BRIEF DEFINITIONS OF A MILONGUERO By Oscar Dante (Cacho) Translation: Carlos Alberti La Cadena No. 28 - Oktober 1996 Chatting the night away in a cafe in Amsterdam with some friends, I was asked to describe what a milonguero (1) is. As it happens, it is something very difficult for me to explain. It's one thing to be one -to feel it- and another, very different, is to be able to express its meaning in words that are clear for others, and give a real idea of what I think. But I will attempt to do it, trying not to hurt anybody's feelings. A milonguero is a slave of the music, the tempo and the space. When he dances, music invades his body and is translated into his steps and movements. He never misses a tempo. Such blending with the music is what produces a sensation that their bodies are actually speaking (chamuyan). The milonguero dances level with the floor, managing space is essential for him, he follows the ronda. His steps, turns and walk are always aimed forwards, he never overtakes another couple, he takes care not to cross other people's path. He will do his thing (milonguea) in whatever space is left. He dances for himself and his partner, not for the spectators. He does not exhibit. A milonguero stands out by the subtle way in which he manages space, his sense of rhythm and the intensity -or lightness- of the feelings he conveys. The pleasure he feels, he transfers with elegance to the woman's body. She, in turn, follows him, generally with eyes closed. She follows like the perfume he's wearing, she sticks together in this joyful journey. She dances apilada (2) to him, but not like 'cannonball necklace'. Apilarse doesn't mean hang, this is not always visible for others, but he certainly can feel it. A milonguero is inspired by the orchestra, the piece, or the woman. He also allows his emotional states to influence the dance. Before beginning a dance, he will take the woman in his arms, listen to the music, feel their respiration, their heartbeats, and only then will he take the first step. Fortunately, each milonguero dances distinctively. Their personality, style and cadence are unique to each one. There is plenty of variety among them, with a rich diversity of steps and dance experience. Although they sometimes give in to admiration, their priority is always the woman and the sentimiento (feelings, the main motivation for the dance). They are anonymous. Sometimes timid, and very concentrated. They do not dance much, they are demanding when choosing the music and the partner. One or two tandas (3) well danced will make the evening. A milonguero will dress very smart, he will be very careful with the shining of his shoes, the crease of his trousers and his perfume. You'll see them sitting at the table checking out the floor and the minas (4) ; they only ask for a dance with a head movement (de cabeceo) or an eye movement (de ojito). Meanwhile, there is also the milongueras, many and very good. They are ageless. Their posture, the charm of their footstep, and the subtleness of their move-ments make for the man's inspiration, and it's them who make the man shine. They are simply chiche bombom! I believe it makes no sense to claim that someone is number one or the best, or that one knows a step, or to say that others have stolen somebody's step. We've all learned from the rest and adapted what we learned to our personality. And we will continue to learn from each other in a never ending process. That is how we enrich our dance; the Tango. The Tango, like feelings, doesn't have and never had an owner. Dancing (milonguear) as well as learning to dance, should be a joy, not an exigence, competition or hard work; there is enough of that already in our every day life. Our duty and responsibility as teachers does not consist in overwhelming our students with our skills and knowledge, but to be able to communicate these with sentimiento (feelings) and simplicity. We must therefore avoid mistaking our dancing or performing abilities with our teaching abilities. It's essential, not only count the number of students we have -which is certainly important financially speaking, but also to make an honest balance and observe how many of our students are milongueando in the salons. We must be sincere with ourselves if we wish to see the Tango grow. I wish to express my humble gratitude for entrusting me, for all the students in all the places I have visited as a teacher. Also to their teachers (including all styles and nationalities), for their passion in promoting Tango, who have not permitted that I feel alone anywhere I go, even if I do not speak their language or ignore their customs. The Tango in all the Tango corners I have visited in other countries makes me feel at home wherever I go. El que baila tango nunca se va sentir solo. (1) "Milonguero", contrary to what one might think, does not allude to the milonga (4/4 tempo) as opposed to the tango (2/4), but to the salón habitué. (2) "Apilarse" means that the dancers' chests are firmly together, their feet somewhat separated from each other, but at the same time the dancers keep their own balance axis. (3) "Tandas" are series of 4 to 7 tangos -or milongas, or valses- from the same orchestra. This is the way music is played at the salón in Buenos Aires. (4) "Minas" is slang for women. Birds.