Burbuja De Amor ASBL
Head Office: 16 Augustin Mathy Street, 7100 La Louvière
Main Activity Location: The Temple, former desacralised church of the Seven Sorrows, 16 Augustin Mathy Street, 7100 La Louvière

This page sets out the practical rules applicable to Burbuja De Amor activities and the use of The Temple. Specific instructions for an event may be communicated by the organisation.

Version CA 2026-08-25.

Contents

  • 1. General Framework and Common Rules
  • Article 1 – Purpose of the Document
  • Article 2 – Identity and Purpose of Burbuja de Amor
  • Article 3 – Hierarchy of Rules
  • Article 4 – Operational Responsibilities
  • Article 5 – Members and Participants
  • Article 6 – Admission to Activities
  • Article 7 – Minors
  • Article 8 – Respect, Inclusion and Behaviour
  • Article 9 – Dress, Hygiene and Appearance
  • Article 10 – Respect for The Temple
  • Article 11 – General Safety
  • Article 12 – Sound, Neighbours and Nuisances
  • Article 13 – Bar, Drinks and Light Refreshments
  • Article 14 – Payments, Registrations and Refunds
  • Article 15 – Photographs, Videos and Right to Image
  • Article 16 – Personal Data
  • Article 17 – Music, Copyright and Neighbouring Rights
  • Article 18 – Equipment, Storage and Restoring to Order
  • Article 19 – Volunteers, Aides and Intervenants
  • Article 20 – Incidents, Measures and Follow-up
  • 2. Milongas
  • Article 21 – Identity of Milongas
  • Article 22 – Calendar and Format
  • Article 23 – Welcome and Entry
  • Article 24 – Dance Floor Code
  • Article 25 – Invitation and Consent to Dance
  • Article 26 – Tandas, Cortinas and Musicality
  • Article 27 – Teaching During Milongas
  • Article 28 – Dress and Shoes During Milonga
  • Article 29 – Children During Milongas
  • Article 30 – DJ, TDJ and Orchestras
  • Article 31 – Bar During Milongas
  • Article 32 – End of Milonga
  • 3. Classes, Courses, Workshops and Pedagogical Practices
  • Article 33 – Pedagogical Identity
  • Article 34 – General Organisation of Courses
  • Article 35 – Registrations and Course Cards
  • Article 36 – Punctuality and Attendance
  • Article 37 – Roles, Partners and Group Balance
  • Article 38 – Physical Safety
  • Article 39 – Pedagogical Respect
  • Article 40 – Practicas
  • Article 41 – Workshops, Stages and Invitations of Teachers
  • 4. Complementary Cultural Events
  • Article 42 – Scope of Application
  • Article 43 – Prior Validation
  • Article 44 – Concerts
  • Article 45 – Shows and Performances
  • Article 46 – Exhibitions
  • Article 47 – Conferences, Screenings and Meetings
  • Article 48 – Private Events or Partnerships
  • 5. Financial and Document Management
  • Article 49 – Principle of Traceability
  • Article 50 – Cash, Bar and Ticketing
  • Article 51 – Defence of the Disinterested Purpose
  • Article 52 – Documentation of Decisions
  • 6. Communication and Public Image
  • Article 53 – Official Communication
  • Article 54 – Accuracy of Information
  • Article 55 – Use of the Name and Image of Burbuja de Amor
  • 7. Implementation, Revision and Dissemination
  • Article 56 – Practical Implementation
  • Article 57 – Revision
  • Article 58 – Dissemination
  • Annex – Glossary

1. General Framework and Common Rules

Article 1 – Purpose of the Document

This document sets out the practical rules applicable to:

  • the day-to-day functioning of the ASBL Burbuja de Amor;
  • activities organised by the ASBL;
  • the use of The Temple, former desacralised church located at 16 Augustin Mathy Street, 7100 La Louvière;
  • milongas;
  • to classes, courses, workshops, sessions and pedagogical practices ;
  • to other cultural events, notably concerts, shows, exhibitions, conferences, screenings or hybrid events ;
  • to participants, members, volunteers, teachers, artists, interveners, partners and visitors.

It also applies, with necessary adaptations, to activities organised by the ASBL in another location. In this case, the regulation specific to the venue also applies to participants, teachers, artists, volunteers and accompanying persons.

It aims to ensure :

  • the safety of people ;
  • respect for the venue ;
  • artistic and cultural quality ;
  • administrative compliance ;
  • sound financial management ;
  • a welcoming, respectful and coherent atmosphere with the identity of Burbuja de Amor.

Article 2 – Identity and Purpose of Burbuja de Amor

Burbuja de Amor is a cultural ASBL. Its purpose is to promote, develop and support culture in all its forms, notably through dance, Argentine tango, music, performing arts, visual arts, performance, pedagogical activities and cultural events.

The Temple is not operated as a simple multi-purpose hall. It is considered a living cultural, heritage, modifiable and documented site. Activities must respect this identity.

Article 3 – Hierarchy of Rules

The applicable rules are, in order :

  1. laws and imperative regulations ;
  2. the statutes of the ASBL ;
  3. decisions of the General Assembly ;
  4. decisions of the Board of Directors ;
  5. the present regulation ;
  6. event-specific instructions.

An event-specific instruction may specify the present regulation, but cannot contradict it without an explicit decision by an administrator or a person authorised.

Article 4 – Operational Responsibilities

The powers of the organs, administrators and delegates to daily management are exclusively set by the statutes, the law and decisions validly taken by the competent organs.

