Milonga

The word Milonga has two meanings:

A milonga is one of the three dance rhythms in Argentine Tango along with the 'tango' and the 'vals'.
The milonga is one of the earliest forms of the dance and mostly danced with one or two steps per beat. Generally the milonga rhythm is faster than tango and vals rhythms.

The term Milonga is also used to refer to an Argentinean Tango social dance event.

Milonguera

The term for a female Tango dancer dancing in the 'close embrace' or 'Milonguero' dance hold. The upper bodies of the dancers are in close connection and require finesse in the footwork executed in the more refined space between them.

Milonguero

The male equivalent of the Milonguera is a Milonguero.

The following is an extract from a letter written by the late Maestro Ricardo Vidort; July 2004

"To explain what is a milonguero, is really very difficult, because the feeling of this beautiful emotion is something new to each person.  It is almost impossible to put it in words.  But I shall try to do it, and I hope without offending or hurting anybody's feelings.

To be a milonguero, first of all you have your own style of dancing.  It means that you have a unique feeling for the music, rhythm, cadence and embrace.  When you have all this, the music invades your body and mind and then, only then, the chemistry begins that really makes you transmit to your partner as if both were talking, whispering, sliding on the floor with sacadas, corridas, turns, dancing only one for the other, not for the people.  In that moment, when both are listening to the magic of the music, the skin of one in the skin of the other, the smell, the touch produces the miracle of something like a mantra, and the ying and the yang is there!!!  We are dancing tango!!!

The priorities of a milonguero are the feeling and the woman.  The codes are like the commandments which were born with the tango, and the music is defined in three parts.  The first is a question, the second is a pause or prologue, the third part holds an answer.  All this is in our feeling and this is why we always improvise, having the pleasure of being ourselves, in our own style with the rhythm and the cadence.

Today people teach in methodic ways, but the tango, the real Tango Salon, does not have method, because it is a feeling.
Technique and choreography are only for performance, this is tango which has been learned for hours for show business; there are hundreds of couples doing the same thing, and only a few of them, let us say ten or fifteen are really very good because they are different and that is another thing.

Every tango dancer of the streets, those who practised in the squares or parks, with other men, developed technique naturally, without knowing it.  His steps and feeling were a technique.
My advice is - walk, walk with your toe first and always in the music, walk and practise to be yourself and not a copy of anybody else."

Tanguero and Tanguera

Argentine terms for a male and female Argentine Tango Dancer.

A Tanda and a Cortina

In Buenos Aires the music at a milonga is generally organised in groups of 3 or 4 from the same artist. A common pattern would consist of a Tanda of Tangos, followed by a Tanda of Valses, then Tangos and Milongas which is then repeated. The Tandas are often separated by a Cortina or curtain. This is a shortened piece of music from another genre to clearly define the end of a Tanda.

It is customary for a man to invite a lady to dance for one tanda; then at the end of the tanda to escorts her back to her seat. It is  less common for dancers to dance more than one tanda.

In the golden age, at most milongas, the music was being played using records (and from the 1950's using LP's). The DJ would play a tanda from an LP and hence it would consist of consecutive tracks from one orchestra. Now, with the availability of music on discs and especially computers, the DJ is free to choose tandas using varied tracks. However the custom continues of having a theme such as rhythm and mood for each tanda. This gives dancers the opportunity to select tandas according to their theme.

Tango Nuevo
As it was originally conceived, tango nuevo was largely a pedagogic approach to tango that emphasized a structural analysis of the dance in which previously unexplored combinations of steps and new figures could be found.  Some of those exploring those possibilities gradually developed tango nuevo into a style that is danced in an open, loose or elastic embrace with a very upright posture and a great emphasis on the dancers maintaining their own axes.  Although some advocates emphasize its structural analysis over specific figures, some of the most identifiable figures of the style are overturn ochos, cadenas, linear boleos and volcadas—most of which are best accomplished in a loose or elastic embrace.

Etiquette

Acknowledgement is given to  www.inscenes.com/etiquette

Guidelines of Tango dance etiquette have evolved to help avoid embarrassing, awkward or unsafe situations and maximize the pleasure of the Tango experience.

Not The Dodgems
The line-of-dance is counter-clockwise. Leaders should refrain from cutting across the dance floor or 'overtaking' other dancers. The essence of progress around the dance shows consideration for the pace of other dancers.  Buenos Aires Milongueros may take an entire dance to traverse one side of a large venue!

'No Standing'
When not dancing 'no standing' or walking across the dance floor.

Teachers' Pests
If you wish to show your partner a new step, move to a  non-dance area.  At a Practica using the space in the centre of the floor leaves room on the outside for others to practice in the line of dance.

