Argentine tango

Argentine tango
Contents
1
2
Tango
1
1.1
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
1.2
Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2
1.2.1
Tango de Salon (Salon Tango) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5
1.2.2
Tango Canyengue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5
1.2.3
Tango nuevo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5
1.2.4
Contact tango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5
1.2.5
Ballroom tango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6
1.2.6
Finnish tango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6
1.2.7
Queer tango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6
1.2.8
Comparison of techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7
1.3
Famous tango singers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7
1.4
Tango influence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8
1.5
Health benefits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8
1.6
Tango in film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8
1.7
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
1.8
Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
1.9
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11
Argentine tango
14
2.1
History of tango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14
2.2
Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14
2.3
Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15
2.3.1
Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17
2.3.2
Styles of Argentine tango dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21
Resurgence of Argentine tango outside Argentina . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
2.4.1
France . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
2.4.2
United Kingdom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
2.4.3
USA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
27
2.5
Perceptions of tango from film culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
28
2.6
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
2.7
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
2.8
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32
2.4
i
ii
3
4
CONTENTS
6
Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32
2.8.2
Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32
2.8.3
Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32
Tango music
33
3.1
Origins
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
33
3.2
Argentine roots of Tango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
3.3
1920s and 1930s, Carlos Gardel
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
35
3.4
Golden Age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
35
3.5
Tango Nuevo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
3.6
NeoTango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
3.7
Musical impact and classical interpreters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
3.8
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
3.9
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
Bandoneon
40
4.1
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
40
4.2
Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
42
4.2.1
Unisonoric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
42
Players . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
42
4.3.1
42
4.3
5
2.8.1
Additional players . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.4
Construction
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
4.5
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43
4.6
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
Orquesta típica
45
5.1
Argentina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46
5.2
Cuba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46
5.3
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46
5.4
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46
Carlos Gardel
47
6.1
Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
47
6.1.1
Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
47
6.1.2
Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
47
6.1.3
Romantic life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
48
6.1.4
Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
6.2
Birthplace controversy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
6.3
Compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52
6.4
Filmography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52
6.5
Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52
6.5.1
In literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
53
6.5.2
In film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
54
CONTENTS
iii
6.6
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
54
6.7
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55
7
8
9
Aníbal Troilo
56
7.1
Tango Compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
57
7.2
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
57
7.3
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
57
Carlos di Sarli
58
8.1
Early years
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8.2
Active years as a musician
8.3
Last orchestra lineup
58
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
58
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
59
8.4
His vocalists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
59
8.5
Di Sarli’s musical style
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
59
8.6
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60
8.7
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60
Rodolfo Biagi
62
9.1
62
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10 Juan d'Arienzo
10.1 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11 Mariano Mores
63
63
64
11.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
64
11.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
64
12 Osvaldo Pugliese
66
12.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
67
12.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
67
13 Astor Piazzolla
69
13.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
69
13.1.1 Childhood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
69
13.1.2 Early career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
69
13.1.3 Studies in Paris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
70
13.1.4 In the vanguard of nuevo tango . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
71
13.1.5 Traveling the world . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
73
13.2 Musical style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
74
13.3 Musical career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
75
13.4 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
76
13.5 Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
76
13.5.1 Ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
76
13.5.2 Film music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
77
iv
CONTENTS
13.5.3 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
78
13.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
80
13.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
80
13.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
81
14 Dino Saluzzi
83
14.1 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
83
14.2 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
83
14.2.1 As leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
84
14.2.2 As sideman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
85
14.3 References
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
85
14.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
85
15 Rodolfo Mederos
15.1 Beginnings
86
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
86
15.2 1960s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
86
15.3 Generación Cero
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
86
15.4 1990s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
88
15.5 Soundtracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
88
15.6 Collaborations
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
88
15.7 Sayings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
88
15.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
88
16 List of tango music labels
16.1 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17 La cumparsita
89
89
90
17.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
90
17.2 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
92
17.2.1 Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
92
17.3 In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
92
17.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
92
17.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
92
17.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
93
18 Contradanza
94
18.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
94
18.2 Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
96
18.3 Danza, tango and later developments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
98
18.4 African American music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
98
18.5 Popular adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
18.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
18.7 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
CONTENTS
v
18.8 Sound file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
18.9 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
18.10External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
19 History of the tango
105
19.1 Etymology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
19.2 Origin of the dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
19.3 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
19.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
20 Milonga (dance)
108
20.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
21 Figures of Argentine tango
109
21.1 Introduction and terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
21.1.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
21.1.2 Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
21.2 Basic concepts: axis, steps, embrace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
21.2.1 Body position and basic steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
21.2.2 On and off axis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
21.3 Embrace and styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
21.3.1 Dance embraces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
21.3.2 Practice embraces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
21.4 Walk and salidas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
21.4.1 Walking systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
21.4.2 Eight count basic (8CB) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
21.4.3 Salidas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
21.5 Technique and embellishments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
21.5.1 Follower’s technique and embellishments . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
21.5.2 Leader’s technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
21.5.3 Expressions of emotion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
21.5.4 Variants and shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
21.6 Figures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
21.6.1 Cross and ocho . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
21.6.2 Circular movements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
21.6.3 Foot play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
21.6.4 Sacada and entrada . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
21.6.5 Gancho and enganche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
21.6.6 Boleos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
21.6.7 Colgada and volcada . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
21.6.8 Everything else . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
21.6.9 Ending figures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
vi
CONTENTS
21.7 Notes and references . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
22 Milonguero
114
22.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
22.2 Text and image sources, contributors, and licenses . . . . . . . . . . . . . . . . . . . . . . . . . . 117
22.2.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
22.2.2 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
22.2.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Chapter 1
Tango
For other uses, see Tango (disambiguation).
Tango is a partner dance that originated in the 1890s along the Río de la Plata, the natural border between Argentina
Tango rhythm.[1]
and Uruguay, and soon spread to the rest of the world.[2]
Early tango was known as tango criollo (Creole tango). Today, there are many forms of tango extant. Popularly and
among tango dancing circles, the authentic tango is considered to be the one closest to the form originally danced in
Argentina and Uruguay.
In 2009, UNESCO approved a joint proposal by Argentina and Uruguay to include the tango in the UNESCO Intangible Cultural Heritage Lists.[3][4]
1.1 History
Tango is a dance that has influences from European and African culture.[5] Dances from the candombe ceremonies
of former slave peoples helped shape the modern day Tango. The dance originated in lower-class districts of Buenos
Aires and Montevideo. The music derived from the fusion of various forms of music from Europe.[6] The word
“tango” seems to have first been used in connection with the dance in the 1890s, possibly related to the latin word
“tangere” but more likely related to the African slave word “tango” (drum or dance place).[7]
Initially it was just one of the many dances, but it soon became popular throughout society, as theatres and street
barrel organs spread it from the suburbs to the working-class slums, which were packed with hundreds of thousands
of European immigrants, primarily Italians.[8]
In the early years of the 20th century, dancers and orchestras from Buenos Aires travelled to Europe, and the first
European tango craze took place in Paris, soon followed by London, Berlin, and other capitals. Towards the end of
1913 it hit New York in the US, and Finland. In the US around 1911 the word “tango” was often applied to dances
in a 2/4 or 4/4 rhythm such as the one-step. The term was fashionable and did not indicate that tango steps would be
used in the dance, although they might be. Tango music was sometimes played, but at a rather fast tempo. Instructors
of the period would sometimes refer to this as a “North American tango”, versus the so-called “Argentine Tango”. By
1914 more authentic tango stylings were soon developed, along with some variations like Albert Newman's “Minuet”
tango.
In Argentina, the onset in 1929 of the Great Depression, and restrictions introduced after the overthrow of the Hipólito
Yrigoyen government in 1930 caused tango to decline. Its fortunes were reversed as tango became widely fashionable
and a matter of national pride under the government of Juan Perón. Tango declined again in the 1950s as a result of
1
2
CHAPTER 1. TANGO
How Tango Conquered the World
economic depression and the banning of public gatherings by the military dictatorships; male-only Tango practice—
the custom at the time—was considered “public gathering”. That, indirectly, boosted the popularity of rock and roll
because, unlike Tango, it did not require such gatherings.[9]
In 2009 the tango was added to the UNESCO Intangible Cultural Heritage Lists.[10]
1.2 Styles
Tango postcard, c. 1919
1.2. STYLES
3
Choreographed stage tango in Buenos Aires
The Tango consists of a variety of styles that developed in different regions and eras of Argentina as well as in other
locations around the world. The dance developed in response to many cultural elements, such as the crowding of
the venue and even the fashions in clothing. The styles are mostly danced in either open embrace, where lead and
follow have space between their bodies, or close embrace, where the lead and follow connect either chest-to-chest
(Argentine tango) or in the upper thigh, hip area (American and International tango).
Different styles of Tango are:
4
CHAPTER 1. TANGO
World tango dance tournament in Buenos Aires
• Tango Vals
• Tango argentino
• Tango canyengue
• Tango Oriental Uruguayan tango
• Tango liso
• Tango salon
• Tango orillero
• Tango camacupense (Angola)
• Tango milonguero (Tango apilado)
• Tango Nuevo (New Tango)
• Contact tango
• Show Tango (also known as fantasia)
• Ballroom tango
• Finnish tango
These are danced to several types of music:
• Tango
• Electronic tango-inspired music
• “Alternative tango”, i.e. music that is an alternative to tango, or non-tango music employed for use in tangoinspired dance
1.2. STYLES
5
The milonguero style is characterized by a very close embrace, small steps, and syncopated rhythmic footwork. It is
based on the petitero or caquero style of the crowded downtown clubs of the '50s.
In contrast, the tango that originated in the family clubs of the suburban neighborhoods (Villa Urquiza/Devoto/Avellaneda
etc.) emphasizes long elegant steps, and complex figures. In this case the embrace may be allowed to open briefly, to
permit execution of the complex footwork.
The complex figures of this style became the basis for a theatrical performance style of tango seen in the touring stage
shows. For stage purposes, the embrace is often very open, and the complex footwork is augmented with gymnastic
lifts, kicks, and drops.
A newer style sometimes called tango nuevo or “new tango”, has been popularized in recent years by a younger
generation of dancers. The embrace is often quite open and very elastic, permitting the leader to lead a large variety
of very complex figures. This style is often associated with those who enjoy dancing to jazz- and techno-tinged
“alternative tango” music, in addition to traditional tango compositions.
1.2.1
Tango de Salon (Salon Tango)
Main article: Argentine tango
1.2.2
Tango Canyengue
Main article: Argentine tango
Tango canyengue is a rhythmic style of tango that originated in the early 1900s and is still popular today. It is one
of the original roots styles of tango and contains all fundamental elements of traditional Tango from the Rio de la
Plata region (Uruguay and Argentina). In tango canyengue the dancers share one axis, dance in a closed embrace, and
with the legs relaxed and slightly bent. Tango canyengue uses body dissociation for the leading, walking with firm
ground contact, and a permanent combination of on- and off-beat rhythm. Its main characteristics are its musicality
and playfulness. Its rhythm is described as “incisive, exciting, provocative”.
The complex figures of this style became the basis for a theatrical performance style of Tango seen in the touring stage
shows. For stage purposes, the embrace is often very open, and the complex footwork is augmented with gymnastic
lifts, kicks, and drops.
1.2.3
Tango nuevo
Main article: Nuevo tango
A newer style sometimes called tango nuevo or “new tango” has been popularized in recent years by a younger
generation of dancers. The embrace is often quite open and very elastic, permitting the leader to initiate a great
variety of very complex figures. This style is often associated with those who enjoy dancing to jazz- and technotinged, electronic and alternative music inspired in old tangos, in addition to traditional Tango compositions.
Tango nuevo is largely fueled by a fusion between tango music and electronica, though the style can be adapted to
traditional tango and even non-tango songs. Gotan Project released its first tango fusion album in 2000, quickly
following with La Revancha del Tango in 2001. Bajofondo Tango Club, a Rioplatense music band consisting of
seven musicians from Argentina and Uruguay, released their first album in 2002. Tanghetto's album Emigrante
(electrotango) appeared in 2003 and was nominated for a Latin Grammy in 2004. These and other electronic tango
fusion songs bring an element of revitalization to the tango dance, serving to attract a younger group of dancers.
1.2.4
Contact tango
Main articles: Argentine tango and Contact improvisation
6
CHAPTER 1. TANGO
Contact tango takes inspiration from Argentine tango and Contact Improvisation, both of which are improvised and
not choreographed. Contact tango 'blends’ the leading and following roles in a similar way to Contact Improvisation,
and the dancing partners may frequently change roles during the dance. Contact tango may include the 'floor work'
of Contact Improvisation or other improvised movements which maintain contact between the partners. This differs
from Argentine tango where stepping and walking are the dominate motifs. Contact tango is a partner dance but like
Contact Improvisation, it may include more than two dancers on occasion.
1.2.5
Ballroom tango
Main article: Ballroom tango
Ballroom tango, divided in recent decades into the “International” (Yogita) and “European” styles, has descended
from the tango styles that developed when the tango first went abroad to Europe and North America. The dance was
simplified, adapted to the preferences of conventional ballroom dancers, and incorporated into the repertoire used in
International Ballroom dance competitions. English tango was first codified in October 1922, when it was proposed
that it should only be danced to modern tunes, ideally at 30 bars per minute (i.e. 120 beats per minute – assuming a
4/4 measure).
Subsequently the English tango evolved mainly as a highly competitive dance, while the American tango evolved as
an unjudged social dance with an emphasis on leading and following skills. This has led to some principal distinctions
in basic technique and style. Nevertheless there are quite a few competitions held in the American style, and of course
mutual borrowing of technique and dance patterns happens all the time.
Ballroom tangos use different music and styling from the tangos from the Rio de la Plata region (Uruguay and Argentina), with more staccato movements and the characteristic "head snaps". The head snaps are totally foreign to
Argentine and Uruguayan tango, and were introduced in 1934 under the influence of a similar movement in the legs
and feet of the tango from the Rio de la Plata, and the theatrical movements of the pasodoble. This style became
very popular in Germany and was soon introduced to England. The movements were very popular with spectators,
but not with competition judges.[11]
1.2.6
Finnish tango
Main article: Finnish tango
Tango arrived in Finland in 1913. The tango spread from the dominant urban dance form to become hugely popular
across Finland in the 1950s after World War I and World War II. The melancholy tone of the music reflects the
themes of Finnish folk poetry; Finnish tango is almost always in a minor key.
The tango is danced in very close full thigh, pelvis and upper body contact in a wide and strong frame, and features
smooth horizontal movements that are very strong and determined. Dancers are very low, allowing long steps without
any up and down movement, although rises and falls are optional in some styles. Forward steps land heel first except
when descending from a rise, and in backward steps dancers push from the heel. In basic steps, the passing leg moves
quickly to rest for a moment close to the grounded leg. Dips and rotations are typical. There is no open position, and
typically feet stay close to the floor, except in dips the follower might slightly raise the left leg. Unlike in some Latin
American tango styles, in Finnish tango there is no kicking of any kind, and there are no aerials.
The annual Finnish tango festival Tangomarkkinat draws over 100,000 tangophiles to the central Finnish town of
Seinäjoki; the town also hosts the Tango Museum.
