The Milonga, what is it?

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A Milonga, what is it?

A "Milonga"It's just a ball Argentinian Tango.

Here is some information regarding the traditional Milongas in Argentina:

In a traditional Milonga, single women sat on one side of the ballroom, men on the other, and couples along a third side.
The music is grouped by Tandas, which are small sequences of 3, or 4 similar pieces (same style, same era, same orchestra, same rhythm), separated by short musical passages of another genre (Jazz, Rock, Boogie, Salsa, etc.), called "Cortinas" (= "Curtains").
At the end of a tanda, the men accompanied their partner back to their chairs, then, at the beginning of the next tanda, they observed the seated women, and above all looked to see if one or more of them had (or had) the gaze turned towards them (made them the "Mirada").
If so, they would give a very discreet but precise little nod (a "Cabeceo") to invite the lady to dance.
If she kept the gaze, it was won, the Tanguero could get up and elegantly go and invite his partner, without the risk of being put off in public.

Attention, if this was not the case, the tanguero could not go and invite the lady, it would have been considered an affront.

Thus, and contrary to what one might imagine, women had the choice to indicate to such and such a man that they were ready to dance with him, or not.
Traffic on the ballroom is counter-clockwise; on arrival on the track, the rider protects his dancer from the couples arriving from behind, then gives her all his attention by listening to her, welcoming her in his arms with sympathy and gentleness, but without hugging her too tightly (in a soft "Abrazo").
Once a certain harmony has been found together, and after having checked that the incoming couple leaves room for it, he guides it with decision but gently in a first step to the side on the left (the "Salida"), in order to to get into traffic. Depending on the nature of this first step, the rest of the dance can be influenced.
Hesitant, too small, too big, uncertain, too abrupt or powerful, or misplaced musically, all these details can be important.

Nothing obliges to dance immediately from the beginning of a piece; in fact it seems that the couples, placed at the time under the surveillance of formidable duennas responsible for protecting the honor of young women, took advantage of this moment of intimacy to exchange a few words face-to-face before starting to to dance. And, in Buenos Aires, even today we only start dancing after about a minute has passed (either when the singer begins, if the tango is sung, otherwise at the beginning of the C section or the chorus)

Besides, we notice that the sung tangos of the 30s, 40s, and 50s, have a good non-sung first half, the singer only intervening (perhaps) when the couples have finished their conversation...
On the track, you stay on your lane. Collisions with other couples are to be avoided at all costs. It is the responsibility of the one who guides to pay extreme attention to other couples, and take care not to disturb them.
So we don't cross the tracks, we don't stay *not* on the "1 and a half" track and above all we never back up. We do not overtake either, neither to the right nor to the left.
Couples who are a little beginner often place themselves in the middle of the track, either because their navigation skills on the track are insufficient, or by choice, to have a little more room, and especially not to interfere with the dancers of higher level. running around the outside of the track.
In addition, if you have the necessary musicality, in principle you dance "energetic", "square" and "on the move" during marked and tonic musical passages, and you dance "soft", "in circles" and "on the spot " during soft and melodious musical passages. This distinction is not possible on all tracks. In all cases, it is recommended that the guide, when moving, line up with the man in front, and keep a distance.
It can happen (but it's very rare), to have the feeling that the whole track is dancing "together", when that happens it's particularly magical.
Politeness dictates that we dance at least a whole Tanda with our partner, but not more than three in a row, and the gentlemen invite one or two unknown dancers to each ball.

These basic rules appeared for good reasons, they have their value, and allow you to dance in a more relaxed and creative way. Help us by respecting them!