Some topics are truly important, even if discussing them might come across as moralizing—and today is one of those times. Last night, I was at a bal, and as in all bals, festivals, and social dances, there were issues with the dancefloor’s management. Some people gave up dancing certain dances due to lack of space, others were stepped on or took an elbow to the ribs… In short, a completely ordinary and recurring situation in overcrowded bals—one that affects everyone, yet could be avoided with a bit of technique and goodwill. Let’s break down the mysteries of space management in a bal.

Me, when I’m about to lecture dancers who literally step on my feet.
What is space management ?
Space management in a bal is the individual and collective effort to move across the dance floor while optimising the available space in an equitable way, ensuring comfort and safety for all dancers.
We have a finite number of dancers moving within a limited space, and this space can be managed in different ways—through circulation or by establishing lines of dance. The more people manage their space by controlling the expansion of their dancing, the more dancers can fit on the floor, and the more enjoyable the experience becomes. Good collective space management helps prevent congestion and collisions, making dance accessible to more people. It’s a win-win situation.
I’ve noticed that while dance instructors (at least those around me) widely spread this message, it is only weakly applied on the dance floors. Do people not realise they should be moving and adapting their dancing to the available space? Or do they know it but lack the technique to implement it?
Personally, I believe that the message spread by organizers and instructors is not enough if it is not embraced by the entire community and then spread by the dancers themselves.
To raise awareness of these principles, in addition to teaching, several approaches can be used—from word-of-mouth recommendations, posters in the dance space, and educational materials (videos, articles) to the implementation of charters.
The parameters of space management
But what exactly does managing the dance floor involve? Several factors come into play:
- The direction of movement in the bal
- Respecting the lines of dance
- The coexistence of multiple dance styles simultaneously (in bal folk)
- Dancers adapting to the available dance space
And to achieve this, a certain level of technical mastery is required. Let’s explore this further.
Circulation and the Direction of the Bal
The bal moves—but in which direction? That depends on the dance. In couple dances from bal folk (waltz, mazurka, polka, scottish) or tango, dancers move counterclockwise (also known as the trigonometric direction). However, some bal folk dances move clockwise, such as the rondeau en couple, chain dances, and most rondes. Of course, some dances do not involve collective movement, but that does not mean they are exempt from the need to manage the available space.
In cases where “sens du bal” is customary, its implementation comes with a few implicit rules, such as:
- Do not move against the flow
- Do not step backwards—always move forward (or, as my tango teacher would say, “one step back is the limit”)
- Those who wish to stay in one spot or move more slowly should dance towards the centre of the floor, allowing others to circulate around the outside.
In tango, additional rules apply:
- It is disrespectful to overtake or change lanes
- One must be mindful of how to enter the dance (integrating smoothly into the flow of dancers)
- One must control the space whenever taking a step backwards or leading a partner to cross the back line
- It is customary to apologise if you bump into someone

As you can see, circulation should be respectful, structured, and controlled. It is not about weaving between dancers to move as quickly as possible. Instead, it is about respecting the line of dance. Think of it as a queue—once you’re in it, you stay in your place.
Which leads me to my golden rule: if there is a large gap in front of you, there is probably a traffic jam behind you.
Respecting the Lines
Of course, not all dances involve collective circulation. Bal folk, in particular, includes many dances that do not move around the floor. However, sharing the dance space still requires certain rules.
Managing Multiple Dance Styles at Once
In the case of bourrées, we have recently seen the rise of bourrées for six dancers, following the immensely popular (and incredible) workshops led by our friend Bernard Coclet. Before that, the Brande d’Ardentes (a circular bourrée) had its moment of fame. These styles now coexist alongside the straight bourrée, danced in pairs.
To avoid accidents, all dancers—including beginners—must be aware of the importance of staying within their own dance line.
- The line of dance is perpendicular to the musicians.
- It should not rotate during the dance.
- It should not encroach on the lines of neighbouring dancers, especially if they are dancing a different style.
The same applies to circular formations. The natural movement tends to expand the circle over time, gradually consuming the surrounding dance space.
Some festivals, like Cadansa, have introduced a system where volunteers step onto the dance floor to contain the circle and prevent it from expanding. While this creates an impressive (and effective) visual, I regret that it has become necessary, and the mental load and logistics it requires.
Improvisation in couple dances within chain dances
You may have noticed couples dancing within chains of gavottes de l’Aven/Grenoble or Anter-Dro. Here, too, we often see multiple dance styles coexisting at the same time.
Which leads me to my second golden rule: I give priority to the dance announced by the musicians and find a space where I won’t disturb them.

