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article by Raul Cabral
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      "The Milonguero Dancer and His Body"

The milonguero is the king of the milongas. The milonguero listens to the music, receives it in his soul, innately searches for the beat as his lungs would search for air. It is then his body speaks - authentically, unalterably.

When he dances his body moves as a unit, neither his arms nor his legs move independently. He doesn't separate the arms, therefore breaking the embrace. Without the embrace, there is nothing. His embrace is firm, but does not asphyxiate his partner, he knows the exact measure. He uses no pressure, he does not lean on her, rather he invites her on a musical voyage.

He never moves his feet first. It's his body as a whole initiating the movement, followed by his legs - never the other way around. Because of this, he neither kicks nor treads on his partner. He steps firmly with his whole foot, thus defining the beat. There is nothing tense or hard in his body. The more flexible he is, the more varied he is able to make his dance.

The milonguero interprets the music he hears, it is as if he becomes another player in the orchestra, using his body like a musical instrument and either stepping to the beat or causing his partner step to it. He never loses contact to the music, never dances out of time. That's why even his simplest movements are beautifully musical.

He leads with his whole body but his main message comes from his chest, the center of affection, which he offers his partner, welcoming her into the home of his body. He never loses his contact with her, not even for an instant and never cuts the flow of this communication between them. From his chest he communicates the sense of direction, the size of the steps, the pauses, the variations of rhythm, etc., etc. The shelter he offers his partner obligates him to take care of and protect her. Therefore, he doesn't collide with other dancers, but skillfully moves in the space available, changing direction with ease, sometimes opting for unorthodox solutions, but absolutely always respecting the flow of the dance floor.

He is a truly good example to follow on your way to discovering your tango dance."

Article forwarded by Teresa Miller