Although research exists today about the origins of the Tango, which is popular in various countries of the world, research about the relationship of the dance with the music is still inadequate. The activities called milonga, where tango dancers come together and dance, show the influence of music on this performance. The focus of this study is the DJs who are responsible for the music selection played during the dancers’ performance in the milongas and who have become an indispensable part of these performances over the past 10 years. The study presents information about the origins and development of tango obtained from our literature study on the history of tango. We also examine the process of diffusion of tango dance and music in Turkey. The second pillar of the study is based on the structural analyses of milonga made according to field survey data obtained in Istanbul between April and October 2016 using a participatory observation method. This field survey included regular and festival milongas organized by the tango schools active in Istanbul as well as by organizers who are not attached to any schools. The last section is dedicated to our narration of the information obtained during semi-structured personal interviews with 6 different tango DJs. The source persons were selected by taking the factor of experience into consideration: they have each been performing tango for more than 5 years and performing as DJs for at least 3 years. Although the interviewed source persons were from distinct age and professional groups, they share the common characteristic of having played in various cities in Turkey and in milongas, festivals, and marathons abroad. After the field study and interviews, in accordance with the target specified in this study, our goal was to determine the causes of the nearly daily increasing diffusion of tango DJ’ing that has become a new area of performance in recent years in Turkey and in the world, and to understand the function of the DJ in milongas. Tango synthesizes distinct kinds of dance. At the origins of tango, which is accepted to have emerged as a product of the sub-culture in Buenos Aires, there are numerous dance styles, including 19th century pas de deux (waltz, polka, torch songs, mazurka and Scottish dance) and milonga, which is a dance with Argentinian and Uruguay origins; there are also distinct dance styles such as habanera, tango Andaluz (Andalusian tango), maxixe (Brazilian dance), tango rioplatense (Argentinian dance from the Rio de la Plata region), milonga (Spanish troubadour style), and tangos de negros (tangos of the African slaves) in its composition. Tango was been associated with prostitution since women danced with men for money during the popular festivals organized in Buenos Aires during the second half of the 1800’s. Women working in the brothels also performed the tango. Developed under the influence of the academies established during the last quarter of the century for educational purposes, tango ceased to be a product of the sub-culture and was accepted by vast masses together with the establishment of tango orchestras and its being performed in dancing houses, halls, and theaters. Thanks to film and sound recordings about tango made at the beginning of the 20th century, the dance attracted the French, which made it widespread in Paris. Tango spread to different countries and was accepted by the other classes in Argentina after the prestige it gained in Europe and especially in Paris. It is at the beginning of the 20th century when tango dance started to diffuse from Europe to the USA, Japan, and Turkey from its center; namely, Paris. Tango came to be known in Turkey as a kind of music thanks to the records coming from Argentina and France due to the widespread use of gramophones and phonograph records. Today there are schools providing tango education in various Turkish cities such as Istanbul, Ankara, Izmir, Eskişehir, Kocaeli, Adana, Samsun, Antalya and Muğla, and milongas are organized regularly by these schools or by independent organizers. The activities called milonga, where people who perform tango come together and dance, are organized at various venues such as dance schools, hotels and historical buildings, and they are separated into two types: routine milongas and festival milongas. The routine milongas are activities that are usually organized by dance schools on certain evenings of the week, every week. These evenings, which are usually organized at an apartment where education also takes place, are hosted by the school educators or by organizers at various venues, and maintain a continuous participation of amateur and professional tango dancers in order to dance and socialize. The festivals, which are organized once a year and last for two or more days, are large organizations which contain evening and daytime milongas, workshops, and tango shows. The milongas involve a socially shared time period and they are held in places where the tango performer makes the first step toward the related social environment. Here, dancers, educators, and organizers have the chance to introduce themselves to other people in the tango community. During this introduction process, milonga, which is experienced through dance, is a kind of a rite of passage for the dancers. The most important criterion for the dancers to sustain their existence within the tango community is their continuity of participation in the milongas. One of the most important actors of the milongas, which include a complete performance venue together with the activity space, light and sound set up, influence of the organizers, costume preferences of the dancers, dance floor factor, and elements of dance and music, are the DJs. The DJs who have performed during the milongas in Turkey for nearly 10 years fulfill a need that emerged in the area of tango over time and fills a new task area based on this need. The DJs play an active role in the participation of the tango dancers in the organized activities. While during the first years, selections of milonga music were made by the organizers or by the dance educators, by chance, this task was transferred to the DJs since 2006–2007. The DJs are especially invited to the milonga activities, and in time, a milonga flow has been accepted which is constituted by grouping the songs in tango, milonga, and waltz into a certain pattern. Today, although some smaller nuances are seen, the milonga flow is stable in a general sense, and it is constituted by cortinas, which are intermedius for resting and changing partners and tandas constituted by the successive sequence of the song groups according to certain rules. The tango DJs build the milonga flow and conduct the influence of the music on the dancers and consequently the flow of the activity together with the music they have selected. The DJs we met are inseparable from the milongas today; they have the social status of opinion leaders, which also influences the milonga preferences of the social and professional dancers. The question as to how they conduct such an evening has its answer in the intellectual infrastructure underlining their music selections. The process of constituting the music they play during the milonga, which lasts for almost four hours, the modifications they make during the activity while observing the dancers, and the atmosphere of the environment are all under the initiative of the DJs. The DJ’s basic task is to take the advancing of the milonga, the number of the people participating in the evening, and the dancing level of the dancers into consideration and make changes to the prepared list if needed. The internal harmony of the tandas is determined according to criteria such as the song composers, playing orchestra, the soloists, and the recording date of the sound. The DJs have a kind of filtering function during the milonga by making the music selection, and they shape the performance by eliminating the appropriate pieces among all tango music and by transmitting certain tunes to the dancers. The DJs function as threshold watchers of the milonga and read body and space based on their observations during the activity; they conduct and control the crowd and the time. The performance production which emerges as a result of all this directs the communication with the dancers in the rotation.