During a milonga (or dance night) the dancers can move to the music played by a specialized Tango DJ. In a milonga, live music is not common. During the festival we have the best international DJ's as our guests. The goal is to get rid of the dust of the Argentine Tango and to show you that carefully chosen 'music from cans' fits in very well with a festival full of live music.
DJ El Fresco. (Monday evening) A familiar face in the Dutch Tango with international experience. He played in Buenos Aires and other venues. His musical style is characterized by fine danceable classics in alternation with beautiful melancholy tangos.
DJ Coos. (Saturday evening) Tango Live! This is how this DJ, who is known from various festivals at home and abroad, approaches the music. He takes you on a journey through tango music in which you recognize his own passion. Beautiful classics with high sound quality and performances of classics by the current generation of musicians,
DJ Matteo El Fino. (Sunday evening and Monday Afternoon) Passionate about the versatility of the Argentinean Tango, he always works on serving the dancers optimally. On feeling and with a great deal of knowledge.
DJ Tonada. (Sunday Afternoon) Amersfoort is the permanent base of DJ Tonada (Ton). Every Wednesday in the summer he can be found at the Groenmarkt in the city for the special atmospheric outdoor-milonga. He is also a familiar face in Buenos Aires on a number of leading milonga's.
It's good to know that during a milonga there are a number of etiquette rules.
The Argentine Tango
No Argentine tango is the same, it is a dance of improvisation. The dance is self-confident and restrained, has tempo changes and is emotional, is challenging, restrained, tender and has a sharp leg play. It is a reflection of emotions and desires. Time and again, the interplay between the two dancers becomes an exciting whole; exploring and surprising. The improvisations take place around a basic figure, in which the man takes the lead. The woman follows her partner, but fills in figures in her own way. The bodies seem to be entangled in a long and intimate embrace. Every time a man dances this dance with a different woman, he is completely different. The ballroom tango, on the other hand, has fixed figures with tight movements, especially the lady's head movements are very recognizable for this European form of tango. This form of the tango was placed by the English between the ballroom dances in 1921.
Cabaceo, asking for a dance
The signal or "cabezazo" is one of the most interesting characteristics of the dance. It is a way to ask someone to dance. The cabezazo consists of a quick lifting of the head, eye contact and raised eyebrows. This can be done from anywhere in the room. The woman who catches such a cabezazo nods yes and smiles or pretends not to have seen it, which of course means a refusal. If you don't want to dance (with a certain person), you'd better watch out for yourself, study your shoes or your nails. Making eye contact is nothing more or less than a flirtation, so if you don't want to break hearts, it's better to leave eye contact behind. It will take some time to get used to this. Only when the woman says yes, does the man get up and accompany her to the dance floor. In the Netherlands it also happens that dancers run into each other and ask each other directly. And in most places it's no problem if the woman asks the man.
The Dancing Posture
The dancing position of the Tango is important, there must be a stable frame between the dance partners, this to be able to steer the lady well and for the lady to be able to feel the gentleman well. There are two different types of dancing posture. Apart from the dance posture that resembles what one learns from ballroom dancing (open dance posture), there is also the dance posture in which the lady leans forward, strongly leaning forward. It seems as if the lady would really fall over if the man were not there. This is the more traditional dance posture. This is where the eyes should be closed. This dance posture is called the closed dance posture (not because of the closed eyes).
The direction of the dance and 'the flow'
On the dance floor everyone dances counterclockwise. It is sometimes difficult for leaders to keep a complete overview of what is happening around them. By dancing 'in a train', the busy floor keeps moving. This creates a comfortable flow. Dancing against the direction, across the direction or stopping the flow by standing still for a long time are mortal sins on the dance floor. Crossing a dance floor is also not appreciated by most leaders. If you must walk move across the dance floor, do so as much as possible against the direction of the dance and make eye contact with the leaders so that they know what you are going to do and can anticipate it in their dance.