Dancing to Rhythm and Melody in Milonguero Style

Rhythm, defined as the duration and accents in music characterized by regular and interrupted beats, is the most essential element of music. It can exist independently of melody, as exemplified by the drumbeats in primitive music. Rhythm compels us to dance, as we instinctively step to the pulses of the music (see Tango Music and Its Danceability).

However, music is more than just rhythm. It also encompasses melody—the sweet, continuous, and flowing tone that adds emotion, beauty, and fluidity to music. Melody inspires movement that is emotional, smooth, and graceful, as we strive to express the feeling, fluency, and elegance it conveys.

Some tango songs, such as those by Di Sarli and D'Arienzo, are more rhythmic and easier to dance to, while others, like those by Pugliese and Troilo, are more melodic and challenging to follow. Rhythmic music is particularly suited to the milonguero style of tango, danced in close embrace, as it facilitates the pulsating and synchronous movements of the two connected bodies. This creates a sensation that is both intimate and pleasurable, making the style especially appealing to dancers who prioritize emotional connection and feeling.

Melodic music is best suited to the Villa Urquiza style of tango, danced in a loose embrace that emphasizes flashy performance, as it facilitates improvisational rather than rhythmic movements. Often described as stylish, elegant, and showy, this style appeals to dancers who focus on movement and visual impact (see The Styles of Tango).

The milonguero style is the dominant form of tango in Argentina, Uruguay, Spain, and Italy, largely due to the cultural ties between these countries (see Tango: Historical and Cultural Impacts). In recent years, it has also been gaining popularity in other parts of the world. The following video provides an excellent representation of this style.

This video has been shared by this blogger before, so you may have already watched it. However, to illustrate how the milonguero style is danced, I’d like to draw your attention again to the highlighted fragments below.

17:24 - 17:50 (26 seconds)
This fragment is a classic example of how the milonguero style is danced—it is danced with simple and rhythmic steps. Take note of the rhythmic pattern used by the couple, which sounds like: 1 and 2 and 3 and 4 and, 5 6 7 and 8 9 10 and, or slow and slow and slow and slow and, quick quick quick and quick quick quick and. The choreography may be simple, but the speed, direction, and length of the steps are varied. Most steps are small, with the occasional large step woven in. Forward, side, and back steps, as well as rock steps and turns, are seamlessly blended to make the dance captivating.

As you can see, while simple, the dance is mesmerizing. The woman seems deeply absorbed in it—nestling in his arms and dancing in complete harmony with him. She remains entirely comfortable with every movement he leads, no matter how simple, and does not go beyond her role to add unnecessary complexity, noise, or discord. Her steps are subtle and unobtrusive, with no embellishments aimed at impressing others. Her focus is entirely on the music and the emotions it evokes. From her facial expression, one can clearly see the profound power of such simple and rhythmic motions.

1:10 - 1:38 (28 seconds) and 13:40 - 14:04 (24 seconds)
These are two additional examples, showcasing rhythmic, simple, and synchronized steps that emphasize the cohesion and harmony of the partnership rather than individual performance.

If these are true representations of the milonguero style, then our tango—though danced in close embrace—does not align with this style. The tango that most Americans dance tends to be overly elaborate, less rhythmic, less cohesive, and not well-synchronized. Even the music played at our milongas is often too melodic, reflecting only our interpretation of tango.

I doubt that I, or even a milonguero, could truly dance the milonguero style with most women in this country, as achieving that level of cohesion requires a partner well-versed in synchronization (see Driving and Synchronization). To dance as one body with the man, the woman must relinquish her independence, ego, habit of acting on her own, and desire to stand out. She must surrender herself to the man and follow him unconditionally.

I bring this up because many women in this country seem to hold a different philosophy. They reject the notions of surrender, obedience, and submission, and are often uncomfortable with intimacy with men. Their femininity—or "gentle and quiet soul," as the Bible puts it—has been influenced by ideologies that promote self-centeredness, independence, individualism, disagreement, rebellion, and aggression. They only know how to be themselves but don't know how to be one with another person. They try too hard to impress but overlook the one thing that a woman must do well first in tango dancing—surrender. Consequently, they miss out the magic that tango offers them.

5:45 - 6:13 (28 seconds) and 18:40 - 19:15 (35 seconds)
The milonguero style is a rhythmic dance, but it can also be danced to melody, as demonstrated in these two fragments.

Songs suitable for the milonguero style of dancing typically feature clear beats, accompanied by a sentimental melody. The beats are strong, steady, and easy to follow. But sometimes emotions take over and beats weaken or merge into the melody. In such cases, dancers must adapt to the shifting mood and transition to dancing melodically. When dancing to rhythm, movements are vertical, abrupt, short, and interrupted. In contrast, when dancing to melody, movements become horizontal, emotional, graceful, and continuous. Slow motion and pauses are often employed to linger on a note or wait for the next phrase to begin, creating moments of emotional expression and connection.

From my perspective, many women in this country struggle to follow melody effectively. When the beats fade and melody takes the lead, they often appear lost. There is a noticeable impatience and anxiety in their movements when the music asks them to slow down or pause, as they remain focused on catching the beat. This is understandable, considering most dancers are primarily taught to step on the beat without being trained to follow melody. Yet, dancing to melody is a crucial skill for tango dancers, particularly women, as melody embodies the emotion, fluidity, and beauty of the music, capturing the feminine essence of tango (see The Characteristics of Classic Tango).

In conclusion, the milonguero style is a rhythmic dance that appeals to the sensations of pulsating bodily motions. It is characterized by small, simple, rhythmic, compact, and synchronized steps. The dance reaches its full potential when partners surrender to each other, immerse themselves in the music and emotions, and move as one cohesive unit. It is best performed to music with a strong rhythmic foundation.

Despite its rhythmic nature, the milonguero style is also adept at expressing the emotions of melody. However, dancing to melody in this style differs from the Villa Urquiza style. The latter incorporates intricate figures, fancy steps, and stylish footwork, while the former emphasizes natural steps, pauses, and slow motion to preserve the dance's simplicity and soulfulness, avoiding unnecessary distractions. As the milonguero style continues to gain popularity, it is crucial to learn the correct way of dancing it to fully appreciate its magical allure (see Dancing to Melody - Poema).