The essence of tango is the embrace. We can define the embrace that is unique to tango simply as this: a hug. An embrace which is open or which is flexible—sometimes close and sometimes open—is not unique to tango because one sees it in other dances. The tango embrace is the sort of hug where once we start hugging we do not stop until the end of the tune. That’s what makes tango a 3 minute romance and what makes it so unique.
Everything we do in dancing Tango Estilo Milonguero is constrained by this basic fact. For example, there can be no movement from the hips up and so tango technique requires that all movement is below the hips, in the knees and feet. The hips cannot move because movement in the hips cannot be separated from the twisting in the spine which will lead to pressure in the upper body. Any movement in the hips will transfer via the spine to the trunk and the shoulders. Partners have to remain perfectly square all the way from the shoulders down to the hips throughout the dance in order to maintain the tango embrace.
Because the tango embrace is a hug at the chest, all the energy of the dance is at the chest level and that is where our focus should be at all times. We are connected at the heart and that is the primary point of focus. We are also connected by the woman’s upper arm over the man’s right shoulder, the man’s right hand on the woman’s right shoulder blade, and through the wrists. Most of the pressure should be through the heart and the other connections should be relatively light.
In combination this basic structure allows for a tight connection and an efficient transfer of lead and follow so that the woman can clearly feel the man’s lead and the man can clearly feel the woman’s centre and position (where her feet are). Just as tilting a chair you can tell without looking which leg is touching the floor, any pressure on one foot or the other should be perceptible in the upper body through the embrace with regular practice.
Because the point of focus is on the embrace, the feet have to adjust to that. In other forms of tango and other dances where the feet are a focus the upper body adjusts to the action of the feet. In Tango Estilo Milonguero it’s always the feet adjusting to the requirement of maintaining the tight embrace in the upper body. Another way of putting this is that the embrace is the constraint and the feet have to figure out what to do in order to move. So the rules are:
- If a foot movement requires us to change the embrace it cannot be done.
- Only foot movements that do not compromise the embrace are allowed.
So the foot technique in Tango Estilo Milonguero is designed specifically to meet these requirements. We cannot swivel in Tango Estilo Milonguero because it cannot be done without the turning of the hips which then puts pressure on the upper body and thus compromises the connection at the heart. For this reason we begin learning tango by simply walking forward and back and learning how to do that while constantly connected at the heart. Learning choreography before mastering this basic skill will compromise the embrace and will be therefore detrimental to the structure of the dance.
Any learning system for Tango Estilo Milonguero starts with learning and practicing to walk in the embrace. Because the basic skill is walking with a partner, practicing walking without a partner is pointless. It’s like practicing conversation in a foreign language by yourself. On the other hand, practicing a lot of choreography with a partner is also pointless because you will be compromising the embrace. So we always start learning tango by practicing walking with a partner in the embrace.