1.2.7
Queer tango
Main article: Queer Tango
Queer tango is a new way to dance Argentine tango free from traditional heteronormative codes. Its proposal is
to dance tango without pre-established roles according to the gender of the dancers and to perform the exchange of
leader and follower. Therefore it is also called open role or same-sex tango. The queer tango movement permits not
only an access to tango for the LGBT community, but also opens new possibilities for heterosexual dancers: women
learn the lead, men learn the follow.
1.3. FAMOUS TANGO SINGERS
1.2.8
7
Comparison of techniques
Argentine, Uruguayan, and Ballroom Tango use very different techniques. In Argentine and Uruguayan tango, the
body’s center moves first, then the feet reach to support it. In ballroom tango, the body is initially set in motion
across the floor through the flexing of the lower joints (hip, knee, ankle) while the feet are delayed, then the feet
move quickly to catch the body, resulting in snatching or striking action that reflects the staccato nature of this style’s
preferred music.
In tango, the steps are typically more gliding, but can vary widely in timing, speed, and character, and follow no single
specific rhythm. Because the dance is led and followed at the level of individual steps, these variations can occur from
one step to the next. This allows the dancers to vary the dance from moment to moment to match the music (which
often has both legato and/or staccato elements) and their mood.
The Tango’s frame, called an abrazo or “embrace,” is not rigid, but flexibly adjusts to different steps, and may vary
from being quite close, to offset in a “V” frame, to open. The flexibility is as important as is all movement in dance.
The American Ballroom Tango’s frame is flexible too, but experienced dancers frequently dance in closed position:
higher in the elbows, tone in the arms and constant connection through the body. When dancing socially with a
beginners, however, it may be better to use a more open position because the close position is too intimate for them.
In American Tango open position may result in open breaks, pivots, and turns which are quite foreign in Argentine
tango and International (English) tango.
There is a closed position as in other types of ballroom dance, but it differs significantly between types of tango. In
Tango from the Rio de la Plata region, the “close embrace” involves continuous contact at the full upper body, but
not the legs. In American Ballroom tango, the “close embrace” involves close contact in the pelvis or upper thighs,
but not the upper body. Followers are instructed to thrust their hips forward, but pull their upper body away and shyly
look over their left shoulder when they are led into a “corte.”
In tango from the Rio de la Plata region, the open position, the legs may be intertwined and hooked together, in the
style of Pulpo (the Octopus). In Pulpo’s style, these hooks are not sharp, but smooth ganchos.
In Tango from the Rio de la Plata, Uruguay and Argentina, the ball or toe of the foot may be placed first. Alternatively,
the dancer may take the floor with the entire foot in a cat-like manner. In the International style of Tango, "heel leads"
(stepping first onto the heel, then the whole foot) are used for forward steps.
Ballroom tango steps stay close to the floor, while the Rio de la Plata Tango (Uruguayan and Argentine) includes
moves such as the boleo (allowing momentum to carry one’s leg into the air) and gancho (hooking one’s leg around
one’s partner’s leg or body) in which the feet travel off the ground. Both Uruguayan and Argentine tango features
other vocabulary foreign to ballroom, such as the parada (in which the leader puts his foot against the follower’s foot),
the arrastre (in which the leader appears to drag or be dragged by the follower’s foot), and several kinds of sacada
(in which the leader displaces the follower’s leg by stepping into her space).
1.3 Famous tango singers
• Carlos Acuña[TT] [t.i] (1915-1999) was known for his deep, high and expressive voice. His foreign travels
brought him success in Uruguay, Mexico, Italy and Spain, where he became a close friend of the exiled Juan
Perón.[12]
• Néstor Fabián[TT]
• Carlos Gardel[t.i]
• Roberto Goyeneche[TT] [t.i]
• Julio Sosa[TT] [t.i] (1926-1964) from Uruguay was one of the most important tango singers during tango’s
unhappy years in the 1950s and early 1960s. His passion for poetry led to his sole published book; his passion
for fast cars led to his young death.[13]
• Jari Sillanpää
• Reijo Taipale
8
CHAPTER 1. TANGO
1.4 Tango influence
Music and dance elements of tango are popular in activities related to gymnastics, figure skating, synchronized swimming, etc., because of its dramatic feeling and its cultural associations with romance.
For 1978 FIFA World Cup in Argentina, Adidas designed a ball and named it Tango[14] likely a tribute to the host
country of the event. This design was also used in 1982 FIFA World Cup in Spain as Tango Málaga,[15] and in 1984
and 1988 UEFA European Football Championships in France and West Germany.
1.5 Health benefits
It has been suggested that tango makes people feel more relaxed, sexier, and less depressed, and increases testosterone
levels.[16]
Tangolates is an exercise method that combines the core stability of Pilates with the concentration, coordination and
fluid movement of Tango, designed in 2004 by Tamara Di Tella. Utilizing a partner-method and incorporating the
aerobic or cardio element of music, it started as a rehabilitation technique for patients with severe dysfunctions of the
nervous system.
1.6 Tango in film
Argentine tango is the main subject in these films:
• Adiós Buenos Aires (1938)
• Tango: El Exilio de Gardel/Tangos: the Exile of Gardel (1985), starring Philippe Léotard, directed by Fernando
Solanas
• The Tango Bar (1988), starring Raúl Juliá
• The Tango Lesson (1997), starring Sally Potter and Pablo Verón, directed by Sally Potter
• Tango (1998), starring Cecilia Narova and Mía Maestro, directed by Carlos Saura
• Assassination Tango (2002), starring Robert Duvall, Rubén Blades and Kathy Baker, directed by Robert Duvall
• Orquesta Tipica (2005), documentary film about typical orchestra Fernandez Fierro, directed by Nicolas Entel
• 12 Tangos – Adios Buenos Aires (2005), directed by Arne Birkenstock
A number of films show tango in several scenes, such as:
• The Plow That Broke the Plains (1936), directed by Pare Lorentz.
• The Four Horsemen of the Apocalypse (1921), starring Rudolph Valentino and Alice Terry, directed by Rex
Ingram.
• L'amore in citta' (1953), segment "Paradise for three hours" (Paradiso per tre ore), directed by Dino Risi,
starring nonprofessional actors, featuring a long sequence in a ballroom, where a passionate tango of Mario
Nascimbene is played.
• Il Conformista (1970), starring Jean-Louis Trintignant and Dominique Sanda, directed by Bernardo Bertolucci.
• Last Tango in Paris (1972), starring Marlon Brando and Maria Schneider, directed by Bernardo Bertolucci.
• The World’s Greatest Lover (1977), starring Gene Wilder (who also directed), Carol Kane and Dom DeLuise.
• Death on the Nile (1978), Peter Ustinov and Olivia Hussey tango whilst David Niven is the unfortunate partner
to Angela Lansbury’s rather eccentric version of the dance.
1.6. TANGO IN FILM
9
• Tango (1981), a short animation film by Zbigniew Rybczynski. Received an Oscar for Best Animated Short
Film, Academy Awards 1982.
• Never Say Never Again (1983), starring Sean Connery and Kim Basinger, directed by Irvin Kershner.
• Naked Tango (1990), starring Vincent D'Onofrio and Mathilda May, directed by Leonard Schrader.
• Scent of a Woman (1992), Al Pacino as blind Colonel dances Argentine Tango.
• Strictly Ballroom (1992), directed by Baz Luhrmann
• Addams Family Values (1993), Raul Julia and Anjelica Huston dance a tango so passionate that it literally burns
the floor and makes all the champagne bottles in the nightclub pop their corks.
• Schindler’s List (1993), starring Liam Neeson
• True Lies (1994), starring Arnold Schwarzenegger, Jamie Lee Curtis and Tia Carrere, directed by James
Cameron
• Evita (1996), Madonna and Antonio Banderas dance a ballroom tango.
• Happy Together (1997), directed by Wong Kar-wai
• The Mask of Zorro (1998), featuring Antonio Banderas and Catherine Zeta-Jones.
• Moulin Rouge! (2001), featuring Ewan McGregor and “El Tango de Roxanne”
• Waking Life (2001), directed by Richard Linklater
• Le Tango Des Rashevski (2002)
• Chicago (2002), starring Renée Zellweger, Catherine Zeta-Jones, and Richard Gere, directed by Rob Marshall
includes a song titled “The Cell Block Tango” and is accompanied with a dance.
• Frida (2002), Salma Hayek and Ashley Judd dance a tango to the Lila Downs performed song Alcoba Azul.
• Shall We Dance (2004), starring Richard Gere, Jennifer Lopez and Susan Sarandon, directed by Peter Chelsom.
• Madonna featured choreography inspired by the argentine tango styles for the Die Another Day section of
her 2004 Re-Invention Tour. Segments of the 2005 documentary I'm Going To Tell You A Secret show this
choreography in use.
• Rent (2005) had Anthony Rapp and Tracie Thoms perform a semi-elaborate ballroom tango in the song "Tango:
Maureen" to describe their emotional relations and issues over a promiscuous girl they both dated.
• Mad Hot Ballroom (2005), documentary directed by Marilyn Agrelo
• Love and Other Disasters (2006), Jacks (Brittany Murphy) and Paolo (Santiago Cabrera) perform a tango
together.
• Take the Lead (2006), starring Antonio Banderas, directed by Liz Friedlander
• Another Cinderella Story (2008), starring Selena Gomez and Drew Seeley Performed during the Black and
White Ball in the scene where Mary drops her Zune
• Easy Virtue (2008), in which Jessica Biel and Colin Firth dance a tango
• Pixilation II (2011), short animation film by Kambras
Finnish tango is featured to a greater or lesser extent in the following films:
• Onnen maa (1993), starring Pertti Koivula and Katariina Kaitue, directed by Markku Pölönen.
• Levottomat (2000), starring Mikko Nousiainen and Laura Malmivaara, directed by Aku Louhimies.
• Tulitikkutehtaan tyttö (1990), starring Kati Outinen, directed by Aki Kaurismäki.
10
CHAPTER 1. TANGO
• Mies vailla menneisyyttä (2002), starring Markku Peltola and Kati Outinen, directed by Aki Kaurismäki.
• Varjoja paratiisissa (1986), starring Matti Pellonpää and Kati Outinen, directed by Aki Kaurismäki.
• Kuutamolla (2002), starring Minna Haapkylä and Laura Malmivaara, directed by Aku Louhimies.
• Tango Kabaree (2001), starring Martti Suosalo and Aira Samulin, directed by Pekka Lehto.
• Minä soitan sinulle illalla (1954), starring Olavi Virta, directed by Armand Lohikoski.
•
•
•
•
1.7 References
[1] Blatter, Alfred (2007). Revisiting music theory: a guide to the practice, p.28. ISBN 0-415-97440-2.
[2] Termine, Laura (September 30, 2009). “Argentina, Uruguay bury hatchet to snatch tango honor”. Buenos Aires. Retrieved
April 2, 2010.
[3] "Culture:The Tango”. UNESCO Archives Multimedia website. UNESCO. Retrieved 30 November 2010.
[4] “The Tango”. Intangible Heritage Lists. UNESCO. Retrieved 30 November 2010.
[5] Miller, Marilyn Grace (2004). Rise and Fall of the Cosmic Race. University of Texas Press. pp. 82–89. ISBN 0-29270572-7. Retrieved 2009-03-22.
[6] Denniston, Christine. Couple Dancing and the Beginning of Tango (2003)
[7] “Tango Terms and Etymology”. www.totango.net. Retrieved 20 February 2015.
[8] Frommers. Destinations. Buenos Aires
[9] Denniston, Christine. “The History of Tango Dance”. Retrieved 7 May 2012.
[10] “UN declares tango part of world cultural heritage”. Sydney Morning Herald. Sep 30, 2009. Retrieved Sep 30, 2009.
[11] PJS Richardson, History of English Ballroom Dancing, Herbert Jenkins 1946, pp. 101–102
[12] Jorge Palacio, Carlos Acuña, todotango.com. URL accessed 12 July 2006
[13] Roberto Selles. Julio Sosa. todotango.com. URL accessed 12 July 2006
[14] http://www.soccerballworld.com/TangoRiver.htm soccerballworld.com
[15] http://www.soccerballworld.com/TangoEspana.htm soccerballworld.com
[16] Mind Your Body: Dance Yourself Happy
1.8 Further reading
• Leymarie, Isabelle (1996). Du tango au reggae: musiques noires d’Amérique latine et des Caraïbes. Paris:
Flammarion. ISBN 2082108139.
• Leymarie, Isabelle (1997). La música latinoaméricana: Ritmos y danzas de un continente. Barcelona: BSA.
ISBN 8440677057.
• Nau, Nicole (1999). Tango Dimensionen (German), Kastell Verlag GmbH, ISBN 978-3-924592-65-3.
• Nau, Nicole (2000). Tango, un baile bien porteño (Spanish), Editorial Corregidor, ISBN 950-05-1311-0
1.9. EXTERNAL LINKS
11
• Park, Chan (2005). Tango Zen: Walking Dance Meditation (English), Tango Zen House, ISBN 0-9759630-0-7
• Park, Chan (2008). TangoZen: Caminar y Meditar Bailando (Spanish-English), Editorial Kier, ISBN 978950-17-1032-8
• Turner, David (2006). A Passion for Tango (English),Dingley Press 2004 Revised and augmented, ISBN 9780-954-70831-3
1.9 External links
• “Tango”, a Government of Argentina webpage
• Festivals Worldwide
• Tango in the Movies
• Tango Events Worldwide Repository
12
Ballroom tango illustration, 1914.
CHAPTER 1. TANGO
1.9. EXTERNAL LINKS
A tango demonstration film from 1930
Casual, unchoreographed Argentine social style at an outdoor tango party
13
Chapter 2
Argentine tango
For the modern international dance form that evolved from the Argentine tango, see tango (dance). For other uses,
see Argentine tango (disambiguation).
Argentine tango is a musical genre of simple quadruple metre and binary musical form, and the social dance that
accompanies it. Its lyrics and music are marked by nostalgia, expressed through melodic instruments including the
bandoneón. Originating at the ending of the 19th century in the suburbs of Buenos Aires,[1] and Montevideo, Uruguay,
it quickly grew in popularity and spread internationally. Among its leading figures are the singer and songwriter Carlos
Gardel and composers/performers Francisco Canaro, Juan D'Arienzo, Osvaldo Pugliese, and Ástor Piazzolla.
2.1 History of tango
Main article: History of the tango
The origins of tango are unclear because historical documentation from that era hardly exists. However, in recent
years a few tango aficionados have undertaken a thorough research of that history[2] –so it is less mysterious today
than before. It is generally thought that the dance developed in the late 19th century in working-class neighborhoods
of Buenos Aires/Argentina and Montevideo/Uruguay as practiced by Uruguayan and Argentinian dancers, musicians,
and immigrant laborers.[3][4]
2.2 Music
Main article: Tango music
Argentine tango music is much more varied than ballroom tango music. A large amount of tango music has been
composed by a variety of different orchestras over the last century. Not only is there a large volume of music, there is
a breadth of stylistic differences between these orchestras as well, which makes it easier for Argentine tango dancers
to spend the whole night dancing only Argentine tango. The four representative schools of the Argentine tango music
are Di Sarli, d'Arienzo, Troilo and Pugliese, all four descendent from Italian immigrant families. They are dance
orchestras, playing music for dancing. When the spirit of the music is characterized by counterpoint marking, clarity
in the articulation is needed. It has a clear, repetitive pulse or beat, a strong tango-rhythm which is based on the
2x4,[5] 2 strong beats on 4 (dos por cuatro). Ástor Piazzolla stretched the classical harmony and counterpoint and
moved the tango from the dance floor to the concert stage. His compositions tell us something of our contemporary
life and dancing it relates much to modern dance.[6]
While Argentine tango dancing has historically been danced to tango music, such as that produced by such orchestra
leaders as Osvaldo Pugliese, Carlos Di Sarli, Juan d'Arienzo, in the '90s a younger generation of tango dancers began
dancing tango steps to alternatives to tango music; music from other genres like, “world music”, “electro-tango”,
“experimental rock”, “trip hop”, and “blues”, to name a few. Tango nuevo dance is often associated with alternative
music, see nuevo tango, but it can be danced to tango as well.
