Mingo Pugliese and 8-Count Molinete
Mingo Pugliese was one of the most influential tango dancers and teachers of the last century.
He developed the 8-Count Molinete, a method of teaching tango that is still in use today.
The 8-Count Molinete is a tool that helps dancers learn the basic steps of tango, and it can be used to teach any of the various tango methods.
Mingo Pugliese's tango system is based on the principle that all of the basic tango steps can be danced in eight counts. This is different from other tango systems. Once a dancer has mastered the basics, they can then move on to more advanced steps and techniques.
The Mingo Pugliese tango method is still considered to be one of the best ways to learn tango and it continues to be used by dancers all over the world.
Who Is Mingo Pugliese?
Mingo Pugliese was widely known as a well-respected tanguero under the Argentine tango revival.
He was born in Villa Devoto in Buenos Aires and started dancing tango in different salons in 1948.
Mingo Pugliese quickly became one of the most sought-after tango dancers in Argentina. His style was unique, and he had a way of making the dance look effortless.
Later on, Mingo Pugliese developed the 8-count Molinete method.
By the time Mingo Pugliese started dancing tango in 1948, tango was already transforming. It deviated from the traditional salon tango and became more improvisational. Mingo Pugliese's 8-count Molinete was a product of this new style of tango.
What made Mingo's teaching methods different was that he incorporated both old and new styles of tango.
For example, Mingo Pugliese would teach his students the 8-count Molinete, but he would also teach them the traditional salon tango.
Mingo Pugliese's teaching methods have been influential in the world of tango. His 8-count Molinete method is still taught today, and his teaching methods have been adopted by many other tango teachers.
Mingo Pugliese's 8-count Molinete is a fundamental part of the tango method. It’s a simple yet effective way to learn how to dance tango.
It’s a great way to learn the basic steps of tango and it is also a great way to learn the musicality of tango.
A Brief History of Tango
Tango is a dance that originated in the city of Buenos Aires, Argentina.
It is a dance that was originally danced by the lower class, but it soon became popular with the upper class as well.
Tango is a partner dance and its music has a very distinctive sound. It’s often characterized by its use of the bandoneon.
The Argentine dictatorships banned tango for some time because the church painted it as music that was characteristic of the immoral members of society.
However, tango was revived when the last dictatorship fell. Mingo Pugliese was one of the few people who retained the skills of tango salon's Golden Age.
This Golden Age of tango salon pertained to the years between 1935 to 1955. This was the time when bands and musicians played tango so that people could dance in the large dance halls called milongas.
According to an interview with Mingo Pugliese published by Planet Tango, there were two kinds of tango back then: tango salon and tango orillero.
Tango salon was the kind of tango that was allowed to be danced in salons.
On the other hand, orillero was danced only on the fringes.
Essentially, tango orillero was played in neighborhood clubs, while tango salon was played in salons.
A lot of people wanted to learn how to dance tango back then, but it was very difficult to practice because of the strict rules that society had for the interaction of men and women. This was the reason why men practiced with men just so they could learn tango.
Tango Fundamentals as Explained by Mingo Pugliese
According to Mingo Pugliese in his interview with Planet Tango,
tango salon was danced very simply. The dance was plain and unadorned.
There were simple steps you had to follow to make your body move to the music.
On the other hand,
tango orillero used specific steps to spice up tango.
Since then, orillero has been distinct compared to salon.
Mingo Pugliese's method is a mix of both styles, which he believes is the most basic and important foundation for any tango dancer.
Mingo Pugliese defined the fundamentals of tango as a method that uses good posture, extensive communication using the body, and proper foot placement.
The hands are also important in Mingo's method: they should be used to express the music.
Mingo Pugliese believed that to dance tango, one had to be very good at following. He emphasized his principle of not raising the heels of one's feet when dancing tango. He leaned mostly on the traditional style of dancing. According to him, he often reprimanded those whose heels showed as they danced tango.
Mingo Pugliese's 8-count Molinete was one of the last attempts to bring back traditional tango. It was simple and could be done by anyone, regardless of their level of experience.
The 8-count Molinete is still used today as a way to teach beginners the basics of tango.
However, Mingo Pugliese remembered the Golden Age of tango really well.
For him, it was apparent that tango was considered an art form and not just a dance. Mingo Pugliese emphasized that tango should be danced to communicate feelings.
Therefore, a lot of emotions come into play as people dance tango.
