A milonguero is a person who spends time dancing social tango. The word comes from the term milonga referring to a tango dance event.
The term was used from the 1870s to mark a man who spent much of his time dancing tango of any style. [1] Since the early 20th century the term referred to a man immersed in the tango culture specific to Buenos Aires. A milonguero frequented dance halls, dancing to the music of tango, milonga and vals. Such a man was "raised and groomed on tango" and his "reverence for the dance and its traditions" strongly influenced the way he danced. The term milonguero was used by others to distinguish a skilled and courteous dancer, not a term for oneself. [2] After the 1955 coup ousted Juan Perón in Argentina, the tango was repressed, a sort of "dark age" for tango dancing, ending in 1983. [3]
Until the beginning of the 1980s milonguero also had a strong negative connotation, signaling a womanizer who typically had no job. [4] Such womanizers would typically visit downtown milongas and cafes where anonymity was more prevalent than in the clubs of the barrios; the crowded circumstances and the greater intimacy allowed by the greater anonymity fostered a close-embrace style dancing, which was the motivation of Susana Miller to use the term milonguero to denote the close embrace style dancing prevalent in downtown milongas. [4] [5]
The term milonguero changed to mean one who had been a frequent dancer during tango's Golden Age of the 1930s and '40s [6] and it also lost its negative connotations. Due to the loss of the negative connotations there are more dancers who would nowadays be considered milongueros - such as many respected and skillful salon style dancers of the barrios - and hence the identification of the dance of milongueros with milonguero-style tango is no longer apt. [5]
Though there are many individual differences between men, milongueros generally dress conservatively, wearing a sport coat or suit, dress shirt and often a tie. They do not attempt to converse with their partner during a song. They are keenly aware of others on the dance floor and they maintain the "line of dance", a stately progression of all the couples moving counter-clockwise around the dance floor. The milonguero does not bump into or kick other dancers; he employs mostly circular movements to keep an inward focus for himself and his partner, and to allow for small adornments made with the foot. Above all, he interprets the mood of the music with his dancing. [2] He cherishes each musical pause as it comes, and he executes movements that coincide with musical phrases. [7]
The milonguero generally selects skillful partners to maintain his reputation. He makes certain to lead his partner into movements that will show her in the best light; he does not show off his own skill to the detriment of his partner. He knows that if he makes the woman look good dancing then he looks good dancing. [2]
He dances to songs from his favorite artists, sitting out the others. Many milongueros prefer music of the Golden Age of tango, especially the marked rhythmic music of Juan D'Arienzo, the older rhythmic pulses of Francisco Lomuto, or the sweeping orchestrations of Carlos di Sarli. Many milongueros will not dance to a song sung by a female vocalist or—out of great respect—a song sung by Carlos Gardel. Some take this preference further and will not dance to any song containing lyrics. Modern tangos such as those by Astor Piazzolla are generally avoided; the transitional later tangos of Osvaldo Pugliese, with their emphasis on tempo changes, are shunned by many but particularly favored by others. [2] Recordings produced before 1983 are preferred. [8] Popular tango tunes from the Golden Age never fade for the milonguero: veteran dancer José "Poroto" Oviedo told his friends to "play di Sarli at my wake", a request that was honored at his death in April 2000, the romantic di Sarli song "Bahía Blanca" chosen for the occasion. [9]
In modern times, the feminine form milonguera has been used to refer to a woman who is an avid tango dancer, one who goes out dancing as much as possible. [10] Other similar terms are tanguero for a man and tanguera for a woman.
The most distinctive music of Uruguay is to be found in the tango and candombe; both genres have been recognized by UNESCO as an Intangible Cultural Heritage of Humanity. Uruguayan music includes a number of local musical forms such as murga, a form of musical theatre, and milonga, a folk guitar and song form deriving from Spanish and italian traditions and related to similar forms found in many American countries.
Tango is a partner dance, and social dance that originated in the 1880s along the Río de la Plata, the natural border between Argentina and Uruguay. It was born in the impoverished port areas of these countries, in neighborhoods which had predominantly African descendants. The tango is the result of a combination of Rioplatense Candombe celebrations, Spanish-Cuban Habanera, and Argentinean Milonga. The tango was frequently practiced in the brothels and bars of ports, where business owners employed bands to entertain their patrons with music. The tango then spread to the rest of the world. Many variations of this dance currently exist around the world.
Milonga is a musical genre that originated in the Río de la Plata areas of Argentina, Uruguay and the Brazilian state of Rio Grande do Sul.
Tango is a style of music in 2
4 or 4
4 time that originated among European immigrant populations of Argentina and Uruguay. It is traditionally played on a solo guitar, guitar duo, or an ensemble, known as the orquesta típica, which includes at least two violins, flute, piano, double bass, and at least two bandoneóns. Sometimes guitars and a clarinet join the ensemble. Tango may be purely instrumental or may include a vocalist. Tango music and dance have become popular throughout the world.
