Milonguero is a style of close-embracetango dancing, the name coined by Susana Miller and Oscar "Cacho" Dante from the Argentine word "milonguero".[1]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.[2][3]
Milonguero
Cristina and Homer Ladas demonstrate the milonguero-style embrace
Milonguero-style tango, also known as estilo milonguero (in Buenos Aires, known by name Estilo del centro because it originates from downtown milongas where dance floors were crowded) or apilado (piled up, stacked), is a close-embrace style of social tango dancing in which the focus is inward and the leg and arm movements are kept small.[4] The style developed from and is appropriate to crowded dance floors.[5] The term was coined by Buenos Aires-born tango dancer Susana Miller in the 1990s in the process of teaching others the kind of inwardly focused tango dancing that was practiced by veteran dancers in the social dance venues of central Buenos Aires, differentiating it from the more pronounced movements of outer Buenos Aires and other less crowded milongas, and especially to separate it from choreographed stage tango.[6][3]
Styleedit
In the milonguero-style embrace, the woman moves her left hand past her partner's right shoulder (where it would be in open embrace) around his neck and back to end up near his left shoulder, depending on the relative heights of the dancers.[7] Her left arm will lie above the man's right arm with no space between them, but she will not hold tension in that arm—he should barely feel the weight of her arm.[8] The two faces may touch, they will at least be very close. With a straight back she leans against her partner at a more pronounced angle than his, he leans slightly toward her but may appear to be standing upright. Rhythmically, the two will indulge in small adornments with the feet until just before the next beat, changing weight at the last possible moment.[7][9]
Barbara Garvey, the co-founder of the Bay Area Tango Association based in San Francisco, said that she and her husband Al saw in 1987 that "a very simple form of close embrace was prevalent in the center of [Buenos Aires], but not in other barrios."[10] This style was expanded upon by Pedro "Tete" Rusconi who was the first to teach close embrace in the US, joined by Susana Miller who gave the style its name. In 1994, Daniel Trenner taught at Stanford University's Tango Week, describing the Rusconi/Miller milonguero style as the only authentic Buenos Aires tango.[10] From the late 1980s, a sense of tango community had been growing in the San Francisco Bay Area, and after '94 it adopted an emphasis on milonguero style, along with other forms of close embrace. By the late-1990s a milonga could be found in San Francisco on any night of the week.[11] Traveling tango performers would appear at the dance venues after their shows, but they would change from show attire and style to salon-style dancing and more conservative clothing. However, from around 1996 when Madonna was in Buenos Aires making the film Evita, women's dress at milongas grew more sheer and revealing.[12] Also in the late 1990s but in Athens, the term tango milonguero came to represent a movement to recreate in Greece a sense of "authentic" Buenos Aires, with tango aficionados organizing Argentine-style milongas and encouraging a sense of community among the dancers.[3]
Relative to other styles of tango, milonguero style is sometimes viewed as restrictive and limiting, especially in the context of tango nuevo which emphasizes playful exploration and freedom of movement.[13] On the other hand, milonguero-style dancers may regard with suspicion the nuevo-style introduction of electronic and other non-traditional music to the dance floor. Milongueros decry the sort of exhibitionism demonstrated by large movements and showy dance figures.[5] Nevertheless, some practitioners and teachers have combined milonguero elements with a nuevo outlook to create milonguero nuevo, a blend that is safe for crowded dance floors yet full of playful interaction between the two partners.[13]
Referencesedit
^"Practimilonguero interview with Oscar "Cacho" Dante, dance partner, and teacher of Susana Miller". Retrieved Oct 31, 2012.
^Denniston, Christine (2003). "The Dark Age of Tango". History of Tango. history-of-tango.com. Retrieved May 6, 2012.
^ abcKlein, Gabriele (2009). Tango in Translation: Tanz zwischen Medien, Kulturen, Kunst und Politik. Tanz Scripte. Vol. 19. transcript Verlag. pp. 62–63. ISBN383761204X.
^Rasche, Thomas (2007). Argentine Tango – Class Companion: The Guide for Students of Argentine Tango. Lulu.com. p. 27. ISBN1847535321.
^ abCusumano, Camille (2008). Tango. Seal Press. p. 131.
^Denniston, Christine (2003). "The Tango Renaissance". History of Tango. history-of-tango.com. Retrieved May 6, 2012.
^ abTaylor, Julie M. (1998). Paper Tango. Duke University Press. pp. 27–28. ISBN0822321912.
^Paz, Alberto; Hart, Valorie (2008). Gotta Tango. Human Kinetics. pp. 60–62. ISBN0736056300.
^Albrecht, Madlen (2009). Le développement du Tango à partir de 1983: Un travail sur le changement du Tango de 1983 jusqu'à aujourd'hui (in French). GRIN Verlag. pp. 6–7. ISBN3640390946.
^ abGarvey, Barbara (November 19, 2007). "Re: In the land of the blind, the one-eyed..etc". Tango List. Michigan Institute of Technology. Retrieved May 6, 2012.
