ARGENTINE TANGO AND CULTURE

"EL CACHAFAZ"

2009-02-21T06:38:00.000-08:00

True Name: Ovidio Jose Bianquet
Neckname: Benito
February 14th 1885- February 7th 1942)
From TodoTango by Nestor Pinzon
El Cachafaz´s story is part of the tango mythology, a legend, today very few who had witnessed his life or his art remain. His image was captured on the film TANGO, premiered in 1933, where he can be seen with his partner Carmencita Calderón, just a girl under 20 years old. He looked like as if he were not very smart from waist downwards, with a well upright body, but with too much feet movement, possibly due to the film maker´s instructions, to attract people´s attention.

Cachafaz & Carmencita in the Movie Tango from 1933. Enjoy this clip, it is one of the few documents we have of "El Cachafaz" dancing Tango.

His true name was Ovidio José Bianquet, although his name for some was Benito. Here is where don José Gobello´s knowledge is needed, and on an article he stated his opinion: “That was a nickname he was given when a child and in a confusing incident. He lived on La Rioja street in the neighborhood of south Balvanera when somebody went to the police precinct to report that a shop window glass had been broken by someone who had thrown a stone at it. He was accused and when the police arrived, his mother , a native from Córdoba, could not believe it and only was able to utter: “No puede ser si él es buenito, es buenito” (it´s not possible, if he´s so good).
The police officer mistook Benito for buenito and so he handed the report: Benito Bianquet. (See note “The famous dancers”, where there is another opinion.)
And why El Cachafaz? According to Gobello, again, because when a young guy he was daring with women and more than once he took undue liberties. One of them complained to his father about his behavior and they say that he exclaimed furious: ¡Mi hijo es un cachafaz! (My son is a scoundrel!) The boys in the neighborhood, or all who were, did the rest.
He was born on 14 February 1885 on the corner of Boedo and Independencia streets, today neighborhood of Boedo.
In 1911 he traveled to the United States and on his comeback in 1913 he put a dancing parlor.
Between 1910 and 1929 he had Emma Bóveda and Elsa O’Connor, later an outstanding dramatic actress in theater and cinema, as his partners, in love and in dancing. Subsequently, Isabel San Miguel and since 1933 Carmencita Calderón, exclusively as dancing partner.
In 1919 he was in Paris, they say that to perform at the mythical “Garrón”, where the Argentine musician Manuel Pizarro was playing with his brothers, but the European way of life and his did not match, so he returned.
Gobello says that he was well paid for dancing lessons to high society people, and he ends with a sharp remark: “Had he been or not the greatest tango dancer, as such he will always be considered”.
He died after a performance in the city of Mar del Plata on 7 February 1942.
Interview made by the journalist Irene Amuchástegui to Carmen Calderón after 55 years of “El Cachafaz”´s death. Clarín newspaper, Buenos Aires, 7 February 1997.
"He had a special gift –says Carmencita- elegance and a unique timing. He was a great step creator, but also he had many “cortes” (figures) in common with José Giambuzzi “El Tarila”.
Don Benito impeccably made them, without bending and with a delicacy that deprived tango dancing of its indecency. Because it needs to be said that tango, sometimes, is somewhat rather loathsome, there are cortes where the woman places her leg between the man´s legs.
He did it with excellence. He was the best.
He was dressed with a black jacket and fantasía trousers (striped in black and gray) for tango with cortes, and for saloon tango dancing he wore a tuxedo.
He was not good looking, he was ugly as a dark night and with that pock-marked face, but his way of behaving was suave and pleasant. But, when he got angry everybody trembled.
He never wore a gun, a blow of his was enough to put them to sleep.
I met him at the club “Sin rumbo” (which still exists). I went there with my younger sisters whom I had brought up after my mother’s death.
I was sitting and somebody insisted on my dancing with a man who was there. I knew he was “El Tarila”, I accepted and at the end of the number he told me: “Would you accept being my partner and “El Cachafaz”’s partner?” When I heard that name I held on to him like caltrop.
I made my debut with don Benito at the cine-teatro San Fernando, Pedro Maffia’s orchestra was playing, the best bandoneonist. We worked hard for Francisco Canaro´s revue companies. We also traveled, but there “El Cacha” had a bad time, he missed a lot, because he was used to sleep everynight at his mom’s place. Furthermore he liked to arrive at the café placed on Corrientes avenue and Talcahuano street every evening at six, where he always took the same table and met with his friends, among them, Gardel.
We danced the last evening, it was at a local named “El rancho grande”, in Mar del Plata. We had finished our performance and I went to a room with the owner to listen to a soccer game between Argentina and Uruguay. All of a sudden, he appeared and told me: “Carmencita, I´ll be waiting for you to drink half a glass of whisky after the match.” – he always addressed to me formally-. Soon afterwards a woman came in shouting to say that don Benito was lying on the courtyard. When I saw him lying on the ground I thought it was only a fall. 55 years have already passed."