14
2.3. DANCE
15
The embrace of two Argentine tango dancers
2.3 Dance
Main article: Tango (dance)
Argentine tango dancing consists of a variety of styles that developed in different regions and eras, and in response to
the crowding of the venue and even the fashions in clothing. Even though the present forms developed in Argentina
and Uruguay, they were also exposed to influences re-imported from Europe and North America. There are records
16
CHAPTER 2. ARGENTINE TANGO
Argentine tango in the streets of San Telmo, Buenos Aires.
of 18th and early 19th century tango styles in Cuba and Spain,[7] while there is a flamenco tangos dance that may
share a common ancestor in a minuet-style European dance.[8] Consequently there is a good deal of confusion and
overlap between the styles as they are now danced - and fusions continue to evolve.
Argentine tango is danced in an embrace that can vary from very open, in which leader and follower connect at arms
length, to very closed, in which the connection is chest-to-chest, or anywhere in between.
Tango dance is essentially walking with a partner and the music. Dancing appropriately to the emotion and speed of
2.3. DANCE
17
a tango is extremely important to dancing tango. A good dancer is one who transmits a feeling of the music to the
partner, leading them effectively throughout the dance. Also, dancers generally keep their feet close to the floor as
they walk, the ankles and knees brushing as one leg passes the other.
Argentine tango dancing relies heavily on improvisation; although certain patterns of movement have been codified
by instructors over the years as a device to instruct dancers, there is no “basic step.” One of the few constants across
all Argentine tango dance styles is that the follower will usually be led to alternate feet. Another is that the follower
rarely has his or her weight on both feet at the same time. In many modern variations of Argentine Tango, particularly
in Europe, teachers of Tango may establish a “basic step” in order to help students to learn and pick up the “feel” of
the dance.
Argentine tango is danced counterclockwise around the outside of the dance floor (the “line of dance”) and dance
“traffic” often segregates into a number of “lanes"; cutting across the middle of the floor is frowned upon. In general,
the middle of the floor is where one finds either beginners who lack floor navigation skills or people who are performing
“showy” figures or patterns that take up more dance floor space. It is acceptable to stop briefly in the line of dance to
perform stationary figures, as long as the other dancers are not unduly impeded. The school of thought about this is, if
there is open space in front, there are likely people waiting behind. Dancers are expected to respect the other couples
on the floor; colliding or even crowding another couple, or stepping on others’ feet is to be avoided strenuously. It is
considered rude; in addition to possible physical harm rendered, it can be disruptive to a couple’s musicality.
Ballroom tango steps were standardized by dance studios. The steps have been relatively fixed in style for decades.
However, Argentine tango has been an evolving dance and musical form, with continual changes occurring every day
on the social dance floor in Argentina and in major tango centers elsewhere in the world. Argentine tango dance is,
still based heavily on improvisation. While there are patterns or sequences of steps that are used by instructors to
teach the dance, even in a sequence every movement is led not only in direction but also speed and quality (a step can
be smooth, pulsing, sharp, ... etc.). Although Argentine tango evolves mostly on the dance floor, the government of
Argentina does host an annual competition of Argentine tango dance in Buenos Aires, attracting competitors from
around the world.
Open embrace
2.3.1
Elements
18
CHAPTER 2. ARGENTINE TANGO
Close embrace
Embrace
A striking difference between Argentine tango and ballroom tango is in the shape and feel of the embrace. Ballroom
technique dictates that partners arch their upper bodies away from each other, while maintaining contact at the hip,
in an offset frame.
In Argentine tango, it is nearly the opposite: the dancers’ chests are closer to each other than are their hips, and often
there is contact at about the level of the chest (the contact point differing, depending on the height of the leader and the
closeness of the embrace). In close embrace, the leader and the follower’s chests are in contact and they are dancing
with their heads touching or very near each other. In open embrace, there can be as much space as desired between
the partners, but there should always be complete contact along the embracing arms to give optimum communication.
Since Argentine tango is almost entirely improvisational, there needs to be clear communication between partners.
Even when dancing in a very open embrace, Argentine tango dancers do not hold their upper bodies arched away
from each other; yet, each partner is not always over their own axis, there are even styles that demand a constant
leaning against each other. Whether open or closed, a tango embrace is not rigid, but relaxed, like a hug.
Walking
One characteristic of Argentine tango is the walk outside of the legs of the follower. The inside walk belongs originally
to the American Tango. It is seen in Argentine Tango, but it does not belong to it originally . Another difference is that
the leader may freely step with his left foot when the follower steps with her left foot. In English, this is sometimes
referred to as a “crossed” (e.g. “walking in the crossed system”) or “uneven” walk in contrast to the normal walk
which is called “parallel” or “even.” In ballroom tango, “crossed system” is considered incorrect unless the leader and
follower are facing the same direction . Furthermore, the flexibility of the embrace allows the leader to change his
weight from one foot to another while the follower’s weight remains unchanged. This is another major difference with
ballroom tango, where a weight change by one partner usually leads to a weight change by the other.
The nomenclature originated with the Naveira/Salas “Investigation Group.” Early on, they used 'even/uneven' to
describe the arrangement of legs in the walk (or turn). By the mid-1990s, they began using 'parallel/crossed' and
later 'normal/crossed'. In dance the changing of feet is named contrapaso, or “contra-step”. This change can be made
off or on the normal beat.
2.3. DANCE
Cross system walk.
Parallel system walk.
Figures
Main article: Figures of Argentine tango
19
20
CHAPTER 2. ARGENTINE TANGO
Unlike the majority of social dances, Argentine tango does not have a basic step; instead is a completely improvised
dance combining various elements in a spontaneous manner, as determined by the lead. To be able to improvise, the
dancer needs to learn the lead and implementation of the different single elements of Tango, so they can be produced
later by leading appropriately in space and music. The elements are just a few as caminar (walk), cruce (cross), ochos
(figure-eight), ganchos (leg hooks), giros (turns), contragiros (turns in the other direction), sacadas (displacements),
boleos (this expression comes from boleadoras, balls linked with cords, thrown to hunt animals), llevadas de pie
(moving foot by foot), cortes (cuts), and quebradas (breaks).[9][10] Well-known and simple combinations are called
figura básica (basic figures), especially when they contain just one element. Some of the elements are named as a
figure.
Cabeceo
Códigos and yeta
Argentine tango developed set of codes and superstitions throughout its history. One important and charming example
is the “cabeceo,” a head nod and meeting of eyes which signifies an invitation by a man to a woman to dance mainly
practiced in Buenos Aires. “Cabeceo” has the advantage, that not wanted dances can be avoided, because a spoken
invitation might be hard to resist for the woman or the refusal of a woman embarrassing for the man. Somewhat
related is “yeta” - superstitions. For example, one doesn't dance to the well known tango “Adios Muchachos” as it is
(falsely) believed the last one sung by Carlos Gardel before his untimely accident leading to his death.
Vals and milonga
Argentine tango dancers usually enjoy two other related dances: vals (waltz) and milonga.
Music for the vals is in 3/4 time. Tango dancers dance the vals in a rather relaxed, smooth flowing dancing style in
contrast to Viennese Waltz where the dancers often take 3 steps per measure and turn almost constantly. Experienced dancers alternate the smooth one-beat-per-measure walk with some double time steps (often incorrectly called
syncopated walks), stepping on one- two- or (rarely) all three beats in a measure. Vals dancing is characterized by
absence of pauses; continual turns (giros) in both directions are not done as in ballroom quick waltz, although turns
are sometimes introduced for variety.
2.3. DANCE
21
Milonga, in 2/4 time, has a strongly accented beat, and sometimes an underlying “habanera” rhythm. Dancers avoid
pausing, and often introduce double time steps (incorrectly called syncopation and more appropriately called traspies)
into their walks and turns. Milonga dancing uses the same basic elements as tango, with a strong emphasis on the
rhythm, and figures that tend to be less complex than some danced in other varieties of tango. Some tango instructors
say that tango steps should not be used in milonga and that milonga has its own special rhythm and steps, which are
quite different from tango.
Milonga is also the name given to clubs and events specially for dancing tango. This double meaning of the word
milonga can be confusing unless one knows the context in which the word “milonga” is used. People who attend
milongas are known as milongueros.
2.3.2
Styles of Argentine tango dance
Tango canyengue
Tango canyengue is a rhythmic style of tango that originated in the early 1900s and is still popular today. It is one
of the original roots styles of tango and contains all fundamental elements of traditional Argentine tango. In tango
canyengue the dancers share one axis, dance in a closed embrace, and with the legs relaxed and slightly bent. Tango
canyengue uses body dissociation for the leading, walking with firm ground contact, and a permanent combination
of on- and off-beat rhythm.[11] Its main characteristics are its musicality and playfulness. Its rhythm is described as
“incisive, exciting, provocative”.[12]
The word canyengue is of African origin. It came into use to describe the tango rhythm at the time of the first so-called
'orquestas típicas' (including bandoneón, violin and piano).[13]
Leading exponents of tango canyengue:
• Romolo Garcia (deceased)
• El Negro Celso (deceased)
• Rodolfo Cieri (deceased) and Maria Cieri
• Luis Grondona
• Marta Anton and 'El Gallego' Manolo Salvador
• Roxina Villegas and Adrian Griffero
• Ernest Williams and Maricela Wilson[14]
See also: Movimiento Cultural Canyengue Argentino
Tango orillero
Tango orillero refers to the style of dance that developed away from the town centers, in the outskirts and suburbs
where there was more freedom due to more available space on the dance floor. The style is danced in an upright
position and uses various embellishments including rapid foot moves, kicks, and even some acrobatics, though this is
a more recent development.
Salon tango
Tango Salon does not refer to a single specific way of dancing tango. Rather, it is literally tango as it is danced socially
in the salons (dance halls) of Buenos Aires. Salon tango was danced throughout the Golden Era of Argentine Tango
(1935–1952) when milongas (tango parties) were held in large dance venues and full tango orchestras performed.
Salon tango is often characterized by slow, measured, and smoothly executed moves, never moving against the line-ofdance, and respecting the space of other dancers on the floor around them. The emphasis is on precision, smoothness,
musicality, good navigation, and following the códigos (tango etiquette) of the salons. The couple embraces closely,
with some variants having a flexible embrace, opening slightly to make room for various figures and closing again for
22
CHAPTER 2. ARGENTINE TANGO
support and poise. The walk is the most important element, and dancers usually walk 60%−70% of the time during
a tango song.
When tango became popular again after the end of the Argentine military dictatorships in 1983, this style was resurrected by dancers from the Golden Era:
• Carlitos Perez
• Gerardo Portalea †
• Jose “El Turco” Brahemcha
• Jose “Lampazo” Vazquez †
• Luis “Milonguita” Lemos †
• Miguel Balmaceda †
• Osvaldo Cartery and Luisa “Coca” Inés
• Toto Faraldo
• Pedro “Tete” Rusconi †
• Ramón “Finito” Rivera †
• Virulazo †
• In the milongas at Club Sin Rumbo, Sunderland, Club Glorias Argentinas, Salon El Pial and Salon Canning.
One variant of Tango Salon is the Villa Urquiza style, named after the northern barrio of Buenos Aires where the clubs
Sin Rumbo and Sunderland are located. Some argentinian dancers or couples who were or are current practitioners
and teach the Villa Urquiza style of tango are:
• El Chino Perico
• María and Carlos Rivarola.
• The Dispari family with Jorge Dispari and Marita 'La Turca' and their 2 daughters (Samantha Dispari, Geraldine
Rojas and Ezequiel Paludi.)
• Miguel Angel Zotto and Milena Plebs
• Andres Laza Moreno
• Osvaldo Zotto† and Lorena Ermocida
• The Rodriguez family with Jorge and Liliana Rodriguez their daughter Malena Rodriguez, and son Javier
Rodriguez.
• The Missé family (Andrea Missé †, Sebastian Missé and Andrea Reyero, Gabriel Missé and Analía Centurión,
and Stella Missé)
• Carlos Perez and Rosa Forte
• Fabian Peralta
• Adrian and Amanda Costa. Teaching in Europe. They live in France as of 2014. Studied under Jorge Dispari
and Marita 'La Turca'.
2.3. DANCE
Millonguero embrace with upper body contact and lean.
23
24
CHAPTER 2. ARGENTINE TANGO
“Estilo milonguero” (tango apilado/confiteria style; estilo del centro de Buenos Aires)
Main article: Milonguero style
This is a close-embrace style named by Susana Miller in the 1990s.[15] Ideal for crowded dance floors, it is danced
chest-to-chest, knees relaxed, back straight, with the partners leaning - or appearing to lean - slightly toward each
other to allow space for the feet to move. The center line of the leader’s and follower’s spines are directly in front
of each other, requiring that each dancer turn their head to their left slightly to find space over their partner’s right
shoulder. The follower’s left arm reaches directly up over the leader’s shoulder without resting any body weight on
the leader’s shoulder. The leader’s left hand and the follower’s right hand clasp in the same manner as other styles
of Argentine Tango, with elbows pointed down (contrasting with elbows up and pointed back as in ballroom tango),
with little or no pressure applied by the arms or hands. The leader’s right arm is held high across the follower’s
shoulder blades to help facilitate the upper chest connection, to avoid pulling the follower’s lower torso and hips in
toward the leader, thus allowing more flexibility of movement in the mid and lower spine and better extension of the
follower’s legs. In the case of followers that are not tall enough to place their head over the leader’s shoulder, it is
recommended that the follower’s head be turned to the right and touch the left side of the head to the leader’s chest,
and the follower’s left arm may wrap around the outside right arm (although this is generally not preferred as it limits
the leader’s flexibility of movement, and is a danger on crowded dance floors to have the follower’s elbow sticking
out). It is generally not recommended for a leader to dance milonguero style with a follower that is too tall for the
leader to see over the follower’s shoulder since it would be very difficult to navigate around the dance floor.
Tango nuevo
Main article: Nuevo tango
Starting in the 1990s in Buenos Aires, the Tango Investigation Group (later transformed into the Cosmotango organization) founded by Gustavo Naveira and Fabian Salas applied the principles of dance kinesiology from modern
dance to analyze the physics of movement in Argentine tango. Taking what they learned from this analysis they then
began to explore all the possibilities of movement within the framework of Argentine Tango. From the work of
these founders of the Tango Nuevo movement, there was shift in all styles of tango away from teaching what to dance
toward teaching how to dance.
