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Milonguero-style tango is typically danced with a slightly
leaning posture that typically joins the torsos of the two
dancers from the tummy through the solar plexus (in an embrace
that Argentine's call apilado) to create a merged axis while
allowing a little bit of distance between the couple's feet.
The embrace is also typically closed with the woman’s right
shoulder as close to her partner's left shoulder as her left
shoulder is to his right, and the woman's left arm is often
draped behind the man's neck. Some practitioners of this style
suggest that each dancer lean against their partner. Others say
that the lean is more of an illusion in which each partner
maintains their own balance, but leans forward just enough to
complete the embrace. The couple maintains a constant upper
body contact and does not loosen their embrace to accommodate
turns or ochos, which can limit the couple to walking steps and
simple ochos until both partners develop the skills for the
woman to execute her turns by stepping at an angle rather than
pivoting. Milonguero-style dancers typically respond to the
ric-tic-tic rhythm that is prominent in the music of
Juan D'Arienzo and Rodolfo Biagi and also found in the playing
of many other tango orchestras. The milonguero style allows for
a more elastic approach to the rhythm when dancing to music that
has a less insistent ric-tic-tic rhythm, such as that recorded
by Di Sarli or Pugliese. The ocho cortado is one the
characteristic figures of milonguero-style tango because it
integrates the embrace with rhythmic sensibilities of the style.
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