Y4Z 9akes insinuations outside the conteFt of dance ,B.20R
YDZ The person has a #ow #e6e# of dance ,0.10R YDZ The person has a #ow #e6e# of dance ,A.40R
YCZ >ings during the songs 2D.,0R YCZ >peaks during the songs ,A.40R
Y+Z -s drunk 21.+0R Y+Z >weats a #ot ,D.20R
YAZ >weats a #ot 1A.10R YAZ >ings during the songs 24.00R
YBZ 9akes insinuations outside the conteFt of dance 12.00R YBZ -s drunk 2,.20R

41 T$ D0 /0AR> 41 T$ D0 /0AR> 41 T$ D0 /0AR> 41 T$ D0 /0AR>
90'P> .$9P4A-'T> :$9A'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >itua >itua >itua >ituations tions tions tions Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >itua >itua >itua >ituations tions tions tions Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me DA.10R Y1Z (is/her dance is uncomfortab#e to me DA.10R
Y2Z Poor persona# h*giene 4,.20R Y2Z Tries to correct m* dance D0.D0R
Y,Z The person has a #ow #e6e# of dance 41.B0R Y,Z Poor persona# h*giene 4A.40R
Y4Z >peaks during the songs ,D.10R Y4Z >weats a #ot 4+.,0R
YDZ Tries to correct m* dance ,,.A0R YDZ The person has a #ow #e6e# of dance 4,.00R
YCZ >ings during the songs 20.,0R YCZ >peaks during the songs ,A.+0R
Y+Z >weats a #ot 1+.C0R Y+Z 9akes insinuations outside the conteFt of dance ,1.20R
YAZ -s drunk 1,.D0R YAZ -s drunk 1B.40R
YBZ 9akes insinuations outside the conteFt of dance 12.20R YBZ >ings during the songs 1+.20R

D1 T$ C0 /0AR> D1 T$ C0 /0AR> D1 T$ C0 /0AR> D1 T$ C0 /0AR>
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >ituation >ituation >ituation >ituations ss s Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >ituation >ituation >ituation >ituations ss s Perc. Perc. Perc. Perc.
Y1Z Poor persona# h*giene 4B.40R Y1Z Poor persona# h*giene DC.20R
Y2Z (is/her dance is uncomfortab#e to me 4A.20R Y2Z Tries to correct m* dance D2.A0R
Y,Z Tries to correct m* dance 4+.10R Y,Z The person has a #ow #e6e# of dance D0.C0R
Y4Z The person has a #ow #e6e# of dance 4D.B0R Y4Z (is/her dance is uncomfortab#e to me 4B.40R
YDZ >peaks during the songs 4D.B0R YDZ >peaks during the songs 4A.,0R
YCZ >ings during the songs ,4.10R YCZ >weats a #ot 42.+0R
Y+Z >weats a #ot 2+.10R Y+Z -s drunk ,+.10R
YAZ -s drunk 22.40R YAZ 9akes insinuations outside the conteFt of dance 2B.20R
YBZ 9akes insinuations outside the conteFt of dance 12.B0R YBZ >ings during the songs 24.+0R

C1 T$ +0 /0AR> C1 T$ +0 /0AR> C1 T$ +0 /0AR> C1 T$ +0 /0AR>
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >itua >itua >itua >ituation tion tion tions ss s Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >itua >itua >itua >ituation tion tion tions ss s Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me D,.A0R Y1Z Tries to correct m* dance C2.10R
Y2Z >peaks during the songs D,.A0R Y2Z >peaks during the songs DA.C0R
Y,Z Tries to correct m* dance D0.00R Y,Z Poor persona# h*giene DA.C0R
Y4Z Poor persona# h*giene 4A.10R Y4Z (is/her dance is uncomfortab#e to me 44.A0R
YDZ The person has a #ow #e6e# of dance 4C.20R YDZ -s drunk 41.40R
YCZ >ings during the songs ,2.+0R YCZ >weats a #ot ,+.B0R
Y+Z >weats a #ot 2C.B0R Y+Z >ings during the songs ,4.D0R
YAZ -s drunk 2,.10R YAZ 9akes insinuations outside the conteFt of dance ,1.00R
YBZ 9akes insinuations outside the conteFt of dance 1D.40R YBZ The person has a #ow #e6e# of dance 2+.C0R

2014 Report Attributes and Preferences in Tango 8 Page DD8
!* #e6e# dance !* #e6e# dance !* #e6e# dance !* #e6e# dance
!0G-''0R> !0G-''0R> !0G-''0R> !0G-''0R>
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >ituat >ituat >ituat >ituations ions ions ions Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >itua >itua >itua >ituation tion tion tions ss s Perc. Perc. Perc. Perc.
Y1Z Tries to correct m* dance C4.00R Y1Z Tries to correct m* dance C2.ACR
Y2Z Poor persona# h*giene 4A.00R Y2Z Poor persona# h*giene C2.ACR
Y,Z (is/her dance is uncomfortab#e to me ,C.00R Y,Z (is/her dance is uncomfortab#e to me D+.14R
Y4Z >peaks during the songs ,C.00R Y4Z -s drunk 4A.D+R
YDZ >weats a #ot 24.00R YDZ 9akes insinuations outside the conteFt of dance 42.ACR
YCZ 9akes insinuations outside the conteFt of dance 20.00R YCZ >weats a #ot 42.ACR
Y+Z The person has a #ow #e6e# of dance 1C.00R Y+Z >peaks during the songs 2A.D+R
YAZ >ings during the songs 12.00R YAZ The person has a #ow #e6e# of dance 1+.14R
YBZ -s drunk 12.00R YBZ >ings during the songs 11.4,R

-'T0R90%-AT0 -'T0R90%-AT0 -'T0R90%-AT0 -'T0R90%-AT0
90'P> .$9P4A-'T> :$9A'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >itua >itua >itua >ituation tion tion tions ss s Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >itua >itua >itua >ituat tt tions ions ions ions Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me D4.00R Y1Z Tries to correct m* dance C0.41R
Y2Z Tries to correct m* dance 4C.00R Y2Z (is/her dance is unconfortab#e to me D+.00R
Y,Z >peaks during the songs 4C.00R Y,Z Poor persona# h*giene DD.C,R
Y4Z Poor persona# h*giene 44.D0R Y4Z >peaks during the songs 4,.,4R
YDZ The person has a #ow #e6e# of dance ,B.00R YDZ >weats a #ot 41.C4R
YCZ >weats a #ot 24.D0R YCZ 9akes insinuations outside the conteFt of dance ,B.2DR
Y+Z >ings during the songs 24.00R Y+Z The person has a #ow #e6e# of dance ,A.2,R
YAZ -s drunk 1A.00R YAZ -s drunk 2D.B4R
YBZ 9akes insinuations outside the conteFt of dance 12.00R YBZ >ings during the songs 2,.DDR