• Linear boleo
• Volcada lead in closed embrace
Though widely referred to as a tango style outside of Argentina, Tango Nuevo is not considered a style of dancing
tango by the founders of the movement. It refers only to the method of analysis and teaching developed through
the application of the principles of dance kinesiology to Argentine Tango. In 2009, Gustavo Naveira published an
essay New Tango in which he states, “There is great confusion on the question of the way of dancing the tango: call
it technique, form, or style. The term tango nuevo, is used to refer to a style of dancing, which is an error. In reality,
tango nuevo is everything that has happened with the tango since the 1980s. It is not a question of a style... The words
tango nuevo express what is happening with tango dancing in general; namely that it is evolving.” [16] Therefore, as the
Gustavo Naveira and other founders of the Tango Nuevo movement have said, all styles of tango, which have now
been influenced by the analysis of the dance, are all Tango Nuevo.
Despite the insistence by the founders of the Tango Nuevo movement that it is not a single style, it has become an
accepted term by many that it is a separate and distinct style of tango. Practitioners of tango nuevo are Gustavo
Naveira, Javier Antar, Norberto “El Pulpo” Esbrés, Fabián Salas, Sebastian Arce, Mariana Montes, Mariano 'Chicho'
Frumboli, Lucía Mazer, Eugenia Parrilla. All of these dancers have highly individual styles that cannot be confused
with each other, yet are all referred to by many as the tango nuevo style.
Tango tradicional
A very pure and early form of tango, on base as walking rhythmically, not on the beat but with rhythm.
2.4. RESURGENCE OF ARGENTINE TANGO OUTSIDE ARGENTINA
25
Tango con corte y quebrada
Tango which adds cortes and quebradas, cuts and breaks. The quebradas later on has been put in a more esthetic style
(estilizar) and are today known as poses de tango, Tango Positions.
Tango de fantasía
This style mostly evolved over the 1940-1950 time span. The term Tango de Fantasía refers to music, dance, and
dresses; it tries to codify a tango form different from the traditional one. Dancers added little sits and fast footwork
– doing fantasies, as some people called it. The related men’s suit with a white border is named traje de fantasía.
In music, Osmar Héctor Maderna’s[17] was referred to as Tango de Fantasía due to his arrangements which included
fancy solos. During the same time period, people used to refer to the non-traditional Argentinian folklore by a similar
expression: Folklore de Projección.
Show tango
Show tango, and Tango de Escenario (stage tango) is a more theatrical form of Argentine tango developed to suit the
stage.
In theory, all styles can be performed on stage, but the movement has to take stage elements into accounts, such as
diagonals, centres, fronts, placement of lights, etc. Often, show tango routines includes embellishments, acrobatics,
and solo moves that would be impractical on a social dance floor. Stage tango can be partially improvised, but in
order for the general choreography to fit the set stage, some parts need to be rehearsed as a set routine.
Stage Tango still has to be led like it is led in all other Tango styles; otherwise the couple is missing the main ingredient
of the dance, namely, the typical intimate connection; this connection becomes visible only when the leader and
follower enter their roles – whether the show is choreographed or not.
Tango on stage should not be confused with Tango de Fantasia or tango acrobatico, which is a particular style of
tango that is only suitable for stage dancing.[18]
2.4 Resurgence of Argentine tango outside Argentina
2.4.1
France
In 1983, the dance show Tango Argentino, staged by Claudio Segovia and Hector Orezzolli, opened in Paris, France,
starring dancers Juan Carlos Copes[19] and Maria Nieves,[20] Nélida y Nelson, Eduardo y Gloria, María y Carlos
Rivarola,[21] Norma y Luis Pereyra,[22][23] Mayoral y Elsa Maria, Carlos y Inés Borges, Pablo Veron, Miguel Zotto
and Milena Plebs,[24] and Virulazo and Elvira.[25]
2.4.2
United Kingdom
Argentine tango dancing in the UK began in the early 1990s in response to the hugely popular internationally touring
shows “Forever Tango” and “Tango Argentino”. Enthusiastic Anglo-Argentine milonguero (dance hall tango dancer)
Andrew Potter who had followed “Forever Tango” to London and stayed for its extensive run, got together with some
Londoner friends to start the city’s first ever tango milonga (tango dance party/hall) in The London Welsh Centre at
157,Grays Inn Road, known as “Tango The Argentine Way” which would pack out every Friday night. From that
moment, the tango dances and classes proliferated throughout the Capital and then throughout the rest of the UK.
Today, tango in its various manifestations (milonguero, tango nuevo, Villa Urquiza etc.) can be found in most of
Britain’s major towns and cities and throughout the year there are special seasonal courses and retreats when visiting
star teachers from Argentina and Europe offer special workshops in the dance. In general, outside of Argentina, the
music of tango has followed the dance in popularity, rather than the other way round (in Argentina the music came
before the dance) but over the last twenty years a tango music tradition has grown in size and excellence with bands
like Tango Siempre at the forefront.
In more recent years,the huge resurgence of interest overall in partner dances in the UK has been led by the decade old
TV programme “strictly Come Dancing” (which focuses on modern ball-room styles) as well as by an ever growing
26
CHAPTER 2. ARGENTINE TANGO
A tango show in Buenos Aires
interest in other popular partner dance forms practised widely in the UK over the last fifteen to twenty years, such as
Salsa, Argentinian Tango, Swing and Modern Jive. Some dancers who start in modern jive or salsa find that as they
progress they want more challenging and more connected dance forms and Argentine tango is a natural progression.
There are now some jive venues that offer a second room with a mixture of blues and tango dancing. At such events
it is common to see tango-jive fusion being danced.
The popularity of tango dancing has also been fed by Hollywood films that feature the dance.
2.4. RESURGENCE OF ARGENTINE TANGO OUTSIDE ARGENTINA
27
Sunday afternoon tango at Plaza Dorrego in the Buenos Aires neighborhood of San Telmo.
There are now numerous tango clubs, milongas, teachers and classes throughout the country but especially in London.
2.4.3
USA
In 1985, the French dance show Tango Argentino transferred to Broadway in New York City.[26] Cast members gave
classes to a number of students, including Robert Duvall. Paul Pellicoro provided a dance center for the performers
to teach new students. At the same time, Danel and Maria Bastone were teaching tango in New York, and Orlando
Paiva was offering tango classes in Los Angeles, California. For further lessons, Duvall sought out Nestor Ray, a
dancer who Duvall had seen perform in the documentary film Tango mio.
In 1986, Nora and Raul Dinzelbacher visited San Francisco, California, coming from La Paz, Entre Ríos and Buenos
Aires aboard a cruise ship where they were dancing tango and chacarera professionally. Al and Barbara Garvey took
tango classes from them as well as from Jorge and Rosa Ledesma from Quilmes, Buenos Aires; all in the style of
choreographed show tango. In 1987, the Garveys traveled to Buenos Aires to discover the traditional improvisational
social dance style at a large milonga (Centro Akarense) filled with older dancers in Villa Urquiza.[27] Upon returning
home to Fairfax, California, the Garveys continued tango lessons and began organizing milongas around the San
Francisco Bay Area. They co-founded the Bay Area Argentine Tango Association (BAATA) and published a journal.
In 1986, Brigitta Winkler appeared in her first stage performance, Tangoshow in Montreal. Though based in Berlin,
Winkler traveled often to teach at tango festivals in North America throughout the following two decades. Winkler
was a seminal influence of Daniel Trenner.[28] Montreal’s first tango teachers, French-born Lily Palmer and her
Argentine friend, Antonio Perea, offered classes in 1987.
The Dinzelbachers settled in San Francisco in 1988, in response to the demand for tango teachers following a visit to
San Francisco by the touring production of Tango Argentino.[29] Nora and Raul Dinzelbacher taught a core group of
students who would later become teachers themselves, including the Garveys, Polo Talnir and Jorge Allende.
In 1989, the Dinzelbachers were invited to Cincinnati, Ohio by Richard Powers, to introduce and teach Argentine
tango at a weeklong dance festival. The following year, Powers moved his festival to Stanford University and asked
28
CHAPTER 2. ARGENTINE TANGO
the Dinzelbachers back. Unfortunately, Raul Dinzelbacher, 40 years old, collapsed and died at the end of the third
day of the festival. Nora Dinzelbacher was devastated but threw herself into her work, forming a dance performance
troupe and teaching. She asked a student, George Guim, to become her assistant. They taught at a week-long dance
festival in Port Townsend, Washington.
Throughout 1990, Luis Bravo’s Forever Tango played in eight West Coast cities, increasing viewer’s interest in learning
the tango. Carlos Gavito and his partner Marcela Duran invented a dramatically different tango embrace in which
both dancers leaned forward against each other more than was traditionally accepted. Gavito’s ultimate rise to fame
came from this starring appearance in Forever Tango.[30]
In 1991, Richard Powers asked Nora Dinzelbacher to help him transform “Stanford Dance Week” into “Stanford
Tango Week”. The two produced the popular annual festival until the University abruptly cancelled it after its 1997
run. In 1998, with Bob Moretti, a retired USAF Lt. Col. and one of her students, Nora began a new festival in
the same vein: “Nora’s Tango Week”, held in Emeryville, California.[31] Moretti would continue to co-produce the
festival until his death on June 22, 2005, just days before that year’s Tango Week.[32]
In the first half of 1994, Barbara Garvey’s BAATA mailing list grew from 400 to 1,400 dancers. Garvey places the
critical mass of the San Francisco Bay Area’s tango resurgence at this point. The number of regional milongas went
from three per month to 30.[33]
Forever Tango returned to the United States late in 1994, landing in Beverly Hills, then San Francisco, where it ran
for 92 weeks. From there the show went to New York where it became the longest-running tango production in
Broadway history.[34]
In June 1995, Janis Kenyon held a tango festival at Northwestern University. Kenyon had attended Stanford Tango
Week in 1993, where she met Juan Carlos Copes and Maria Nieves. The pair were invited to teach at Kenyon’s 1995
Chicago event. The next year, Kenyon moved her festival to Columbus, Ohio, where she featured Osvaldo Zotto. In
February 1997, Clay Nelson (a two-time attendee at Stanford Tango Week) organized his first ValenTango festival
in Portland, Oregon; “Tango Fantasy on Miami Beach” was formed by Jorge Nel, Martha Mandel, Lydia Henson
and Randy Pittman as Florida's first tango festival; and the Portland October Tangofest was launched, again by Clay
Nelson. 1999 saw a split in Miami: Nel and Mandel scheduled their “United States Tango Congress” to open a month
prior to the Tango Fantasy event.[35]
Daniel Trenner has been credited with bringing improvisational social Argentine tango to the United States.[36] Like
the Garveys, he first went to Buenos Aires in 1987, where he went to a milonga in Palermo and saw the traditional
improvisational style being danced. Trenner was introduced to Miguel and Nelly Balmacera, a couple who would
become his first tango teachers.[37] Being fluent in both Spanish and English he was able to study with many Argentine
tango masters, including Gustavo Naveira and Mingo Pugliese. He made video tapes of the lessons he took and
translated the Spanish instruction into English. In the late 1980s, Trenner brought his newfound appreciation of
traditional tango back to New York and conducted classes. In 1991, Trenner began working with Rebecca Shulman
in performing and teaching tango.[38] (Shulman would go on to be a co-founder and director of TangoMujer in
New York and Berlin.) In 1995, Trenner taught for ten weeks in Colorado, followed by some 15 of those students
accompanying him to Buenos Aires. Out of this experience, “Tango Colorado” was formed by Tom Stermitz and
other tango aficionados from Denver, Boulder and Fort Collins, and a twice-yearly tango festival was organized in
Denver. Trenner had planted the seed and moved on. In this way, Trenner has been called the Johnny Appleseed of
tango.[39]
In February 2009, the popular ABC series Dancing with the Stars announced that the Argentine tango would be added
to the list of dances for its eighth season, following the initiative by its British parent show Strictly Come Dancing the
previous year.
There are numerous tango festivals in the United States. The most popular are Tango Element in Baltimore, Maryland
DC, Portland Valentango in Portland, Oregon, Denver Tango Festival in Denver, Colorado.
2.5 Perceptions of tango from film culture
Argentine tango is the main subject of many films.
• Tango (1913) with Lucyna Messal, Józef Redo. Short film featuring Tango dancers made in Poland.[40]
• El tango de la muerte (1917)[41]
2.5. PERCEPTIONS OF TANGO FROM FILM CULTURE
29
• El Tango en Broadway (1934) starring Carlos Gardel[42]
• Adiós Buenos Aires (1938)[43]
• La historia del tango (1949) Tango documentary produced in Argentina[44]
• Tango Argentino (1969) Tango documentary produced in Argentina[45]
• Tango Bar (1988), starring Raúl Juliá, Rubén Juarez, Valeria Linch, María y Carlos Rivarola[46]
• Naked Tango (1990), starring Vincent D´Onofrio, Mathilda May, Fernando Rey. Choreography by Carlos
Rivarola, directed by Leonard Schrader
• The Tango Lesson (1997), starring Sally Potter and Pablo Verón, directed by Sally Potter
• Tango (1998), starring Miguel Angel Solá, Juan Carlos Copes, Cecilia Narova, Mía Maestro, Julio Bocca,
Carlos Rivarola directed by Carlos Saura
• Assassination Tango (2002), starring Robert Duvall, Luciana Pedraza, Rubén Blades and Kathy Baker, directed
by Robert Duvall
• Orquesta Tipica (2005), documentary film about typical orchestra Fernandez Fierro, directed by Nicolas Entel
• 12 Tangos - Adios Buenos Aires (2005), directed by Arne Birkenstock [47]
• El Ultimo Bandoneón (2006), directed by Alejandro Saderman[48]
• Café de Los Maestros (2008) - Interviews with the musicians and singers from the golden era of Tango.[49]
• El último aplauso (2009) - Documentary produced in Argentina[50]
Argentine tango is featured or referred to in these films/TV shows:
• The Four Horsemen of the Apocalypse (1921) - Rudolph Valentino dances an Argentine tango in this silent film.
• Tango Bar (1935), starring Carlos Gardel, Rosita Moreno, Enrique de Rosas, Tito Lusiardo. Despite the
title, tango is not a central theme of the movie. However, there is one scene featuring Carlos Gardel dancing
tango.[51]
• Scent of a Woman (1992) - Al Pacino's character, who is blind, dances the tango with a beautiful woman and
is captivated by the scent of her perfume during the tango’s close embrace.
• Moulin Rouge! (2001) - Two minor characters perform a tango while Ewan McGregor's character sings “El
Tango de Roxanne”.
• The Tuxedo (2002) - Jackie Chan used a dance-double for the tango scene.
• Shall We Dance? (2004) - Richard Gere and Jennifer Lopez dance an Argentine tango by a rain-streaked
window in a darkened dance studio.
• Nip/Tuck (2005) - In the 3rd season episode titled “Tommy Bolton”, Bruno Campos and Joely Richardson
dance a tango while out to dinner at an upscale restaurant.
• Take the Lead (2006) - Antonio Banderas dances the tango with Katya Virshilas.
• Another Cinderella Story (2008) - Selena Gomez and Drew Seeley dance at a costume ball.
A culture developed for tango films in the Cinema of Argentina beginning in the early 1930s. See Category:Tango
films.
Tango is also subject of many books
• Nicole Nau-Klapwijk: Tango Dimensionen, Kastell Verlag GmbH 1999, ISBN 978-3-924592-65-3.
