Argentine tango has a rich history marked by constant evolution and change. Within this history, different styles have emerged, each with unique characteristics that reflect specific periods in the dance’s development.
Distinctive dance styles
Within Argentine tango, we recognise several styles, including:
- Canyengue: A traditional style with strong rhythmic accents.
- Tango Orillero: Playful and expressive, often dancing on the edges of the dance floor.
- Tango de Salon: Elegant movements and a focus on flowing patterns.
- Tango Milonguero: An intimate and compact style that focuses on rhythm.
- Candombé: The roots of Canyengué and Tango lie in this style of music.
- Tango Villa Urquiza: A more formal style with large and graceful movements.
- Tango Fantasia: Theatrical and spectacular, often used in shows and competitions.
- Tango Nuevo: Modern and experimental, with new figures and interpretations.
- Tango Escenario: Developed for performances and stage shows.
These styles all fall under the broad umbrella of Argentine tango and contribute to the diversity of this beautiful dance form.
Different styles under one umbrella
The term Argentine tango thus refers to a broad spectrum of dance styles. Yet most dancers do not like to place their way of dancing in a specific category. For them, it is simply ‘the tango of their neighbourhood or city’.
Confusion often arises when styles are labelled. This can lead to one style being unintentionally associated with another within the genre. This makes it difficult to accurately describe the characteristics of each tango style.
Nevertheless, we can distinguish some common characteristics:
- Group influences: A style often evolves when a group of dancers sticks to specific movements or figures.
- Evolution through experimentation: Outside influences and new interpretations by the next generation of dancers can lead to a new style.
- Geographical differences: Sometimes styles evolve due to differences in location, such as a different district of Buenos Aires.
This process of evolution in tango is similar to what we see in other art forms, such as painting or sculpture. In these, movements and styles also succeed each other through new interpretations and influences. It is no different in tango music too.
If you want to learn more about tango music, you can read the article ‘the different styles of tango music’.
A dive into the history of tango
In the history of tango, terms like orillero, canyengue and salon appear regularly. For a long time, the exact meaning of these terms was unclear, motivating researchers and dance enthusiasts to travel to Buenos Aires.
Christine Denniston, author of The Meaning of Tango,, investigated this thoroughly. She spoke to a large group of dancers from the Golden Age of tango (Epoca de Oro), a period when many tango styles flourished. Her findings were striking: although their dance styles varied widely, they all simply called what they danced ‘Tango de Salon’.
For them, there was no strict distinction between the styles. Tango de Salon proved to be the most all-encompassing term to describe the different styles of the Golden Age.
CANYENGUE
Origin
Canyengue is a tango style from the 1920s-1930s. It was a hugely popular dance at the time. The fashion of the time, where dresses were long and tight, meant that the steps were short and staccato, typical of the dance.
Dance stance
The close embrace, slight V-position and bent knees are typical. Figures such as boleo or sacada were not common. The abrazo is asymmetrical: the man places his right arm low around the waist, while the woman places her left arm over his shoulder.
Music
The rhythmic 2/4 tempo, played by orchestras such as Francisco Canaro and Roberto Firpo, makes the style lively and energetic.
Designation
‘Canyengue’ comes from the Lunfardo (Buenos Aires slang) and refers to street culture and the lower social classes.
Demonstration Canyengue by Anna and Osvaldo in “Teatro Superga” on June 2nd 2007.
Music: El Chamuyo (canyengue).
A mix of different pieces Canyengue music, by Francisco Canaro.
Tango ORILLERO
Older tango style
Orillero, like canyengue, is a dance style that originated in the working-class neighbourhoods of Buenos Aires. The distinction between Orillero and Tango de Salon seems to be social rather than purely dance-technical, with the former associated with the poor and the latter with the elite.
Dance position
Upright with a V-position and separate axes. Playful, expressive movements, such as quick footwork and even jumps, distinguish the style.
Features
Playful and expressive, the Orillero style was not accepted in sophisticated salons during the Golden Age of tango. Around 1990, Rodolfo Cieri revived this style with demonstrations based on childhood memories of dance steps he learned from his father as a child.
Together with his wife Maria, he gave this forgotten dance style a fresh impetus. Although their repertoire was limited, they became icons of the Orillero style. Their work not only gave a new dimension to modern tango, but also restored the historical value of this expressive and unique style.
Rodolfo Cieri & his wife Maria dance the song El Chamuyo.