Left: Carmencita Calderon with his partner in 1970 for a documentary made about Tango. Right: Carmencita 100's birthday celebration at La Baldosa. February 2005. SHe would die
October of the same year.

What is " La Guardia Vieja del Tango"

2009-02-21T06:11:00.000-08:00

From Wikipedia:Early tango was played by immigrants in Buenos Aires. The first generation of tango players was called "Guardia Vieja" (the Old Guard). By the end of the 19th century, this blend of salon, was heard throughout metropolitan Buenos Aires. It took time to move into wider circles: in the early 20th century it was the favorite music of thugs and gangsters who visited the brothels, in a city with 100,000 more men than women (in 1914). The complex dances that arose from this rich music reflects the habit of men to practice tango together in groups, expressing both machismo and sexual desire, leading to the distinct mix of sensitivity and aggressiveness of the form. The music was played on portable instruments: flute, guitar and violin trios, with bandoneón arriving at the end of the 19th century. The organito, a portable player-organ, broadened the popularity of certain songs. Eduardo Arolas was the major instrument of the bandoneón's popularization, with Vicente Greco soon standardizing the tango sextet as consisting of piano, double bass, two violins and two bandoneóns. Like many forms of popular music, the tango was associated with the underclass, and the better-off Argentines tried to restrict its influence. In spite of the scorn, some, like writer Ricardo Güiraldes, were fans. Güiraldes played a part in the international popularization of the tango, which had conquered the world by the end of World War I, and wrote a poem ("Tango") which describes the music as the "all-absorbing love of a tyrant, jealously guarding his dominion, over women who have surrendered submissively, like obedient beasts".[3]One song that would become arguably the most widely known of all tango melodies also dates from this time. The first two sections of La Cumparsita were composed as a march instrumental in 1917 by then 17-year-old Uruguayan Gerardo Matos Rodríguez.[4][5]

La Rumba Cubana

2008-07-04T09:58:00.000-07:00

I founded these fantastic documentaries from Cuba about what is Rumba. Where it comes from, what the meaning of the word Rumba, what's the significance of the dance. How feel cubans about this Folk Dance and much more. The Clips are in spanish.
I tried my best to translate the most important concepts of each clip for those that don't speak spanish. Any suggestion, correction, better translation are very welcome for revise.

From A Cuban Documentary " La Rumba"
Director Oscar Valdez 1978 Part I

1st Speach
For the Cuban population this is a comercial manifestation and a false product of the Rumba.
2nd Speach:
This is a real Rumba. However, there are many cubans that doesn't admit it as a part of their culture.
-Why?
-Rumba is one of the most important and legitimates manifestations that this country has created. Why the prejudice?
WHERE THE WORD RUMBA COMES FROM?
THE WORD RUMBA IS NOT CUBAN...NEITHER AFRICAN

3rd Speech
...The Guaguanco is the dance that introduce more elements from Spain.
The singer use a lyric format called "decima" (* 10 verses)
4rd Speech
... in the cuban population among the "bailadores" *1(*popular dancers) it doesn't exist the "bata de rumbera" (* rumba dress). Sometimes, as Celeste Mendoza did, this kind of dress that it was popular between used 1880 and 1918. And this clothing is also taken from Spain. AS well as the "handkercheef" that is common and appear in the tradicional dances in latin american.
The word Rumba comes from Spain but not from the dance. It is a word that it was use to make reference to those women of " vida alegre". Women of "rumbo" ( way). The word "rumba" then was used to calificate all that was "frivolo", there for as well as the fiestas of the people. La Rumba from the beginning was consider with prejudice.
Is it posible that a word produce such a prejudice that sometines still exist among cubans?