• Nicole Nau-Klapwijk: Tango, un baile bien porteño, Editorial Corregidor 2000, ISBN 950-05-1311-0
30
CHAPTER 2. ARGENTINE TANGO
Tango is subject of operas
• María de Buenos Aires, Opera (“Tango Operita”) in 16 acts; Music: Ástor Piazzolla, Libretto: Horacio Ferrer;
Premier: 8 May 1968 in Buenos Aires with Amelita Baltar (María) and Horacio Ferrer (Duende);
• Orestes último Tango,[52] Opera, Music: Diego Vila, Libretto: Betty Gambartes, Choreography: Oscar Araiz.
Based on El Reñidero by Sergio de Cecco which is based on Electra of Sophocles. Premiere 22. March 2002
in Rotterdam by the Wereld Muziek Theater Festival of Holland. Originalcast: Julia Zenko (Elena), Carlos
Vittori (Orestes), Susana Moncayo (Nélida), Rodolfo Valss (Soriano), Luis Pereyra (Morales), Jorge Nolasco
(Vicente) and Nicole Nau (La mujer de la milonga).
2.6 See also
• Figures of Argentine tango
• Chamarrita
• Finnish tango
• Carlos Gardel
• History of tango
• Lunfardo
• Maxixe (dance) (or Brazilian tango)
• Tango music
• Tango (ballroom)
• Tango (dance)
• Queer Tango
• Uruguayan tango
• El Sonido de mi Tierra - The Great Dance of Argentina
2.7 References
[1] Norese, María Rosalía: Contextualización y análisis del tango. Sus orígenes hasta la aparición de la vanguardia. Universidad
de Salamanca, 2002 (restricted online copy, p. 5, at Google Books)
[2] Denniston, Christine. “The Hidden History of Tango”. The Hidden History of Tango. Retrieved 30 September 2014.
[3] Drago, Alejandro Marcelo (2008). Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of
Astor Piazzolla. Performance and Notational Problems: A Conductor’s Perspective. ProQuest. p. 14. ISBN 0549783237.
[4] http://www.todobuenosaires.com/buenos_aires/es/tango/historia/origenes.php (In Spanish)
[5] "'Caminar'". Users.pandora.be. 2008-08-25. Retrieved 2010-03-15.
[6] “Tango and modern dance'". Users.pandora.be. 2007-06-23. Archived from the original on 19 April 2010. Retrieved
2010-03-15.
[7] José Luis Ortiz Nuevo El origen del tango americano” Madrid y La Habana 1849
[8] “Christine Denniston. 'Couple Dancing and the Beginning of Tango' 2003”. History-of-tango.com. Archived from the
original on 25 April 2010. Retrieved 2010-03-15.
[9] Elements
[10] Elements2
2.7. REFERENCES
31
[11] “TangoCanyengue.org”. TangoCanyengue.org. Retrieved 2010-03-15.
[12] José Sebastián Tallon El tango en su etapa de musica prohibida 1959
[13] Athus Espindola, Diccionario del Lunfardo 2002
[14] Williams/Wilson, Ernest/Maricela. “Canyengue danced by Ernest Williams and Maricela Wilson”. Retrieved 29 September 2014.
[15] Susana Miller, Susana Miller - director of La Academia de Tango
[16] Tango, A History of Obsession, Virginia Gift, 2008, ISBN 1-4392-1462-X (self published, appeared first in 2009)
[17] todotango.com
[18] Nicole Nau-Klapwijk: Tango Dimensionen, Kastell Verlag GmbH 1999, ISBN 978-3-924592-65-3
Nicole Nau-Klapwijk: Tango, un baile bien porteño, Editorial Corregidor 2000, ISBN 950-05-1311-0
[19] “resume and timeline”. Juan Carlos Copes. 1931-05-31. Retrieved 2010-03-15.
[20] “Keith Elshaw. 'Maria Nieves’". Totango.net. Archived from the original on 4 April 2010. Retrieved 2010-03-15.
[21] Rivarola, Carlos. “Carlos Rivarola (Dancer and Choreographer)". Carlos Rivarola. Retrieved 8 August 2010.
[22] Broadwayworld Gershwin Theatre
[23] Luis Pereyra on Tangofolklore.com
[24] “Milena Tango. Milena Plebs bio”. Milenatango.com. Retrieved 2010-03-15.
[25] JVilas. “Virulazo: Interview by the journalist Guillermo Alfieri”. Todotango.com. Retrieved 2010-03-15.
[26] “Keith Elshaw. 'Juan Carlos Copes’". Totango.net. Archived from the original on 28 April 2010. Retrieved 2010-03-15.
[27] Tango List. Barbara Garvey. Re: [TANGO-L] Going to Bs As (Detecting sham and incompetent Teachers) June 27, 2003
[28] Nov 6th 2008 1:30PM by Kelly Wilson (2008-11-06). “Brigitta Winkler bio”. Members.aol.com. Retrieved 2010-03-15.
[29] “George A. Nicol. 'Interview with Nora Dinzelbacher'". Inscenes.com. Retrieved 2010-03-15.
[30] Elshaw, Keith. “Carlos Gavito 1942–2005”. totango.net. Retrieved 2010-03-15.
[31] “BA Tango. Spotlight. 'Nora Dinzelbacher: The First Lady of Bay Area Tango'Nancy Friedman (2003)". Batango.com.
Retrieved 2010-03-15.
[32] “BA Tango. Spotlight. 'BA Tango remembers Bob Moretti' Nancy Stevens Mendoza & David Mendoza”. Batango.com.
2005-06-22. Retrieved 2010-03-15.
[33] Tango List. Barbara Garvey. Re: [TANGO-L] Revival of Tango in North America July 25, 2003]
[34] “Honolulu Star-Bulletin, March 24, 2000. Tim Ryan. 'Tangled Passions: Deep emotion and sexuality heat up the tango.
IT TAKES TWO...AND BALANCE'". Starbulletin.com. 2000-03-24. Retrieved 2010-03-15.
[35] "'Oldest Tango Festival' Randy of Miami, March 23 and 26, 2007”. Virtuar.com. Retrieved 2010-03-15.
[36] “Daniel Trenner Tribute”. Pythia.uoregon.edu. 2003-04-24. Retrieved 2010-03-15.
[37] daniel trenner :: tango. “Daniel Trenner. 'Tango: the Argentine Social Dance' (1998)". Danieltrenner.com. Retrieved
2010-03-15.
[38] “Dance Manhattan. 'Rebecca Shulman'". Dance-manhattan.com. Retrieved 2010-03-15.
[39] Tom Stermitz. Re: [TANGO-L]; Revival of Tango in North America / Pellicoro Book, July 25, 2003]
[40] Tango at the Internet Movie Database
[41] El tango de la muerte at the Internet Movie Database
[42] El Tango en Broadway at the Internet Movie Database
[43] Adiós Buenos Aires at the Internet Movie Database
[44] The Story of the Tango at the Internet Movie Database
32
CHAPTER 2. ARGENTINE TANGO
[45] Tango Argentino at the Internet Movie Database
[46] Tango Bar at the Internet Movie Database
[47] 12 Tangos - Adios Buenos Aires at the Internet Movie Database
[48] El Ultimo Bandoneon (2006)
[49] Café de Los Maestros at the Internet Movie Database
[50] The Last Applause at the Internet Movie Database
[51] Tango Bar at the Internet Movie Database
[52] Press Premiere Opera Orestes
2.8 External links
2.8.1
Video
• Tango Element Festival 2013 Dance of Maestros
2.8.2
Music
• todotango.com musicians, lyricists, discographies
• tango.info/music musicians, lyricists, CDs, 78 rpm
2.8.3
Dance
• The Basics of Tango (Part One) Basic Tango principles and advice
• Tango Secrets - A structural and analytical approach to dancing Argentine Tango
• Argentine Tango in Lisbon, Portugal
Chapter 3
Tango music
For other uses, see Tango (disambiguation).
Tango is a style of music in 2/4 or 4/4 time that originated among European immigrant populations of Argentina
Tango rhythm.[2]
and Uruguay (collectively, the "Rioplatenses").[1] It is traditionally played on a solo guitar, guitar duo, or an ensemble,
known as the orquesta típica, which includes at least two violins, flute, piano, double bass, and at least two bandoneóns.
Sometimes guitars and a clarinet join the ensemble. Tango may be purely instrumental or may include a vocalist.
Tango music and dance have become popular throughout the world.
3.1 Origins
Even though present forms developed in Argentina and Uruguay from the mid 19th century, there are records of 19th
and early 20th century Tango styles in Cuba and Spain,[3] while there is a flamenco Tangos dance that may share a
common ancestor in a minuet-style European dance.[4] All sources stress the influence of the African communities
and their rhythms, while the instruments and techniques brought in by European immigrants in the 20th century
played a major role in its final definition, relating it to the Salon music styles to which Tango would contribute back
at a later stage.
The first Tango ever recorded was made by Angel Villoldo and played by the French national guard in Paris. Villoldo
had to record in Paris because in Argentina at the time there was no recording studio.
33
34
CHAPTER 3. TANGO MUSIC
Early bandoneón, constructed ca. 1905
Early tango was played by immigrants in Buenos Aires and Montevideo.[5][6][7] The first generation of tango players
was called “Guardia Vieja” (the Old Guard). 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 such rich music reflects how the men would practice the dance in groups,
demonstrating male sexuality and causing a blending of emotion and aggressiveness. 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 attempts were made 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”.[4]
One song that would become the most widely known of all tango melodies[8] also dates from this time. The first two
sections of La Cumparsita were composed as a march instrumental in 1916 by teen-aged Gerardo Matos Rodríguez
of Uruguay.[9][10]
3.2 Argentine roots of Tango
Besides the global influences mentioned above, early Tango was locally influenced by Payada, the Milonga from
Argentine and Uruguay Pampas, and Uruguayan Candombe. In Argentina there was Milonga “from the country”
since the mid eighteenth century. The first “payador” remembered is Santos Vega. The origins of Milonga seem to
be in the Pampa with strong African influences, especially though the local Candombe (which would be related to
its contemporary Candombe in Buenos Aires and Montevideo). It is believed that this candombe existed and was
practised in Argentina since the first slaves were brought into the country.[11]
Although the word “tango” to describe a music/dance style had been printed as early as 1823 in Havana, Cuba,
the first Argentinian written reference is from a 1866 newspaper, that quotes the song “La Coqueta” (an Argentine
tango).[12] In 1876 a tango-candombe called “El Merenguengué"[13][14] became very popular, after its success in the
Afro-Argentines carnival held in February of that year. It is played with guitar, violin and flute in addition to the
Afro-Argentine Candombe drums (“Llamador” and “Repicador”). This has been seriously considered as one of the
strong points of departure for the birth and development of the Tango.[15]
The first “group” of tango, was composed of two Afro-Argentines, “the black” Casimiro Alcorta (violin) and “the
mulatto” Sinforoso (clarinet).[16] They did small concerts in Buenos Aires since the early 1870s until the early 1890s.
3.3. 1920S AND 1930S, CARLOS GARDEL
35
“The black Casimiro” is author of “Entrada Prohibida” (“Entry Forbidden”),[17] then signed by the brothers Teisseire,
and “la yapa"; in turn, is credited with the tango “Concha sucia”, which was later amended and signed by F. Canaro
as “Cara sucia” (“dirty face”).[18] It must be said, though that this duo was the author and performer of many of the
early tangos now listed as “anonymous”, since at that time were not used to signing works.
Before the 1900s, the following tangos were being played: “El queco” (anonymous, attributed to clarinetist Lino
Galeano in 1885),[19] “Señora casera” (anonymous 1880), “Andate a la recoleta” (anonymous 1880),[19] “El Porteñito”
(by the Spaniard Gabriel Diez in 1880),[19] “Tango Nº1” (Jose Machado - 1883), “Dame la lata” (Juan Perez, 1888),[19]
“Que polvo con tanto viento” (anonymous 1890),[19] “No me tires con la tapa de la olla” (A.A. 1893), “El Talar”
(Prudencio Aragon - 1895).[20]
The first recorded musical score (though no author) is “La Canguela” (1889) and is in the Museum of the City Score
Rosario. On the other hand, the first copyrighted tango score is “El entrerriano”, released in 1896 and printed in 1898
- by Rosendo Mendizabal, an Afro-Argentine. As for the transition between the old “Tango criollo” (Milonga from
the Pampas, evolved with touches of Afro-Argentine Candombe, and some of Habanera), and the Tango of the Old
Guard, there are the next songs: Ángel Villoldo ("El choclo", 1903) (“El Pimpolla”, 1904), (“La Vida del Carretero”,
1905) y (“El Negro Alegre”, 1907), de Gabino Ezeiza (“El Tango Patagones”, 1905), y de Higinio Cazón (“El Taita”,
1905). Moreover, the first tango recorded by an orchestra was “Don Juan”, whose author is Ernesto Ponzio. It was
recorded by the orchestra of Vicente Greco.[21][22]
3.3 1920s and 1930s, Carlos Gardel
Tango soon began to gain popularity in Europe, beginning in France. Superstar Carlos Gardel soon became a sex
symbol who brought the tango to new audiences, especially in the United States, due to his sensual depictions of the
dance on film. In the 1920s, tango moved out of the lower-class brothels and became a more respectable form of
music and dance. Bandleaders like Roberto Firpo and Francisco Canaro dropped the flute and added a double bass
in its place. Lyrics were still typically macho, blaming women for countless heartaches, and the dance moves were
still sexual and aggressive.
Carlos Gardel became especially associated with the transition from a lower-class “gangster” music to a respectable
middle-class dance. He helped develop tango-canción in the 1920s and became one of the most popular tango artists
of all time. He was also one of the precursors of the Golden Age of tango.
Gardel’s death was followed by a division into movements within tango. Evolutionists like Aníbal Troilo and Carlos
di Sarli were opposed to traditionalists like Rodolfo Biagi and Juan d'Arienzo.
3.4 Golden Age
The “Golden Age” of tango music and dance is generally agreed to have been the period from about 1935 to 1952,
roughly contemporaneous with the big band era in the United States. Tango was performed by orquestas típicas,
bands often including over a dozen performers.
Some of the many popular and influential orchestras included the orchestras of Mariano Mores, Juan d'Arienzo,
Francisco Canaro, and Aníbal Troilo. D'Arienzo was called the “Rey del compás” or “King of the beat” for the insistent, driving rhythm which can be heard on many of his recordings. “El flete” is an excellent example of D'Arienzo’s
approach. Canaro’s early milongas are generally the slowest and easiest to dance to; and for that reason, they are the
most frequently played at tango dances (milongas); “Milonga Sentimental” is a classic example.
Beginning in the Golden Age and continuing afterwards, the orchestras of Osvaldo Pugliese and Carlos di Sarli made
many recordings. Di Sarli had a lush, grandiose sound, and emphasized strings and piano over the bandoneón, which
is heard in “A la gran muñeca” and "Bahía Blanca" (the name of his home town).
Pugliese’s first recordings were not too different from those of other dance orchestras, but he developed a complex,
rich, and sometimes discordant sound, which is heard in his signature pieces, “Gallo ciego”, “Emancipación”, and
“La yumba”. Pugliese’s later music was played for an audience and not intended for dancing, although it is often used
for stage choreography for its dramatic potential, and sometimes played late at night at milongas.
