Neun Mal Sechs

This article is based on the aritcle „Was is Tango Argentino?“ auf you-tango.com. The best description of the crazy thing we are doing that I could find. I translated it to English, but immediately started adding my own thoughts and opinions to it (and will keep doing so), so its not an real representation of the original. Just something I stole to get started. All errors are mine.

Argentine Tango is a highly individual dance of improvisation (its also a music gerne – but that will not be covered here). In contrast, Ballroom Tango (aka Euro Tango) is danced according to predetermined steps and follows the rules of the European or international competition dance program. Argentine Tango, on the other hand, is an improvised dance for normal people to add a level of joy and connection to life. Itr can be done very simple (and be a lot of fun) or sophisticated (often less fun).

Ideas like competitions or „levels of achievment“ have little to no importance in Argentine Tango. They exist, but remain more of an exception, as they do not truly reflect the individual and expressive nature of Tango Argentino.

From Heart to Heart

The dance “Tango Argentino” is based on the body signals of leading and following. The lead is given through the chest rather than the arms. In Argentina, people say: “From heart to heart” (de corazón a corazón). There are no fixed choreographies or step combinations, which makes Tango infinitely versatile and fascinating. This opend Tango to be danced to pretty much any kind of music (more about that below).

Of course, there is also the stage version of Tango (Tango escenario). This form serves primarily to entertain the audience. It often features spectacular acrobatic movements influenced by classical ballet or modern dance. In this style, rehearsed choreographies are essential (and reflect back on the Tango scene).

What amateur and professional dancers celebrate on the dance floors of public milongas (social tango events), however, is usually pure improvisation.

With every partner, in every mood, and to every piece of music, one dances differently. The steps are elegant, and the upper bodies are usually connected in a close embrace. The lower bodies and legs, on the other hand, do not touch — except in certain figures. The embrace and the harmonious walking together as a couple form the foundation of the Tango Argentino. The dancers may perform various moves or figures (with names attached), but always return to simple walking in between.

A key element of Argentine Tango are frequent partner changes. At social dance events dancers only dance 3 or 4 songs with each other, then select a new partner. Serious Tango dances look for new dance experiences, whlie only insecure dancers keep dancieing only with konown partners. Partner change also improves Tango skills, because known partners (instinctively) counter your errors with securiung moves of their own.

Its also a uniting factor for the Tango scene. Because fequent partner change helps overcome the normal life seperations between different styles, ages, Tango abilities, looks, professions (even class) and increasingly also gender (see at the end). When you dance with someone Tango none of that matters – the dance is all that matters.

The Origins of Argentine Tango

Anyone who wants to learn and dance Argentine Tango soon becomes interested in the history of this fascinating dance. It originated around 1900 in the vast estuary region of the Río de la Plata, where the Argentine cities of Buenos Aires and Rosario, as well as Montevideo, the capital of Uruguay, are located. The correct term would actually be “Tango Rioplatense” — the Tango of the Río de la Plata.

A melting pot by the river

Millions of immigrants from all over the world — especially from Europe — arrived in these three major port cities at that time. Most of them were Italians and Spaniards, but there were also many French, English, Germans, Russians, and Poles. They met with an ongoing forced immagration of slaves from different parts of Africa and indigenous Americans.

They all brought the music of their homelands with them, which gradually merged into a new musical form — the Tango of the Río de la Plata. This new sound was also strongly influenced by the African population of slavery. From these cultural roots arose styles such as Candombe, Canyengue, and Milonga, which are regarded as the early predecessors of Tango.

Where does the word “Tango” come from?

The word “Tango” probably has African origins and means “drum”, although there are various theories about its exact derivation. The word „Milonga“ which means a fast (rhytmic) version of Tango as well as the events where Tango is danced springs from an Afronegrism of the southwestern African Bantu-language Kimbundu. Its the plural of mulonga, meaning „Words“, „Talk“.

The influence of the Italians

Among all immigrant groups, the Italians made a particularly strong contribution to the development of Argentine Tango. Most tango musicians, composers, and poets still bear Italian surnames today. They introduced melodic elements of Neapolitan songs, which were later enriched with influences from the Viennese waltz, polka, foxtrot, habanera, and other styles.

The sound of the Bandoneón

Eventually, a unique and distinctive sound emerged — characterized above all by the bandoneón, a German-made type of concertina. It resembles an accordion but has buttons instead of keys on both sides. The bandoneón is considered difficult to master and has become the symbol of Tango, giving the music its particularly melancholic and soulful tone.

Over time, the main musical and dance styles of Tango developed: the Tango itself, the Vals (Tango in waltz rhythm), and the Milonga, a faster, rhythmically accented variation.

Important: Music recording only became technically available from about 1877 on and widely available only much later. The first recorded musical score is „La Canguela“ (1889). The first copyrighted tango score is „El entrerriano“, released in 1896 and printed in 1898 by Rosendo Mendizabal, an Afro-Argentine.