This document does not delegate any statutory power. It only describes the practical organisation of activities.

For each activity, one or more persons may be designated as operational managers. They may notably :

  • open and close the venue ;
  • control access ;
  • manage reception ;
  • coordinate volunteers ;
  • enforce safety instructions ;
  • intervene in case of incident ;
  • decide to refuse or interrupt the participation of a person if safety or the proper conduct of the activity requires it.

Article 5 – Members and Participants

The status of member, categories of members, their statutory rights and obligations, their admission, resignation, expulsion and exclusion are exclusively regulated by the statutes, the law and decisions of the competent organs.

Participation in a paid or free activity does not automatically confer the status of full member. It corresponds, unless the ASBL decides otherwise, to a simple participation in the concerned activity.

Every participant commits to respecting :

  • the present regulation ;
  • instructions given by managers ;
  • other participants ;
  • the venue, equipment and neighbourhood.

Article 6 – Admission to Activities

Access to activities may be subject to :

  • prior registration ;
  • reservation ;
  • payment of a contribution to costs ;
  • presentation of a ticket, pass, receipt or confirmation ;
  • in respect of a capacity limit ;
  • on specific conditions particular to the activity.

Registration, reservation, purchase of a ticket, pass, or entry to The Temple during an activity implies acceptance of this regulation and the specific conditions communicated for the relevant activity.

Only tickets, reservations, confirmations, or invitations issued by the ASBL or through a channel expressly authorised by it are valid.

A registration, reservation request, or completed form does not necessarily guarantee a place until the conditions communicated for the activity are met, including confirmation by the organisation, payment, deposit, group balance, capacity, or registration priority.

When an activity is full, the ASBL may organise a waiting list and set the order of priority according to objective criteria: order of registration, pedagogical balance, continuity of a module, seniority, support for the ASBL, or another announced criterion.

The ASBL may refuse access or participation to any person:

  • whose behaviour presents a risk to themselves, others, or the venue;
  • obviously intoxicated or under the influence;
  • who has already caused a serious incident during an event organised by the ASBL or towards a member, organiser, volunteer, or participant;
  • who does not respect this practical regulation;
  • who refuses to follow instructions;
  • whose presence would compromise the smooth running of the activity.

This refusal must remain proportionate, non-discriminatory, and motivated by security, the protection of persons, respect for the place, or the legitimate interest of the activity.

When the refusal of access or participation is motivated by the person's behaviour, non-compliance with instructions, a risk situation, a previous incident, or the protection of the place and participants, it does not entitle the person to compensation or reimbursement. A refund, rescheduling, or commercial gesture may be decided by the ASBL when it deems it appropriate or when an imperative rule requires it.

Article 7 – Minors

Unless there is a specific rule, regular tango activities are intended for adults.

Minors may be admitted:

  • when an activity is explicitly open to families or young people;
  • when they are accompanied by a responsible adult;
  • when a derogation is granted by an ASBL official.

The accompanying adult remains responsible for the minor for the entire duration of their presence. Minors may not circulate without supervision in technical areas, storage spaces, the bell tower, non-public spaces, or areas marked as off-limits.

When the activity is paid and open to minors, the ASBL may require a reservation, ticket, or registration for each minor present, even if accompanied, in order to control the capacity, safety, and welcome.

Article 8 – Respect, Inclusion and Behaviour

Burbuja de Amor wishes to offer a welcoming, respectful, and safe cultural framework.

The following are prohibited:

  • physical or verbal violence;
  • harassment;
  • intimidation;
  • sexist, racist, homophobic, transphobic or discriminatory behaviour ;
  • persistent pressure to dance, talk, consume, photograph or be photographed ;
  • behaviour that undermines the dignity, consent, or safety of a person;
  • remarks or gestures incompatible with the cultural and convivial atmosphere sought.

Consent is a central rule: everyone can accept or refuse a dance, a conversation, a photograph, an interaction, or a participation without having to justify themselves.

The ASBL may designate, for an activity or a period, one or more persons of reference to whom to discreetly report a discomfort, persistent pressure, inappropriate behaviour, a consent issue, a track incident, or a harassment situation. Reports are handled with caution, proportional confidentiality, and respect for the individuals involved, without substituting for competent authorities when the facts require it.

The ASBL does not promise absolute anonymity when a concrete measure must be taken, but limits the dissemination of information to those who reasonably need to know to protect individuals, address the incident, respect the right to defence, and preserve the ASBL.

Article 9 – Dress, Hygiene and Appearance

Each participant ensures proper, clean, and activity-appropriate attire.

For dancing activities, shoes must be clean and suitable for the floor. Shoes that may damage the surface, soil the floor, or create a danger may be refused.

For milongas, elegant attire is encouraged. A shirt, a waistcoat, a neat outfit, a jacket, or a suit may be recommended for certain themed events, without this recommendation serving as a discriminatory criterion.

Each participant ensures their personal hygiene, especially during activities involving close dancing.

For tango activities in an embrace, everyone pays particular attention to the freshness of their clothes, breath, and moderate use of perfumes, after-shaves, or strongly scented products, as some people may be sensitive to them.

Article 10 – Respect for The Temple

The Temple is a cultural, heritage, and private venue made available to the ASBL.

This regulation does not modify the Temple's lease agreement, does not confer any autonomous occupancy rights, and does not create any direct rights of a participant, member, volunteer, artist, partner, or third party over the building, its equipment, or its surroundings.

Presence in the Temple is only authorised within the framework set by the ASBL and within the limits of the lease agreement. The Temple's owner does not become an organiser of an activity merely because it takes place in the building.

