Ever hear the term milonguero and wondered what it means? To explain its meaning, it is useful to explore the origin of the word milonguero first. And this like with more things in tango, involves several aspects. Below the word will be pulled apart and several aspects will be separately highlighted.

Before the word milonguero will be explained the origin of the word which is milonga will be explained. The word ‘milonga’ is applied in different ways in Argentine Tango. First of all it can simply mean ‘a dance’ event, as in to attend the milonga at Tango E14. In this context, a ‘milonguero’ {Male or either sex}, or ‘milonguera’ {Female}, is a person who dances at a milonga.

Secondly, a milonga could also just mean an individual dance. Argentine Tango is often arbitrarily divided into sub groups such as ‘tango’, ‘vals’, and ‘milonga’. This refers to the sub styles of music and their sub styles of dance. Purists promote you dance only dance steps that are suitable for the specific music sub genre. This can be obviously contested and be debated.

A traditional ‘milonga’ event is often divided into ‘tandas’ or sets (typically three or four) pieces of similar music. So we often have:

First Tanda      – 3 or 4 Tango pieces.

Second Tanda – 3 or 4 Tango pieces.

Third Tanda     – 3 Tango Vals pieces.  

Fourth Tanda   – 3 or 4 Tango pieces.

Fifth Tanda       – 3 or 4 Tango pieces.

Sixth Tanda      – 3 Milonga pieces.

In this sense a ‘milonga’ is a faster, choppier, more rhythmic piece, danced accordingly in a more rhythmic and less complicated fashion.

The early Tangos, prior to 1920s, had a more rhythmic nature, including ‘Habanera’ (2 + 2) rhythms, similar to but not necessarily the same as what we now call ‘Milongas’.  Tango gradually evolved with more melody, more pauses and more opportunity for dramatic or decorative moves. 

From the 1920s, Tango became more acceptable to all levels of Argentine society.

So third and lastly, then we notice different variations and ways of dancing arising depending on the ‘environment’. In the more crowded and ordinary milongas closer to the centre of Buenos Aires a closer and more rhythmic style evolved. This is ‘Milonguero’ style. The music might have been from Juan D’Arienzo’s orchestra.

By comparison, in the salons of the wealthier suburbs, with more room to dance expressively, and with the clear steady sounds of Carlos Di Sarli, Tango evolved into ‘Salon’ style tango. There are also some distinct claims to styles depending on which suburb, eg ‘Salon Urquiza’.

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Music exploration

To understand and explore musically the milonguero style versus the salon style, it is recommended to listen and compare the following orchestras. Juan D’Arienzo for milonguero style and and Carlos Di Sarli for salon style.

Listen to a few well known tracks. Both Di Sarli and D’Arzienzo are easy to find Argentine tango orchestras that played and recorded in ‘The Golden Age of Tango’ (1930s – 1950s).

Especially this week look for Juan D’Arienzo and his orchestra and Carlos Di Sarlo with his various orchestras. They were both very prolific and made thousands of recordings, and are easy to find. There are also clips on Youtube. Just listen, savour and enjoy the music.

Even without trained musical knowledge you should be able to start to feel or perceive that there are characteristics, or flavours to the music that could inspire different reactions. Follows are suggestions or ideas for comparing to help you in active listening.

• Can you discern any sort of structure? Can you compare and discern different use of structure during the Golden Age by both orchestras?
• Are there bits or ‘phrases’ that get repeated or varied?
• Can you tap your fingers sympathetically with it?
• Can you hear the difference in style? D’Arienzo is famous for his more staccato and percussive style and Di Sarli for his lyrical more melodic style. Do you agree or would you describe the styles differently? What words would you use? Or do you find similarities?
• Juan D’Arienzo is the main one of the ‘Milonguero’ style, but there are many others. Which ones do you like?

Feel free to share your findings with fellow dancers at a Tango E14 milonga.