Interview with Saldiguera and Florencio Calle, performance by Columbia del Puerto de Cardenas, feautering dancer Machaco. Part II

Interviewer: -Here we are with two famous rumberos Esteban Lastra and Flrencio Calle.
For cubans it is dificult to identify them, as long as we say that we talking with Saldigueras and Catalito Mulense. Inmediatly we think about the big band very well known as "Los munequitos de Matanza".

Saldigueras: -I've always said and will keep saying it. The singing of the Guaguanco, the inspiration it comes from the spanish. All those that sing Rumba, have to have " this" that comes from the spanish because when you sing ...guararaaa guaroi aroii ra ra...that is not from cuba that comes from the "curros"from those people from Spain. Now, thare are people is not agreed with it but for me that I have a spanish father and grandfather and I use to listen them singing and they have that way to sing and I think I got that way to sign from them since I was a little kid.

Interviewer: -Well "timbero mayor" ,what you can tell us about "la Columbia"

Calle :-The Columbia is born in Sabanilla, province of Matanza, the Columbia in Matanza has a extraordinare and strongly significance.
1st Speech
La Columbia is a Rumba with a "country character" and it is localized mainly in the province of Matanza. The lirycs are not always in spanish. It is performed by only one dancer that perform with mastership a series of steps and movements following the rythm of the "tambor quinto" ( 5th drumm). The dance recalls the passion and destreza of warriors. Its religios antecedente for sure was ritual facing the inmiment presence of the enemy.
Let's see this columbia performed by an old man
of more than 70 year old. Part III

Y con ustedes " Los Reyes Del Tango!

2008-06-26T19:59:00.001-07:00

Don't miss this Orchestra if you are in Buenos Aires.Los Reyes del Tango will be playing Saturday June 28th in Milonga La Viruta at Club Armeniaat 11.30pm with a dance performance

6th Tango WorldChampionship, August 2008 Buenos Aires, Argentina

2008-06-20T09:27:00.000-07:00

Preliminares from May 29th to July 6th.
If you are visiting Argentine between June 29th and July 6th you can attend the following Milongas. You can participate in the preliminares signing up at the door or just attend the dance.
Bellow you have full information about the Milongas, times, dates, locations and prices.

Clik the image to enlarge.

-TATE and DANI TANGO LESSONS IN BUENOS AIRES

2008-06-17T08:34:00.000-07:00

TANGO CLASSES by TATE AND DANI
JESSICA SHULTZ STUDIO
Lerma 454 ( one block from Avenida Cordoba and Canning)
Every Tuesday from 10.00pm to 23.30pm
$15 per person.
INFO:
tatetango@yahoo.com.ar or danielsroig@hotmail.com or Tate's cell 15-54-59-10-45

FROM TATE AND DANI:

Hola chicos como estan ?

Este mail es para informarles que finalmente seguimos con las clases de tango !!!!!

Si , en el mismo lugar de siempre : El estudio de Jessica Shultz ( Lerma 454 )

para que se ubiquen mejor esto queda a una cuadra de la Av. Cordoba y Canning.

Las clases las dictaremos Daniele Roig y yo (Tate) los dias martes de 22 a 23:30 y el costo de la misma es de $ 15 por persona.

El nivel sera mezclado y veremos de todo un poco , cosas nuevas , viejas , de ayer y hoy , por supuesto que como siempre la clase intentara ser una clase participativa , activa por parte de los alumnos , tomando , reeviendo , corrigiendo , proponiendo temas , movimientos , ejercicios etc.

La idea mas alla de la clase es poder armar un lindo grupo de gente donde pasemos un buen momento y podamos a prender unos de otros.

Espero verlos a todos este proximo martes 10 a las 10 en Lerma 454.

Abrazo tanguero para todos.

Cualquier duda o consulta pueden comunicarse conmigo o con Dani a :

tatetango@yahoo.com.ar

15-54-59-10-45 ( mi celu )

danielsroig@hotmail.com ( mail de dani )

Nos vemossssssssssss!!!!!!