When the years 1958-1959 rolled in, people started deserting tango. Mingo remembered the time when the Argentine dictatorships prevented people from gathering at all. This was the only other time when tango was no longer played in salons or clubs. However, when people started drifting away from tango, Mingo Pugliese realized that even an art form like tango would eventually die out if it was not cherished and passed on to future generations.
8-Count Molinete: How Do You Dance the Tango?
The 8-Count Molinete is what Mingo Pugliese is known for. In order to do this routine, you must first know how to do the basic tango step.
The 8-count Molinete starts on the second slow count of music. You start by stepping forward with your left foot and then dragging your right foot to meet your left.
Then, you step to the side with your left foot and then bring your right foot behind your left. You then step to the side with your left foot again and then bring your right foot in front of your left. Finally, you step back with your right foot and then drag your left foot to meet your right.
To do the 8-count basic, you start by standing with your feet together. Then, you take a large step forward with your left foot and then drag your right foot to meet your left.
You then take another large step to the side with your left foot and then bring your right foot behind your left. Then, take a small step forward with your left foot and then drag your right foot to meet your left. You then take a small step backward with your right foot and then bring your left foot behind your right. Then, take a large step backward with your right foot and then drag your left foot to meet your right. Finally, you take a large step to the side with your right foot and then bring your left foot behind your right.
According to Tango North, this was the key to dance continuity in tango. It was what Mingo wanted to emphasize when he started teaching tango. This technique helped to ensure that the dancers were always in sync with each other and that the movements flowed smoothly.
The 8-count Molinete is not only a fundamental step, but it is also a great way to practice your leading and following skills.
When you are leading the 8-count Molinete, you need to be aware of your partner and be able to anticipate their movements. This is a great opportunity to practice one's tango connection.
Mingo’s Perception of Tango
Mingo Pugliese witnessed the transformation of tango and was one of the key figures in its development. Mingo believed that tango was a way of communication and connection between two people.
He emphasized that tango allowed men and women to communicate during the time when the man would wait in between songs.
A lot of people misinterpreted this as men waiting to dance on the beat. However, Mingo clarified that this was the moment when the man and woman could introduce themselves to one another since it was almost impossible to do so outside of dancing tango. Women who did not immediately go back to their places in the salon would be reprimanded by their mothers, fathers, and chaperones. Therefore, the dancers took advantage of each song's initial bars to get to know one another.
Mingo also clarified that tango was a form of dance.
There were no separate definitions of tango for him, which was what other people believed in. He further explained that tango was born to be a dance and that there were no singers. For him, singers were not necessary.
For Mingo, tango was a populist dance instead of a folkloric dance. This means that everyone could dance to it regardless of their social class.
Tango will always have a two-by-four beat and it has no specific roots. Therefore, it is not folkloric.
Mingo as Petroleo’s Sole Disciple
Mingo danced tango for 50 years. As Petroleo's disciple, he learned a lot of things about tango. However, Mingo emphasized that Petroleo was not a good teacher. In fact,
Mingo claimed that Petroleo did not have it in him to teach others because he was so brilliant that he did not perceive others as incapable of understanding him at his level.
He went on to teach complicated things to beginners, but he never empathized with them. He was always assuming that people could easily understand what he was demonstrating without the need for step-by-step instructions.
However, the fact that Petroleo was not a good teacher did not hinder Mingo from learning from him. According to Planet Tango,
Mingo was the feet, and Petroleo was the brain. This made their partnership very effective, with Mingo being able to execute the complicated moves that Petroleo came up with.
Mingo also had a lot of respect for Petroleo's musicality. He would often say that Petroleo danced to the music in a way that made it look like he was having a conversation with it. Petroleo never showed any steps to anybody. He simply danced and assumed it would be learned without struggle.
Later on, Petroleo could no longer incorporate new styles to tango. He wanted to explore and experiment with so many things, but he could no longer make his body show them. For Mingo, it was the sign that the time had come to leave it to younger generations like the generation his son, Pablo, belonged to.
At present, Pablo Pugliese dances and teaches tango internationally in the hopes of continuing his father's legacy, according to Tango For Leaders.
For him and those who follow and adore tango, it is an art form that should be kept alive and shared with the world.
Pablo Pugliese and Noel Strazza 2015
Conclusion
Mingo Pugliese's tango journey and experience have taught people that tango is a living, evolving art form. It has also shown the importance of passing on the legacy of this beautiful dance to future generations.
What Mingo Pugliese and 8-count Molinete have done for tango has made it the celebrated art form it is today. With Petroleo and Mingo's legacy, Pablo Pugliese stands to keep tango alive and evolving for many years to come.