Tango Argentino > Videos > Tango del Centro and Tango de Salon

Discussion in 'Videos' started by jantango, Jun 5, 2011.

  1. jantango

    jantango Active Member

  2. Angel HI

    Angel HI Well-Known Member

    Thanks for posting this. A few years ago, I had given and posted a very similar discussion, and, because of numerous retorts that I was incorrect, have taken it down. Nice to see someone else saying it. Maybe, now, people will listen and learn.
  3. LadyLeader

    LadyLeader Active Member

    I understood the space being the critical factor for creating diversity. In downtown only short steps were possible and you stick to the rythm. In the neighbourhoods you could take larger steps and the melody was used to form the patterns of steps.

    Jan You were using past sense here - I wonder how is it today? Is there differences or is there a more common style for the entire city?
  4. Mladenac

    Mladenac Well-Known Member

    Thank you very much for this video :cheers:
  5. bordertangoman

    bordertangoman Well-Known Member

    thanks, Jan that was very interesting..
  6. dchester

    dchester Moderator Staff Member


    Thanks, this is consistent with things I have been told from other teachers.
  7. opendoor

    opendoor Well-Known Member

    ..very true and I am glad to hear it out of an argentine mouth, lately. By the way I do not agree with the "same music" idea ( 5:38 ). The style was not only a question of selective hearing (rhythm rather than melody) due to less space. The music developed into two directions before this (commonly known as DeCarian Revolution, in conformity it led to the Tango de Salón music style). Unfortunately, there is still no commonly used word for the rhythmic tango music variant. Some call it TangoMilonga (which I find highly mistakable). For a long time I used the term Tango Duro (in analogy to the salsa duro music style). At least Tango Bravo would work as well, since there is an homonymic D´Arienzo album.
  8. tangomonkey

    tangomonkey Active Member

    OD do you know where I can read up on this? And do you know where Di Sarli or D'Arienzo (for example) played? I know some bandleaders had more than one functioning orquesta. Just wondering who played where...
  9. jantango

    jantango Active Member

    I discovered the video on TangoPilgrim's blog. I thought it was worth sharing on this forum. I read other tango blogs, but subscribers here may not.

    Horacio Godoy knows many milongueros so he can share what they have told him about how things were in the milongas. In the 1950s, there were nine downtown confiterias with small floors where you had to dance small. The clubes de barrio like Sunderland (basketball court) had weekend dances where longer steps and figures were in vogue. That doesn't mean one doesn't listen to the beat when dancing. You can still find men in all the milongas of Buenos Aires who are deaf to the beat when they dance.

    Today, it's basically the same in the downtown milongas v. neighborhood clubs. I can identify a milonguero from downtown dancing at a club de barrio by the way he dances. The personal style each milonguero created for himself as a teenager is his for life. He could dance another way, but he doesn't want to or need to. I went to a club de barrio two weeks ago and saw three milongueros from downtown. They are easy to identify when you know that downtown milongueros danced chest to chest, and those in the neighborhoods separated to do figures.

    Downtown area milongas are El Arranque, El Beso, Porteno y Bailarin, Lo de Celia, Los Consagrados in Centro Region Leonesa, A Puro Tango in Salon Canning where 99% dance with chest-to-chest contact maintained throughout the dance.

    Neighborhood club milongas are Sunderland Club, Club Sin Rumbo, Club Glorias Argentinas, Salon El Pial, etc. where you'll find a variety of styles on larger floors.
  10. LadyLeader

    LadyLeader Active Member

    It's interesting Thanks Jantango taking time for answering!
  11. Temza

    Temza Member

    that certainly explains why my husband was lectured by two women (in Lo de Celia and Los Consagrados) who were instructing him to step on every beat
  12. The video was deleted :/
  13. jantango

    jantango Active Member

    This reminds me of a couple from Washington, DC who took several hours of class with a milonguero in my apartment. When Susana Miller was teaching in Washington, DC, they took privates with her (for double the price we charged) and asked her if what the milonguero told them was correct. She told them it was. They mentioned this on a subsequent visit to BsAs when they took another class from the same milonguero.
  14. opendoor

    opendoor Well-Known Member

    Hi jan, I questioned that before. My experience is that women from BsAs actually can, but milongueros cannot. They have refined their personal style, but that´s the end of the flagpole.
  15. jantango

    jantango Active Member

    Women adapt to every partner, whereas the milongueros dance their personal style. Who has the more difficult role in tango?

    I'm told that the way Tete danced during his teaching years was not the way he danced in the milongas. I only know his dancing since 1999 when he needed space. Milongueros can dance on one floor tile at a milonga. Tete was doing lots of exhibitions and his tango changed along the way.

    El Flaco Dany is another milonguero who does more dancing for exhibition than at a milonga. A milonguero dances for himself and his partner; an exhibition is for an audience which has nothing to do with being a milonguero.

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