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A ballroom filled with the sounds of bandoneon and violin, elegant couples gracefully entwined, occasional leg play–welcome to a milonga, an Argentine tango dance event. Before we delve into this world, there is an important clarification to be made: the term “tango” refers to various rhythmic forms, dance styles, and songs that can be found in both ballroom dancing and flamenco. The Argentine tango, which I discuss in this article, is a musical genre, a song, and a dance. This particular dance is social (though it also evolves into a stage dance) and is performed by two partners. It is characterized by improvisation, with both dancers moving together towards an impromptu direction at every moment. The essence of the danced tango revolves around the abrazo, the embrace held by tangueros/as (tango dancers): one partner (traditionally the man) leads the other (traditionally the woman), who follows by naturally letting their weight shift in the walk, in a constant negotiation of the axis they both maintain. Within this dance, the three most widespread styles are:
• The “milonguero” style: Based on the dancing manners of the old milongueros (milonga dancers), this style, documented by Susana Miller, is danced in strict accordance with the line of dance, in a closed embrace. Although the repertoire of steps and the range of movements are somewhat limited, the emphasis on rhythmic play and the appreciation of sensuality are, on the other hand, brought to the forefront.
• The “salon” or “nuevo” style: Initially developed musically by composer Astor Piazzolla in the 1960’s, the dance this inspires is a more dynamic, sensational tango than the milonguero style, with a richer choreographic repertoire. It is generally danced in a more open embrace.
• The “fantasia” or “show” style: This refers to the tango style seen in performances or competitions, with highly advanced technical difficulty and acrobatic flourishes, incorporating elements from other dances such as classical ballet. The rules of the dance floor do not apply to this style due to its stage-based practice.
There is a genuine debate surrounding the tango milonguero and tango nuevo styles, clearly illustrating an unresolved tension between a gestural memory considered authentic (milonguero style) and its questioning by successive generations (nuevo style). That being said, if this tension generates feelings of belonging or rejection in dancers depending on the style they defend, it is a testament to the living nature of tango, which continues to captivate!
Centered around walking, this dance does not require specific bodily attributes, but rather mastery of one’s core and acute awareness of the partner’s body. This makes the dance accessible to anyone wishing to practice it. However, very precise ballroom codes have been developed to make the milonga experience more enjoyable. Some of the most important are: couples move in a circle counterclockwise, only stepping inside the circle to perform stationary figures; one invites through the mirada (gaze) and the partner accepts by the cabeceo (head movement) or declines by looking away; typically, one only dances a tenda (sequence of 4 songs), and each can return to their place during the cortina (a short interlude with a different type of music).
As a musical genre, tango encompasses three forms upon which traditional tango steps are danced: tangos, milongas (which also refers to the ball, the type of dance, and the music), and waltzes. Tango has particularly developed around the importance of dance at the expense of music and singing, which for a long time were created “to make people dance.”
Origins of Tango
Tango was born in the multicultural melting pot of the Rio de la Plata (a South American estuary at the junction of Uruguay and Argentina) in the late 19th century, in the impoverished immigrant neighborhoods. In these ports and barrios (neighborhoods), a diverse population lived: descendants of slaves, former gauchos, and peasants marginalized by the second industrial revolution, as well as Creoles, indigenous people, and a large number of European immigrant workers (Spanish, Italian, French, German…) who came to try their luck in this new Argentine Eldorado. This already outlines what tango would become–a blend of Cuban habanera, African candombe, Gypsy dance, and Italian song…
Tango took its earliest form in the brothels (different from bordellos, these were large comfortable houses for wealthy clients, with women, music, food, drinks, board games, etc.), as the writer Jorge Luis Borges recounts. Inspired by the compadres (thugs and gang leaders) who made the rules and danced an early form of tango, the regulars of these houses or street dances performed quick and suggestive steps, showcasing a “canyengue” tango, a roguish dance for bad boys. A descendant of the popular and mixed-race milonga, a specifically Argentine dance developed between 1870 and 1890, the tango danced to the rhythm of the flute, violin, and sometimes the piano, to which the guitar and later the bandoneon would be added, replacing the latter and establishing itself as the major instrument of Argentine tango.