Tango and Chaos in Buenos Aires: online book about tango culture and tango dancing in Buenos Aires of 2000s
April 16, 2024
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Milonguero is a style of close embrace tango dancing the name coined by Susana Miller and Oscar Cacho Dante from the Argentine word milonguero 1 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 2 3 MilongueroCristina and Homer Ladas demonstrate the milonguero style embraceGenreTango milongaInventorPedro Tete RusconiSusana MillerOriginArgentina Contents 1 Origin 2 Style 3 References 4 External links sourcesOrigin edit nbsp Gustavo Naveira and Giselle AnneMilonguero style tango also known as estilo milonguero in Buenos Aires known by name Estilo del centro because it originates from downtown milongas where dance floors were crowded or apilado piled up stacked is a close embrace style of social tango dancing in which the focus is inward and the leg and arm movements are kept small 4 The style developed from and is appropriate to crowded dance floors 5 The term was coined by Buenos Aires born tango dancer Susana Miller in the 1990s in the process of teaching others the kind of inwardly focused tango dancing that was practiced by veteran dancers in the social dance venues of central Buenos Aires differentiating it from the more pronounced movements of outer Buenos Aires and other less crowded milongas and especially to separate it from choreographed stage tango 6 3 Style editIn the milonguero style embrace the woman moves her left hand past her partner s right shoulder where it would be in open embrace around his neck and back to end up near his left shoulder depending on the relative heights of the dancers 7 Her left arm will lie above the man s right arm with no space between them but she will not hold tension in that arm he should barely feel the weight of her arm 8 The two faces may touch they will at least be very close With a straight back she leans against her partner at a more pronounced angle than his he leans slightly toward her but may appear to be standing upright Rhythmically the two will indulge in small adornments with the feet until just before the next beat changing weight at the last possible moment 7 9 Barbara Garvey the co founder of the Bay Area Tango Association based in San Francisco said that she and her husband Al saw in 1987 that a very simple form of close embrace was prevalent in the center of Buenos Aires but not in other barrios 10 This style was expanded upon by Pedro Tete Rusconi who was the first to teach close embrace in the US joined by Susana Miller who gave the style its name In 1994 Daniel Trenner taught at Stanford University s Tango Week describing the Rusconi Miller milonguero style as the only authentic Buenos Aires tango 10 From the late 1980s a sense of tango community had been growing in the San Francisco Bay Area and after 94 it adopted an emphasis on milonguero style along with other forms of close embrace By the late 1990s a milonga could be found in San Francisco on any night of the week 11 Traveling tango performers would appear at the dance venues after their shows but they would change from show attire and style to salon style dancing and more conservative clothing However from around 1996 when Madonna was in Buenos Aires making the film Evita women s dress at milongas grew more sheer and revealing 12 Also in the late 1990s but in Athens the term tango milonguero came to represent a movement to recreate in Greece a sense of authentic Buenos Aires with tango aficionados organizing Argentine style milongas and encouraging a sense of community among the dancers 3 Relative to other styles of tango milonguero style is sometimes viewed as restrictive and limiting especially in the context of tango nuevo which emphasizes playful exploration and freedom of movement 13 On the other hand milonguero style dancers may regard with suspicion the nuevo style introduction of electronic and other non traditional music to the dance floor Milongueros decry the sort of exhibitionism demonstrated by large movements and showy dance figures 5 Nevertheless some practitioners and teachers have combined milonguero elements with a nuevo outlook to create milonguero nuevo a blend that is safe for crowded dance floors yet full of playful interaction between the two partners 13 References edit Practimilonguero interview with Oscar Cacho Dante dance partner and teacher of Susana Miller Retrieved Oct 31 2012 Denniston Christine 2003 The Dark Age of Tango History of Tango history of tango com Retrieved May 6 2012 a b c Klein Gabriele 2009 Tango in Translation Tanz zwischen Medien Kulturen Kunst und Politik Tanz Scripte Vol 19 transcript Verlag pp 62 63 ISBN 383761204X Rasche Thomas 2007 Argentine Tango Class Companion The Guide for Students of Argentine Tango Lulu com p 27 ISBN 1847535321 a b Cusumano Camille 2008 Tango Seal Press p 131 Denniston Christine 2003 The Tango Renaissance History of Tango history of tango com Retrieved May 6 2012 a b Taylor Julie M 1998 Paper Tango Duke University Press pp 27 28 ISBN 0822321912 Paz Alberto Hart Valorie 2008 Gotta Tango Human Kinetics pp 60 62 ISBN 0736056300 Albrecht Madlen 2009 Le developpement du Tango a partir de 1983 Un travail sur le changement du Tango de 1983 jusqu a aujourd hui in French GRIN Verlag pp 6 7 ISBN 3640390946 a b Garvey Barbara November 19 2007 Re In the land of the blind the one eyed etc Tango List Michigan Institute of Technology Retrieved May 6 2012 Cusumano 2008 p 38 Washabaugh William 1998 The Passion of Music and Dance Body Gender and Sexuality Berg pp 97 98 ISBN 1859739091 a b Klein 2009 pp 70 71 External links sources editTango and Chaos in Buenos Aires online book about tango culture and tango dancing in Buenos Aires of 2000s Retrieved from https en wikipedia org w index php title Milonguero style amp oldid 1212620117, wikipedia, wiki, book, books, library,