Safety First
The safety of your partner and surrounding dancers is of prime importance. Dancing on a crowded dance floor can be an exercise in avoiding collisions in a safe, creative, and fun fashion - to the music!  Both leader and follower should always be alert to the presence of other dancers in front, to the sides, and behind to help avoid collisions.  The leader is responsible for 'taking the space' on a dance floor - so should ensure that the space is available before moving into it.  If a collision is about to happen you can soften the effect by bringing your arms in and minimising your movements.  After a collision it is polite to apologise.

Leg Sense
On a crowded dance floor, avoid vigorous movements such as high boleos, hard-hitting ganchos, and leg extensions.

Arm Sense
Leaders left hand should be positioned at about shoulder height with the elbow down fairly close to your side.

No Showboats
On a crowded dance floor, 'showing off ' in the outer lane is frowned upon since it usually stops dancers coming from behind, making forward progress; and it usually involves steps that are not safe to the surrounding dancers, and probably not in keeping with the music!!

If you feel the need to do a little showing off, move to the centre of the floor where you can stop and do multiple ochos or molinetes, for example, and not hinder the forward line-of-dance movement.

Collision Detection/Prevention
If Leaders absolutely must travel backwards to line-of-dance, look behind you first.  For the followers, as any dance pattern unfolds, be alert to dancers potentially in the way and let the leader know of a possible collision either verbally, by a hand squeeze, or by pulling your partner closer, or all of these, especially on a crowded dance floor.  In the Buenos Aires milongas most Tangueros start by facing the outside wall.  If you are facing the outside wall a backward step is safe as it is not against the line of dance.  Progress is made by using patterns of turning steps that generally advance counter clockwise.  It can take an entire Tango to cover one side of the dance floor.

Traffic Jams
If a dance couple in front of you stops, then either dance around them, mark time or use a Tango side-rocking step, for example, to continue dancing until they move.  Turning will generally avoid an impasse.

Backseat Drivers
Followers should not back-lead.  Not only does it make leading more difficult, but it also makes it more difficult for the leader to avoid collisions.

Smile - You're In His/Her Arms
It's ok to smile and have fun on the Tango dance floor.  We hear that the Tango police have stopped prosecuting for this.

Free Advice
For more experienced dancers, try to set a good example for beginners: be patient, polite and sensitive.  It is acceptable to give advice, provided it is asked for first, or provided you first ask permission to make an "observation" or a "comment".  Remember you were once a beginner.  A harsh or insensitive, but well intended "comment" can still ruin someone's evening.

Getting Close
Nearly last but not nearly least: Argentine Tango is an intimate and elegant dance.  For a pleasant experience, good hygiene is essential; we hope everybody bathes before dancing and uses deodorant.  It helps to use breath fresheners frequently.
Careful with the aftershave and perfume; some people are sensitive to them.  If you perspire, use a towel or handkerchief often.  People as a rule don't like dance partners that are walking wet towels (in the literal sense.)  So men, if you perspire heavily, use a towel, take a break and cool down, bring extra shirts, and change frequently.  Try wearing an under-shirt.Even in the steamy Buenos Aires milongas many men wear jackets for the actual dances, removing it between tandas.  This is a social dance, go to the gym if you want an aerobic workout.  If you wear glasses, consider contact lenses or removing your glasses while dancing unless you can't see where you're dancing.  Getting whacked in the head with someone's glasses as they turn their head is not pleasant.

Minimal talking while dancing

Whilst a milonga is a social event - please, please please keep your chatter OFF the dance floor.  Whilst you may well feel that what you want to say to your partner is the most riveting discourse since the sermon on the mount, it is the last thing other dancers wish to hear.  Once a dance has started, if you are nattering you cannot possibly be paying proper attention to the music, your partner or the other dancers around you.  This is probably the single biggest and most prolific sin at a milonga, whereas the odd bump may be easily forgiven; constant nattering just is not acceptable and can totally destroy the feeling of the dance for those unfortunate souls within earshot who are subjected to your poor etiquette.  Talk at the tables NOT during the dance.

Focus on the music, dancing and floor traffic.

And Finally
One last thing, avoid jeans, tennis shoes, or other similar casual attire when you go to a dance. Tango is an elegant dance; take advantage and dress for it !!

Shoes

Much has been written regarding Tango shoes. Most will say that Tango shoes should be leather soled as opposed to suede soled ballroom dancing shoes. This has arisen because that is what the Argentines wear. In Argentina it is rare for a Milonga to be held at a venue with a sprung wooden dance floor; dancers often find themselves in sports halls, restaurants, cafes and patios or even grass. Any shoe that permits the dancer to pivot on the ball of the foot on the floor in use at the time is fine. Most dancers have leather soled as well as suede soled shoes so that they can select appropriately for the venue when they get there. Suede soles left un-brushed for a time take on the properties of a leather sole. The important criteria is to be able to pivot easily.

Ney Melo article to be included