Montevideo — In Uruguay, dance is more than just a form of entertainment: it is a living expression of history, cultural diversity, and collective spirit. From the neighborhoods of Montevideo to the vast rural plains, the country’s traditional dances have withstood the test of time, constantly evolving while preserving their essence.

RELATED:

Cha-cha-chá: The Cuban Rhythm That Conquered the World

Among the most iconic is the candombe, an Afro-Uruguayan tradition born in the 19th century and recognized by UNESCO as Intangible Cultural Heritage of Humanity. With its powerful drumming — chico, repique, and piano — and emblematic figures like the Gramillero, the Mama Vieja, and the Escobero, this dance takes center stage each year during Montevideo’s “Llamadas” parade in Carnival.

Another cornerstone of Uruguay’s musical identity is the tango, which, although it shares its origin with Argentina, holds deep roots in Montevideo’s portside neighborhoods. With its melancholic music and elegant steps, tango lives on in milongas, theaters, and dance schools, keeping alive the spirit of a city where it was born.

Closely related is the milonga, a rustic cousin of tango with a quicker tempo and rural origins. Also connected to the gaucho culture, milonga is danced in social clubs and public parks like Parque Rodó, where generations come together to move to the rhythm of guitars and improvised verses.

In rural areas and on national holidays, the Pericón Nacional stands out as a symbol of unity and tradition. Created in 1887 by Gerardo Grasso, this choreographed dance — performed with handkerchiefs and led by a “bastonero” (dance caller) — is still taught in schools and performed during official celebrations. Other folk dances such as the chimarrita, chacarera, malambo, and zamba enrich the cultural landscape, each shaped by Creole, African, and European influences.

The list extends with the Uruguayan polka, a local adaptation of the European polka with rural flair, and the cielito, a popular 19th-century group dance accompanied by song. Even the plena, originally from the Caribbean, has found a space in Uruguay with a local version adapted to national tastes.

Today, these dances remain vibrant in carnivals, regional festivals such as the Fiesta de la Patria Gaucha in Tacuarembó, and community gatherings where dance continues to serve as a powerful expression of cultural identity. In Uruguay, to dance is to remember, to resist, and to celebrate.

IN THIS ARTICLE