It is forbidden:

  • to damage the building, furniture, or equipment;
  • to enter areas not open to the public;
  • to climb the bell tower or technical spaces without permission;
  • to move technical equipment without consent;
  • to modify electrical, audio, network, heating, or lighting installations;
  • to display, stick, drill, or fix anything without permission;
  • to smoke or vape in indoor spaces;
  • to discard waste outside designated areas.

Any wilful or negligent damage may give rise to a claim for repair or reimbursement.

The distribution of leaflets, flyers, posters, business cards, or promotional communications within The Temple or during activities requires the prior agreement of the ASBL.

Animals are not allowed during activities, except for assistance dogs or express permission granted by the organisation.

Personal belongings remain the responsibility of their owner. If a cloakroom, coat area, or storage zone is provided, it constitutes, unless otherwise stated, a practical facility and not a supervised deposit. The ASBL cannot be held responsible for loss, theft, or damage except within the limits set by law and applicable insurance.

Article 11 – General Safety

Exits, evacuation routes, fire extinguishers, electrical panels, pictograms, and technical access points must remain accessible.

Participants must respect safety instructions displayed or communicated orally.

In case of an incident, alarm, evacuation, or request from a responsible person, everyone must follow instructions immediately and calmly.

The ASBL may prohibit access with dangerous, cumbersome, or manifestly incompatible objects with the activity, safety, circulation, or protection of the venue.

Immediate surroundings, access points, sidewalks, drop-off zones, doors, gates, and paths used by emergency services must remain clear. Participants, volunteers, artists, and partners must ensure they do not create a hindrance for emergency vehicles, public services, neighbours, or other venue users.

When the context requires it, particularly in the case of high-capacity events, invited artists, specific risks, or administrative instructions, the organisation may request the voluntary opening of a bag or container before entry or during the activity. Refusal may justify denial of access or removal from the venue. This measure must remain proportional to the identified risk.

Sanitary or preventive measures in effect at the time of the activity must be respected when applicable.

The maximum administrative capacity of The Temple is set at 130 people, in accordance with the environmental declaration of class 3 and the maximum capacity signage of the venue.

The practical reference capacity of The Temple is set at 98 people for comfortable day-to-day operation. Any capacity exceeding this comfort level, without ever exceeding the maximum administrative capacity of 130 people, must be the subject of a prudent operational decision taking into account the configuration, type of activity, furniture, exits, personnel present, insurance, comfort, applicable obligations, and, if necessary, the opinion of the owner or competent authorities.

Article 12 – Sound, Neighbours and Nuisances

The sound level must remain compatible with :

  • the comfort of participants ;
  • hearing protection ;
  • respect for the neighbourhood ;
  • applicable administrative rules ;
  • any municipal or environmental regulations.

For milongas and regular activities, the operational objective is to maintain a moderate sound level, generally around 80 to 85 dB(A) when this is sufficient for the quality of the activity.

The voluntary exceeding of a moderate operation, particularly for a concert or amplified performance, must be analysed before the event and may require additional measures: declaration, authorization, signage, earplugs, sound measurement, technical adaptation, limiter, or decision to cancel.

Respect for the neighbourhood is an imperative obligation. Participants, volunteers, artists, interveners, and partners must ensure they leave the venue calmly, especially after late activities: avoid shouting, prolonged loud discussions, honking, slamming car doors, loud music in vehicles, noisy gatherings in front of The Temple, in the street, on sidewalks, near the smoking area (if it exists), or near residences.

The ASBL may remind this obligation at the end of an activity, ask a group to disperse calmly, or refuse access later to a person whose external behaviour compromises the tranquillity of the neighbourhood, the image of the ASBL, or the good relationship with the residents.

Article 13 – Bar, Drinks and Light Refreshments

The bar and light catering are accessory to cultural activities. They do not constitute an independent activity.

Fees are set by the ASBL and may be adjusted by management decision.

Without express authorization from the organisation, it is forbidden to sell drinks, food, or products within the framework of an ASBL activity.

The bringing and consumption of external food or drinks are prohibited, except with explicit authorization from the organisation.

The sale, service, or offer of alcoholic beverages comply with applicable Belgian rules, including :

  • no alcohol to those under 18 years old, except beer and wine allowed from 16 years old when the law permits ;
  • no spirits, strong alcoholic beverages, or similar beverages to those under 18 years old ;
  • possibility of requesting proof of age ;
  • refusal to serve a person obviously intoxicated ;
  • refusal to serve when a responsible person deems it necessary for the safety or proper conduct of the activity.

For classes and milongas, a restricted consumption of alcohol or abstinence is recommended for the proper functioning of the activity.

The ASBL may limit or suspend the service of alcohol at any time.

Article 14 – Payments, Registrations and Refunds

Payment, reservation, cancellation, and refund procedures are set for each type of activity.

Unless otherwise stated :

  • reservations are personal ;
  • a reserved place is guaranteed only after confirmation according to the prescribed procedure ;
  • a received payment may be applied to the announced activity ;
  • a cancellation by the participant more than 15 days before the activity may result in a full refund, less any non-recoverable bank or ticketing fees ;
  • a cancellation between 15 days and 48 hours before the activity may result in a partial refund, such as 50%, or a credit at the organisation's discretion ;
  • a cancellation less than 48 hours before the activity generally does not result in a refund, except for duly justified force majeure or an exceptional decision by the ASBL ;
  • the ASBL may offer a rescheduling or credit when it deems it appropriate.