Tate y Dani.

Tatetango.......

-NEW MILONGA AT "GARDEL DE MEDELLIN"

2008-06-17T07:59:00.000-07:00

Dear Tango funs: if you visit Buenos Aires you can dance tango every friday at "Gardel de Medellin", milonga created by Elvio Vitali and organized by Franco Vitali and Julio Bazan.
This event was created to promote the national dance as well as others artistic and social activities for the comunity in general.

Other Activities and Shows

Exhibitions by Jorge Garnica (painter) Open to the public Free
Tango Lessons by Julio Bazan
DJ: Mario Orlando
NEW! Salsa Cuban ( Timba) every thursday, 8.30pm with Cuban Teacher "Ingeniero" Vitico

Milonga Gardel De Medellin
Centro Cultural El Otro Lado
Caseros 3033
Parque Patricios
Buenos Aires
Argentina
For Information: elgardeldemedellin@gmail.com

-AFIRMACION DE LA SOBERANIA ARGENTINA EN MALVINAS

2008-06-17T07:53:00.001-07:00

"COMUNICADO DE PRENSA”

DIA DE LA AFIRMACION DE LA SOBERANIA EN MALVINAS

El 10 de junio, "Día de la Afirmación de los Derechos Argentinos sobre las Malvinas, Islas y Sector Antártico", la Nación Argentina recuerda la fecha de la creación, en 1829, de la "Comandancia Política y Militar de las Islas Malvinas y las adyacentes al Cabo de Hornos en el Mar Atlántico", por decreto del Gobernador Interino de la Provincia de Buenos Aires, Brigadier General Martín Rodríguez.

Desde el inicio mismo de su existencia como nación independiente, la Republica Argentina exteriorizo, a través de actos de gobierno, el ejercicio efectivo de su soberanía en los territorios australes y espacios marítimos heredados de España.

Mediante aquel acto, el Gobierno argentino reafirmo sus legítimos títulos sobre las Islas y busco asegurar el respeto de las leyes para la mejor protección de las actividades de la población argentina y de otros países que residía en las Islas, sin discriminación alguna. Se creo de esta manera el marco institucional adecuado para la posterior empresa colonizadora del gobernador de las Islas Malvinas, D. Luís Vernet.

Este efectivo ejercicio de soberanía fue interrumpido cuando el 3 de enero de 1833 fuerzas británicas ocuparon ilegítimamente las Islas Malvinas, expulsando a la población y autoridades argentinas allí establecidas, y reemplazándolas, durante estos 175 anos de usurpación, por súbditos de origen británico.

El pueblo y Gobierno argentinos nunca consintieron este acto de fuerza y ratifican hoy el mandato histórico, consagrado en la Disposición Transitoria Primera de la Constitución Nacional, de su permanente e irrenunciable determinación de recuperar por la vía pacifica de las negociaciones diplomáticas el ejercicio pleno de la soberanía sobre las Islas Malvinas, Georgias del Sur y Sandwich del Sur y los espacios marítimos circundantes.

El reclamo argentino ha sido tradicionalmente respaldado por los países de nuestra región y por diversos organismos y foros internacionales, entre ‚estos, la Asamblea General de las Naciones Unidas y la Asamblea General de la Organización de los Estados Americanos que, en reiteradas oportunidades, han instado a los Gobiernos de la Republica Argentina y del Reino Unido de Gran Bretaña e Irlanda del Norte a una pronta reanudacion de las negociaciones bilaterales que permitan resolver la disputa de soberanía de un modo justo, pacifico y definitivo.

La persistente e injustificada negativa británica no ha permitido hasta el momento cumplir con este permanente llamado para poner fin a esta anacrónica disputa de soberanía cuya existencia, naturaleza y vigencia es reiterada y expresamente reconocida por la comunidad internacional, incluyendo al propio Reino Unido.

