In Argentina of that year, the Africans of Mondongo, an area of the Western side of the centrally located barrio (district) of Monserrat, improvised a new dance they called a "tango," which embodied something of the style and the movement of the Candombé.  Couples danced it apart rather than in embrace.

A group of compadritos (males of the urban slums, ruffians, arrogant and defiant; usually pimps) seeing those gestures and movements, took from this "tango' its most conspicuous features and incorporated them into the Milonga.  This new way of dancing the Milonga spread rapidly to all barrios.

The distinctive features of this new dance-form came entirely from those compadritos, who borrowed them from the African-Argentines; in particular, the so-called quebradas and cortes.  The quebrada was simply an improvised, jerky, semi-athletic contortion, while the corte was a sudden, suggestive pause.The true novelty, as the embryonic tango slowly took shape, was that the cortes and quebradas were incorporated into dances in which the partners dance together not apart, as in the African-Argentine "tango."  The high society in Argentina found this 'Africanized' Milonga-Tango wholly unacceptable.The Milonga is one of Tango's immediate ancestors.

"The Tango used the sleeply clasp of Habanera, the crossing of the Milonga, the flashy vertigo of the Fandango and the double beat reminiscent of the drums of the Candombé."