More specific conditions may be set for courses, workshops, residencies, concerts, performances, exhibitions, festivals, or activities involving third parties. These must be communicated before registration or purchase if they significantly deviate from the general rule.

In case of cancellation by the ASBL, participants are informed as soon as possible. Unless a special case is announced in advance and accepted by the participant, the ASBL offers either a refund of the price actually paid for the cancelled activity, or a rescheduling, or a credit. Bank fees, ticketing fees, donations, subscriptions, or support separate from the activity price are only refunded if this is provided for or legally required.

Article 15 – Photographs, Videos and Right to Image

Photographs or videos may be taken during certain activities for memory, communication, or promotion of the ASBL, respecting the right to image and data protection.

Each person retains their right to their image. Anyone who does not wish to be photographed or filmed can notify the organisation.

Individualised images, recognisable or used as a main communication element, must be handled with care, and, when necessary or reasonably possible, with the consent of the person concerned. The absence of a general objection to entering an activity does not constitute unlimited permission to use a person's image.

The ASBL prioritises:

  • ambient views;
  • non-intrusive group images;
  • images of artists or intervenors within the agreed framework;
  • prior information to participants;
  • the reasonable withdrawal of an image upon a legitimate request.

Participants may not photograph or film other people in an intrusive, persistent, or contrary to their will manner.

Article 16 – Personal Data

The ASBL only collects data necessary for managing its members, registrations, reservations, payments, communications, legal obligations, and activities.

Data is not transmitted to third parties without a legitimate basis. It is stored proportionately.

Participant lists, contact details, payment information, and internal data may not be copied, distributed, or reused without permission.

Notes regarding incidents, reports, exclusions, disputed refunds, or security measures are limited to necessary information, stored carefully, and accessible only to competent individuals within the ASBL or to authorities/insurers when necessary.

Article 17 – Music, Copyright and Neighbouring Rights

The ASBL ensures compliance with obligations regarding music distribution, including procedures with Unisono or competent bodies when necessary.

DJs, musicians, teachers, and intervenors must reasonably cooperate with the ASBL to provide useful information: playlists, programmes, contracts, technical sheets, declarations, or information necessary for copyright and neighbouring rights. Each party will assume their legal responsibilities in this area.

An artist's or DJ's fee does not automatically replace the organiser's obligations regarding copyright or equitable remuneration.

Article 18 – Equipment, Storage and Restoring to Order

Anyone using ASBL or Temple equipment must do so with care.

After each activity:

  • spaces are tidied up;
  • waste is removed or sorted according to applicable rules;
  • the bar is put back in order;
  • tables and chairs are replaced according to the agreed configuration;
  • audio, lighting, heating, and network equipment is turned off or returned to its normal state;
  • incidents, shortages, or damages are reported.

For activities involving a third party, a partnership, a significant equipment loan, or an unusual configuration, a condition report or entry and exit verification may be organised.

Article 19 – Volunteers, Aides and Intervenants

Volunteers and helpers act within the framework defined by the ASBL.

They do not take on financial, contractual, or public commitments on behalf of the ASBL without authorisation.

They respect the confidentiality of information to which they may have access: cash, reservations, contacts, incidents, personal data, internal information.

Article 20 – Incidents, Measures and Follow-up

In case of non-compliance with this regulation, the ASBL may take a proportionate measure:

  • verbal reminder;
  • request for immediate behaviour change;
  • refusal of dance, access to the dance floor, bar, or area;
  • exclusion from the current activity;
  • temporary or permanent refusal of access to certain activities;
  • involvement of the competent body if a member's expulsion or exclusion must be considered according to the statutes and law;
  • request for damage reimbursement;
  • reporting to authorities if necessary.

An immediate measure may be taken during an activity when it is necessary to protect people, the venue, the owner, participants, or the smooth running of the event.

Exclusion from a current activity or temporary/permanent refusal of access, when resulting from inappropriate behaviour, refusal to follow instructions, risk to people or the venue, or an incident attributable to the person concerned, does not automatically entitle to compensation, indemnity, or compensation. The ASBL retains the possibility of deciding a full or partial refund, rescheduling, or commercial gesture when circumstances warrant or when a mandatory rule imposes it.

Any lasting or serious measure must be decided or confirmed by a competent person within the ASBL, briefly documented, and, unless urgency, danger, or practical impossibility, preceded by a reasonable opportunity for the person concerned to be heard or to give their version. The internal document mentions at least: date, facts, persons responsible for the decision, measure taken, and any duration.

Expulsion or exclusion of a member is carried out only according to the statutes, the law, and any applicable specific rights.

2. Milongas

Article 21 – Identity of Milongas

Burbuja de Amor's milongas are cultural events centred on Argentine tango 'milonguero', music, embrace, dance floor, and conviviality.

They currently constitute the main activity of The Temple and a pillar of the ASBL's economy. They must remain consistent with the desired image: quality, respect for people and codes, elegance, warmth, simplicity, and seriousness of organisation.

Article 22 – Calendar and Format

The standard format is a regular milonga, primarily on Saturdays as planned, with setup, welcome, dance, bar, musical finale, progressive departure, and cleanup.

The Board of Directors or designated officials may adapt:

  • dates;
  • times;
  • themes;
  • the DJ or TDJ;
  • the possible presence of an orchestra;
  • prices;
  • booking procedures;
  • capacity;
  • the configuration of The Temple.

Article 23 – Welcome and Entry

Access may be subject to booking or payment on the spot depending on the event.