A%EA'.0% A%EA'.0% A%EA'.0% A%EA'.0%
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >ituac >ituac >ituac >ituact tt tons ons ons ons Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >ituation >ituation >ituation >ituations ss s Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me DB.CBR Y1Z (is/her dance is uncomfortab#e to me C2.A1R
Y2Z >peaks during the songs D1.B4R Y2Z The person has a #ow #e6e# of dance D2.0+R
Y,Z The person has a #ow #e6e# of dance 4B.C1R Y,Z Poor persona# h*giene D1.24R
Y4Z Poor persona# h*giene 4B.C1R Y4Z >peaks during the songs 4A.+CR
YDZ Tries to correct m* dance 41.0BR YDZ Tries to correct m* dance 4+.11R
YCZ >ings during the songs ,2.DCR YCZ >weats a #ot 4D.4DR
Y+Z -s drunk 24.0,R Y+Z 9akes insinuations outside the conteFt of dance ,,.AAR
YAZ 9akes insinuations outside the conteFt of dance 14.+,R YAZ -s drunk ,0.DAR
YBZ >weats a #ot 14.+,R YBZ >ings during the songs 2A.10R

PR$20>>-$'A4> PR$20>>-$'A4> PR$20>>-$'A4> PR$20>>-$'A4>
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >ituation >ituation >ituation >ituations ss s Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >itua >itua >itua >ituation tion tion tions ss s Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me D+.ABR Y1Z (is/her dance is uncomfortab#e to me +0.00R
Y2Z Poor persona# h*giene D+.ABR Y2Z Poor persona# h*giene C,.,,R
Y,Z The person has a #ow #e6e# of dance 42.11R Y,Z The person has a #ow #e6e# of dance 4,.,,R
Y4Z >ings during the songs ,C.A4R Y4Z Tries to correct m* dance 40.00R
YDZ Tries to correct m* dance 2A.BDR YDZ >weats a #ot 40.00R
YCZ >peaks during the songs 2A.BDR YCZ >peaks during the songs ,,.,,R
Y+Z >weats a #ot 2A.BDR Y+Z 9akes insinuations outside the conteFt of dance ,0.00R
YAZ -s drunk 21.0DR YAZ -s drunk ,0.00R
YBZ 9akes insinuations outside the conteFt of dance 1D.+BR YBZ >ings during the songs 1,.,,R

!* countr* / region !* countr* / region !* countr* / region !* countr* / region
'$RT( A90R-.A '$RT( A90R-.A '$RT( A90R-.A '$RT( A90R-.A
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Y1Z (is/her dance is uncomfortab#e to me A,.,,R Y1Z The person has a #ow #e6e# of dance D+.14R
Y2Z The person has a #ow #e6e# of dance CC.C+R Y2Z >peaks during the songs D+.14R
Y,Z Poor persona# h*giene CC.C+R Y,Z >weats a #ot 2A.D+R
Y4Z Tries to correct m* dance D0.00R Y4Z (is/her dance is uncomfortab#e to me 2A.D+R
YDZ >peaks during the songs ,,.,,R YDZ Tries to correct m* dance 2A.D+R
YCZ -s drunk ,,.,,R YCZ >ings during the songs 14.2BR
Y+Z >weats a #ot 1C.C+R Y+Z 9akes insinuations outside the conteFt of dance 14.2BR
YAZ >ings during the songs 0.00R YAZ Poor persona# h*giene 0.00R
YBZ 9akes insinuations outside the conteFt of dance 0.00R YBZ -s drunk 0.00R

>$1T( A90R-.A >$1T( A90R-.A >$1T( A90R-.A >$1T( A90R-.A
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >ituation >ituation >ituation >ituations ss s Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >itua >itua >itua >ituat tt tions ions ions ions Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me C4.00R Y1Z Poor persona# h*giene CA.B+R
Y2Z Tries to correct m* dance D2.00R Y2Z (is/her dance is uncomfortab#e to me CA.B+R
Y,Z Poor persona# h*giene 4A.00R Y,Z The person has a #ow #e6e# of dance DA.C2R
Y4Z -s drunk 44.00R Y4Z >weats a #ot D1.+2R
YDZ The person has a #ow #e6e# of dance ,C.00R YDZ Tries to correct m* dance 4A.2AR
YCZ >peaks during the songs ,C.00R YCZ >peaks during thesongs 2+.DBR
Y+Z >ings during the songs 24.00R Y+Z 9akes insinuations outside the conteFt of dance 2+.DBR
YAZ >weats a #ot A.00R YAZ -s drunk 24.14R
YBZ 9akes insinuations outside the conteFt of dance A.00R YBZ >ings during the songs 20.CBR

2014 Report Attributes and Preferences in Tango 8 Page D+8
ARG0'T-'A ARG0'T-'A ARG0'T-'A ARG0'T-'A
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >ituat >ituat >ituat >ituations ions ions ions Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >itua >itua >itua >ituat tt tions ions ions ions Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me D0.C0R Y1Z Tr* to correct m* dance DB.+1R
Y2Z Poor persona# h*giene D0.00R Y2Z (is/her dance is uncomfortab#e to me D+.2AR
Y,Z >peaks during the songs 4D.+AR Y,Z Poor persona# h*giene DC.,1R
Y4Z The person has a #ow #e6e# of dance 4D.1AR Y4Z 9akes insinuations outside the conteFt of dance 4D.C,R
YDZ Tries to correct m* dance 44.DAR YDZ >peaks during the songs 4D.1DR
YCZ >ings during the songs ,1.,,R YCZ The person has a #ow #e6e# of dance 41.2CR
Y+Z >weats a #ot 20.4AR Y+Z >weats a #ot 40.2BR
YAZ -s drunk 1D.CCR YAZ -s drunk ,1.DDR
YBZ 9akes insinuations outside the conteFt of dance 14.4CR YBZ >ings during the songs 2C.+0R

.(-40 .(-40 .(-40 .(-40
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >ituat >ituat >ituat >ituations ions ions ions Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >ituation >ituation >ituation >ituations ss s Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me CB.2,R Y1Z The person has a #ow #e6e# of dance D,.ADR
Y2Z The person has a #ow #e6e# of dance D,.ADR Y2Z Tries to correct m* dance 4C.1DR
Y,Z -s drunk D,.ADR Y,Z >weats a #ot ,A.4CR
Y4Z >peaks during the songs 4C.1DR Y4Z Poor persona# h*giene ,A.4CR
YDZ Tries to correct m* dance 4C.1DR YDZ (is/her dance is uncomfortab#e to me ,A.4CR
YCZ Poor persona# h*giene ,A.4CR YCZ -s drunk ,0.++R
Y+Z >weats a #ot 2,.0AR Y+Z >peaks during the songs 2,.0AR
YAZ >ings during the songs 1D.,AR YAZ 9akes insinuations outside the conteFt of dance 2,.0AR
YBZ 9akes insinuations outside the conteFt of dance 1D.,AR YBZ >ings during the songs 1D.,AR