TANGO DE SALON
Tango for the ballroom
Tango de Salon is an elegant and social dance style developed for respectable ballrooms and dance halls. It combines precision, fluid movements and respect for the dance floor with a sophisticated look. This style contrasts with the theatrical Tango Fantasia and includes sub-styles such as Villa Urquiza and Milonguero.
Dance stance
The embrace (abrazo) is the core of Tango de Salon. Usually closed (abrazo cerrado), it can open for movements such as ochos and giros, after which it closes again. Both partners share a straight dance axis and move smoothly, with a focus on balance and elegance.
Music
This style is traditionally danced to the music of classical tango orchestras such as Carlos Di Sarli, Miguel Calo, and Osvaldo Pugliese. The emphasis is on following the rhythm and creating graceful dance lines that blend harmoniously with the music.
Tango de Salon world wide
Outside Argentina, the term ‘salon style’ is sometimes interpreted more broadly and can refer to a mix of styles such as Tango Escenario or a more open dance attitude (abrazo abierto). This open stance, often with a subtle ‘V-position’, allows for spectacular movements. Although impressive, this is more suitable for tango shows than for social dance evenings in milongas.
With its refined simplicity and timeless elegance, Tango de Salon remains one of the most popular styles in tango, both in Argentina and abroad.
View Tango de Salon in action
This short video shows some couples dancing Tango de Salon at Confiteria Ideal, in Buenos Aires.
Some scenes for the film “Evita” with Madonna were also shot at this location.
The music you hear is by De Angelis, called Pobre Flor.
Tango MILONGUERO
Meaning
Milonguero refers to a dance style, a type of traditional tango dancer or someone loyal to social tango in the milongas of Buenos Aires.
Origin
The Milonguero style, also known as Estilo del Centro, originated in the busy centre of Buenos Aires. Due to crowded dance floors, a compact style developed with a closed embrace (abrazo cerrado), minimal movements and focus on rhythm. This style emphasises small, refined steps and an inward-looking dance dynamic.
Dance posture
The dance posture is unique: both partners share one axis and remain close in a closed embrace, without leaning on each other. The upper body is in constant contact, while the movements are small and precise. Typical of the Milonguero style is the ocho cortado, a figure that underlines the rhythmic nature of the dance.
Music
This style is perfectly suited to rhythmic music, such as that by Juan D’Arienzo, Tanturi and Biagi. For music with a smoother rhythm, such as by Di Sarli or Pugliese, a more supple dance approach is used.
Juan D’Arienzo,
“El Rey del Compas“, and his orchestra with the song Paciencia.
Influence
Pedro “Tete” Rusconi, a legendary tango dancer and teacher, popularised the Milonguero style worldwide. His playful musicality, fluid movements and deep connection to the music inspired generations of dancers. Together with Silvia Ceriani, he taught all over the world since 1996, with a special focus on musicality and dance sense.
Tete’s influence extended beyond the tango scene: even German choreographer Pina Bausch admired him. He gave workshops to her dance company and shone in her production ‘Nur Du’ in Paris. His natural gait and unique cadence made him an icon of tango.
Highly recommended!
Discover more about Pedro Tete Rusconi via de videos on YouTube and experience the magic of his style and musicality for yourself.
Tete Rusconi said:
“La música es lo primero en el tango“,
freely translated: “The music is the most important thing in tango“,
only after that come the dance steps.
CANDOMBÉ
Origin
Canyengue and tango as a whole have influences from Candombé, an African musical style originating from slaves from Angola. Despite controversy in Argentina about this history, the African influence is unmistakable in early tango.
Candombe originated in present-day African Angola and was brought to South America in the 17th and 18th centuries by Africans sold as slaves in African kingdoms such as Kongo, Nyongo and Luango. These slaves were shipped to the New World by Portuguese slave traders. In the Río de la Plata region and surrounding areas, Candombe acquired its current character and form during the 19th and 20th centuries. At the same time, the same candombe culture bearers brought their traditions to Brazil, especially to Salvador de Bahía, and to Cuba. Here, due to the different historical contexts, the rhythms developed into new musical styles, while in the Río de la Plata the original essence of Candombe was largely preserved.
The crucial role of the black community for tango
In Buenos Aires and Montevideo, black communities played a crucial role in the formation of today’s Candombe. At the end of the 18th century, for instance, Buenos Aires had around 20,000 African residents, compared to only 10,000 Spaniards, half-breeds and Guaraní. The sound of tambores (drums) constantly echoed through the streets. According to Jesuit chronicles, this sound was so powerful that the then viceroy banned the use of tambores, fearing that it would constitute a cultural backlash against the ruling class.
