The Styles of Tango

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, the salón style, tango de salón, tango fantasia, tango Nuevo, and tango para exportar.

The origins of various dance styles lie in human psychology. People who are feeling-oriented tend to focus on inner experiences. These dancers, many are milongueros, developed the milonguero style of tango, also known as tango milonguero or tango apilado. It is danced in a close embrace with a slightly leaning (apilado) position, featuring intimate physical contact and simple steps to emphasize connection and feelings. This style is commonly seen at tango clubs in downtown Buenos Aires, where crowded floors prevent elaborate movements, hence its nickname, "estilo del centro" or downtown style. The milonguero style prioritizes embrace and feelings.

On the other hand, dancers who are movement-oriented tend to focus on steps and action. These dancers, many are also milongueros, developed the Villa Urquiza style of tango—also known as the salón style—which is danced in a loose embrace with an upright posture to facilitate stylish movements. These action-oriented dancers like to dance at neighborhood clubs, such as Club Sin Rumbo in Villa Urquiza, where open dance floors allow for elaborate movement, hence the term "estilo del barrio" or neighborhood style. The Villa Urquiza style prioritizes footwork and impression.

The Milonguero style and the Villa Urquiza style are commonly recognized as tango de salón, or social tango. Social tango is a loose term—broad enough to encompass stylistic differences yet narrow enough to exclude anti-social behaviors. Social dancers may be feeling-oriented or movement-oriented, but they all dance at clubs and abide by the milonga codes.

Social tango dominated Buenos Aires' culture from the mid-1930s to the mid-1950s, a period known as tango’s Golden Age. Between 1940 and 1950, some 23 dancers—who were even more movement-oriented than their Villa Urquiza colleagues—met regularly at Club Nelson to develop novel steps. The result is a new style known as tango fantasia. The names of these 23 dancers are listed in Robert Farris Thompson's book, Tango, the Art History of Love. Danced mainly in an open embrace, tango fantasia dramatized tango with flashy movements and elaborate choreography, and distinguishes itself from improvisational social tango by employing rehearsal and not conforming to the milonga codes. The purpose of this style is stage performance; therefore, it is also known as stage tango, show tango, performance tango, and exhibition tango (see Social Tango and Performance Tango).

From 1955 to 1983, Argentina was ruled by military juntas whose policies discouraged social tango. Curfews were enforced, and pedestrians were frequently stopped by the military police. Many were arrested or simply disappeared for association with the previous, pro-tango 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 military rule ended in 1983, it was this style that led to the revival of tango (see Tango: Historical and Cultural Impacts).

The renaissance was led by a group of stage performers who brought their show, Tango Argentino, to Paris and New York City in 1983 and 1984, where they ignited enthusiasm for their style of tango. Seizing the business opportunity, these professional dancers began teaching tango fantasia to Europeans and Americans, thus spawning the tango Nuevo movement that catered to foreign tastes. Because tango Nuevo incorporated many non-tango elements, such as exotic music and eccentric steps, it ceased to be the tango in its original sense. For this reason, milongueros despise it and call it "tango para exportar," or tango for export. (See Three Theories on Leading.)

Social Tango and Performance Tango

The more I reflect on the challenges facing tango today, the more I recognize the importance of distinguishing between social tango and performance tango. Advocates of performance tango often argue, “Why draw a line? They are all tango. Tango is one.” But that’s simply not true. Social tango and performance tango are fundamentally different forms of dance, each with its own distinct purpose. They differ in nearly every respect: structure, embrace, appearance, feeling, steps, techniques, methods of leading and following, and underlying philosophy (see Three Theories on Leading). Any definition that fits one inevitably excludes the other. In fact, those who have learned only one form cannot dance the other without additional training. Instead of promoting performance tango to beginners, it is better to be honest so that students understand what they are truly getting into.

Social tango is a popular dance form designed to suit the tastes, needs, and abilities of ordinary people. It is a spontaneous and improvisational dance, typically danced in a close embrace with substantial physical contact, fulfilling a deep human desire for connection and intimacy. It is danced for personal pleasure in the milongas, guided by the milonga codes. While incorporating technical and aesthetic elements, its steps are simple, allowing dancers to focus on inner experiences—emotions, feelings, intimacy, comfort, and connection. Dancing social tango is a deeply personal and soulful experience. What matters is how it feels, not how it looks (see Highbrowism and Populism in Tango).

Performance tango, by contrast, is a highbrow dance form created for the stage. It is a theatrical rendition of tango, featuring intricate choreography and advanced techniques suited for trained professionals. Unlike improvisational social tango, performance tango is choreographed and rehearsed, typically danced in an open hold to enable expansive movements. Its steps are wide, elaborate, and often dangerous, requiring ample space. It is not intended to provide an intimate, soulful, or personal experience, but to showcase flashy figures and dazzling movements to entertain an audience. This form of tango does not adhere to the milonga codes and is ill-suited for crowded dance floors. Safety, comfort, and user-friendliness are not its priorities. What matters is how it looks, not how it feels.

I believe learning performance tango—especially before mastering social tango—is not in the best interest of most students. It is a waste of their time and money for several reasons. For one, very few students aspire to become stage performers. Without a strong foundation in social tango, meaningful performance is also unattainable. Moreover, the habits acquired from learning performance tango—such as relying on arms and hands to lead and follow, neglecting meaningful communication through direct torso connection, emphasizing appearance over feeling, ignoring the comfort and safety of others, and using difficult or dangerous movements—can hinder one’s enjoyment of social tango and create disturbances in the milonga.

For the vast majority of students, social tango should be the focus of their learning. This is because their goal is to dance in milongas for enjoyment, not on stage to entertain an audience. They need a user-friendly dance that suits their abilities, not a difficult and inaccessible form. They seek connection and intimacy, not a showy, uncomfortable display of ego. Furthermore, developing proficiency in social tango provides a solid foundation if they ever decide to pursue performance.

In the United States, the blending of social tango and performance tango has caused numerous problems in our milongas. In Buenos Aires, the two forms are distinct. Social tango is danced in the milongas, while performance tango is reserved for the stage (see The Styles of Tango). Professional performers who dance performance tango on stage exclusively dance social tango when attending milongas. Teachers in Buenos Aires are transparent about what they teach—those who teach social tango specify it as such, and those who teach performance tango make that clear as well. They do not “hang up a sheep’s head to sell dog meat.” Separate competitions are organized for each form. I believe this separation is how tango should be handled everywhere.