>PA-' >PA-' >PA-' >PA-'
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >ituation >ituation >ituation >ituations ss s Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >itua >itua >itua >ituat tt tions ions ions ions Perc. Perc. Perc. Perc.
Y1Z >peaks during the songs D1.1CR Y1Z (is/her dance is uncomfortab#e to me CA.42R
Y2Z (is/her dance is unconfortab#e to me 4C.D1R Y2Z Tries to correct m* dance D+.ABR
Y,Z The person has a #ow #e6e# of dance ,+.21R Y,Z Poor persona# h*giene 4+.,+R
Y4Z Poor persona# h*giene ,+.21R Y4Z >peaks during the songs 44.+4R
YDZ >ings during the songs ,+.21R YDZ >weats a #ot 42.11R
YCZ Tries to correct m* dance ,4.AAR YCZ 9akes insinuations outside the conteFt of dance ,4.21R
Y+Z >weats a #ot 2+.B1R Y+Z The person has a #ow #e6e# of dance ,1.DAR
YAZ 9akes insinuations outside the conteFt of dance 11.C,R YAZ >ings during the songs ,1.DAR
YBZ -s drunk 11.C,R YBZ -s drunk 21.0DR

01R$P0 01R$P0 01R$P0 01R$P0
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Y1Z Tries to correct m* dance C4.+1R Y1Z (is/her dance is uncomfortab#e to me +2.41R
Y2Z >peaks during the songs DA.A2R Y2Z Poor persona# h*giene D1.+2R
Y,Z (is/her dance is uncomfortab#e to me D2.B4R Y,Z Tries to correct m* dance D1.+2R
Y4Z Poor persona# h*giene 4+.0CR Y4Z >peaks during the songs ,+.B,R
YDZ -s drunk ,D.2BR YDZ 9akes insinuations outside the conteFt of dance ,+.B,R
YCZ The person has a #ow #e6e# of dance 2,.D,R YCZ The person has a #ow #e6e# of dance ,4.4AR
Y+Z >weats a #ot 1+.CDR Y+Z >weats a #ot ,4.4AR
YAZ >ings during the songs 1+.CDR YAZ -s drunk ,1.0,R
YBZ 9akes insinuations outside the conteFt of dance D.AAR YBZ >ings during the songs 1+.24R

2RA'.0 2RA'.0 2RA'.0 2RA'.0
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Y1Z (is/her dance is unconfortab#e to me C4.2BR Y1Z (is/her dance is uncomfortab#e to me CC.C+R
Y2Z Tries to correct m* dance C4.2BR Y2Z >peaks during the songs DA.,,R
Y,Z Poor persona# h*giene D0.00R Y,Z Tries to correct m* dance DA.,,R
Y4Z >peaks during the songs D0.00R Y4Z Poor persona# h*giene D4.1+R
YDZ >ings during the songs 2A.D+R YDZ The person has a #ow #e6e# of dance ,+.D0R
YCZ The person has a #ow #e6e# of dance 21.4,R YCZ >weats a #ot ,,.,,R
Y+Z >weats a #ot 21.4,R Y+Z 9akes insinuations outside the conteFt of dance ,,.,,R
YAZ 9akes insinuations outside the conteFt of dance 14.2BR YAZ >ings during the songs 2D.00R
YBZ -s drunk 14.2BR YBZ -s drunk 2D.00R

-TA4/ -TA4/ -TA4/ -TA4/
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Y1Z (is/her dance is uncomfortab#e to me CB.2,R Y1Z (is/her dance is uncomfortab#e to me CB.2,R
Y2Z The person has a #ow #e6e# of dance 42.,1R Y2Z >peaks during the songs C1.D4R
Y,Z Poor persona# h*giene 42.,1R Y,Z >weats a #ot D,.ADR
Y4Z >peaks during the songs ,4.C2R Y4Z Poor persona# h*giene 4C.1DR
YDZ >weats a #ot ,0.++R YDZ Tries to correct m* dance 4C.1DR
YCZ Tries to correct m* dance 2,.0AR YCZ The person has a #ow #e6e# of dance 1D.,AR
Y+Z >ings during the songs 1D.,AR Y+Z >ings during the songs 1D.,AR
YAZ 9akes insinuations outside the conteFt of dance 1D.,AR YAZ 9akes insinuations outside the conteFt of dance 1D.,AR
YBZ -s drunk 1D.,AR YBZ -s drunk 1D.,AR

2014 Report Attributes and Preferences in Tango 8 Page DB8
90[-.$ 90[-.$ 90[-.$ 90[-.$
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >itua >itua >itua >ituat tt tions ions ions ions Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >itua >itua >itua >ituat tt tions ions ions ions Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me D2.2+R Y1Z Tries to correct m* dance C0.,AR
Y2Z >peaks during the songs D2.2+R Y2Z Poor persona# h*giene DC.C0R
Y,Z Poor persona# h*giene 4D.4DR Y,Z (is/her dance is uncomfortab#e to me D4.+2R
Y4Z The person has a #ow #e6e# of dance 4,.1AR Y4Z >weats a #ot 4,.40R
YDZ Tries to correct m* dance ,A.C4R YDZ The person has a #ow #e6e# of dance 41.D1R
YCZ >ings during the songs 2B.DDR YCZ >peaks during the songs ,+.+4R
Y+Z >weats a #ot 20.4DR Y+Z 9akes insinuations outside the conteFt of dance ,0.1BR
YAZ 9akes insinuations outside the conteFt of dance 1A.1AR YAZ -s drunk 2C.42R
YBZ -s drunk 1D.B1R YBZ >ings during the songs 1C.BAR

1R1G1A/ 1R1G1A/ 1R1G1A/ 1R1G1A/
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >itua >itua >itua >ituat tt tions ions ions ions Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >itua >itua >itua >ituation tion tion tions ss s Perc. Perc. Perc. Perc.
Y1Z (is/her dance is uncomfortab#e to me +0.00R Y1Z (is/her dance is uncomfortab#e to me C1.2BR
Y2Z Poor persona# h*giene DD.00R Y2Z >peaks during the songs C1.2BR
Y,Z Tries to correct m* dance D0.00R Y,Z >weats a #ot D4.A4R
Y4Z >peaks during the songs 4D.00R Y4Z Poor persona# h*giene D4.A4R
YDZ The person has a #ow #e6e# of dance 40.00R YDZ Tries to correct m* dance D1.C1R
YCZ >ings during the songs ,0.00R YCZ The person has a #ow #e6e# of dance ,D.4AR
Y+Z >weats a #ot 2D.00R Y+Z 9akes insinuations outside the conteFt of dance ,2.2CR
YAZ -s drunk 20.00R YAZ >ings during the songs 2B.0,R
YBZ 9akes insinuations outside the conteFt of dance 1D.00R YBZ -s drunk 2B.0,R