36
Carlos Gardel, perpetual symbol of the tango
CHAPTER 3. TANGO MUSIC
3.5. TANGO NUEVO
37
3.5 Tango Nuevo
The later age of tango has been dominated by Ástor Piazzolla, whose Adiós nonino became the most influential work
of tango since Carlos Gardel’s El día que me quieras was released in 1935. During the 1950s, Piazzolla consciously
tried to create a more academic form with new sounds breaking the classic forms of tango, drawing the derision of
purists and old-time performers. The 1970s saw Buenos Aires developing a fusion of jazz and tango. Litto Nebbia
and Siglo XX were especially popular within this movement. In the 1970s and 1980s, the vocal octet Buenos Aires
8 recorded classic tangos in elaborate arrangements, with complex harmonies and jazz influence, and also recorded
an album with compositions by Piazzolla.
The so-called post-Piazzolla generation (1980-) includes musicians such as Dino Saluzzi, Rodolfo Mederos, Gustavo
Beytelmann and Juan Jose Mosalini. Piazzolla and his followers developed Nuevo Tango, which incorporated jazz
and classical influences into a more experimental style.
3.6 NeoTango
Tango development did not stop with Tango Nuevo. 21st Century Tango is referred to as Neotango. These recent
trends can be described as “electro tango” or “tango fusion”, where the electronic influences are available in multiple
ranges: from very subtle to rather dominant.
Tanghetto and Carlos Libedinsky are good examples of the subtle use of electronic elements. The music still has
its tango feeling, the complex rhythmic and melodious entanglement that makes tango so unique. Gotan Project is
a group based in Paris, consisting of musicians Philippe Cohen Solal, Eduardo Makaroff and Christoph H Muller.
They formed in 1999. Their releases include Vuelvo al Sur/El capitalismo foráneo (2000), La Revancha del Tango
(2001), Inspiración Espiración (2004), and Lunático (2006). Their sound features electronic elements like samples,
beats and sounds on top of a tango groove. Some dancers enjoy dancing to this music, although many more traditional
dancers regard it as a definite break in style and tradition.
Bajofondo Tango Club (Underground tango club) is another example of electro tango. Further examples can be found
on the CDs Tango?, Hybrid Tango, Tangophobia Vol. 1, Tango Crash (with a major jazz influence), Latin Tango
by Rodrigo Favela (featuring classic and modern elements), NuTango. Tango Fusion Club Vol. 1 by the creator of
the milonga called “Tango Fusion Club” in Munich, Germany, Felino by the Norwegian group Electrocutango and
“Electronic Tango”, a various artists’ CD. In 2004, a music label, World Music Network, released a collection under
the title The Rough Guide to Tango Nuevo.
3.7 Musical impact and classical interpreters
Although tango music was strictly circumscribed to the tango interpreters it was the classically trained Argentinian
pianist Arminda Canteros (1911-2002) who used to play tangos to satisfy the requests of her father who could not
understand Classical music. She developed her own style and had a weekly program of tango music for a radio station
in Rosario, Argentina in the 1930s and 1940s. Since tango playing was considered the epitome of machismo, she had
to take the masculine pseudonym, “Juancho” for the broadcasts.[23][24]
Ms. Canteros settled in New York in 1970 where she recorded later in 1989 her CD “Tangos” when she was 78 years
old.[25] Following Ms. Cantero’s example, another Argentinian female pianist brought tango music to the concert
halls: Cecilia Pillado played a complete tango recital at the Berliner Philharmonie in 1997 and recorded that program
for her CD “Cexilia’s Tangos”.[26]
Since then tango has become part of the repertoire for great classical musicians like the baritone Jorge Chaminé
with his Tangos recording with bandoneónist Olivier Manoury. Also al Tango, Yo-Yo Ma, Martha Argerich, Daniel
Barenboim, Gidon Kremer, Plácido Domingo and Marcelo Alvarez have performed and recorded Tangos.
Some classical composers have written tangos, such as Isaac Albéniz in España (1890), Erik Satie in Le Tango
perpétuel (1914), Igor Stravinsky in Histoire du Soldat (1918). The list of composers who wrote inspired by tango
music also includes John Cage in Perpetual Tango (1984), John Harbison in “Tango Seen from Ground Level” (1991),
and Milton Babbitt in “It Takes Twelve to Tango” (1984). The influence of Piazzolla has fallen on a number of
contemporary composers. The “Tango Mortale” in Arcadiana by Thomas Adès is an example.
Many popular songs in the United States have borrowed melodies from tango: the earliest published tango, El Choclo,
38
CHAPTER 3. TANGO MUSIC
lent its melody to the fifties hit Kiss of Fire. Similarly Adiós Muchachos became I Get Ideas, and Strange Sensation
was based on La Cumparsita.
3.8 See also
• History of the tango
• Finnish tango
• Latin Grammy Award for Best Tango Album
• List of tango music labels
• Music of Argentina
• Argentine tango
• Music of Uruguay
• Uruguayan tango
• Vals (dance)
3.9 References
[1] Termine, Laura (September 30, 2009). “Argentina, Uruguay bury hatchet to snatch tango honor”. Buenos Aires. Retrieved
April 2, 2010.
[2] Blatter, Alfred (2007). Revisiting music theory: a guide to the practice, p.28. ISBN 0-415-97440-2.
[3] José Luis Ortiz Nuevo El origen del tango americano Madrid and La Habana 1849
[4] Christine Denniston. Couple Dancing and the Beginning of Tango 2003
[5] Norese, María Rosalía: Contextualization and analysis of tango. Its origins to the emergence of the avant-garde. University
of Salamanca, 2002 (restricted online copy, p. 5, at Google Books)
[6]
[7]
[8] McLean, Michael. Care to Tango?, Book 2. ISBN 0-7390-5100-8.
[9] ToTANGO. LA CUMPARSITA - Tango’s Most Famous Song
[10] TodoTango. Ricardo García Blaya. Tangos and Legends: La Cumparsita
[11] Alejandro Frigerio “The Argentine Candombe: Chronicle of a Death Foretold”.
[12] “La Coqueta”, del año 1866.
[13] Tango-candombe afroargentino “El Merenguengué".
[14] Jorge Gutman op. cit.
[15] Museum House of Carlos Gardel “The Black history of Tango”.
[16] El negro Casimiro Alcorta y el mulato Sinforoso.]
[17] El negro Casimiro Alcorta, y su tango “Entrada Prohibida”.]
[18] El negro Casimiro Alcorta, y su tango “Concha Sucia”.
[19] Scholz, Cora (2008). Tango argentino—seine Ursprünge und soziokulturelle Entwicklung (in German). GRIN Verlag. p.
19. ISBN 3-640-11862-6.
[20] “Tango, historical note”.
3.9. REFERENCES
[21] The first tango recorded by an orchestra was “Don Juan”.
[22] The first recording of an “Orquesta Típica” (“Typical Orchestra”) (Tango Orchestra).
[23] Video - See “About” for Biography
[24] Biography Arminda Canteros Spanish
[25] Tangos Solos de Piano Arminda Canteros
[26] CD “Cexilia’s Tangos”
39
Chapter 4
Bandoneon
Early bandoneon, c. 1905
The bandoneon (or bandonion, Spanish: bandoneón) is a type of concertina particularly popular in Argentina,
Uruguay, and Lithuania. It is an essential instrument in most tango ensembles from the traditional orquesta típica of
the 1910s onwards, and in folk music ensembles of Lithuania.
4.1 History
The bandoneon, so named by the German instrument dealer, Heinrich Band (1821–1860), was originally intended as
an instrument for religious and popular music of the day, in contrast to its predecessor, more folk music inclined German concertina (or Konzertina).[1]:16 Around 1870, German and Italian emigrants and sailors brought the instrument
to Argentina, where it was adopted into the nascent genre of tango music, a descendant of the earlier milonga.[2]
By 1910 bandoneons were being produced expressly for the Argentine and Uruguayan markets, with 25,000 shipping
to Argentina in 1930 alone. However, declining popularity and the disruption of German manufacturing in World
War II led to an end of bandoneon mass-production.[1]:17
Original instruments are displayed in German museums, such as the Bandoneon Museum der Familie Preuss in
Lichtenberg and the collection of the family Steinhart in Kirchzarten, Freiburg.
Bandoneons were historically produced primarily in Germany, and were never produced in Argentina itself despite
their popularity. As a result, by the 2000s, vintage bandoneons had become rare and expensive (US$4,000), limiting
prospective bandeonists. Accordingly, in 2014 the National University of Lanus in Buenos Aires announced their
40
4.1. HISTORY
41
Alfred Arnold bandoneon, c. 1949
F2
G♭2
A♭4
G4
F3
E♭4
C3
F4
F4
D♭3
D♭3
E♭3
E4
D4
E♭3
C4
B♭2
B♭2
G3
B♭3
A3
G3
A2
D3
D3
G2
E2
D2
G♭4
E4
B3
A3
Bandoneón
Fingering Chart
♭ 142 Voices
E♭2
D♭2
D♭4
A♭3
D4
D♭4
C4
B3
A♭2
A♭2
G♭2
B2
G2
G♭3
B♭3
C3
C2
F2
G4
G♭4
E3
A2
Upper voices - opening.
Lower voices - closing.
B2
E3
D♭6
E6
G2
E♭5
E5
G5
A♭6
A♭6
G♭4
G♭4
C5
D5
A♭5
A5
B5
D♭6
A6
G6
G♭6
B♭5
B♭5
B♭4
A4
B4
D5
E5
A5
B5
B6
A6
D4
D♭4
G4
A♭4
B4
D♭5
G♭5
A♭5
A4
A♭4
D♭4
C4
D♭5
G♭5
A♭4
A4
E♭5
E5
C4
D4
E4
G♭4
B♭4
E4
F5
F5
E♭4
B4
B3
B3
F4
F4
E♭4
E♭4
G♭3
F3
A♭3
E3
A3
A3
B♭3
B♭3
C6
C5
D6
D6
E6
C6
E♭6
E♭6
G6
G♭6
F6
F6
D2
E2
development of an affordable Argentine-made bandoneon, which they hope to market for one-third to one-half of
42
CHAPTER 4. BANDONEON
the cost of vintage instruments.[3]
4.2 Play
As with other members of the concertina family, the bandoneon is held between both hands, with pushing and pulling
motions forcing air through its bellows, which is routed through reeds by pressing its buttons. As a concertina, the
bandoneon’s buttons travel parallel with the bellows, versus perpendicular on an accordion.
Unlike a piano accordion, but similar to a melodeon or Anglo concertina, a given bandoneon button produces different
notes on the push and the pull (“bisonoric”). This means that each keyboard actually has two layouts: one for opening
notes, and one for closing notes. Since the right and left hand layouts are also different, a musician must learn four
different keyboard layouts to play the instrument.[1]:18
These keyboard layouts are not structured to facilitate playing scale passages of single-notes, but rather to facilitate
playing chords as per its original purpose of supporting singers of religious music in small churches with no organ or
harmonium, or for clergy requiring a portable instrument (missionaries, traveling evangelists, army & navy chaplatins,
etc.)
4.2.1
Unisonoric
While the standard bandoneon is bisonoric (different note on push and pull), some bandoneon variants are monosonoric—
aka, unisonoric—(same note on push and pull). These include the Ernst Kusserow and Charles Peguri systems, both
introduced around 1925.[1]:18[4]
4.3 Players
The Argentinian bandleader, composer, arranger, and tango performer Aníbal Troilo was a leading 20th century
proponent of the bandoneon. Ástor Piazzolla played and arranged in Troilo’s orquesta from 1939 to 1944. Piazzolla’s
“Fugata” from 1969 showcases the instrument, which plays the initial fugue subject on the 1st statement, then moves on
to the outright tango after the introduction. With his solos and accompaniment on the bandoneon, Piazzolla combined
a musical composition much derived from classical music (which he had studied intensively in his formative years)
with traditional instrumental tango, to form nuevo tango, his new interpretation of the genre.
4.3.1
Additional players
• Mario Stefano Pietrodarchi
• Eduardo Arolas (1892–1924)
• Daniel Binelli
• Miguel Caló
• Tránsito Cocomarola
• Claudio Constantini
• Héctor del Curto
• Maximiliano D'Ambrosio
• Leopoldo Federico
• Rubén Juárez
• Ryōta Komatsu
• Pedro Laurenz (1902–1972)
4.4. CONSTRUCTION
43
• Pedro Maffia (1899–1967)
• Rodolfo Mederos
• Gabriel Merlino
• Alexander Mitenev
• Gordon Mumma
• Pauline Oliveros
• Ástor Piazzolla (1921–1992)
• Hermeto Pascoal
• Michel Portal
• Gabriel Rivano
• Dino Saluzzi
• John Spiers
• Aníbal Troilo (1914–1975)
• Alin Stoianovici
• Juan Pablo Jofre
• Koji Hirata
4.4 Construction
A look into the inside of a modern bandoneon:
•
•
•
•
•
4.5 References
[1] Alejandro Marcelo Drago (2008). Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of
Astor Piazzolla. Performance and Notational Problems: A Conductor’s Perspective. ProQuest. ISBN 978-0-549-78323-7.
[2] Carlos G. Groppa (30 December 2003). The Tango in the United States: A History. McFarland. pp. 69–. ISBN 978-07864-2686-7.
[3] Jemio, Diego (6 November 2014). “The musical key to keeping Argentina dancing the tango”. BBC News. Retrieved 13
November 2014.
[4] Rubén Pérez Bugallo (1 January 1993). Catálogo ilustrado de instrumentos musicales argentinos. Ediciones Del Sol. pp.
77–. ISBN 978-950-9413-49-8.
• Henry Doktorski (1998) The Classical Bandoneón
44
CHAPTER 4. BANDONEON
4.6 External links
• Proyecto Bandomecum Bandoneon’s Portal Page
• Christian’s Bandoneon Page
Chapter 5
Orquesta típica
The Orquesta típica “Julio de Caro”
Orquesta típica, or simply a típica, is a Latin-American term for a band which plays popular music. The details
vary from country to country. The term tends to be used for groups of medium size (about 8 to 12 musicians) in
some well-defined instrumental set-up.
45
46
CHAPTER 5. ORQUESTA TÍPICA
5.1 Argentina
In Argentina, the term orquesta típica is associated with tango music. The orquesta típica usually comprises a string
section (of violins, viola, and cello), a bandoneón section (of 3 or more bandoneons), and a rhythm section (of piano
and double bass). An orquesta típica is an expanded version of a sexteto tipico, which includes 2 bandoneons, 2
violins, double bass and piano.
5.2 Cuba
In Cuba a típica is an ensemble mainly composed of wind instruments. They have existed at least from the middle of
the 19th century to the present day. One of the earliest, Orquesta Flor de Cuba, had the following make-up: cornet,
trombone, figle (ophicleide), two clarinets, two violins, double bass, kettle drum, and güiro. The ophicleide was a sort
of bass bugle with keys, invented in 1817, now superseded by the tuba and/or baritone horn, the name surviving for a
pipe organ stop; the the trombone would be more typically a valved rather than a slide instrument. See Early Cuban
bands for more examples.
Típicas were later superseded by charangas, which along with son conjuntos, were one of the main precursors of the
salsa ensemble. A typical salsa conjunto might include two trumpets, trombone, double bass, piano, conga, bongó or
timbales (and/or timbalitos) and a güiro (scraper).[1]
5.3 See also
• Latin music
• Music of Argentina
• Music of Cuba
• Music of Uruguay
• Tango music
• Orquesta Tipica (2005 film)
5.4 References
[1] Orovio, Helio 1981. Diccionario de la música cubana. La Habana. p407
Chapter 6
Carlos Gardel
“Gardel” redirects here. For the place in Guadeloupe, see Gardel, Guadeloupe.