So most of the Tangos danced to before about 1920 are lost. Especially for the ones Afro-Argentine origin. We only get an impression of how it could have sounded through the adaptations later Tango composers created (see my article about Tango candombe for details).

The Golden Age – La Época de Oro

Tango was already popular in the 1910s and 1920s, but the period from the mid-1930s to the late 1940s is considered the Golden Age of Tango (Época de Oro). During this time, a great variety of orchestras emerged, and thousands of compositions and lyrics were written. The orchestras recorded countless records, and Argentine Tango was performed live everywhere, becoming world-famous as a social dance.

It became the dance craze of the era — not only in Buenos Aires, but also in Vienna, Paris, Berlin, Tokyo, and Helsinki. For a time, the Pope even banned the Tango because it was considered too erotic, but that hardly diminished its popularity!

The Big Four of Argentine Tango

The central figures of Tango are Juan d’Arienzo, Carlos di Sarli, Aníbal Troilo and Osvaldo Pugliese — known as “The Big Four.” They were the leading orchestra conductors of their time. Each composed many successful tangos and gave their orchestras (orquesta típica) a distinctive, unmistakable sound.

Many other renowned musicians and orchestras are to be mentioned. Foremost among them stands the Argentine singer and national hero Carlos Gardel, who was the first to make the sung tango famous worldwide. While he was (and is) famous and adored in Argentine, his music is not danced to often, since his voice dominates the instruments, which makes his music less interesting to actually dance to.

A Time of Change and the Tango Nuevo

After the Época de Oro, further creative decades followed. By the late 1950s, however, Tango began to lose its popularity as rock ’n’ roll and pop music emerged and took over the dance floors. Young people preferred to dance to the new rhythms.

Composer and bandoneon player Astor Piazzolla gave Argentine Tango a fresh impulse, making it accepted also as a concert music form. Many jazz enthusiasts were thrilled by his Tango Nuevo (“New Tango”). The Argentine public, however, was divided — his compositions were often considered not suitable for dancing. This discussion even today still sparcs furious debates between Tango dancers, but nevertehless his music is extremly respected and marks abother broardening of Tango.

Time of Silence and New Beginnings

During the dark years of the Argentine military dictatorship (1976–1983), the Tango culture nearly came to a complete standstill. Public gatherings were forbidden — and that included dance events. Nevertheless, a small core of dedicated dancers and musicians kept Tango alive. In Europe, the opposition against the Argentine dictatorship sparked an interest in Tango in the left political spectrum and provided Argentines who had fled the country with an income.

A Period of Renewal

From the mid-1980s onward, Tango experienced a renaissance. The Argentine stage productions “Tango Argentino” and “Tango Pasión”, featuring Tango icon Alejandra Mantiñan, toured the world and won enthusiastic audiences everywhere. In 1997 the movie „The Tango Lesson“ triggerd another worldwide surge. Suddenly, many people wanted to learn Tango and take lessons.

New Tango Argentino dance schools were founded, along with workshops and courses. Young Argentine musicians began playing the music of their grandparents again. Before long, public milongas (social tango dance events) were once more being organized. A new Tango wave spread across the world — much like it had decades before.

In the early 2000s, a new musical style became popular: the “Electro Tango”, invented by the Paris-based Argentine group Gotan Project, who released the album “La Revancha del Tango.” It became a global success and quickly earned a place in club charts worldwide, multiplying the global interest in Argentine Tango.

Electro and Neo Tango

Other bands such as Otros Aires and Bajofondo followed this new trend. The dance itself evolved to match the modern sound. People began to dance “Neo Tango” or “Tango Nuevo,” characterized by sweeping, fluid movements and an more experimental appoach.

This marked the birth of a completely new expressive form of Tango. The Argentine dancer Chicho Frumboli developed many of the signature movements of Neo Tango and has since become an icon of this modern style.

Argentine Tango Today

Today, Neo Tango and Electro Tango are no longer as common on the dance floors (milongas) in general. Parts of the international Argentine tango scene has returned to the roots — back to traditional tango. While other parts of the Tango scene went further to explore a musical universe beyond the traditonal Tango and dance to any kind of music („Non-Tango“) exporing new applications of the improvisatioal dance they learned. Most dancers are somewhere inbetween those extremes.

Anonther movement (mostly driven by musicians) is adopting traditional Tangos themes to modern music (Tango-Versions of pop- and rock songs, or Electronic-Tango and Tango Rap produce amazing songs – better then the original genre could create). In recent years, young tango orchestras and musicians have gained many fans through new interpretations of traditional tangos and their own compositions. On their tours around the world, they have built a loyal and steadily growing following.

While the musical preferences may seem to devide the Tango commuitiy, the intrinsic elements of communication (and respekt) keeps all fractions connected – as long as Tango is danced with connection and communication as key elements, all different groups and music tastes can still dance with each other. This also ensures that you can go Tango dancing in every larger city around the world.

Increasing importance is once again being placed on the traditional “Códigos de la Milonga” — the unwritten rules that ensure a harmonious coexistence of dance couples on the floor.