E0'0\104A E0'0\104A E0'0\104A E0'0\104A
90'P> .$9P4A-'T> :$90'O> .$9P4A-'T>
Pos. Pos. Pos. Pos. >ituation >ituation >ituation >ituations ss s Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. >ituat >ituat >ituat >ituations ions ions ions Perc. Perc. Perc. Perc.
Y1Z >ings during the songs C.2DR Y1Z Poor persona# h*giene +0.,+R
Y2Z 9akes insinuations outside the conteFt of dance 1A.+DR Y2Z >weats a #ot D1.ADR
Y,Z The person has a #ow #e6e# of dance 2D.00R Y,Z Tries to correct m* dance 4A.1DR
Y4Z >weats a #ot 2D.00R Y4Z -s drunk 44.44R
YDZ -s drunk 2D.00R YDZ The person has a #ow #e6e# of dance 40.+4R
YCZ >peaks during the songs ,+.D0R YCZ (is/her dance is uncomfortab#e to me 40.+4R
Y+Z (is/her dance is uncomfortab#e to me D0.00R Y+Z 9akes insinuations outside the conteFt of dance ,+.04R
YAZ Tries to correct m* dance D0.00R YAZ >peaks during the songs 2D.B,R
YBZ Poor persona# h*giene DC.2DR YBZ >ings during the songs 14.A1R

.omments from respondents .omments from respondents .omments from respondents .omments from respondents
>eF >eF >eF >eF Age Age Age Age 4e6e# 4e6e# 4e6e# 4e6e# .ountr* .ountr* .ountr* .ountr* $ther situations that bother $ther situations that bother $ther situations that bother $ther situations that bother
9an 2, -ntermediate .hi#e .are#essness whi#e dancing 3#itt#e attention to what is happening5
9an 24 -ntermediate Argentina Respect and education among dancers. .riticism does not he#p7 it is not a competition7
this he#ps to promote what we #o6e.
9an 24 -ntermediate 9eFico >he )uestions a #ot her dancing
9an 2C -ntermediate .hi#e >he #oads her weight on me. -t makes me #ose ba#ance.
9an 2A Professiona# -ta#* >he takes ad6antage on m* pub#ic situation and she in6ites me
9an 2A -ntermediate 1rugua* 0Faggerated mo6ements threatening other peop#e on the dance f#oor
9an ,1 -ntermediate Argentina .hews gum during dancing
9an ,1 -ntermediate .o#ombia Tr* to keep a con6ersation with me or with someone e#se during the dance
9an ,4 -ntermediate Argentina >he doesn<t embrace as she shou#d.
9an ,4 Ad6anced Per" >he dances a#one7 she #oads herse#f on me.
9an ,C -ntermediate Argentina >he dances a#one
9an ,B Ad6anced Eene;ue#a 9arked si;e difference
9an 40 -ntermediate Argentina !ad breath
9an 41 Ad6anced 9eFico >he doesn<t enUo* dancing or dances mechanica##*
9an 4D Professiona# Argentina >he greets peop#e whi#e dancing
9an D2 -ntermediate German* >he dances a#one7 too man* dance figures
9an D, -ntermediate Argentina >he is distracted7 #ooking at what is happening off the dance f#oor
9an DD Ad6anced Argentina >he a6oids contact and connection. >he dances distracted watching the surroundings.
9an D+ Ad6anced Argentina !ad breath
9an DB -ntermediate Argentina >he can<t dance but thinks she is a genius dancing
9an C2 -ntermediate .o#ombia .igarette breath
9an C2 -ntermediate 9eFico %espotism and arrogance
9an CD -ntermediate Argentina >he is not #istening to music and does not dance with it.
9an CC !eginner Per" -nattenti6e and hosti#e to harmoni;e dance
9an CA -ntermediate German* >he can not fo##ow m* signa#s.
:oman 21 Ad6anced Argentina (er figures do not correspond to a mi#onga. 3(ooks and high 6o##e*s7 for eFamp#e5.
:oman 22 -ntermediate Argentina (e p#ants himse#f in the midd#e of the dance f#oor.
:oman 2, -ntermediate 9eFico The* do not respect the codes of the dance f#oor7 the* are abrupt to mark steps
:oman 24 -ntermediate Argentina (e does not #isten to music and does not go on time.
:oman 24 -ntermediate Eene;ue#a !ad !reath %:
:oman 2D Professiona# Argentina .ritica# and whining
:oman 2+ Ad6anced .hi#e (e crashes a## the time on the dance f#oor. does not know how to circu#ate/ dance
mi#onga
:oman 2B Ad6anced Argentina The most common situation is that the partner goes comp#ete#* out of time and tries to
correct the dancing
:oman ,0 Ad6anced 1rugua* The person greets others between one song and the neFt.
:oman ,2 -ntermediate .o#ombia 1. !ad breath 2. 'o connection during the dance7 and he dances a#one 3tends to show
off as a V%ancerV5 ,. %oes not ha6e an ear for music 4. Abrupt when dancing
:oman ,A -ntermediate Argentina -n6ites to dance coming direct#* to the tab#e without pre6ious consent.
:oman ,A Professiona# .osta Rica !ad posture unstabi#i;es m*se#f. >trong embracement or marking with strong arms
because of #ow dance #e6e#. $r 6er* weak and dubious marking.
:oman ,A -ntermediate Per" That he steps on me. (e #a*s his head weighing on meK
:oman ,B !eginner Argentina (e stops dancing if - he thinks -Pm not doing what he indicates and begins with a
theoretica# eFp#anation.
:oman ,B -ntermediate >ui;a 4itt#e respect on the track. (e makes me hit other coup#es.
:oman 41 -ntermediate Argentina (e whist#es in m* ear
:oman 41 -ntermediate 9eFico (e #ooks e6er*where whi#e dancing and forgets the essence of coup#e dancing.