En esta fecha trascendente, el Gobierno argentino reitera su inclaudicable reclamo de soberanía sobre las Islas Malvinas, Georgias del Sur, Sandwich del Sur y los espacios marítimos circundantes. Al mismo tiempo, reafirma su permanente disposición a reanudar las negociaciones a fin de resolver esta prolongada disputa de soberanía que aun esté pendiente de solución, a pesar del llamado generalizado y reiterado de la comunidad internacional a tal fin.

BUENOS AIRES, 10 de junio de 2008.

-MARIA NIEVES MASTER CLASS IN BUENOS AIRES

2008-06-17T07:33:00.001-07:00

Milonga Maipo @ Teatro Maipo
Monday June 16th, 21.00pm

Master Class by Maria Nieves with Juan Manuel Fernandez.
$30 ( milonga included)

Only Milonga $15 Start 11.00pm
You can participate in the preliminares for the Metropolitano de Tango Championship, organized by the City of Buenos Aires.

Tickets at the door at Maipo Club
Esmeralda 443- 2nd floor.

Argentina: Breve resena sobre la baile y la musica de Buenos Aires

2008-04-27T19:36:00.000-07:00

Los origenes del tango se remontan hacia fines del siglo pasado, alrededor de los anos 1880.
Lo que actualmente es considerada una
de las musicas mas profundas y exquisitas del mundo en sus comienzos no fueron mas
que melodias aisladas, y pegadizas que musicos improvisados
ejecutaban a pedido de la audiencia en el burdel o la casa de citas donde hombres solos, acudian en busca de placer.
Aquellas melodias que mas gustaban eran solicitadas y ejecutadas nuevamente y en consecuencia permanecian en la memoria de la audiencia y de los musicos y comenzaban a hacerse populares. Estos musicos llevaban estas mismas melodias a otros lugares ya que en esos tiempos no tenian un trabajo fijo sino que tocaban en diferentes sitios para sustentarse el pan del dia.
De la misma manera, aparecen los primeros movimientos de baile, que podriamos considerar como el tango incipiente.
En sus principios se cree que el tango no fue una danza de pareja enlazada independiente sino que mas bien una especie de danza erotica que hombre y mujer interpretaban quizas, como antesala de una noche de prostibulo.

Lamentablemente no hay partituras de estas melodias que se mencionan, ni tampoco forma de saber cuales fueron los primeros movimientos de tango. Los musicos eran generalmente “musicos de oido” y por lo tanto no sabian escribir musica, los bailarines eran “clientes”que estaban siendo protagonistas de lo que sera una de los bailes mas practicados hoy en el mundo entero.

Lo mas cercano al tango incipiente que podemos escuchar es el tango andaluz, producto de la mezcla entre la musica que los marineros caditanos que viajaban a Cuba y que se ve influenciada por la Habanera cubana.

El Tango espanol llega a Argentina a travez de las companias de teatro espanol que traian en sus elencos “cantoaras flamencas”
El Tango argentino entonces tiene sus raices musicales en la habanera cubana, el tango espanol o tanguillo andaluz y como ultimo en la “Milonga campera argentina” que se ejecutaba para acompanar al gaucho “payador” en sus “payadas” . Esta ultima, como dije, era una melodia de improvisacion con versos octosilabos improvisados que el “gaucho cantor” interpretaba con su guitarra acompanado por melodia de milonga. Si la melodia de milonga tenia letra fija era una “milona campera” y consistia de cuatro versos, si en cambio tenia versificacion improvisada se la denominaba “payada” y estaria formada de seis versos.

Dijimos entonces como comenzaria el Tango en el Rio de la Plata.

A partir de este momento, la musica y la danza iran creciendo. Deja de ser solamente abarcada por hombres solitarios que visitan el burdel sino tambien por caballeros educados que acudian a la “casa de citas”.
Por consiguiente, la danza de tango llega a la antesala de la casa de familia.
Es sierto que el tango se cree que se bailo originariamente entre varones, pero esto se debia por el simple hecho de practicarla. Hay que tener en cuenta que al principio el tango era bailado secretamente en lugares prohibidos.
Mas tarde llegaria al salon porteno.
El tango se acepta socialmente en Argentina y es bailado en el salon por primera vez alrededor de los anos 1914. Se envia a Francia una delegacion para mostrar una baile de tango al Papa. Recordemos que Paris era el centro que regia la cultura y el arte de la epoca.. El tango y los bailarines tuvieron una calurosa bienvenida y la danza fue aceptada por el pueblo Parisino. Por supuesto que la muestra que los bailarines llevan a Paris, disto mucho de lo que en verdad era el tango que bailaban los argentinos.

