I will give you a direct answer: to be able to go to milongas you need basic social skills.
When you are invited to a party, a friendly social gathering, you present yourself with a pleasant attitude, clean, well dressed, and you balance your way of addressing other guests at the party, formally or informally, based on your relationship with each person.
If you’ve never been to a milonga before, I recommend procuring an invite from a regular attendee. This will be a bridge to help you integrate with the crowd of participants.
Often, you have opportunities to meet people in class who could serve as your link to milongas: other students that started before you and now go to milongas.
If you only take private lessons, your teacher is your connection to milongas. The main task of an Argentine Tango instructor is to prepare you to go to milongas.
You should not expect to dance at your first milongas. Try to set yourself at ease by removing any anxieties caused by feeling obligated to dance. Going to a milonga does not imply that you “ought” to dance. A milonga is a social gathering that has the main goal of facilitating the dance of Argentine Tango among its participants. Still, this is the end result of a self-calibrated socialization process. This process starts in your classes. You will do well at milongas if you have this in mind from the beginning of your learning path, in your class. We dance because we are free to dance. It is not possible to dance, for real, under the pressure of obligation. Therefore, it is also important to be considerate of others and not make anyone feel obligated to dance with you.
The physical presence of our partner, here and now, is an invitation that can either be accepted or refused, but is hard to postpone.
Love is to demand improvement from each other.
Let’s do what we consider to be the best, in every moment, and do it in the most efficient way.
Let’s free ourselves from the actitudes which enclosed our bodies in a shell of prejudice, conformity and cowardice, a shell which made our body redundant.
Own it, care for it, use it, dance with it.
If we are not our body, it is at least a part of our world which remains present to us at all times.
Contemplate the continuity with ourselves, our body and the world with the other people in it.
Let’s be inspired to be productive, selecting creativity rather than inertia or anger.
Words are an indispensable tool to determine our relationships to objects, both in the case of our interactions with things and in the interactions between people in relation to things (for instance: our belongings).
However, regarding interpersonal relationships, the objective word may be useless.
Challenge, creativity and embrace make most words superfluous.
Dance is a manifestation of our essential freedom of being, making existence beautiful.
This word evolved from the West African Bantu language, in which “malonga” means “word”, and “milonga” is the plural of “malonga”: “words”
It is hypothesized by historians that the African population of Rio de La Plata used this term in relation to the “payada”, a musical genre in which two individuals compete by playing guitar and improvising verses, asking each other questions. The rhythm of this genre evolved to the rhythm we now know as milonga.
When the dance of Tango appeared, it was a technique of partner’s dance used to dance any danceable rhythm. Waltz was the most popular at the time, but soon the milonga rhythm was identified as a better fit for that particular dance technique.
As this rhythm, and the way of dancing to it, grew in popularity, “milonga” also became the name of the gathering and the place where this dance was practiced. The word “Tango” was initially a synonym of the word “milonga”, and they later became the name of two differentiated rhythms. Tango dance parties and the location where it is danced kept the name of “milonga”, as well as its crowd of participants, “milongueros”.
Milongas, meaning “Tango dance parties”, have been happening for more than 130 years. During this time, milongas developed a set of codes that cultivate efficiency, maximizing the possibility of great dancers appearing, and allowing the continuity of its existence as a precious cultural gem.
“Viborita” is other of Arolas’ delicate tangos, with the peculiarity of having only two parts, without a trio, as was his custom. Recorded in 1920 for the first time by the Orquesta Típica Select of Osvaldo Fresedo. Its music sheet was not published until after 1930, when the nephew of Arolas received a pack with manuscripts. That is why it appears published as posthumous work. Wonderful rendition of this tango to dance at the milongas is the one recorded by Francisco Lomuto in 1944. Continue reading.
Lyricist, journalist and theater author
(17 March 1887 – 30 December 1957)
He wrote a hundred lyrics. Gardel committed to record twelve of them: the tangos “Callecita de mi barrio”, “Cicatrices”, “Compañero”, “Chola”, “La borrachera del tango”, “Micifuz”, “Virgencita de Pompeya (Medallita de los pobres)”, “La cumparsita (Si supieras)”, the foxtrot “La hija de japonesita”, the zambas “La salteñita”, “Machaza mi suerte”, the waltz “Rosal de amor” and the milonga “Tortazos”. Continue reading.