2014 Report Attributes and Preferences in Tango 8 Page C18

>eFo >eFo >eFo >eFo 0dad 0dad 0dad 0dad 'i6e# 'i6e# 'i6e# 'i6e# PaXs PaXs PaXs PaXs
$ther situations that bother $ther situations that bother $ther situations that bother $ther situations that bother
:oman 41 Ad6anced 1rugua* A## these situations ha6e a#read* happened to me.
:oman 42 -ntermediate .hi#e .hewing gum
:oman 4, -ntermediate Argentina Gets ad6antage of the dance with inappropriate postures
:oman 44 Ad6anced Argentina (a#itosis
:oman 44 Ad6anced .o#ombia Runs into those who come forward. $6ertakes the other coup#es.
:oman 4D -ntermediate German* - fee# #ike being the worst tango dancer in the wor#d7
:oman 4C -ntermediate Argentina !ad breath
:oman 4C -ntermediate 9eFico -f - do not ha6e his #e6e#7 he does not bother to show m* #e6e#] he does not go back to
basics7 he does not cha##enge himse#f with me.
:oman 4C Ad6anced Per" %ressing codes7 #ow #e6e# of musica#it*.
:oman 4+ Professiona# German* -n6ites her tab#e and does not in6ite b* #ooking or nodding head ?cabeceo@
:oman 4B Ad6anced Argentina -t seems #ike we were #istening to different music.
:oman D0 Professiona# Argentina >me##ing #ike gar#ic or others ....
:oman D2 -ntermediate Argentina -2 (0 .A'<T 9ARQ A'% G1-%0 :$90'7 -T 9AQ0> 90 1'.$92$RTA!40 :(0' (0
ATT09PT> T$ .$RR0.T 9/ %A'.-'G ... (0 91>T 40A%7 G1-%0 907 Q'$: ($: T$
9ARQ T(0 .$9PA>>7 (AE0 A 91>-.A4 0AR7 -2 '$T (0 -> $1T $2 T-90 ...
:oman D, -ntermediate 1rugua* (e steps on me
:oman D4 -ntermediate 9eFico Arrogance7 #ack of connection
:oman DD -ntermediate 9eFico (e tries to show off becoming V%ancing %irectorsV forgetting that the* are dancing with
a partner7 so there is no rea# connection.
:oman DC -ntermediate 9eFico .hew s gum near m* ear7 it is heard disgusting
:oman DA Ad6anced Argentina The on#* thing that cou#d happen is the ph*sica# discomfort.
:oman DA Ad6anced 0cuador !ad breath contro#7 pants. A #awfu# mi#onga dancer obser6es ru#es7 - do not comp#ain.
:oman DB -ntermediate Argentina !ad breath
:oman C0 -ntermediate Argentina !A% breath.
:oman C0 Ad6anced !ra;i# 4et me c#arif*: 1 sometimes it is not poor h*giene7 but - do not #ike his sme##ing. 2 he has
#ow #e6e# of dance7 a#though he has danced for a #ong time7 and be#ie6es he dances
we##7.. if he is Uust beginning to #earn - do not mind dancing. (e sweats and does not dr*
between tango and tango7 and sometimes a#so between round and roundK
:oman C4 -ntermediate .o#ombia $ut of music7 undefined codes7 runs into other coup#es
:oman CA -ntermediate Argentina (0 %$0> '$T .$'.0'TRAT0 $' T(0 %A'.0
:oman +0 -ntermediate 1>A (a#itosis

9-4$'GAO> .$%0>
Are we read* for a Are we read* for a Are we read* for a Are we read* for a changeI changeI changeI changeI
The Vc&digos c&digos c&digos c&digosV of the mi#ongas are a set of unwritten socia# beha6iours as o#d as the same tango. >ome are of a
regu#ator* format7 such as counterMc#ockwise circu#ating the dance f#oor 3the tango is a dance of mo6ement7 imagine a
f#oor fi##ed with coup#es who are circu#ating without a definite direction...5.
!ut other codes ha6e been produced b* the own socia# customs of the time and ha6e remained unchanged o6er the
*ears. This means when entering a mi#onga7 we become time tra6e#ers going 100 *ears 100 *ears 100 *ears 100 *ears back.
%o *ou %o *ou %o *ou %o *ou want to dance7 >irI want to dance7 >irI want to dance7 >irI want to dance7 >irI
>ince the beginning of tango man has been the one with the responsibi#it* to initiate the ritua# dance7 in6iting the #ad* to
the dance f#oor. !ut being a pure socia# dancing7 which basica##* seeks to share the about 1D minutes batch with a dance
partner7 wh* cou#d not the woman make the in6itationI
The responses regarding the sur6e* )uestion on this possibi#it* ha6e been:

2igure ,+ H :hat is *our opinion about women in6iting to danceI
Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a occupies the first position of this #ist 3remember that the a6erage age of the ?mi#onguera@ popu#ation is ,1.02 ,1.02 ,1.02 ,1.02
*ears5. 1rugua* 1rugua* 1rugua* 1rugua* is a countr* with an ad6anced socia# #egis#ation. 9eFico 9eFico 9eFico 9eFico a#so has a *oung ?mi#onguera@ popu#ation
3,4.11 ,4.11 ,4.11 ,4.11 *ears5.
-t is interesting how a third of the popu#ation of the 1>A and .anada 3'orth America 'orth America 'orth America 'orth America5 does not agree with the woman
proposing the in6itation. 9a* tango be the refuge to show the pressure of so much gender e)ua#it* in other areas of #ifeI

2014 Report Attributes and Preferences in Tango 8 Page C,8
:ho are those who strong#* :ho are those who strong#* :ho are those who strong#* :ho are those who strong#* agreeI agreeI agreeI agreeI

2igure ,A H Those who agree b* gender

2igure ,B H Those who agree 3b* age5
'ote that7 whi#e age range increases7 it decreases the acceptance of the possibi#it* that the woman is who in6ites to
dance.
2or the sake of space7 we can not inc#ude the more than 400 comments that originated this )uestion in the sur6e*. !ut
we can s*nthesi;e a concept mentioned: it is the woman who actua##* in6ite he woman who actua##* in6ite he woman who actua##* in6ite he woman who actua##* in6ites ss s to dance to dance to dance to dance when when when when she she she she ho#ds a man<s ga;e. ho#ds a man<s ga;e. ho#ds a man<s ga;e. ho#ds a man<s ga;e.
-t was a#so mentioned that in case it is the woman who in6ites the man7 it shou#d do so through the Vcabeceo cabeceo cabeceo cabeceoV 3nod of
the head5 an*wa*.

(ow do *ou in6ite (ow do *ou in6ite (ow do *ou in6ite (ow do *ou in6ite to dance or how to dance or how to dance or how to dance or how wou#d wou#d wou#d wou#d *ou #ike to be in6itedI *ou #ike to be in6itedI *ou #ike to be in6itedI *ou #ike to be in6itedI

2igure 40 H (ow do *ou in6ite to dance or how wou#d *ou #ike to be in6ited

A#though in most cases the V!oth7 ...V !oth7 ...V !oth7 ...V !oth7 ...V option was imposed7 getting c#ose to the tab#e on#* appears as maUorit* option in
1rugua* 1rugua* 1rugua* 1rugua* and Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a.
/ou in6ite or accept an in6itation to dance /ou in6ite or accept an in6itation to dance /ou in6ite or accept an in6itation to dance /ou in6ite or accept an in6itation to dance when when when when... ... ... ...

2igure 41 H To dance with or without knowing the other

2014 Report Attributes and Preferences in Tango 8 Page CD8
>tud* case >tud* case >tud* case >tud* case
-n this report we ha6e ana#*;ed that e6en coup#es who go to the mi#onga dance 3most#*5 with others. !ut *ou can not
a#wa*s Vguess guess guess guessV the rea# intention of a coup#e sitting at the tab#e.
:e ha6e proposed the fo##owing scenario in the sur6e*:
V-magine this situation: A coup#e sitting at their tab#e. -t is not c#ear what kind of re#ationship the*
ha6e. The* ha6e danced together. A third person 3unknown to them5 approaches the tab#e with the
intention of in6iting the woman. /our point of 6iew on this is ... V@

The answers were:

!* countr* / region !* countr* / region !* countr* / region !* countr* / region

2igure 42 H >cenario at the 9i#onga 3b* countr* / region5
Taking an a6erage of the resu#ts the option V*ou can come ...V *ou can come ...V *ou can come ...V *ou can come ...V is the maUorit*. !ut sure#* here socia# beha6iors of each
countr* or region are app#ied. 9eFico 9eFico 9eFico 9eFico and Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a 3both countries with *oung popu#ations dancers5 show different
beha6iors. >pain >pain >pain >pain 3dancers with an a6erage age of 4+.C 4+.C 4+.C 4+.C *ears5 shows the most V#ibera#V beha6ior in this scenario. -ta#* -ta#* -ta#* -ta#*
3a6erage age 4A.1 4A.1 4A.1 4A.15 and the rest of 0urope 0urope 0urope 0urope are the strictest.