This article is about the person. For the metro station, see Carlos Gardel (Buenos Aires Metro).
Carlos Gardel (born Charles Romuald Gardes; 11 December 1890 – 24 June 1935) was a French Argentine singer,
songwriter, composer and actor, and the most prominent figure in the history of tango. Gardel’s baritone voice and
the dramatic phrasing of his lyrics made miniature masterpieces of his hundreds of three-minute tango recordings.
Together with lyricist and long-time collaborator Alfredo Le Pera, Gardel wrote several classic tangos.
Gardel died in an airplane crash at the height of his career, becoming an archetypal tragic hero mourned throughout
Latin America. For many, Gardel embodies the soul of the tango style. He is commonly referred to as “Carlitos”,
“El Zorzal” (The Song Thrush), “The King of Tango”, “El Mago” (The Magician), “El Morocho del Abasto” (The
Brunet Boy from Abasto), and “El Mudo” (The Mute).
6.1 Biography
6.1.1
Early life
Gardel was born to unmarried 25-year-old laundress Berthe Gardes, the baby registered under the name Charles
Romuald Gardes in Toulouse, France, on 11 December 1890.[1] The father of the baby boy was listed on his birth
certificate as “unknown"; eleven days later Berthe Gardes signed a statement establishing the baby’s father as Paul
Laserre, a married man who left Toulouse a few months before the baby was born.[2] Berthe Gardes left Toulouse a
few years later, likely to escape the social stigma of having a child born out of wedlock. In early 1893 in Bordeaux,
France, mother and son boarded the ship SS Don Pedro and sailed to Buenos Aires, arriving on 11 March 1893.
Berthe Gardes had her passport recorded; she told immigration authorities that she was a widow. The two-year-old
boy was recorded as Charles Gardes.[2]
Gardel grew up going by Carlos, the Spanish version of his French name, and often by the familiar diminutive form
Carlitos. He lived in the Abasto neighborhood of Buenos Aires. He attended Pio IX Industrial high-school located
in the Almagro neighborhood of Buenos Aires. His mother worked pressing clothes in the French style.[3]
6.1.2
Career
Gardel began his singing career in bars and at private parties. He also sang with Francisco Martino and later in a trio
with Martino and José Razzano. Gardel created the tango-canción in 1917 with his rendition of Pascual Contursi and
Samuel Castriota's Mi Noche Triste. The recording sold 10,000 copies and was a hit throughout Latin America.[4]
Gardel went on tour through Argentina, Uruguay, Chile, Brazil, Puerto Rico, Venezuela and Colombia, as well as
making appearances in Paris, New York, Barcelona and Madrid. He sold 70,000 records in the first three months
of a 1928 visit to Paris. As his popularity grew, he made a number of films for Paramount in France and the U.S.
While sentimental films such as Cuesta abajo (1934) and El día que me quieras (1935) lack lasting dramatic value,
they were outstanding showcases of his tremendous singing talents and movie star looks.
47
48
CHAPTER 6. CARLOS GARDEL
Gardel in gaucho clothes, 1923.
6.1.3
Romantic life
Gardel was aware of the fact that much of his popularity was based on his attractiveness to women. In an effort to
seem as if he were available to any woman, he sought to keep his love life secret. Gardel had one major girlfriend in
his life: Isabel del Valle. He met del Valle in late 1920, when he was performing at the Esmeralda Theater in Buenos
6.1. BIOGRAPHY
49
Funeral of Carlos Gardel in Buenos Aires. The crowd walking the coffin on Florida street.
Aires. They were close for more than a decade. Gardel and del Valle were not seen together very often in public.
Gardel’s mother and del Valle’s family helped make sure the relationship was not well known. Only Gardel’s closest
50
CHAPTER 6. CARLOS GARDEL
friends knew about it.[5][6]
Gardel arranged for del Valle to have a house; he provided money for her to live on. Around 1930 the relationship
began to degrade. Gardel had his lawyer stop making payments to del Valle, who later married another man and
moved to Uruguay. She was always respectful of the memory of Gardel, even when interviewed about him in late life
for a 1980s television program.[7]
6.1.4
Death
Gardel died on 24 June 1935 in an airplane crash in Medellín, Colombia. Others who died included the pilot Ernesto
Samper, lyricist Alfredo Le Pera, guitarists Guillermo Desiderio Barbieri and Ángel Domingo Riverol, several business associates, and other friends of the group.[8] It is believed that a third guitarist, José María Aguilar Porrás, died
a few days after the crash.[8]
Millions of Gardel’s fans throughout Latin America went into mourning. Hordes came to pay their respects as his
body was taken from Colombia through New York City and Rio de Janeiro. Thousands rendered homage during the
two days he lay in state in Montevideo, the city in which his mother lived at the time. Gardel’s body was laid to rest
in La Chacarita Cemetery in Buenos Aires.
6.2 Birthplace controversy
Museo Carlos Gardel, a museum about the artist, located in Valle Edén, Tacuarembó.
The place and year of Gardel’s birth was a controversy that provoked debate; Toulouse, France, in 1890 was the most
widely accepted version for many years.[9][10] The Toulouse birthplace was confirmed in 2012 with the location of his
birth certificate.[11] Scholars such as Vanderbilt University history professor Simon Collier, University of Belgrano
agriculture history professor Osvaldo Barsky and Uruguayan history professor Jorge Ruffinelli from Stanford University write about how Gardel was born in Toulouse, France, in 1890, and how he laid a false trail about his birthplace
beginning in 1920, when he was almost 30.[2][12][9]
6.2. BIRTHPLACE CONTROVERSY
51
Fileteado portrait on Carlos Gardel street of Abasto district.
In October 1920, Gardel first applied for Uruguayan citizenship; in Buenos Aires he went to the Uruguayan consulate
to complete paperwork that said he was born in 1887 in Tacuarembó, Uruguay. One month later he was issued a
new Argentine identity card that listed him as a Uruguayan national. On 7 March 1923 he applied for citizenship
in Argentina. On 1 May 1923 he took the oath of Argentine citizenship. Today, there is no absolute certainty
regarding why he took these steps. The most likely reason for this act was to avoid problems with French authorities
during an upcoming tour of France. As a French citizen by birth, Gardel had been required to register with the
French military during the Great War. It is likely that Gardel never registered; his name is not found on any lists of
52
CHAPTER 6. CARLOS GARDEL
registrants. Uruguay maintained a neutrality policy during the war, so Gardel probably chose Uruguayan citizenship
on that basis.[13]
In 1967, writer Erasmo Silva Cabrera started the modern dispute over birthplace when he published arguments describing Gardel as having been born in Tacuarembó, Uruguay.[9][14][15] Nelson Bayardo wrote a similar book in
1988.[9][16] In 1990, Eduardo Payssé González published a book containing many biographical details supporting a
birthplace of Tacuarembó.[9] The story is that Gardel was born in 1887 the son of influential Uruguayan landowner
Carlos Escayola and Escayola’s sister-in-law, 13-year-old Maria Lelia Oliva. The unwanted boy, named Carlos, was
offered to Bertha Gardes who was passing through the area on a cabaret dance tour. Gardes took the boy with her
back to France, where she was from. Later, she and the boy traveled again, this time to Buenos Aires, where they
settled.[17] Others describe Gardes as a woman who ironed and pressed clothing in Toulouse in 1890, not as a touring
dancer three years earlier.[18]
In the 1920s, Gardel’s mother stopped working because his income was sufficient to support her modest lifestyle. She
traveled regularly to France to visit her family in Toulouse. When Gardel was touring Europe for the first time, he
and Razzano stopped for a few days in January 1924 in Toulouse where Gardel’s mother introduced him to his uncle
– her brother who had survived the war – and he met his blind grandmother who cried in happiness at the reunion.[19]
He revisited his family in Toulouse in 1934, after working in New York.
After Gardel’s death, his legal representative, Armando Defino, produced a handwritten will which he said was written
by Gardel himself, stating he was born in Toulouse, France, to Berthe Gardes (1865–1943), and baptized with the
name of Charles Romuald Gardes.[18] This statement agrees with the original birth certificate registered in Toulouse
on 11 December 1890.[1] On 14 April 1937, the government of Uruguay declared Berthe Gardes to be Gardel’s sole
heir.
In his youth in Buenos Aires, Gardel’s group of close friends called him "El francesito" (Frenchie), acknowledging his
French origin.[20] After 1920, Gardel gave contradictory and evasive stories about his birthplace, most likely because
of the false papers he had filed.[13] Reporters often wrote that Gardel was Uruguayan, born in Tacuarembó. In the
newspaper El Telégrafo (Paysandú, Uruguay, October 25, 1933), Gardel was reported as saying, “I'm Uruguayan,
born in Tacuarembó". In the June 1935 issue of Caretas magazine of Antioquia, Colombia, Gardel was reported as
saying, “My heart is Argentinian, but my soul is Uruguayan, because that is where I was born”. In 1931, Gardel wrote
in a witness document, “I am French, born in Toulouse, 11 December 1890, son of Berthe Gardes.”[21]
6.3 Compositions
Gardel wrote the music and Alfredo Le Pera the lyrics for the following compositions:
6.4 Filmography
Notes:
•
1
Gardel’s first film, directed by Francisco Defilippis Novoa and made in collaboration with Celestino Petray.[12]
6.5 Legacy
Gardel’s legacy is intimately tied with the tango. For his tango singing, Gardel is still revered from Tokyo to Buenos
Aires. A popular saying in Latin America, which serves as a testimony to his long-lived popularity, claims, “Gardel
sings better every day.” Another commonly used phrase in Latin America, which asserts that Veinte años no es nada
(Twenty years is nothing), comes from his song Volver (1934). Another common Argentine phrase is sos/soy Gardel y
Le Pera (I'm/You are Gardel and Le Pera) referring to the greatness of both; used when somebody excels at something.
In the neighborhood of Abasto, Buenos Aires, Gardel’s childhood home, the Carlos Gardel Museum opened in 2003.
An earlier Carlos Gardel Museum opened in 1999 in Valle Edén, an old farm site 23 km (14 mi) south of Tacuarembó,
Uruguay.[22]
In 2004, Uruguay produced a Gardel stamp calling him the “immortal Tacuaremboan”.[23] On March 16, 2011,
the United States Postal Service issued a set of five “Latin Music Legends” stamps including one picturing Carlos
6.5. LEGACY
53
A statue of Gardel outside the Abasto Market in Buenos Aires, near where he grew up.
Gardel.[24]
6.5.1
In literature
António Lobo Antunes wrote a novel entitled The Death of Carlos Gardel, in which one of the characters believes
that Gardel did not die in the plane crash in 1935.
54
CHAPTER 6. CARLOS GARDEL
A fileteado portrait of Gardel in the Gardel subway station (Buenos Aires) with the phrase Eternal in the soul and in time
Gardel appears as a fictionalized character in the play El día que me quieras (1979) by the Venezuelan writer José
Ignacio Cabrujas.
6.5.2
In film
In the 1939 biopic The Life of Carlos Gardel, he is portrayed by Hugo del Carril.
Doble o Nada starring Dario Grandinetti and Aitana Sánchez-Gijón was released by Maverick in April 2003. It is a
fictional story about a struggling Argentine tango singer who looks and sings like Gardel, and a woman admirer of
Gardel, who encounters Franchi.
There were to have been other two films about Gardel, Gardel 2008 (July 2009), starring Gael García Bernal as
Gardel,[25] and Dare to Love Me (2010).[26] Neither film was produced.
Director Armand Mastroianni will direct the film Gardel, Luc Besson will produce the film. The film has a release
date of July 31, 2015.[27]
6.6 References
[1] Bocaz, Luis (March 1986). “Tango Time”, UNESCO Courier, p. 11.
[2] Collier, Simon (1986). The Life, Music, and Times of Carlos Gardel. University of Pittsburgh Press. p. 5. ISBN
0822984989.
[3] Collier 1986, pp. 7–8
[4] Cunningham, Amy (3 July 2011). Carlos “Gardel: The King of Tango”, Sound and Colours.
[5] Collier 1986, p. 73.
[6] Ruffinelli, Jorge (2004). La sonrisa de Gardel: Biografía, mito y ficción (in Spanish). Ediciones Trilce. pp. 15, 91, 119,
139. ISBN 9974323568.
6.7. EXTERNAL LINKS
55
[7] Collier 1986, pp. 121–122, 233, 210.
[8] Clavell, M. (1996) (in Spanish), Biografía. In: Los Mejores Tangos de Carlos Gardel. Alfred Publ. Van Nuys, California.
[9] Ruffinelli, Jorge (2004). La sonrisa de Gardel: Biografía, mito y ficción (in Spanish). Ediciones Trilce. pp. 31–32. ISBN
9974323568.
[10] Zubillaga, Carlos (1976). Carlos Gardel: tango inacabable. Colección Los Juglares (in Spanish) 33 (2 ed.). Júcar. pp. 9,
103.
[11] Verónica Dema (September 20, 2012). “Fin del misterio: muestran la partida de nacimiento de Gardel” [End of the
mystery: they show Gardel’s birth certificate]. La Nación (in Spanish). Retrieved October 3, 2012.
[12] Barsky, Julián; Barsky, Osvaldo (2004). Gardel: La biografía (in Spanish). Taurus. ISBN 9870400132.
[13] Collier 1986, p. 72.
[14] Silva Cabrera, Erasmo (1967). Carlos Gardel: el gran desconocido. Ediciones Ciudadela.
[15] Matamoro, Blas (1971). Carlos Gardel. Centro Editor de América Latina. pp. 20–21.
[16] Bayardo, Nelson (1988). Vida y milagros de Carlos Gardel. Ediciones La República.
[17] “Argentina and Uruguay’s tango row”. From Our Own Correspondent (BBC News). 16 August 2008. Retrieved 31 August
2012.
[18] de Saint-Blancat, Monique Ruffié; Esteban, Juan Carlos; Galopa, Georges (2006). Carlos Gardel: Sus Antecedentes Franceses (in Spanish). Corregidor. ISBN 9500516349.
[19] Collier 1986, p. 81.
[20] Collier 1986, pp. 14, 22.
[21] Alvarez, Eliseo (1995). Carlos Gardel : biografía autorizada (in Spanish). De la Urraca.
[22] “Carlos Gardel Museum”. Uruguay.com. Retrieved 31 August 2012.
[23] “Feuding Uruguay, Argentina unite to preserve tango”. New York Daily News. Associated Press. 11 May 2009. p. 2.
Retrieved 31 August 2012.
[24] USPS Postal News Release No. 11-024 (March 16, 2011)
[25] IMDB profile page for Gardel 2008
[26] IMDB profile page for Dare to Love Me
[27] “Gardel film”. imdb.com. Retrieved 16 July 2013.
6.7 External links
Spanish Wikiquote has quotations related to: Carlos Gardel
• Carlos Gardel at AllMusic
• Carlos Gardel at the Internet Movie Database
• Carlos Gardel at Cinenacional.com
• Carlos Gardel at Todotango.com
Chapter 7
Aníbal Troilo
Aníbal Troilo, 1971
Aníbal Carmelo Troilo (July 11, 1914 – May 18, 1975 in Buenos Aires) was an Argentine tango musician.
Troilo was a bandoneon player, composer, arranger and bandleader in Argentina. His orquesta típica was among the
most popular with social dancers during the golden age of tango (1940-1955), but he changed to a concert sound by
the late 1950s.