Candombe is a style of music and dance that originated in Uruguay among the descendants of liberated African slaves. In 2009, the United Nations Educational, Scientific and Cultural Organization (UNESCO) inscribed candombe in its Representative List of the Intangible Cultural Heritage of Humanity.
Carlos Di Sarli was an Argentine tango musician, orchestra leader, composer and pianist.
Argentine tango is a musical genre and accompanying social dance originating at the end of the 19th century in the suburbs of Buenos Aires and Montevideo. It typically has a 2
4 or 4
4 rhythmic time signature, and two or three parts repeating in patterns such as ABAB or ABCAC. Its lyrics are marked by nostalgia, sadness, and laments for lost love. The typical orchestra has several melodic instruments and is given a distinctive air by the small button accordion called the bandoneon. It has continued to grow in popularity and spread internationally, adding modern elements without replacing the older ones. Among its leading figures are the singer and songwriter Carlos Gardel and composers/performers Francisco Canaro, Juan D'Arienzo, Carlos Di Sarli, Osvaldo Pugliese, and Ástor Piazzolla.
Milonga is an event where Argentine tango is danced. The venue dedicated to milongas may also be called "milonga". People who frequently go to milongas may be called milongueros.
Leonel Edmundo Rivero was an Argentine tango singer, composer, and impresario.
Tango, a distinctive tango dance and the corresponding musical style of tango music, began in the working-class port neighborhoods of Buenos Aires (Argentina) and Montevideo (Uruguay); on both sides of the Rio de la Plata.
Uruguayan tango is a rhythm that has its roots in the poor areas of Montevideo around 1880. Then it was extended to other areas and countries. As Borges said: "...tango is African-Montevidean [Uruguayan], tango has black curls in its roots..." He quoted Rossi, that sustained that "...tango, that argentine people call argentine tango, is the son of the Montevidean milonga and the grandson of the habanera. It was born in the San Felipe Academy [Montevideo], a Montevidean warehouse used for public dances, among gangsters and black people; then it emigrated to underworld areas of Buenos Aires and fooled around in Palermo's rooms..." This also implies that different forms of dance were originated in the neighborhoods of Montevideo, Uruguay in the last part of the 19th century and in the early 20th century that was particular from that area and different from Buenos Aires. It consists of a variety of styles that developed in different regions of Argentina and Uruguay.
Queer Tango is to dance Argentine tango without regard to the traditional heteronormative roles of the dancers, and often to exchange the leader and follower roles. Therefore, it is related to open role or same-sex tango. The queer tango movement permits not only an access to tango for the LGBT community, but also supports female leaders and male followers, regardless of orientation.
Figures of Argentine tango are elements of Argentine tango.
Milonguero is a style of close-embrace tango dancing, the name coined by Susana Miller and Oscar "Cacho" Dante from the Argentine word "milonguero". Milonguero is a term for a skillful and respectful tango dancer who holds a reverence for the type of traditional social tango that is danced at milongas in Buenos Aires, Argentina. The two uses of the term do not coincide: many dancers who are considered to be milongueros do not dance milonguero-style tango.
Milonga dance is dancing to milonga music.
María Nieves Rego is an Argentine tango dancer and choreographer who starred with her long time dance partner Juan Carlos Copes in the 1983 musical Tango Argentino.
Carlos Espinoza is an Argentine dancer and teacher. His dance style is based on tango milonguero. Together with Noelia Hurtado he gives tango classes at various tango festivals around the world.
Maria del Carmen Rodriguez de Rivarola, better known by her artistic name Maria Rivarola is an outstanding professional dancer, social dancer, and choreographer of the Argentine Tango. She is known for performing a specific style of Argentine Tango known as Milonguero Tango. She is also known worldwide for being a cast member of the show Tango Argentino, released in 1983, which resulted in her nomination, along with the rest of the dancers, for the Tony Award in 1986 for Best Choreography. Since her youth, Carlos Rivarola has been her dance partner. Together, they present themselves artistically as Maria and Carlos Rivarola. Maria was one of the founders of the Association of Teachers, Dancers, and Choreographers of the Argentine Tango (ATDCAT) in 2001.
Alberto Bernardino Paz was an Argentine tango historian, teacher, and dancer. Alberto taught the traditional, social tango of the Buenos Aires salons, together with its codes and culture, to North Americans and Europeans.
Tango Argentino is a musical stage production about the history and many varieties of Argentine tango. It was created and directed by Hector Orezzoli and Claudio Segovia, and premiered at the Festival d'Automne in Paris in 1983 and on Broadway in 1985. The production became a world-wide success with numerous tours culminating with a Broadway revival in 1999–2000. It set off a world-wide resurgence of tango, both as a social dance and as a musical genre. Tango Argentino recreates on stage the history of tango from its beginnings in 19th-century Buenos Aires through the tango's golden age of the 1940s and 50s up to Piazzolla's tangos. Most of the dancers in the show did their own choreography.