!* seF !* seF !* seF !* seF: : : : 9enPs opinion 9enPs opinion 9enPs opinion 9enPs opinion

2igure 4,H >cenario at the 9i#onga 3men5
!* seF: !* seF: !* seF: !* seF: :ome :ome :ome :omen<s opinion n<s opinion n<s opinion n<s opinion

2igure 44H >cenario at the 9i#onga 3women5

2014 Report Attributes and Preferences in Tango 8 Page C+8
Tango in *our #ife

> >> >entimenta# entimenta# entimenta# entimenta# situation of mi#onga attendants situation of mi#onga attendants situation of mi#onga attendants situation of mi#onga attendants

2igure 4D H sentimenta# situation of mi#onga attendants

-f *our #ife partner -f *our #ife partner -f *our #ife partner -f *our #ife partner does does does does '$T share tango '$T share tango '$T share tango '$T share tango with *ou7 what is genera##* their attitudeI with *ou7 what is genera##* their attitudeI with *ou7 what is genera##* their attitudeI with *ou7 what is genera##* their attitudeI

2igure 4C H 9en Responses

2igure 4+ H :omen Responses

The ana#*sis of the statistics of both graphs a##ows us to determine that it is the man man man man 3in coup#es who do not share the
tango5 who has a more accepting attitude more accepting attitude more accepting attitude more accepting attitude about the passion for tango of his companion.

2014 Report Attributes and Preferences in Tango 8 Page CB8

:hatOs dancing tangoI
Asking each respondent to describe in their own words their fee#ings when dancing tango wou#d ha6e generated a huge
amount of information impossib#e to process. :e ha6e preferred to se#ect 1D words and gi6e the respondent the
possibi#it* to order them 3from more to #ess meaningfu#5 according to their own fee#ings.
!* age !* age !* age !* age

1A T$ ,0 /0AR> 1A T$ ,0 /0AR> 1A T$ ,0 /0AR> 1A T$ ,0 /0AR>

,1 T$ 40 /0AR> ,1 T$ 40 /0AR> ,1 T$ 40 /0AR> ,1 T$ 40 /0AR>

90'

:$90'

90'

:$90'
Pos. Pos. Pos. Pos. :$R%> :$R%> :$R%> :$R%> Perc. Perc. Perc. Perc.



Y1Z 9usic CD.CBR

Y1Z 0mbracement +1.,4R

Y1Z 0mbracement +A.,1R

Y1Z 0mbracement +1.20R
Y2Z 0mbracement C4.+1R

Y2Z 0#egance DC.CBR

Y2Z 9usic C,.ACR

Y2Z 9usic DC.A0R
Y,Z 0#egance DB.A0R

Y,Z 0Fpressi6it* D2.A+R

Y,Z 0Fpressi6it* D1.A1R

Y,Z -nterpretation D,.C0R
Y4Z .reati6it* D1.BCR

Y4Z 9usic 4D.22R

Y4Z -nterpretation 4A.1BR

Y4Z 0#egance D,.C0R
YDZ -nterpretation 4B.02R

YDZ >ensua#it* 44.DBR

YDZ >ensua#it* 4,.,+R

YDZ >ensua#it* D2.00R
YCZ 0Fpressi6it* 44.12R

YCZ -nterpretation 4,.BDR

YCZ .reati6it* 42.1+R

YCZ 0Fpressi6it* D1.20R
Y+Z >ensua#it* ,4.,1R

Y+Z .reati6it* 41.40R

Y+Z 0#egance 42.1+R

Y+Z .reati6it* ,4.40R
YAZ !eaut* ,1.,+R

YAZ Art ,D.C+R

YAZ Techni)ue 2C.D1R

YAZ !eaut* 2C.40R
YBZ Art 2,.D,R

YBZ !eaut* 2D.4AR

YBZ %ance 1B.2AR

YBZ %ance 24.A0R
Y10Z .oordination 21.D+R

Y10Z Techni)ue 24.20R

Y10Z !eaut* 1A.0+R

Y10Z .oordination 24.A0R
Y11Z Techni)ue 1B.C1R

Y11Z %ance 22.B,R

Y11Z 2riendship 1C.A+R

Y11Z Art 22.40R
Y12Z %ance 1C.C+R

Y12Z .oordination 1B.11R

Y12Z Art 1C.A+R

Y12Z Techni)ue 1B.20R
Y1,Z 2riendship A.A2R

Y1,Z 2riendship B.DDR

Y1,Z .oordination 1D.CCR

Y1,Z 2riendship 4.A0R
Y14Z 0roticism 4.B0R

Y14Z 0roticism D.+,R

Y14Z >eFua# A.4,R

Y14Z 0roticism 4.A0R
Y1DZ >eFua# ,.B2R

Y1DZ >eFua# 1.2+R

Y1DZ 0roticism A.4,R

Y1DZ >eFua# 0.00R

41 T$ D0 /0AR> 41 T$ D0 /0AR> 41 T$ D0 /0AR> 41 T$ D0 /0AR>

D1 T$ C0 /0AR> D1 T$ C0 /0AR> D1 T$ C0 /0AR> D1 T$ C0 /0AR>

90' 90' 90' 90' :$90' :$90' :$90' :$90'

90' 90' 90' 90' :$90' :$90' :$90' :$90'
Pos. Pos. Pos. Pos. :$R%> :$R%> :$R%> :$R%> Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. :$R%> :$R%> :$R%> :$R%> Perc. Perc. Perc. Perc.