The organisers may close the entrances when:

  • capacity is reached;
  • security requires it;
  • the quality of the dance floor would be compromised;
  • the balance of the event necessitates it.

A pricing policy may favour certain audiences, supporters, young people, members, or early bookings, provided it remains clear and non-discriminatory.

Article 24 – Dance Floor Code

Participants respect the usual circulation rules in a milonga:

  • counterclockwise direction of dance;
  • respect for the ronda and dance lines, changes in lines are not prioritised, no dancers in the centre of the floor;
  • respect for the personal space between dancers;
  • entry to the floor by the edge, when space allows and without cutting the path of a couple already in motion;
  • exit or crossing of the floor by the edges rather than in the middle of the ronda;
  • movement in the room by the aisles along the walls when possible;
  • adaptation of step size and arm amplitude to the available space, a permanent close embrace being strongly recommended;
  • attention to nearby dancers;
  • no dangerous or invasive figures, heels remaining on the ground;
  • no prolonged stops blocking circulation;
  • no marked backward walking, forced overtaking, sudden line changes, or unjustified pressure on the preceding couple;
  • avoidance of any contact between dancing couples and apologies in case of accidental contact;
  • priority to safety rather than demonstration.

High boleos, ganchos, invasive sacadas, colgadas, volcadas, sentadas, lifts, wide figures, or dangerous movements are forbidden, especially on a crowded floor, except in a clearly defined and secured educational or scenic context. During a social milonga, at least one foot on the ground must remain the norm: the floor is not an acrobatic space.

Article 25 – Invitation and Consent to Dance

Dancing relies on mutual consent.

Everyone can invite, accept, or refuse a dance. A refusal must be respected immediately and without persistent comment.

The use of eye contact and a nod, called mirada, and the invitation to dance with a head movement, called cabeceo, is encouraged to preserve everyone's freedom. The mirada of the follower initiates the invitation and the cabeceo of the leader responds. The follower confirms the cabeceo with a nod. If mutual consent is obtained, the leader comes to pick up the follower from their place, maintaining eye contact, without disturbing the dancers, and, if possible, without crossing the floor. In case of misunderstanding, everyone remains fair-play and respectful. This rule applies regardless of the gender of the leader and follower.

The mirada and cabeceo are understood as a non-intrusive invitation: turning away, not responding, or simply saying "no thank you" is enough to refuse. A refusal must not be commented on, pursued, or circumvented by verbal insistence.

No one can impose:

  • a dance;
  • proximity;
  • a style;
  • technical correction;
  • a conversation;
  • a new tanda.

Anyone can end a dance or tanda if they feel uncomfortable, in danger, injured, coerced, or disrespected. A tanda can be shortened after the second tango in case of personal discomfort. The traditional practice is to dance a complete tanda, but this never takes precedence over safety, consent, or respect.

As much as possible, the leader accompanies the follower back to their place after the tanda.

The roles of leader and follower are not tied to gender but to the ability to perform the role. Anyone can dance the role they wish, alone or alternately, respecting the balance of the floor, the consent of partners, the organisation of the event, and, for the leader, having the physical ability to lead and ensure the safety of the follower.

Article 26 – Tandas, Cortinas and Musicality

The DJ or TDJ builds the evening in the interest of the floor and the general atmosphere.

It is recommended to use digital files of at least CD quality (16 bits / 44.1 kHz), rather than compressed files or streamed from platforms with insufficient sampling.

The DJ chooses tangos, primarily, for their danceability.

The DJ seeks to maintain harmony between the tangos of a tanda, which are, as much as possible, from the same orchestra.

Unless requested by the organisation, the DJ will try not to play the same title several times in the same milonga.

It is recommended to vary the orchestras played as much as possible, except for themed evenings on a specific orchestra.

By default and unless otherwise instructed by the organisation, the DJ or TDJ follows this sequence of tandas: tango (4), tango (4), vals (3), tango (4), tango (4), milonga (3).

Tandas are exclusively composed of these musical genres, without limitation on the year of recording of the tracks.

Tandas are interspersed with pieces of different genres or clearly contrasting with the tangos of the tandas. The cortina is the moment when dancers return to their place, choose their next dance proposal, and rest. Unless there is a special invitation from the organisation, the cortina is not danced. The DJ is free to shorten the cortina when they feel its function is fulfilled.

The last tanda, at least, is announced by the DJ.

The milonga ideally ends with La Cumparsita, which can also open it. This piece holds a special place in tango tradition, akin to an anthem. Traditionally, it is not danced; out of respect for the piece and the traditions, it is recommended not to dance it, except by explicit choice of the organisation or the DJ.

Participants respect:

  • the structure of tandas;
  • the cortinas;
  • the transitions;
  • the role of the DJ;
  • the musical space of each person.

Unless explicitly agreed, it is discouraged to start a dance in the middle of a tanda with someone already engaged in another interaction.

At the end of a tanda, partners courteously part and clear the space. They ensure not to remain on the dance floor, so as to clear the view for future invitations. Monopolising someone for a long time, following their movements or trying to circumvent their refusals is contrary to the spirit of the milonga.

Requests to the DJ for music remain possible if made tactfully, but the DJ retains artistic freedom and responsibility for the construction of the evening. The DJ’s or sound desk equipment cannot be manipulated without authorisation.

Article 27 – Teaching During Milongas

Milongas are not classes.

It is forbidden to correct, teach or criticise a partner's dance during the milonga, without an explicit request from them.

Unsolicited technical advice can be experienced as intrusive and is contrary to the spirit sought.

Article 28 – Dress and Shoes During Milonga

Smart attire is expected. Elegance is encouraged as part of the cultural experience.