PS : votre “ligne de danse” est en fait un rectangle. Elle a aussi un fond, vous ne pouvez pas reculer à l’infini.
Small Circles and Giant Spirals
Another distinctive feature of bal folk is the presence of circles. When setting up different rondes and mixers, there is often a brief moment of confusion—some people are unsure what to do, some want to form small circles, others prefer inner rings, and so on.
Here are a few general tips:
- Always make sure the circle is closed.
- Ensure that the inner circle is not larger than the outer circle (and no, the dancers in the inner circle are not “better” than those on the outside!).
This summer, during a discussion at Gennetines, we had an in-depth conversation about bal etiquette, and several key points emerged:
- It’s really helpful when musicians announce: “Form circles of 8 or 10 people/couples.” This allows dancers to judge whether their circle is the right size, as simply saying “small circles” is too vague.
- It can sometimes be difficult to keep a circle closed due to the pressure from newcomers wanting to join an existing ronde (and not asking for consent).
Adapting to the Available Dance Space
Dancing Smaller and Learning to Move
No matter how often we remind people to take smaller steps, the ability to move efficiently and adjust one’s movements is not instinctive. More often than not, dancers simply don’t know how to do it.
That’s why I have a tip for those who teach dance introductions: it’s important to explain how to navigate the dance floor. This includes:
- Orienting oneself in the direction of the bal’s flow
- Looking in the intended direction before initiating a movement
- Adjusting step size—taking larger or smaller steps depending on the direction of travel
Adjusting Your Posture
In bal folk and forró, we have the advantage of not being bound by a rigid dance posture, especially in couple dances. This flexibility allows us to adapt our frame to the available space. For example, in a crowded floor, I might simply drop the open hand hold and dance with my arm resting along my body.
If there isn’t space, I don’t do it
This applies to all figures in all dances.
- As a leader, if there isn’t enough room to execute a variation safely, I simply don’t lead it.
- As a follower, if I’m led into a figure and there isn’t enough space—or if the conditions aren’t safe—I choose not to follow through with it.
Stepping backward with an eye on the dancefloor
This is one of the fundamental principles taught in any dance introduction: explaining to newcomers—who may not yet have a strong sense of coordination or spatial awareness—that any backward step requires caution, regardless of the dance.
Caught up in the emotion and momentum of the moment, we all tend to step back without checking who is behind us. In bal folk, the riskiest situations often arise in bourrée à deux temps and rondeau en couple.
So, I always make an effort to step back within my own dance line and, when needed, take smaller backward steps. As a leader, it’s also crucial to check the available space before leading a backward variation.
Keeping Your Eyes Open
This might go against the preferences of many followers (and some leaders), but unfortunately, closing your eyes means losing awareness of the dance floor. Since two pairs of eyes are better than one, I (almost) always keep an eye open.
The responsibility for spatial awareness shouldn’t rest solely on the leader—it’s a shared effort.
Improving technique through spatial awareness
For those looking to progress technically in dance, this is a key area of focus. This is where we touch on the true beauty of dance—the ability to develop techniques that allow us to dance in both large and very small spaces. Being able to adjust one’s dancing to the available space while maintaining energy and creativity is a challenge for experienced dancers.
There are many excellent educational resources on this topic. If I had one piece of advice for couple dancing, it would be to start by working on connection quality and rhythmic variations.
Accepting a Fair Distribution of Space
Dancing in a community means it’s not just about me, myself, and I (and my partner). We can’t dance as if others don’t exist or assume that our personal enjoyment should come first.
That’s why I’m not particularly fond of the mindset: “I’ll dance, and the space will clear around me.” Having an expansive style, especially to high-energy music, is understandable, but it’s not always the best choice for the group. A bit of self-awareness goes a long way—I adjust my movements to ensure that everyone has the same freedom to dance.
Should We Avoid Highly Athletic Variations?
Should lifts, drops, and other acrobatic figures be done in a bal setting? It’s an open question, and I believe it mainly depends on two things:
- The space available
- The dancers’ ability to execute them safely
From personal experience, I’d say that these two conditions are rarely met, meaning that most lifts should be reserved for performances rather than the dance floor.
Deflecting Impacts
This may seem obvious (at least, I hope so!), but if you see someone moving backwards too quickly toward you or your partner, you can extend your hand and gently—but firmly—apply pressure to create a barrier before impact.
Personally, when dancing in couples (for example, in a waltz), I often use my hand to shield my smaller partners. Their heads are often at the elbow level of other dancers, making them more vulnerable to accidental knocks. So, don’t assume that just because you’re safe from collisions, everyone else is too!
Additionally, if you bump into someone, it should be common practice to apologise and check that they’re alright before carrying on with the dance.

In the world of ballroom dancing, we are not all equally exposed to the risks of collision.
Consent et reassurance
Finally, if your partner truly seems uncomfortable or the space is just too crowded, remember that it is always possible to stop dancing.
It’s a last resort, but after the third time your feet get stepped on, it might be a wise option. Don’t wait for your partner to say they feel uneasy; it can be good to regularly check if they are feeling okay or if they want to stop dancing.

Introverted person deciding to go dancing.
A Historical Heritage
To conclude, I’d like to point out that this concept of managing space is not a modern invention but has always been a part of dance culture and was notably formalized in many 19th-century books. Dance etiquette has always included a whole range of rules of propriety, some more peculiar than others, but where the sense of the ball or the respect for the lines of dance is a given. The sense of the ball is also very well observed in archival videos.

This sermon is coming to an end! Am I always impeccable in my spatial management? Clearly not. However, I firmly believe in the ability to question oneself and the power of the collective to self-regulate. The issues of spatial management are CRUCIAL, and I know that many dancers share this vision, as it is a matter of public interest. And rather than seeing it as a constraint, I like to view this aspect through the prism of challenge, musicality, and technique to make our dances ever more dynamic! Best of luck to everyone!