| In Strangers'Arms the Magic of the Tango|
Tango is not only a fascinating dance, but also a fascinating idea, philosophy, culture, and lifestyle. In many ways, tango is a metaphor of life. The pursuit of tango is the pursuit of connection, love, unity, beauty, harmony and humanity, i.e., an idealism that is not consistent with the dehumanizing reality of the modern world. The world divides us as individuals, but tango unites us as a people and species. In tango we are not individualists, feminists, nationalists, liberals, conservatives, Democrats, Republicans, etc., but interconnected and interdependent members of the human family. We are humanists. Tango calls us to tear down the walls, to build bridges, and to regain humanity through connection, cooperation, reconciliation and compromise. If you share this conviction, please join the conversation and let your voice be heard, which is urgently needed and long overdue.
Together we can awaken the world.
August 20, 2012
August 2, 2012
Many terms are used to describe different styles of tango, such as tango milonguero, tango apilado, tango Villa Urquiza, estilo del centro, estilo del barrio, tango de salon, tango fantasia, and tango Nuevo, etc.
The fundamental cause of stylistic differences lies in human psychology. People who are feeling-oriented incline to personal experience and inward emotions. These dancers, of whom many are milongueros, have developed the milonguero style, which is danced in a close embrace with slight leaning (apilado) against each other, using simple and compact steps. Such dancers often dance at the clubs in downtown Buenos Aires where the floors are crowded - hence the term estilo del centro, or downtown style. Milonguero style features the embrace and feelings.
Milonguero style and Villa Urquiza style are commonly recognized as tango de salon, or social tango. Social tango is a loose term broad enough to include stylistic differences and narrow enough to exclude anti-social behaviors. Social dancers may be feeling-oriented or movement-oriented, but they all dance at the clubs and abide by the milonga codes.
From 1955 to 1983 Argentina was ruled by a succession of military juntas whose policies discouraged social tango. Curfews were enforced and people were under routine checks for their police records. Many were arrested or simply disappeared for aligning with the previous Peronist regime. As a result, people stopped dancing socially and tango went underground. The absence of social tango during this period gave Tango Fantasia an opportunity to take the stage. When the military rule ended in 1983, it was this style that led the revival of tango. (See Tango: Historical and Cultural Impacts.)