For men, wearing a waistcoat, jacket or appropriate layer is strongly advised to avoid discomforting the partner with sweat. A room is available to change shirts if needed.

Shoes must be clean and compatible with the dance floor. The organisation may refuse access to the floor with dangerous, dirty or floor-damaging shoes.

For some events, a dress code theme may be proposed. It remains an invitation, unless explicitly and reasonably stated in the event conditions.

Article 29 – Children During Milongas

Milongas are not designed as activities for children, but children may be present when the organisation accepts and a responsible adult accompanies them.

Quiet games or occupations may be planned occasionally. They do not transform the event into a nursery.

Children cannot :

  • run on the dance floor ;
  • manipulate equipment ;
  • circulate alone in non-public areas ;
  • disturb dancing, the bar, the DJ or exits.

Article 30 – DJ, TDJ and Orchestras

DJs, TDJs and orchestras are chosen by the ASBL or mandated responsible persons.

Practical conditions must be clarified before the event :

  • schedule ;
  • fee (unless voluntary work) ;
  • expenses ;
  • technical sheet ;
  • music rights ;
  • necessary equipment, particularly connectors and cables used ;
  • access ;
  • possible meals or drinks ;
  • moment for sound balance and adjustment ;
  • payment modalities ;
  • cancellation.

Fees and expenses must be documented for accounting purposes.

In case of a mixed orchestra-DJ evening, orchestras must provide the list of played pieces at least a week in advance, so it can be submitted to the DJ and taken into account in their set.

Article 31 – Bar During Milongas

The bar accompanies the milonga. It must remain friendly, sober and compatible with dancing.

One must not linger there and it is not the recommended place to invite to dance.

Responsibles may limit alcohol service to anyone whose state compromises safety, consent, atmosphere or the quality of the event.

Consumptions must remain in designated areas when necessary to protect the dance floor and equipment.

Article 32 – End of Milonga

The announced end of music must be respected, unless the organisation decides otherwise.

After the end :

  • participants leave the premises gradually ;
  • helpers participate in tidying up according to instructions ;
  • sound levels decrease ;
  • exits and surroundings must remain calm out of respect for the neighbourhood.

3. Classes, Courses, Workshops and Pedagogical Practices

Article 33 – Pedagogical Identity

Burbuja de Amor classes transmit an Argentine social tango of type abrazo cerrado, called "milonguero", and the cultural context associated with it.

Pedagogy prioritises :

  • effective guidance by the chest ;
  • walking ;
  • the embrace ;
  • connection ;
  • musicality ;
  • milonga codes ;
  • dance floor and ronda management ;
  • sustainable progression ;
  • body safety ;
  • dancers' autonomy.

Article 34 – General Organisation of Courses

The current reference format is :

  • classes on Wednesdays from 7pm to 8:30pm ;
  • about one hour of theory and practice ;
  • about thirty minutes of assisted practica ;
  • interruption during WBE school holidays, unless otherwise decided ;
  • minimum age of 18, unless exception ;
  • free trial class for new participants who have never attended a class or workshop with the ASBL ;
  • payment by a card of 5 consecutive classes ;
  • reference rate : 15 euros per person for 1h30, the association reserving the right to vary card prices after prior communication;
  • young 18-25 years old free scheme according to conditions set for the concerned year.

These modalities may be adapted by ASBL decision.

Article 35 – Registrations and Course Cards

Participation may be subject to prior registration.

Unless specific rule :

  • a card of 5 classes covers a series of 5 consecutive classes ;
  • a missed class can be made up at the next class in the series ;
  • if the make-up is not used within this period, the class is lost ;
  • in case of long-term absence for compelling medical reasons, missed classes may be rescheduled if the organisation offers it, without this constituting an obligation ;
  • cards are not refundable, except for exceptional ASBL decision.

For 18-25 year olds benefiting from a free scheme, the ASBL may request the purchase of a 5-class card refunded if attendance conditions are respected.

Article 36 – Punctuality and Attendance

Participants arrive on time so as to be ready at the start of the class, to respect the group, warm-up, progression and pedagogical structure.

A significant delay may justify an adaptation of participation in the class, especially if safety or collective progression requires it.

Attendance is encouraged, particularly in progressive modules.

Article 37 – Roles, Partners and Group Balance

Leader and follower roles are dance functions, not fixed identities.

The ASBL may organise partner rotations to foster learning, inclusion and group balance. Personal limits and consent are respected.

Each participant can report a physical, relational or pedagogical constraint to the teacher.

For some classes, workshops, stages, marathons, encuentros or limited registration events, the ASBL may seek a balance between dance roles to improve the pedagogical or social experience. This balance is based on the roles actually danced or desired, never on gender, appearance or identity of a person.

Article 38 – Physical Safety

Each participant dances in respect of their body and others’ bodies.

It is requested :

  • not to force a movement ;
  • to inform the teacher of any pain, limit, injury, or difficulty that may affect practice ;
  • to adjust the intensity ;
  • to follow the technical instructions ;
  • not to perform dangerous figures outside the pedagogical framework ;
  • to inform the teacher in case of injury, discomfort, or difficulty.

The teacher may interrupt an exercise or adapt a person's participation for safety reasons.

Any accident, discomfort, or bodily incident occurring during a class, workshop, practica, stage, or workshop must be reported immediately to the teacher or a responsible member of the ASBL to allow for appropriate measures and, if necessary, insurance declaration.