Y1Z 0mbracement +4.,2R Y1Z 0mbracement +4.1BR

Y1Z 0mbracement +C.4+R Y1Z 0mbracement +C.40R
Y2Z 9usic DA.11R Y2Z 9usic C0.22R

Y2Z >ensua#it* DD.2BR Y2Z -nterpretation DC.1AR
Y,Z 0#egance D2.+0R Y,Z -nterpretation D4.A4R

Y,Z 9usic D2.B4R Y,Z 0#egance D2.A1R
Y4Z >ensua#it* 4D.BDR Y4Z 0Fpressi6it* D4.A4R

Y4Z -nterpretation D1.+CR Y4Z 9usic D1.CBR
YDZ 0Fpressi6it* 4D.BDR YDZ >ensua#it* D2.CBR

YDZ 0#egance D1.+CR YDZ >ensua#it* 4B.44R
YCZ -nterpretation 40.D4R YCZ 0#egance 4+.,1R

YCZ .reati6it* 4D.AAR YCZ 0Fpressi6it* 4+.1BR
Y+Z .reati6it* 40.D4R Y+Z .reati6it* ,+.C,R

Y+Z 0Fpressi6it* ,A.A2R Y+Z .oordination 44.B4R
YAZ .oordination ,1.0AR YAZ %ance 2B.0,R

YAZ .oordination ,4.12R YAZ .reati6it* ,,.+1R
YBZ !eaut* 22.B+R YBZ !eaut* 22.DAR

YBZ Techni)ue 24.+1R YBZ %ance ,2.DAR
Y10Z Techni)ue 20.2+R Y10Z Techni)ue 21.D1R

Y10Z %ance 21.1AR Y10Z Techni)ue 20.22R
Y11Z 2riendship 1A.B2R Y11Z .oordination 1B.,DR

Y11Z !eaut* 14.12R Y11Z !eaut* 1D.+,R
Y12Z %ance 1+.D+R Y12Z Art 1,.BAR

Y12Z Art 11.+CR Y12Z Art 1,.4AR
Y1,Z Art 1C.22R Y1,Z 2riendship +.D,R

Y1,Z 2riendship B.41R Y1,Z 2riendship ,.,+R
Y14Z 0roticism B.4CR Y14Z 0roticism 4.,0R

Y14Z 0roticism B.41R Y14Z >eFua# 1.12R
Y1DZ >eFua# D.41R Y1DZ >eFua# 0.00R

Y1DZ >eFua# 2.,DR Y1DZ 0roticism 1.12R

C1 T$ +0 /0AR> C1 T$ +0 /0AR> C1 T$ +0 /0AR> C1 T$ +0 /0AR>

90' 90' 90' 90' :$90' :$90' :$90' :$90'


Y1Z 0mbracement +C.B2R Y1Z 0mbracement +2.41R

Y2Z 9usic DB.C2R Y2Z 0#egance +2.41R

Y,Z 0#egance DB.C2R Y,Z 9usic DA.C2R

Y4Z -nterpretation D,.ADR Y4Z .oordination DD.1+R

YDZ >ensua#it* 4A.0AR YDZ -nterpretation D1.+2R

YCZ .reati6it* ,A.4CR YCZ Techni)ue ,4.4AR

Y+Z .oordination ,C.D4R Y+Z 0Fpressi6it* ,4.4AR

YAZ 0Fpressi6it* 2A.ADR YAZ .reati6it* ,4.4AR

YBZ %ance 2C.B2R YBZ >ensua#it* ,1.0,R

Y10Z Techni)ue 1B.2,R Y10Z %ance 2+.DBR

Y11Z 2riendship 1D.,AR Y11Z Art 1,.+BR

Y12Z Art 1D.,AR Y12Z !eaut* 10.,4R

Y1,Z !eaut* 11.D4R Y1,Z 2riendship ,.4DR

Y14Z >eFua# D.++R Y14Z >eFua# 0.00R

Y1DZ 0roticism ,.ADR Y1DZ 0roticism 0.00R

!* dance !* dance !* dance !* dance #e6e# #e6e# #e6e# #e6e#
!eginner !eginner !eginner !eginner

-ntermediate -ntermediate -ntermediate -ntermediate

Ad6anced Ad6anced Ad6anced Ad6anced

Professiona# Professiona# Professiona# Professiona#



Y1Z 0#egance DA.D0R

Y1Z 0mbracement +D.00R

Y1Z 0mbracement +4.10R

Y1Z 0mbracement CB.40R
Y2Z 0mbracement DC.B0R

Y2Z 0#egance DA.,0R

Y2Z 9usic DC.C0R

Y2Z 9usic CD.,0R
Y,Z >ensua#it* D2.,0R

Y,Z 9usic DD.+0R

Y,Z -nterpretation D4.40R

Y,Z 0#egance D1.40R
Y4Z 9usic 4+.+0R

Y4Z -nterpretation 4B.20R

Y4Z 0Fpressi6it* 4+.A0R

Y4Z -nterpretation D0.00R
YDZ 0Fpressi6it* 4,.10R

YDZ >ensua#it* 4+.,0R

YDZ 0#egance 4+.10R

YDZ >ensua#it* 4+.20R
YCZ -nterpretation ,C.B0R

YCZ 0Fpressi6it* 4+.10R

YCZ .reati6it* 44.D0R

YCZ .reati6it* 44.40R
Y+Z .oordination ,,.A0R

Y+Z .reati6it* ,A.B0R

Y+Z >ensua#it* 40.D0R

Y+Z 0Fpressi6it* 41.+0R
YAZ .reati6it* ,,.A0R

YAZ .oordination 2A.D0R

YAZ %ance 2D.20R

YAZ Techni)ue ,0.C0R
YBZ Techni)ue 2+.+0R

YBZ %ance 24.20R

YBZ .oordination 24.10R

YBZ Art 2,.C0R
Y10Z Art 2+.+0R

Y10Z !eaut* 22.D0R

Y10Z Techni)ue 2,.+0R

Y10Z .oordination 1B.40R
Y11Z %ance 24.C0R

Y11Z Techni)ue 20.+0R

Y11Z Art 2,.+0R

Y11Z %ance 1B.40R
Y12Z !eaut* 24.C0R

Y12Z Art 1C.A0R

Y12Z !eaut* 1B.00R

Y12Z !eaut* 1B.40R
Y1,Z 2riendship 2,.10R

Y1,Z 2riendship B.10R

Y1,Z 2riendship B.D0R

Y1,Z 0roticism B.+0R
Y14Z 0roticism +.+0R

Y14Z 0roticism 4.10R

Y14Z 0roticism +.,0R

Y14Z >eFua# B.+0R
Y1DZ >eFua# 1.D0R

Y1DZ >eFua# 2.C0R

Y1DZ >eFua# 2.C0R

Y1DZ 2riendship D.C0R

2014 Report Attributes and Preferences in Tango 8 Page +18
!* !* !* !* countr* countr* countr* countr*/regi /regi /regi /regio oo on nn n

'orth America 'orth America 'orth America 'orth America >outh America >outh America >outh America >outh America Argentina Argentina Argentina Argentina

.hi#e .hi#e .hi#e .hi#e
Pos. Pos. Pos. Pos. :$R%> :$R%> :$R%> :$R%> Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. :$R%> :$R%> :$R%> :$R%> Perc. Perc. Perc. Perc. Pos. Pos. Pos. Pos. :$R%> :$R%> :$R%> :$R%> Perc. Perc. Perc. Perc.

