Social dancing is an activity it's possible to enjoy at any level - absolute beginner to professional, dancers love to dance. Most dancers take at least some lessons; it's very difficult, if not impossible, to become competent in all the varieties of ballroom dancing without training. But I've observed, over the years, that there is a sub-group of dancers who don't quite respect the notion of technique.
This is kind of a touchy subject. Dancers who haven't invested in training, but consider themselves competent, often resist learning proper technique, as if it might take something away from their enjoyment of dancing. I'd like to suggest that understanding technique makes it possible to enjoy dancing even more - because technique creates grace.
Some ladies do whatever they like in terms of styling, regardless of whether they are impinging on others' dance space or whether they are holding a correct dance position. Some gentlemen push their partners through random steps that may have no relationship to the music or to the style of dance that the music calls for. Some dancers take no notice of the traffic on the dance floor, banging into other dancers or causing other couples to stop on a dime in order to avoid collisions.
Floorcraft is an enormous challenge without technique. The very simplest thing, a tap on the shoulder - a signal the lady gives the gentleman to avoid a collision - is hardly a technique at all, but it requires the lady to dance in a correct closed position so that she can see what's happening behind her partner. If the lady habitually dances with her head turned toward her partner, she is failing in some of her responsibility as a follower. Likewise, if the leader habitually dances looking at his partner, his progress around the floor in a waltz/foxtrot/tango/quickstep/viennese waltz will be marked by the dance equivalent of brakelights as others try to avoid him.
Ballroom dancing requires a vocabulary of figures. It is possible to dance socially without learning the figures; possible, but not likely to be successful. The world of social ballroom dancing is one in which both leaders and followers are expected to dance with more than one partner. It is not that couples are required to dance with others; it's just an expectation. And so, the dancer is expected to be able to lead and/or follow the ballroom figures. Dancers who have no idea what the figures are may find it very difficult to find partners, because you really can't just get out on the dance floor and do whatever. A rumba is a rumba, and a foxtrot is a foxtrot, and they are different.
This is at the front of my mind as I'm going into the second of three group classes on Viennese Waltz. Many of the students have clearly never had a structured class in Viennese Waltz before. It's a demanding and difficult style, in which the technique is essential to successfully execute the continuous turns that typify the style. Because of this, I am really pushing the technique, to the point that some of these dancers may wonder if they will ever get to actually do the dance!
Viennese Waltz is literally twice as fast as smooth or standard waltz. Consequently, figures from smooth or standard waltz really won't work; the dancer has to do Viennese waltz figures. Now, the Viennese figures may not be so very different in their geometries, but the foot positions, weight changes, rise and fall, alignments, and amounts of turn are not the same.
The social dancer who wants to be truly competent must not disregard technique. If an opportunity arises to focus on technique, rather than just getting a new combination of figures, adopt a willingness of mind and dig in. There is no downside to spending ten, twenty, or thirty minutes of a class on technique. Studying technique never made a dancer less enjoyable as a partner. Failing to study technique, however, can ensure a sadly limited dance experience.