Article 39 – Pedagogical Respect

During classes :

  • the teacher's instructions are followed ;
  • corrections between participants remain kind and limited ;
  • discussions do not disrupt the group ;
  • phones are turned off, on silent, or used discreetly when necessary ;
  • food, chewing gum, and beverages other than water may be prohibited in the class space ;
  • videos or recordings are only allowed with permission.

It is forbidden to film a teacher, participant, or demonstration without authorisation.

Unless authorised by the teacher or necessary for the activity, companions and visitors do not remain in the class space. The class belongs first to the group participating in it.

Article 40 – Practicas

Assisted practicas are times for exploration, repetition, and consolidation.

They are not milongas and are not lecture-style classes. Participants can ask for help, but they remain responsible for their practice and respect for others.

Practicas may allow more experimentation than milongas, but they remain subject to the same requirements of consent, safety, respect for the body, control of movements, and attention to other couples.

Article 41 – Workshops, Stages and Invitations of Teachers

Workshops and stages may have specific rules :

  • registration by level ;
  • individual or couple registration ;
  • limited number of places ;
  • minimum number of participants ;
  • specific fee ;
  • cancellation policy ;
  • refund conditions ;
  • permission or not to film ;
  • presence of a guest teacher.

Guest teachers must receive advance information : location, time, expected audience, materials, remuneration, image rights, communication, invoicing or expenses.

The ASBL may cancel, postpone, merge, or adapt a class, workshop, stage, or workshop if the number of participants is insufficient, if the teacher is unavailable, if the location cannot be used normally, or if safety or pedagogical quality requires it. In this case, it prioritises, according to the situation, a replacement, a postponement, a credit, or an appropriate refund.

4. Complementary Cultural Events

Article 42 – Scope of Application

This section applies to irregular or still developing events :

  • concerts ;
  • shows ;
  • theatrical performances ;
  • performances ;
  • exhibitions ;
  • projections ;
  • readings ;
  • readings ;
  • festivals ;
  • mixed events combining dance, music, visual arts, or meetings.

These activities are possible to the extent that they remain compatible with the cultural objective of the ASBL, The Temple, safety, insurance, capacity, the neighbourhood, necessary permissions, and available means.

Article 43 – Prior Validation

Any new significant cultural event must be validated before public announcement.

Validation includes:

  • consistency with the ASBL's objective;
  • projected budget;
  • capacity;
  • safety;
  • technical requirements;
  • sound impact;
  • copyright;
  • bar and catering;
  • insurance;
  • any necessary permissions;
  • contract or agreement with the artists;
  • communication;
  • ticketing;
  • clean-up and restoration.

When the event involves a third-party organiser, autonomous occupation of the venue, or operational partnership, validation must also specify:

  • the individual responsible towards the ASBL;
  • the third party's or partner's mandatory liability insurance for any autonomous occupation or activity mainly organised by a third party, unless the ASBL decides to take on the organisation itself;
  • the condition of the premises upon entry and exit;
  • the rules for key handover or access;
  • responsibility for damage, loss, waste, cleaning, and restoration;
  • the conditions for using the bar, drinks, technical equipment, and furniture;
  • any necessary procedures with the municipality, police, fire department, Unisono, or other competent bodies.

Article 44 – Concerts

Concerts must be prepared with particular attention to sound, the neighbourhood, music rights, technical information, and capacity.

Before confirmation, the ASBL checks:

  • type of music;
  • expected sound level;
  • instrumentation;
  • need for a stage;
  • electrical needs;
  • installation, soundcheck, concert, and dismantling times;
  • copyright and Unisono;
  • fees, expenses, or contract (unless voluntary work);
  • cancellation conditions;
  • artist reception;
  • impact on the bar and circulation.

The choir constitutes the natural reference stage, unless a different configuration is validated.

Article 45 – Shows and Performances

Performances must respect the physical constraints of The Temple:

  • lack of permanent seating;
  • modularity of furniture;
  • emergency exits to preserve;
  • visibility;
  • acoustics;
  • available lighting;
  • public and non-public access zones.

Any scenic element, set, flame, smoke, machine, suspension, electrical installation, or special effect must be explicitly authorised.

Without explicit permission and prior analysis, the following are prohibited: gas, deep fryer or risky cooking, flammable materials, non-compliant electrical connections, modification of existing lighting, movement of technical elements, obstruction of exits, storage in pathways, or use of technical equipment by an unauthorised person.

Article 46 – Exhibitions

Exhibitions must preserve the building.

It is forbidden to fix, stick, drill, or hang works without prior agreement on the method.

Before the exhibition, it is necessary to clarify:

  • duration;
  • works on display;
  • potential value;
  • insurance or liability;
  • hanging;
  • supervision;
  • potential sale;
  • potential commission;
  • right to image of the works;
  • opening night;
  • compatibility with classes and milongas.

The ASBL may refuse a work or installation incompatible with the venue, safety, the association's objective, or the expected audience.

Article 47 – Conferences, Screenings and Meetings

The conferences, screenings and meetings must be organised in a manner to ensure :

  • good audibility ;
  • visibility;
  • respect for the rights of the distributed content ;
  • control of debates ;
  • times compatible with the neighbourhood ;
  • respect for the venue.

The participants must be informed of the associative and cultural context of Burbuja de Amor.

Article 48 – Private Events or Partnerships

The use of The Temple for a private event or partnership is never automatic.

It must remain compatible with :

  • the purpose of the ASBL ;
  • the convention for the use of The Temple ;
  • insurance ;
  • taxation ;
  • safety ;
  • capacity ;
  • the image of Burbuja de Amor ;
  • administrative obligations.