Como mencionamos anteriormente, las primeras letras de Tango tenian una connotacion vulgar y prostibularia.
Con el cambio de la centuria y la gran ola inmigratoria que se sumerge en la ciudad portuaria se produce un cambio que resulta en un sentimiento de soledad, de nostalgia. Pascual Contursi escribe el tango “ Mi noche triste” y con este marca una nueva tematica de las letras de tango, que trasluce el drama de esos inmigrantes. Es la era del tango sentimental.

Percanta que me amuraste
en lo mejor de mi vida
dejandome el alma herida
y splin en el corazon,
sabiendo que te queria,
que vos eras mi alegria
y mi sueño abrasador...
Para mi ya no hay consuelo
y por eso me encurdelo
pa' olvidarme de tu amor.

Los anos veinte encuentra a Argentina en una crisis economica que se ve tambien en la letra de los tangos. El mayor exponente y poeta de esta epoca es Enrique Santos Discepolo. Uno de sus tangos emblematicos es “Cambalache”

Que el mundo fue y sera una porqueria,
ya lo se...
En el quinientos seis
y en el dos mil también!
Que siempre ha habido chorros,
maquiavelos y estafaos,
contentos y amargaos,
valores y dublés...
Pero que el siglo veinte
es un despliegue
de maldad insolente
ya no hay quien lo niegue.
Vivimos revolcaos en un merengue
y en un mismo lodo
todos manoseaos...

Hacia los anos cincuenta nos encontramos con la Epoca de Oro del Tango. Las Orquestasde de esos tiempos y las manificas grabaciones son las protaganistas actuales de la musica de la Milonga que utilizan actualmente los DJ en su trabajo.
Entre las orquestas mas sobresalientes podemos nombrar a las de Armando Pontier, Osvaldo Pugliese, Anibal Troilo, Julio de Caro, Horacio Salgán, Mariano Mores, Astor Piazzolla y muchos otros.
Entre los poetas letristas se destacan: Homero Manzi, Alfredo Le Pera, Celedonio Flores, Homero Expósito, Horacio Ferrer, Cátulo Castillo y Pascual Contursi de una larga lista.

En los ultimos treinta anos, podemos decir que la danza ha ganado gran terreno.
En los anos ochenta la “Compania de Tango Argentino” revivio el Tango con su manifico show y lo llevo por todo el mundo dandole a la danza un giro universal. “For Ever Tango” continua esa tradicion y sigue aun con su show en Broadway. Estos shows sirven como muestra del tango “fantasia” que es la inspiracion de tanta gente a prender a bailar.

Carlos Gardel

Aunque cabe mencionar que el tango que se ensena mundialmente es el tango que se baila en las milongas de Buenos Aires, donde se pueden ver diferentes estilos, tales como, tango salon, milonguero, orillero, canyengue, cada uno con sus caracteristicas peculiares.

El Tango Argentino no es solo un danza, sino la historia del pueblo argentino y su ciudad.
Forma parte del Folklore

Argentino, del folklore ciudadano, no solo porque tiene mas de cien anos de vigencia sino porque nos representa y nos contiene es decir cuenta quien somos y como somos.

Patricia Paz, Enero 2005

Argentina: "A brief description of the music and dance of the Rio de la Plata"

2008-04-27T08:38:00.000-07:00

The origins of the Tango come from the end of the last century, around the year 1880. What it is now considered to be one of the most exquisite and deeply moving musical forms of expression, began as short, catchy melodies played by improvisational musicians in the brothels of Buenos Aires, Argentina. The most popular melodies were requested frequently and in that manner they were committed to the memory of the musicians and the audience. These melodies were played in places other than the brothels, because in those times the musicians did not have just onIt is also believed that the first movements of the Argentine Tango appeared in the same way. It is true that the tango was a dance that originated between men, because of the necessity of practicing the steps. But remember, it could not be danced with decent women: this was a brothel dance. A bit later, it became a kind of erotic dance that man and woman performed perhaps as foreplay of a sex night in the brothel.

