1877, when carnival days arrived, candombe societies and Mondongo neighbourhood’s black people, went into the streets with their showy clothes and their feather hats, and danced for many hours to candombe music. As each society wanted to be the most important, rivalry was born among them, and as a consequence, there were many  riots in the street. As this incidents were often repeated, the violent societies were dissolved and their candombes were closed. With the dissolution of these societies and the African expansion stopped, dance centres were created using the same elements. That is how tango was born, although it was very different from what we call tango nowadays. Couples did not dance very close, as a matter of fact they danced quite separated, imitating the figures and movements of candombe. The new dance became common, “arrabal” men adopted it and took it to the suburbs, where “peringundines” were already very popular, because “milonga” was danced there. Young men practised tango in the neighbourhood’s streets, dancing with each other with the organ pipe music, since there were not radios and albums yet. At parties, they chose their dance partners because of dancing abilities, instead of beauty. The original tango representation shows the man as the dominant figure and the woman as the docile one, who follows his orders and adds them beauty. At that time (1880), couples were totally embraced, and men and women danced head to head; that is why high society don’t think tango to be an honourable dance. Academies were places for drinking, dancing and listening to music, being served by waitresses. It wasn’t very different from a brothel. It would take, at least, 20 years for tango to enter into Buenos Aires houses. That was where tango lost all that was acrobatic in it, and became a dance in which elegance and synchronization were the most important elements, as happened with feelings and emotions.