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Although its precise history continues to be debated, here is a simple
chronology of the birth, popularization, and current status of the Argentine tango. Click on photos
to enlarge them. Enjoy!
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Buenos Aires is established in 1536 as a minor region of the Spanish
American Empire. Later Argentina becomes independent in 1816.
Tango emerges with and is shaped by folk, African, polka, mazurka,
and other native and imported musical forms in the late 19th century. It first appears as milonga
among in low-life cafes, bars, and brothels by native-born street toughs or compadritos who are
recognized by their brimmed hats, neckerchiefs, high-heeled boots, and knives.
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| Tango united rural and immigrant arrivals in B.A. like these semi-urban "compadres". |
Urban neighborhoods crowd with rural migrants and the arrival
of 4 million Europeans, half of whom are Italians who learn Spanish and become porteņos. The 71-button
bandoneon arrives from Germany and, by the turn of the century, musicians are composing and performing tango
andaluces and then distinctive tangos in Buenos Aires and nearby provincial towns.
As it seeps into fairly respectable cafes and is perfomed by a
growing number of ensembles, the new, smoother, and outrageously sensual tango rather suddenly becomes the rage on the
dancefloors of Paris and London high societies, those admired and respected by Argentina's social elite.
In 1917, Gerardo Rodriguez of Uraguay composes a march, persuades
visiting Argentine orchestra leader Roberto Firpo to adopt it, and generates the most famous tango of all time -- La
Cumparsita! In the same year, Carlos Gardel, the French immigrant member of Argentina's most popular folk duo on
its variety stages records My Sorrowful Night but does not become the world's most famous tango singer until he splits
with his partner in 1924!
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| Gardel dies in an airplane crash in 1935 but is buried in the Chacarita, not Recoletta, Cemetary. |
Tango enters its worldwide Golden Age as Argentines return from Europe amid rumors
of war. Fashions are revised to accommodate its dancing needs. Rudolph Valentino (Four Horsemen of the
Apocalypse) and Gardel (Tango Bar) popularize it in widely disseminated movies and popular songs
By the 1930s, although tango wanes in Europe and despite worldwide
depression, the Paris of South America comes of age amid a strong surge of nationalism. Tango is
accepted in the finest B.A. social salons and flouishes with fuller orchestration as B.A. celebrates its 400th anniversary,
constructs the Obelisk, and constructs grand avenues, including the world's widest street, Avenida 9 de Julio.
As tango enters the third and final decade of its Golden Age, one of
the world's foremost tangueros is Jose Ovidio Bianquet (El Cachafaz) who in 1942 dies in the arms of his partner,
Carmencita Calderson, after dancing to Don Juan.
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| Anibal Troilo, the greatest bandoneon player is still celebrated at Pichuco Restaurant. |
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| El Cachafaz, a great dancer and teacher, dies in the arms of his partner in 1942. |
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Alas, although endorsed during the Peron regime, neo-folkloric music
gains in national popularity and tango unites disparate immigrant groups less as they assimilate into Argentine society.
Ensembles replace large orchestras, concerts replace dances, and el nuevo tango appears with outstanding and disciplined musicians
like bandoneonist Astor Piazzolla, who returns to Argentina after his New York childhood to fuse tango and jazz.
For his audition, he performed Gershwin's famous Rhapsody in Blue.
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| Playing standing, Piazzolla introduced dissonance, chromatic harmony, and new rhythms. |
Argentine tango was long ago absorbed and modified by ballroom
dancers and many films such as Scent of a Woman, True Lies, and Assassination Tango,
and on stage in productions such as Tango Argentino and Forever Tango.
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| Featuring Pablo Veron & Gisela Merino, professional shows like Tango Argentino promote tango today. |
Today Argentine tango enjoys a subtle but pervasive worldwide re-emergence,
perhaps promoted by traveling Argentine performers and instructors and well produced stages shows. The foundation
of this revival, however, comprises literally scores of tango communities in which its nostalgic bohemian
lifestyle and dramatic expression continues to fascinate local tangueros -- people like you and me!
For information about Fresno Tango Society activities, contact Guy & Kathy, (559) 229-6430, or Bill & Bonnie, (559) 226-8010.
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Thanks to Conrad & Sue Yhnell,
Fresno, from whom I borrowed Tango!, a most colorful and explanatory chronology of Argentine tango. Citation:
Tango!, Simon Collier, Artemis Cooper, Maria Susana Azzi, Richard Martin, Thames & Hudson Ltd., London, 1995. Photos
by Ken Haas.
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