Unfortunately there is no sheet music of these melodies and no way to know which were the first tango dance movements or steps. Improvisational musicians and costumers were the protagonists of what would become one of the world’s most popular dances.

The closest style of music to the incipient tango music would be a “Habanera Cubana” and a “tango Andaluz” or “tango Flamenco”. This last one is a product of the mixture of the music that sailors from Cadiz took to Cuba and the Cuban music. If you have the chance sometime to hear this music, you will find reminiscences of our Argentine Tango.

The Tanguillo espanol, arrived in Argentina through the Spanish Thespian companies that brought
“cantaoras flamencas” (Flamenco Singers) in their troupe. So, we could say that the Argentine Tango has its roots in these two musical expressions and finally in the “Milonga campera Argentina” (Argentine country Milonga) and the “Payada”, this was a kind of song that the “Gaucho cantor” (cowboy) sung with his guitar improvising music and lyrics.

Now, we said how the tango began in the Rio de la Plata. From there, the music and dance grew very quickly; it became music, not just for lonely men but also for those with a wife and family. These men also visited the brothels. Through them, the tango reached into the family anteroom. And then eventually to the salon.

The tango became accepted in Argentina and was danced in the salon for first time around 1914 after an official group was sent to Paris, France to dance for the Pope. Paris was the city that regulated international arts and the culture in those times. The Tango and the dancers had a warm welcome and the dance was accepted by the Parisian populace. Of course, what the dancers danced and what the Parisians and the Pope saw had nothing had to do with the real Argentine tango that was being danced in Buenos Aires. What they saw was a dance stripped of its eroticism and soul.

Many of the first lyrics of the Argentine Tangos had a “pornographic” or sexual connotation. However, with the arrival of the new century and the huge wave of immigrants that arrived in the port city of Buenos Aires, there was a change in the population that brought a feeling of melancholy, solitude and nostalgia for the homelands they had left to escape the wars. Pascual Contursi wrote “Mi noche triste” (My night of sadness”) and with this tango introduced a new thematic tone of the tango lyrics, that was called, “sentimental tangos”.

“The moment I did surrendered my heart to you, I remember with
love and kisses so tender,
you promised you never lied,
knowing that my heart was lonely
and your promises were only,
an excuse to get my love...
and since then my life is broken
and I find myself just walking
never knowing where to go.”*

The 1920’s found Argentina in a financial crisis that we can also see in the tango lyrics. The main exponent of this time is Enrique Santos Discepolo. His most emblematic tango is “Cambalache”:

“That the world was and it will be filth,
I already know...
In the year five hundred and six
and in the year two thousand too!
There always have been thieves,
traitors and victims of fraud,
happy and bitter people,
valuables and imitations But, that the twentieth century
is a display of insolent malice,
nobody can deny it anymore.
We live sunk in a fuzz
and in the same mud all well-worn...”*

The 1950s are called the “the Golden Age of Tango”. The orchestras of that time were magnificent; the music that they recorded is still played today as the music of the Milongas (social dance). Among the most famous orchestras are the ones directed by Armando Pontier, Osvaldo Pugliese, Anibal Troilo, Julio de Caro, Horacio Salgan,.
Mariano Mores, Astor Piazzolla, Carlos di Sarli and many more. Among the poets and lyricists are: Homero Manzi, Alfredo Le Pera, Celedonio Flores, Homero Exposito, Horacio Ferrer, Catulo CAStillo y Pascual Contursi, some of a long list.
In the last thirty years, the dance has regained lot of world-wide importance. “The Compania de Tango Argentino”, revived the tango with a magnificent show that toured around the world during the eighties. “Forever Tango” continued this tradition and is still playing on Broadway today. These shows served to showcase the tango “fantasia” that has entranced so many people by its beauty and elegance.

The Argentine tango, is not just a dance, but a living history of the city of Buenos Aires and its population. It is part of the Argentine Folklore because it has already 150 years of life and also because it represents Argentine culture and tells the story of who and what we really are.

*Tango Translations by Alberto Pazhttp://www.planet-tango.com/letras.htm