Initially, the general public rejected tango due to its infamous origins, considering it indecent, and for a long time, most people – especially women – refrained from dancing it. It wasn’t until its export to Paris that it finally gained respectability. Approved and reorganized in the French capital, it was rejuvenated by the youth of the Parisian high society and thus lost the cortes (figures that suspend dance movements) which were typical of compadres, and its scandalous character transformed into a kind of voluptuous promenade. This worldly success opened a new era for tango: that of a ballroom dance, an art adopted by everyone and everywhere, that of a veritable “tangomania” that spread throughout Europe, and … back to Argentina.
Gradually, tango fever infected the entire city of Buenos Aires: it was danced in balls and guinguettes, and the first Orquestas típicas (so-called “typical” orchestras of traditional music) were formed. At the beginning of the 20th century, the Guarda Vieja emerged, interpreters who would regulate the music and act as guardians of tradition. Dance became more codified, generating increasingly sophisticated figures, the interpreters professionalized, and academias, which would later become teaching and practice rooms for tango, began to flourish.
In the first decade of the 20th century, tango took on a darker and more melancholic musical tone, languid and sad, so much so that Argentine poet and composer Enrique Santos Discépolo defined it as follows: “Tango is a sad thought that is danced.” However, after years of triumph, tango gradually went out of fashion around the 1930’s. In the 1960’s, the tango spirit was revived under the influence of composer Astor Piazzolla (tango nuevo), who did not shy away from flirting with jazz and rock, while traditional tango suffered a significant decline, facing the lively rhythms and movements of these new trends. But it was mainly as of the 1990’s that tango came back into fashion, driven by various shows like Tango Argentino, and was danced all over the world.
A Multicultural Dance
“Those who say you can’t dance tango if you’re not Argentine are mistaken. Tango is immigrant music; it has no nationality,” Argentine tango dancer Carlos Gavito assured. And he couldn’t have been more right! The original tango dance is a blend of styles born from the cultural mix present in the Rio de la Plata region, becoming synonymous with “immigrant music,” as well as the music of the poor neighborhoods, former slaves, compadres, etc. It is a true patchwork that borrows and assembles parts of musical and dance cultures, postures, movements, and even invitation rituals or dress codes. Sociologist Ana Jaramillo attests to this and highlights the transcultural nature of tango: “This is how our culture has been nourished by the contributions of the indigenous population, which had in turn hybridized with European peoples and their African slaves’ own cultures.” The elements of tango – with dance at the forefront – are both a reflection and a vector of diversity and cultural dialogue, as this art has conquered the world.
“Argentine-ness” and Tango
This eclectic blend of customs and beliefs eventually transformed into a distinctive cultural identity, as asserted in Unesco’s article recognizing Argentine tango as part of intangible cultural heritage. Indeed, tango is referred to as “Argentine” even though it originated in the region encompassing Uruguay. Gradually, the syncretic and codified culture of the milonga (tango ball) developed, referring to the Argentine model, which is considered as authentic. Dancers even undertake a sort of pilgrimage to Buenos Aires to learn tango, to refine it, and to connect with what is perceived to be the true source of tango.
Priority is given to the porteño tango (originating from Buenos Aires), which, according to ethnomusicologist Ramón Pelinski, is “a territorialized tango, culturally and geographically rooted in its own history and birthplace,” unlike the nomadic tango that travels from country to country, embraced by the cultures it encounters. According to anthropologist Hernán Morel, tango has even been progressively incorporated into Buenos Aires’ tourism policy as a marketing tactic (alongside the Andes or meat) and serves as a catalyst for constructing an “Argentine” identity (which nevertheless proves to be fundamentally plural and mixed). To achieve this, institutions have endeavored to curb the nomadic nature of this dance to emphasize its Rioplatense origin as a guarantee of authenticity.
Although tango is perceived as inherently Argentine, its constant circulation leads to the development of numerous deterritorialized scenes, adding innovation, questioning, and adaptation. Despite its deep-rooted “Argentine” origin and the sense of community it generates, tango is danced everywhere, from Baltimore to Singapore, from Beirut to Paris. It is in this way that tango culture continues to resonate, eventually becoming embraced by all nationalities and finally being inscribed on September 30, 2009 as part of Unesco’s intangible cultural heritage.