A written agreement is required for any event involving a third-party organiser, autonomous occupation, shared revenue, separate ticketing, significant use of The Temple’s equipment, key handover, an external artist engaged by a third party, or a particular risk.

5. Financial and Document Management

Article 49 – Principle of Traceability

All revenue and expenses related to an activity must be traceable.

The responsible persons must ensure the preservation of :

  • justifications ;
  • invoices ;
  • tickets ;
  • conventions ;
  • contracts ;
  • cash sheets ;
  • useful lists ;
  • proof of payment ;
  • important decisions.

Article 50 – Cash, Bar and Ticketing

The entrance cash, bar cash, and electronic payments must be consistently tracked.

Differences, cancellations, freebies, refunds, or significant commercial gestures must be noted.

Priced items must be clearly displayed. Tariffs may change by decision of the ASBL.

Article 51 – Defence of the Disinterested Purpose

ASBL revenue is exclusively allocated to its purpose and objectives.

No member, administrator, volunteer, or participant may receive a share of the ASBL's assets or profits solely due to their status.

Compensation, fees, reimbursements, or expenses may be provided for documented and compatible services with the statutes and law.

Article 52 – Documentation of Decisions

Important decisions must be documented in appropriate formats :

  • minutes of the General Assembly ;
  • minutes or note of decision of the Board of Directors ;
  • management note ;
  • event sheet ;
  • financial document ;

An important decision notably includes a decision affecting :

  • the statutes ;
  • this practical document ;
  • finances ;
  • the Temple convention ;
  • capacity ;
  • safety ;
  • insurance ;
  • a partnership ;
  • unusual compensation ;
  • a new activity ;
  • an administrative or fiscal position.

6. Communication and Public Image

Article 53 – Official Communication

Official or semi-official communication channels may include :

  • the website ;
  • Facebook pages and events ;
  • newsletters ;
  • posters and flyers ;
  • ticketing platforms ;
  • specialised information platforms ;
  • direct communications to participants.

The website must gradually become the stable reference for public information.

Article 54 – Accuracy of Information

Any public communication must verify :

  • date ;
  • time ;
  • location ;
  • price ;
  • access conditions ;
  • artist or participant ;
  • booking procedures ;
  • language ;
  • visuals ;
  • links ;
  • useful mentions.

Uncertain information must not be presented as definitive.

Article 55 – Use of the Name and Image of Burbuja de Amor

The name, visuals, photographs, texts, templates, documents, playlists, educational materials, and graphic elements of Burbuja de Amor may not be used for external projects without permission.

Partners, artists, or participants may relay official public communication, but may not create communication suggesting they represent the ASBL without mandate.

7. Implementation, Revision and Dissemination

Article 56 – Practical Implementation

This document applies from the date decided by the ASBL for the activities concerned.

The decision or note of implementation mentions the version adopted.

Article 57 – Revision

The document may be revised when experience, legal obligations, activities, venues used, or ASBL governance require it.

Any significant modification must be documented and communicated to those affected when it impacts their participation, safety, payments, or practical obligations.

Article 58 – Dissemination

The rules may be communicated :

  • to members ;
  • to administrators ;
  • to volunteers ;
  • to teachers ;
  • to artists ;
  • to partners ;
  • to participants ;
  • by display ;
  • by link in communications ;
  • by partial or full publication on the website.

A short and public version may be written for participants, while the full version remains preserved in internal documentation.

Annex – Glossary

  • Abrazo : embrace or tango dance frame, in which partners dance connected.
  • Abrazo cerrado : closed embrace, with a close and continuous connection between partners.
  • Boleo : movement where the free leg is projected or relaunched ; high boleos are dangerous on a crowded social dance floor.
  • Cabeceo : invitation to dance by head movement, usually in response to a mirada.
  • Colgada : off-axis movement in which partners share a suspended balance ; to be reserved for a secure educational or theatrical setting.
  • Cortina : short piece separating two tandas, allowing dancers to leave the floor, rest, and choose the next invitation.
  • DJ / TDJ : person responsible for building the musical programme of a milonga or event.
  • Gancho : figure where a leg hooks around the partner's leg ; to be avoided on a crowded social dance floor.
  • Guide / follower : dance roles, not gender-related ; the guide proposes the movement, the follower actively responds.
  • La Cumparsita : emblematic tango piece, often used to open or close a milonga ; traditionally, it is not danced within the framework retained by Burbuja de Amor, except by explicit choice of the organisation or DJ.
  • Milonga : social tango event where one dances according to the codes of the dance floor, tandas, cortinas, and respectful invitation.
  • Mirada : visual invitation, by eye contact and smile, allowing to propose a dance without verbal pressure.
  • Practica : practice, exploration, or consolidation time, more free than a class but subject to the same requirements of consent and safety.
  • Ronda : collective circulation of the dance floor, generally in an anti-clockwise direction.
  • Sacada : displacement where a dancer enters the space of the other to provoke a leg displacement ; invasive sacadas are to be avoided in social milonga.
  • Sentada : seated or simulated figure, incompatible with an ordinary social dance floor except in a planned theatrical or educational setting.
  • Tanda : series of pieces of the same genre or mood, danced with the same partner unless discomfort, risk, or refusal occurs.
  • Vals : tango waltz, musical genre played in tandas of three pieces in the traditional sequence.
  • Volcada unaligned forward movement; to be reserved for a secure educational or theatrical setting.
  • Unisono : Belgian organisation responsible for managing rights related to the public use of music.