The expansive movements typical of Neo Tango had proved somewhat disruptive in this setting. Nevertheless, many elements of Neo Tango have found their way into the dance — they are now simply performed in a more subtle and refined manner.

Global Presence

Today, it is possible to dance Tango not only in Argentina but in almost every major city worldwide. Thanks to the widespread availability of tango videos and media, one can find a milonga or take a class even in remote locations.

The universal language of Tango dancing makes sure you can dance with partners whereever you go. It helps that inviting a partner to dance Tango doesn’t need words: An agreement to dance together can be made with simple eye contact („mirada“) and nodding („capeseo“). Tango all over the world know and practice this.

Therefore Tango dancers often pack their Tango shoes when they go on holiday or on a business trip – knowing that they will probably find a milonga where they can spand an evening or afternoon dancing and having fun with complete strangers.

Sometimes Tango is the reason to go traveling too. These events exist worldwide and can be freely bookeds visited:

• Tango Travel: Usually organized by Tango teachers where they offer classes and organize milongas in a holiday location or even Buenos Aires. Smaller groups that stay in the same hotel.
• Tango Festivals: A Weekend or week of Tango with milongas every evening and optional classes in the afternoon and often show dance. Up to several hundred people. Good opportunities to combine city trips.
• Tango Marathons: Same as Fetivals only that dancing usually starts already in the afternoon and ends late at night (e.g. 2 p.m. – 3 a.m.). For the dancers more interested in dancing then seeing the city. Classes and show dance are possible, but not key to the experience.
• Tango Encuentros: Elitist, exclusive (invitation only) gatherings for tango dancers who believe to dance on at a high level (they usually don’t). Very strict and enforced rules („codigos“) about behavior on the dance floor. Tango is suffering (you are not supposed to have fun). Participants all 65+ years, music 80+ years old.

Role and genders in Tango

As stated before Tango is often taught with two roles in mind: Leading and following. These roles have been mostly assigned to genders since Tango became mainstream: The man leads, the woman follows, the man has the active part, the woman the passive, reactive part.

This was not that way when Tango was invented. Argentine was back then a society of mostly poor, male immigrants who had dared to cross the atlantic with sail boats. Men outnumered women by a ratio of maybe 50:1 in most locations. So men trained Tango always with each other and often also danced with each other on milongas. Because dancing is fun. Only who was good enough could maybe impress a woman with a dance. Women also started to learn Tango together to keep up with the good dancers.

This has gotten lost since Tango got popular and Tango was portrayd by film (that became widely available around the same time) as something between a woman and a man and is sold now as „traditional“. In truce, Tango started without such clear gender seperation.

Today the siuation is reversed: In Western macho culture dancing has been marked as „unmanly“ for many decades – especially in working class upbringing. Therefore at todays milongas you will often find a much larger number of women wanting to dance. To avoid sitting around while good music plays, an increasing number of women have in recent years stared dancing together at milongas.

This also contributes to dissolving the connection between the roles and gender. While women learn to lead , men also discover that beeing able to understand the role of the follower, makes you a better, more empathic leader and some start taking followers lessons and dance the followers role at milongas when possible. Some people even change roles in the middle of a song ín an elegant change of embrace, which adds to the fun of dancing.

But the distinctions between leading and following were never as clear cut as the macho world view wants us to believe. Great tango teaches of all ages have always descrbed the roles less in terms of leading and following, but in terms of initiating a movement (initiator), wating for the reaction of the invited (which can be as invited or something different – by missunderstanding or intention) and then the intitiator finishes the move with an appropriate reaction. This approach is much error tolerant (making Tango less about perfection and more about fun) but also better suited for real improvisation and good dance flour skills.

Two current movements have moved futher along this path:

Contact Tango is derived from a mixing Tango with the concepts of contact improvisation (a free dance form). It gives up up on the physical connection of Tango allowing both partner to move to the music freely with only minimal contct with each other.

„Fluid role change“ or „Liquid role change“ keeps in the traditional close embrace (even requires it for better communication) but allows both partners to initiate movements indepedent of the role the embrace indicates, basically allowing a free play within the whole scope of possible Tango movements. It requires a lot of empathy, an open mind and good timing. More infos

Erotics of Tango

Often Tango is praised (and despised) for being an erotic dance. Which it is (not). The magic is that Tango is (can be, should be) a dance of connection and within a connection (remebember: „from heart to heart“) you open up and the other person opens up. The result can be anything: Emotional, intellectual, dislike, playful, power struggle, fun, uncovering relationship missmatches and it can also be erotic. It may be felt only by one partner, by both and sometimes by people watching.

Whatever it is: What happens on the dance floor, stays on the dance floor. It doesn’t have to mean anthing outside of dancing. Tango is not real life – real life is more complicated. Don’t mix it up.

But: In Tango you will meet a shitload of interesting, divers people you would never meet anywhere else. People that may spice up your life in ways you can never imagine.