Y1Z 9usic B2.,1R Y1Z 0mbracement A1.A2R Y1Z 0mbracement +,.11R

Y1Z 0#egance AA.ABR
Y2Z 0#egance CB.2,R Y2Z -nterpretation C+.2+R Y2Z 0Fpressi6it* D0.12R

Y2Z 0mbracement +4.0+R
Y,Z 0mbracement D,.ADR Y,Z 9usic C0.00R Y,Z 9usic 4B.AAR

Y,Z >ensua#it* DB.2CR
Y4Z >ensua#it* D,.ADR Y4Z .reati6it* 4+.2+R Y4Z 0#egance 4B.AAR

Y4Z -nterpretation DD.DCR
YDZ -nterpretation ,A.4CR YDZ 0Fpressi6it* ,A.1AR YDZ -nterpretation 4C.21R

YDZ 0Fpressi6it* D1.ADR
YCZ 0Fpressi6it* ,A.4CR YCZ 0#egance ,C.,CR YCZ >ensua#it* 4D.2,R

YCZ 9usic ,,.,,R
Y+Z !eaut* ,A.4CR Y+Z >ensua#it* ,4.DDR Y+Z .reati6it* 4,.2AR

Y+Z .reati6it* 2D.B,R
YAZ .reati6it* 2,.0AR YAZ .oordination ,0.B1R YAZ %ance 2A.,CR

YAZ Art 2D.B,R
YBZ .oordination 2,.0AR YBZ Techni)ue 2+.2+R YBZ .oordination 2+.C,R

YBZ !eaut* 22.22R
Y10Z >eFua# 1D.,AR Y10Z %ance 2,.C4R Y10Z Techni)ue 21.+CR

Y10Z Techni)ue 1A.D2R
Y11Z %ance 1D.,AR Y11Z !eaut* 21.A2R Y11Z !eaut* 21.2+R

Y11Z %ance 14.A1R
Y12Z 2riendship 1D.,AR Y12Z Art 1A.1AR Y12Z Art 21.0,R

Y12Z .oordination 14.A1R
Y1,Z Art 1D.,AR Y1,Z 2riendship B.0BR Y1,Z 2riendship 10.+CR

Y1,Z 2riendship +.41R
Y14Z Techni)ue +.CBR Y14Z 0roticism ,.C4R Y14Z 0roticism +.0BR

Y14Z 0roticism ,.+0R
Y1DZ 0roticism 0.00R Y1DZ >eFua# 0.00R Y1DZ >eFua# 4.40R

Y1DZ >eFua# ,.+0R

>pain >pain >pain >pain 0urope 0urope 0urope 0urope

2rance 2rance 2rance 2rance -ta#* -ta#* -ta#* -ta#*

Y1Z 0mbracement +D.2+R Y1Z 0mbracement A1.A2R

Y1Z 0mbracement CB.2,R Y1Z 0mbracement +C.1BR
Y2Z 9usic CB.ABR Y2Z 9usic +2.+,R

Y2Z -nterpretation C4.10R Y2Z 9usic +,.A1R
Y,Z 0#egance D2.CBR Y,Z >ensua#it* DA.1AR

Y,Z 9usic DA.B+R Y,Z -nterpretation +,.A1R
Y4Z >ensua#it* 44.0BR Y4Z -nterpretation DC.,CR

Y4Z 0Fpressi6it* DC.41R Y4Z 0#egance CC.C+R
YDZ .reati6it* 4,.01R YDZ 0#egance D0.B1R

YDZ >ensua#it* D,.ADR YDZ 0Fpressi6it* 42.ACR
YCZ .oordination 4,.01R YCZ 0Fpressi6it* 4D.4DR

YCZ 0#egance D1.2AR YCZ .reati6it* ,D.+1R
Y+Z -nterpretation 41.B4R Y+Z %ance ,2.+,R

Y+Z .reati6it* 4,.DBR Y+Z >ensua#it* ,0.BDR
YAZ 0Fpressi6it* 41.B4R YAZ .reati6it* 2+.2+R

YAZ .oordination 2D.C4R YAZ Techni)ue 2A.D+R
YBZ Techni)ue 22.DAR YBZ .oordination 1A.1AR

YBZ Techni)ue 20.D1R YBZ .oordination 1B.0DR
Y10Z %ance 1B.,DR Y10Z Art 1A.1AR

Y10Z %ance 1+.BDR Y10Z %ance 14.2BR
Y11Z !eaut* 1B.,DR Y11Z !eaut* 1C.,CR

Y11Z !eaut* 12.A2R Y11Z !eaut* 11.B0R
Y12Z Art 1,.BAR Y12Z 2riendship 10.B1R

Y12Z Art 10.2CR Y12Z 2riendship B.D2R
Y1,Z 2riendship +.D,R Y1,Z Techni)ue B.0BR

Y1,Z 2riendship +.CBR Y1,Z Art B.D2R
Y14Z 0roticism D.,AR Y14Z >eFua# 1.A2R

Y14Z 0roticism D.1,R Y14Z 0roticism 4.+CR
Y1DZ >eFua# 0.00R Y1DZ 0roticism 0.00R

Y1DZ >eFua# 2.DCR Y1DZ >eFua# 2.,AR

9eFico 9eFico 9eFico 9eFico

1rugua* 1rugua* 1rugua* 1rugua* Eene;ue#a Eene;ue#a Eene;ue#a Eene;ue#a



Y1Z 0mbracement +1.2BR

Y1Z 0mbracement CC.0+R Y1Z 0#egance CC.C+R

Y2Z 0#egance CC.,4R

Y2Z 0#egance DA.B,R Y2Z 0mbracement C2.22R

Y,Z 9usic 4B.D0R

Y,Z >ensua#it* DD.,CR Y,Z 9usic D+.+AR

Y4Z -nterpretation 4+.D2R

Y4Z 9usic D1.+BR Y4Z .reati6it* 42.22R

YDZ >ensua#it* 4,.DCR

YDZ 0Fpressi6it* D0.00R YDZ -nterpretation 40.00R

YCZ 0Fpressi6it* 40.DBR

YCZ -nterpretation 4A.21R YCZ 0Fpressi6it* 40.00R

Y+Z .reati6it* ,B.C0R

Y+Z .reati6it* ,B.2BR Y+Z >ensua#it* ,+.+AR

YAZ Techni)ue ,2.C+R

YAZ Techni)ue 2A.D+R YAZ .oordination ,D.DCR

YBZ Art ,2.C+R

YBZ %ance 2A.D+R YBZ Art ,1.11R

Y10Z !eaut* 2B.+0R

Y10Z .oordination 1B.C4R Y10Z !eaut* 2A.ABR

Y11Z %ance 1+.A2R

Y11Z !eaut* 1B.C4R Y11Z Techni)ue 20.00R

Y12Z .oordination 1+.A2R

Y12Z 2riendship 14.2BR Y12Z %ance 1D.DCR

Y1,Z 2riendship C.B,R

Y1,Z Art 10.+1R Y1,Z 0roticism 11.11R

Y14Z 0roticism 2.B+R

Y14Z 0roticism D.,CR Y14Z 2riendship A.ABR

Y1DZ >eFua# 0.BBR

Y1DZ >eFua# ,.D+R Y1DZ >eFua# 2.22R

2014 Report Attributes and Preferences in Tango 8 Page +,8

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