Dancing to Rhythm and Melody in Milonguero Style

Rhythm—the duration and accents in music marked by regular and interrupted beats—is the most fundamental element of music. It can exist independently of melody, as demonstrated by the primal drumbeats of early music. Rhythm compels us to dance, drawing our steps instinctively to its pulse (see Tango Music and Its Danceability).

Yet, music is more than just rhythm. It also encompasses melody—the continuous, flowing, and expressive tonal progression that infuses music with emotion, beauty, and fluidity. While rhythm moves us physically, melody moves us emotionally, inspiring graceful, expressive movement that reflects its fluency and elegance.

Some tango compositions, such as those by Di Sarli and D'Arienzo, are highly rhythmic and easier to dance to. Others, such as those by Pugliese and Troilo, lean towards melody and are more challenging to follow. Rhythmic music is particularly well-suited to the milonguero style of tango, danced in close embrace. It facilitates the pulsating, synchronized movements of two connected bodies, creating a sensation that is both intimate and pleasurable. This makes the style especially appealing to dancers who prioritize emotional connection and feeling.

Melodic music, on the other hand, pairs naturally with the Villa Urquiza style, which is danced in a looser embrace and places greater emphasis on visual appeal and showmanship. This style allows for improvisational movements that flow with the melody rather than adhering strictly to rhythm. Known for its elegance and flair, it attracts dancers who enjoy intricate footwork and performance aesthetics (see The Styles of Tango).

The milonguero style remains 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 been gaining popularity worldwide. The following video offers an excellent representation of this style.

This video has been shared before, so you may have already seen 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 excerpt exemplifies how the milonguero style is danced—it is danced with simple and rhythmic steps. Observe the rhythmic pattern employed 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. While the choreography is straightforward, the dancers introduce variety through changes in step speed, direction, and length. Most steps are small, with occasional longer strides woven in. Forward, side, and back steps, along with rock steps and turns, seamlessly blend to create an engaging, fluid dance.

Despite its simplicity, the dance is captivating. The woman appears fully 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) & 13:40 - 14:04 (24 seconds)
These segments further showcase the hallmarks of milonguero style—rhythmic, simple, and synchronized steps that emphasize partnership and cohesion over individual display.

If this is an accurate representation of authentic milonguero tango, then much of the tango danced in America—though performed in close embrace—does not fully align with this style. American tango tends to be more elaborate, less rhythmic, and often lacks the cohesion and synchronization fundamental to true milonguero dancing. Even the music played at our milongas is often too melodic, reflecting only our interpretation of tango.

I question whether I, or even a seasoned milonguero, could dance the milonguero style with most tango women in this country, as achieving this level of cohesion requires a partner adept at 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 America seem to approach tango with a different philosophy. They resist the concepts of surrender, obedience, and submission, and often struggle with intimacy in dance. Their femininity—or what the Bible describes as a "gentle and quiet soul"—has been shaped 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 can offer.

5:45 - 6:13 (28 seconds) & 18:40 - 19:15 (35 seconds)
Though inherently rhythmic, the milonguero style can also adapt to melody, as demonstrated in these excerpts.

Tango songs suited to milonguero dancing typically feature a strong rhythmic base complemented by a sentimental melody. The beats are clear, steady, and easy to follow. However, when emotions take over and the beats soften or merge into the melody, dancers must adjust, shifting their movements to express the changing mood. Rhythmic dancing involves vertical, abrupt, short, and punctuated movements, whereas melodic dancing is horizontal, fluid, graceful, and continuous. Slow motion and pauses are often employed to linger on a note or wait for the next phrase to begin, creating deeply expressive moments.

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, as they remain focused on catching the rhythm. Trained primarily to step on the beat, they lack the sensitivity required to interpret melodic phrasing. Yet, the ability to dance to melody is essential, particularly for women, as melody encapsulates the emotion, fluidity, and beauty of tango—qualities that define the feminine essence of the dance (see The Characteristics of Classic Tango).

Conclusion
The milonguero style is a rhythmic dance that thrives on the sensations of pulsating, synchronized movement. It is characterized by small, simple, compact, and well-coordinated steps. The dance reaches its fullest potential when both partners surrender to each other, immerse themselves in the music, and move as a single, cohesive unit. It is best performed to music with a strong rhythmic foundation.

Despite its rhythmic nature, the milonguero style is also capable of expressing melodic emotions. However, unlike the Villa Urquiza style, which incorporates intricate figures and stylish footwork, milonguero dancers maintain the dance’s simplicity and soulfulness through natural steps, pauses, and slow motion—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.