by Oscar Casas and Mariana

Each of the following categories will be accompanied by steps and techniques specifically pertaining to the points being discussed.

Critical points of the salida (basic step):

By analyzing the salida, we will explore all the existing variations that are possible. The object is to develop individual ways to express the music through figures created spontaneously in the milonguero style.

Breaking down the structure of the steps and figures already known by the dancer will give him/her the liberty of getting in or out of these steps in the most convenient or necessary form.

Displacement of the body in rotation:

This refers to the importance of thinking ahead to where ones body will be in the next moment.

This is a very important concept, as it affects both the control and creativity of the dancer. It is also crucial for navigating effectively in the crowded milongas of Buenos Aires.

Giros (turns) accompanied, sent, and continued:

These giros can be used as tools to increase the dynamics of ones dance.

Increasing or decreasing the speed and intensity of the giros will give one's dance interest and visible contrast.

These contrasts will be apparent through the dynamics applied by the dancers.

Different energies (rounded or sharp) and their applications (techniques of accumulation and release):

Energy is an ingredient of the dance that is visible, tangible and concrete.

Energy is not a philosophical idea in tango; it is a reality, necessary for the dancer to express passion, musicality and connection with his/her partner.

It is particularly important to keep this reality in mind when dancing in the often crowded milongas of Buenos Aires. If the dancer truly wishes to express himself in these situations he must apply this concept of energy. Otherwise, he is just navigating.

 It is useful to think of the body as a musical instrument that can be controlled and directed according to the dancer's wishes and the needs of the moment. The body must be able to handle constant and instantaneous displacement.

The porteno way of walking  (several ways, with and without adornments):

To understand why certain tango walks look tango, it is useful to observe the way a porteno (a person born in Bs As) walks on the street as he goes about his daily business. Analyzing the mechanics and nature of this way of walking will help the leader develop a posture that will clarify his intentions while marking (leading).

This posture, characteristic of the porteno, translates into a distinctive look in the dance, simplifying the lead, while at the same time making it clearer and more effective.

Rhythmic balanceos:

Rhythmic balanceos are the basis for generating milonguero-style movements (spontaneous figures according to the needs of the moment on the dance floor).

These balanceos, whether they be acunados, continuados, or cortados (rocking, continued, or interrupted) depend exclusively on the different energies selected by the dancer as he/she interprets the music.

The spontaneous creation of steps or figures in the milonguero style techniques and methods:

 Through an analysis of

• the critical points of the basic step
• the displacement of the body in rotation
• giros (turns) rocking, accompanied, and continued
• management of energy

the dancer will be able to create spontaneous figures in the milonguero style.

Summary:

The dancer will work on different steps that can be applied to the milonguero style.

These steps are completely adaptable and can be easily incorporated into the dance with the objective of using them artistically to manoeuvre, navigate, and interpret the music.

The goal is for the dancer, without using a set pattern, to attain the freedom of finding his body in space, taking note of his position, and instantly being able to generate any number of milonguero figures that suit the mood, the music and the environment.

Whether it be primarily dynamic, energetic, romantic or sweet, milonguero-style tango is an expression of the body for the moment. As the environment is unpredictable, the dancer must react instinctively and instantaneously.

Technical summary:

For the woman:

Position, lean, dissociation, distribution of weight, waiting, direction and movement are basic points that must be considered in order to connect physically and emotionally with the music and her partner.

All these elements taken together are vital for the woman to understand and participate in the various leads, dynamics, cadencias and spontaneous movements that the man generates at any given moment.

For the man:

Being able to sense what your partner is feeling will enhance the quality of what you can offer her in the dance.

Taking the position of the follower from time to time will help the man feel what the woman feels. This is key to refining his manner of dance.

All the points mentioned above for the woman (position, lean, dissociation, distribution of weight, waiting, direction and movement) are the same ones that the man needs in order to connect physically and emotionally with the music and his partner.

Experiencing both the positive and negative feelings that the woman experiences as the follower will help the man to understand better how to communicate with the woman and what to offer her in the dance.