Although many Afro-Americans in Argentina and Uruguay blended into wider society, their musical rhythms – such as tango, milonga and malambo – and cultural characteristics found their way into general Argentine and Uruguayan culture. At the same time, Candombe managed to develop further in Montevideo, thanks in part to the large Afro-Uruguayan families that lived together in conventillos (shared living spaces). Here, Candombe became a powerful representation of black culture, deeply rooted in a sense of community and enhanced by the music that connected them. Candombe’s current form is therefore inextricably linked to these black neighbourhoods in Montevideo, where it has retained its unique and vibrant character.
Tango VILLA URQUIZA
Origins
The Villa Urquiza-stijl, is a term used to define a tango style that was popular in the Buenos Aires neighbourhood of the same name in the 1940s-50s. It became a trend in the tango world again in 2006.
Features
Villa Urquiza is characterised by an upright dance posture and a subtle V-position. Both dancers maintain separate axes and direct their gaze towards the embraced hands (abrazo). The embrace is usually closed, but is opened slightly during turns (giros) to give the woman more freedom of movement.
An important aspect is that the woman can rotate her hips independently of her upper body. The more she does this during giros, the less the abrazo needs to be opened. This adds to the flowing elegance that characterises this style.
The slight V-shape of the embrace occurs because the woman’s left shoulder is slightly closer to the man’s right shoulder than her right shoulder is to his left shoulder. This position enhances the graceful look of the dance.
Distribution
Although Villa Urquiza gets its name from a specific neighbourhood, the style is danced in many areas of Buenos Aires. Internationally, it is often referred to as salon-style tango, due to the elegant and social nature of this dance. It is also occasionally referred to as ‘Tango Estilo del Barrio’.
Tango Nuevo and Fantasia: Innovative and Theatrical
TANGO NUEVO
Fluid and innovative
Tango Nuevo is the most recent development within tango and is characterised by an open and flexible abrazo in which both partners maintain their balance and their own position. This style is known for its emphasis on fluid movements and innovative forms, such as volcadas and other creative dance figures. In Tango Nuevo, the focus is more on movements and body shapes than on the traditional connection between the dance partners.
Although the founders of the Tango Nuevo movement, such as Gustavo Naveira and Mariano “Chicho” Frumboli, emphasise that it is not a stand-alone style, it is often seen as a distinct and unique tango style worldwide. Other prominent practitioners and pioneers of Tango Nuevo include:
- Norberto “El Pulpo” Esbrés
- Fabián Salas
- Esteban Moreno & Claudia Codega
- Sebastian Arce & Mariana Montes
- Pablo Verón
Tango Nuevo is easily recognised by its creative approach, which focuses on innovation and flowing lines. It offers dancers a free interpretation of tango, with room for experimentation and new movements that transcend traditional dance.
TANGO FANTASIA
Theatrical and daring
Tango Fantasia, developed in the 1950s and popularised by Juan Carlos Copes, is a fully choreographed form of tango designed specifically for stage performances. This style is much more theatrical than other tango styles and is performed in an open abrazo. It incorporates various elements from other dance forms, including ballet, and emphasises spectacular, show-worthy movements.

With large leg swings and often dangerously high heels of 9 cm, Tango Fantasia requires a lot of space and precision. It is therefore definitely not suitable for social dance floors (milonga’s)! This is a style for real daredevils and performers who will not shy away from a challenge.
Juan Carlos Copes died in 2021. The 2015 documentary “Un tango màs” tells the story of his work and life as a tango dancer.
To conclude: tango is cultural world heritage
Argentine tango is not just a dance, but a living cultural heritage that continues to evolve. The different styles, each with their own unique characteristics, reflect the rich history and versatility of this art form. Whether you dance in a traditional style like Milonguero or opt for the modern interpretations of Tango Nuevo, each style adds to the magic of tango.
Sources:
https://www.tanguito.co.uk/tango-culture/discover-tango/argentine-tango-dance-styles/
http://www.verytangostore.com/canyengue-style.html
https://www.todotango.com/english/artists/biography/1825/Rodolfo-Cieri/
https://nl.wikipedia.org/wiki/Candombe
https://www.tejastango.com/evolution.html (Stephen Brown)
https://en.wikipedia.org/wiki/Milonguero_style
https://www.todotango.com/english/artists/biography/1593/Tete-Rusconi/
http://www.history-of-tango.com/canyengue.html Canyengue, Orillero and Tango de Salon, by Christine Denniston.