Troilo’s orchestra is best known for its instrumentals and also recorded with many vocalists, such as Francisco
56
7.1. TANGO COMPOSITIONS
57
Fiorentino, Alberto Marino, Floreal Ruiz, Roberto Goyeneche, Raul Beron, and Edmundo Rivero. The rhythmic
instrumentals and the recordings with vocalist Francisco Fiorentino from 1940-41 are the favorite recordings for
social dancing in contemporary tango salons (milongas). The renowned bandoneonist Astor Piazzolla played in and
arranged for his orquesta típica during the period 1939-1944.
7.1 Tango Compositions
Troilo’s own tango compositions include:
• A Homero (1952), with lyrics by Catulo Castillo.
• Barrio de tango (1942), with lyrics by Homero Manzi.
• Che, bandoneon! (1950) with lyrics by Homero Manzi.
• Discepolin (1950), with lyrics by Homero Manzi.
• Garua (1943) with lyrics by Enrique Cadicamo.
• La ultima curda (1956) with lyrics by Catulo Castillo.
• Maria (1945) with lyrics by Catulo Castillo.
• Media noche (1944) with lyrics by Hector Gagliardi.
• Pa' que bailen los muchachos (1942) with lyrics by Enrique Cadicamo.
• Sur (1948), with lyrics by Homero Manzi.
• Te llaman malevo (1957), with lyrics by Homero Aldo Exposito.
• Toda mi vida (1941), with lyrics by Jose Maria Contursi.
• Una cancion (1953), with lyrics by Catulo Castillo.
• Yo soy del treinta (1963), with lyrics by Hector Mendez.
7.2 External links
• Official site
• Todo Tango Biography
7.3 References
• Piazzolla, Ástor. A Memoir, Natalio Gorin, Amadaeus, 2001.
• Juan Angel Russo & Santiago D. Marpegan. Letras de Tango. Basilico (1999)
Chapter 8
Carlos di Sarli
Carlos Di Sarli (January 7, 1903 – January 12, 1960) was an Argentine tango musician, orchestra leader, composer
and pianist.
8.1 Early years
Carlos di Sarli was born at 511 Buenos Aires street (now Yrigoyen) in the city of Bahía Blanca, located in Southern
Argentina. He was the eighth child of the Italian immigrant Miguel Di Sarli, the owner of a gunsmith store, and
Serafina Russomano, daughter of the tenor singer Tito Russomano. Baptized as Cayetano di Sarli in accordance with
the solid Catholic tradition of his parents, he later changed his name to Carlos. Music played an important role in the
family: Carlos’ older brother Domingo was a teacher at the Williams music conservatory in Bahía Blanca, Nicolas,
another older child, became a famous baritone, and Carlos’ younger brother, Roque, turned into a pianist. Carlos
received training in classical music in the conservatory where his brother was teaching.
In 1916, working in his father’s store, he suffered an accident that cost him an eye[1] and which forced him to wear
glasses for the rest of his life. Once recovered from the accident, 13-year-old Carlos joined a company of traveling
musicians, touring various provinces and playing popular music including tangos. Then he moved to Santa Rosa in
the La Pampa province where a friend of his father, another Italian immigrant by the name of Mario Manara, owned
a cinema and a club. He played piano there for two years, accompanying silent movies and performing early tango
songs at the club. In 1919, he returned to Bahía Blanca and set up his first orchestra, playing at the Cafe Express on
the corner of Zelarrayan and Buenos Aires streets, and in Cafe Moka, on O'Higgins street. The orchestra also did
tours in the provinces La Pampa, Córdoba, Mendoza, San Juan and Salta. In 1923, Carlos and his younger brother
Roque moved to Buenos Aires.
8.2 Active years as a musician
There, with the help of Alberico Spatola, the composer of the tango El trece and the director of the Buenos Aires
police orchestra, he was able to join the band of Anselmo Aieta. In early 1924, Carlos joined an orchestra directed
by the violin player Juan Pedro Castillo, and later, the trio of Alejandro Scarpino (the composer of Canaro en Paris).
He accompanied the actress and singer Olinda Bozán on her recordings for the Electra label and worked as part of a
sextet in the cabaret Chantecler.
Thanks to a recommendation from José Pécora, a violin player, he joined Osvaldo Fresedo's orchestra in 1926 and
played at the opening night of the Fénix theater in the Buenos Aires neighborhood of Flores. Fresedo became an
important influence on di Sarli’s music as well as a good friend. The tango Viejo milonguero, which di Sarli composed
around 1927-28 was dedicated to Fresedo. It was around the same time that Juan “Pacho” Maglio and José María
Rizzutti recorded the tango Meditación which di Sarli had composed around 1919 but never recorded himself.
In late 1927 he started to set up his own sextet or orchestra tipica (José Pécora and David Abramsky on violin, César
Ginzo and Tito Landó on bandoneón and Adolfo Kraus on bass), directing it from behind the piano that he himself
played. With the orchestra, di Sarli played live in clubs as well as radio shows in Radio Cultura and recorded for
the label RCA Victor. In addition to instrumentals, he recorded with the vocalists Santiago Devincenzi (who later
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8.3. LAST ORCHESTRA LINEUP
59
changed his last name to Devin), Ernesto Famá and Fernando Díaz. These singers were hired only to sing the short
verses ("estribillos") during the performances and were not constant members of his orchestra, unlike the musicians.
Between November 26, 1928 and August 14, 1931, he recorded 48 tracks[2] including the tangos T.B.C. by Edgardo
Donato, Maldita by Antonio Rodio and Celedonio Flores, and the Eduardo Arolas compositions La guitarrita and
Una noche de garufa.
In 1930, during a performance in the café El Germinal, di Sarli had an argument with one of the café's owners who
did not understand that he wore dark glasses on stage for medical reasons because of his accident at age 13. Di Sarli
promptly moved with his orchestra to Bahía Blanca, where he performed at the La Central club. In 1932, Antonio
Rodríguez Lesende joined the orchestra as a singer. In 1934, for unclear reasons, di Sarli left the orchestra and moved
to Rosario in Santa Fe province where he joined a small band with the bandoneón player Juan Cambareri, the violin
player Alberto Saikievich and the singer Roberto Pieri. His sextet continued to play without him, later changing its
name to Orquesta Novel due to their performances at the club Novelty. At the request of the orchestra’s members in
1935, di Sarli rejoined the band temporarily to replace the pianist Ricardo Canataro who was ill at the time.
In late 1938, di Sarli reorganized his orchestra and in January 1939 debuted in Radio El Mundo. His orchestra
consisted of Roberto Guisado, Ángel Goicoechea and Adolfo Pérez on violin, Roberto Gianitelli, Domingo Sánchez
and Roberto Mititieri on bandoneón and Domingo Capurro on bass. The singer was Ignacio Murillo, soon to be
replaced by Roberto Rufino who was 16 years old at the time. On December 11, 1939, they recorded for RCA
Victor the tangos Corazón (composed by di Sarli, with Hector Marco’s lyrics) and Retirao by Carlos Posadas. He
stayed with this recording label until 1949, when he withdrew from tango for commercial reasons.
In November 1951, he returned to the label Music Hall until April 1953 recording 84 tracks with the vocals of Mario
Pomar and Oscar Serpa. From June 1954 until 1958 he returned to the RCA Victor label, leaving that year for Philips
to record his last 14 tracks with Horacio Casares and Jorge Durán.
8.3 Last orchestra lineup
Since 1958, in addition to Di Sarli on the piano, the orchestra included the violinists Roberto Guisado, Elvino Vardaro,
A. Rouco, Szymsia Bajour, Carlos Arnaiz, Juan Schiaffino, C. González and A. Rossi; the bandoneón players F. Verdi,
José Libertella, Julián Plaza, A. Marcucci y D. Sánchez; A. Sciarretta on bass and the singers Horacio Casares and
Jorge Durán. Di Sarli, already seriously ill, gave his last performance on March 8, 1959, in the club Podestá de Lanús,
finishing with a performance of Bahía Blanca, his own composition dedicated to his hometown.
8.4 His vocalists
During the sextet years, his singers (in chronological order) were Santiago Devin(cenzi), Ernesto Famá, Fernando
Díaz, Antonio Rodríguez Lesende, Roberto Arrieta and Ignacio Murillo. In his later, larger orchestra Murillo was
followed by Roberto Rufino, then Antonio Rodríguez Lesende, Agustín Volpe, Carlos Acuña, Alberto Podestá, again
Roberto Rufino, then again Alberto Podestá, Osvaldo Cabrera, Roberto Rufino for a third time, Alberto Podestá for
a third time, Jorge Durán, Raúl Rosales, Alberto Podestá for the fourth time, Osvaldo Cordó, Oscar Serpa, Mario
Pomar, again Oscar Serpa, Argentino Ledesma, Rodolfo Galé, Roberto Florio, and finally Jorge Durán again and
Horacio Casares.
8.5 Di Sarli’s musical style
In the beginning, his music had a simple structure, but over time it matured into a more lyrical, richer, playful and
more subtle style which remained popular with tango dancers as it continued to have a clear dancing beat. This clean
compás made him a favorite of beginning social tango dancers, while more advanced ones could enjoy the complexity
and variations of his music. Because of this, di Sarli’s orchestra was among the most popular ones during Carnival
balls of his age and can still be heard at milongas in Buenos Aires and around the world today.[3]
Di Sarli moved beyond the style of the guardia vieja of tango and Julio de Caro's avant-garde, preferring to forge
his own style without concession to the fashions of the day. While being influenced by Fresedo early on, he soon
established his own way. A talented piano player, he directed his orchestra from behind his own instrument. His
recordings do not feature significant instrumental solos; the bandoneóns at times carry the melody but essentially play
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CHAPTER 8. CARLOS DI SARLI
a rhythmical, milonguero role. Only the violins stand out, playing a short solo or a counterpoint melody. He recorded
many tracks more than once over the years, often with different singers. Di Sarli’s creativity was mostly limited to
the left hand piano part, filling in, modulating and accenting his delicate and elegant dancing beat. His reputation for
musical elegance got him his nickname El Señor del Tango (The gentleman of tango).
8.6 External links
• Todo Tango biography
• Tango.info profile
• Milonga.co.uk biography
8.7 References
[1] AMUCHASTEGUI, Irene. “El Señor del Tango, y punto”. Retrieved 22 July 2011.
[2] “tango.info”. Retrieved 22 July 2011.
[3] Weigel, Ron. “Survey of Music Played at Milongas in Buenos Aires” (PDF). Tango Society of Central Illinois. Retrieved
22 July 2011.
8.7. REFERENCES
Carlos di Sarli
61
Chapter 9
Rodolfo Biagi
Rodolfo Biagi (March 14, 1906, Buenos Aires – September 24, 1969) was an Argentine Tango musician who started
his musical career by playing background music for silent movies, and this was where he was first discovered by a
tango band leader.
As a tango pianist, he played with several orchestras, including the orchestra of Juan d'Arienzo from 1935 to 1938,
and is often partly credited with the development of d'Arienzo’s rhythmic style. He later formed his own orchestra,
and the special rhythmic qualities of his music are easily recognisable.
9.1 External links
• Todo Tango Biography
• Tango.info list of works
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Chapter 10
Juan d'Arienzo
Juan d'Arienzo (December 14, 1900 – January 14, 1976) was an Argentine tango musician, also known as “El
Rey del Compás” (King of the Beat). He was son of Italian immigrants and used more modern arrangements and
instrumentation; his popular group produced hundreds of recordings.
His music is played often at milongas in Buenos Aires, and the instrumentals are the classic harder rhythmic tangos
with a strong staccato dance rhythm. He also recorded many great milongas and fast valses.
His recordings were accompanied by singers such as Alberto Echagüe, Armando Laborde, and Héctor Maure, among
others.
Upon his death in 1976, his body was interred in the La Chacarita Cemetery in Buenos Aires, Argentina.
10.1 External links
• Todo Tango Biography
• Tango.info
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Chapter 11
Mariano Mores
Mariano Martínez, better known as Mariano Mores (born 18 February 1918), is a famous Argentine tango
composer, pianist and conductor.
11.1 Biography
Mariano Martínez was born in the San Telmo section of Buenos Aires, Argentina, in 1918.[1][2] When he was a child,
he played classical music on the piano very well. He made his professional debut at the age of 14 at Café Vicente on
Corrientes Avenue.[1] Mores took classical music lessons at the D´Andrea conservatoire in Lanús. After a brief spell
with the folk group “La Cuyanita,” he was hired as conductor and pianist with Roberto Firpo's orchestra.
He created the Trio Mores with the sisters Margot and Myrna Mores and began composing music. He will later marry
Myrna and adopt her artistic surname as his own. In 1938 he wrote the soundtrack of the film Senderos de Santa Fe
and met showbiz figures such as composer Valdo Sciammarella and playwright Alberto Vaccarezza, who helped him
become lead pianist with Francisco Canaro's orchestra in 1939.[2] Mores left this orchestra in 1948 to form his own,
which made its debut at the Presidente Alvear Theater.
Pianist, composer and conductor, Mariano Mores established himself as one of the leading tango performers. Together with Enrique Santos Discépolo, he authored such classics as Uno (1943),[3] Sin palabras (1946)[4] and Cafetín
de Buenos Aires (1948).[5] Mores and José María Contursi wrote En esta tarde gris (1941), Tu piel de jazmín (1941),
Grisel (1942) and Cristal (1944). He co-wrote La calesita (1953) and El patio de la morocha (1951) with Cátulo
Castillo, Una lágrima tuya (1949) with Homero Manzi and, Cuartito Azul (1939) with Mario Battistella. Mariano
Mores took part in several musical films together with such stars as Delia Garcés, Osvaldo Miranda, Virginia Luque
and Hugo del Carril. He starred the film Corrientes, calle de ensueño, and La doctora quiere tangos with Mirtha
Legrand, in 1950.
Mores created the modern tango sextet (organ, piano, bandoneon, electric guitar, keyboard, drums and bass) and
established himself as one of the leading figures of the Argentine popular music. The Modern Sextet ideas were
developed later by Santos Lipesker and his group Los Claudios.
11.2 References
[1] “Mariano Mores”. elportaldeltango.com. Retrieved 26 May 2009.
[2] “Tango Argentino”. Naxos. Retrieved 26 May 2009.
[3] https://tango.info/T0370199328
[4] https://tango.info/T0370233569
[5] https://tango.info/T0370025345
• <1> Santos Lipesker, Compositor de tangos, Director de Orquestas http://www.todotango.com/spanish/Las_
Obras/Partitura.aspx?id=5916
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11.2. REFERENCES
• <2> Los Claudios http://www.youtube.com/watch?v=Jdm1YTfPuWc
65
Chapter 12
Osvaldo Pugliese
For other people named Pugliese, see Pugliese (disambiguation).
Osvaldo Pedro Pugliese (Buenos Aires, December 2, 1905 – July 25, 1995) was an Argentine tango musician. He
Tango pianist Osvaldo Pugliese
developed dramatic arrangements that retained strong elements of the walking beat of salon tango but also heralded
the development of concert-style tango music.
Some of his music, mostly since the 50s, is used for theatrical dance performances. In Buenos Aires, Pugliese is often
played later in the evening when the dancers want to dance more slowly, impressionistically and intimately.
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12.1. REFERENCES
67
Pugliese is a great choice for slower tango dance music, but the arrangements can be a bit more rhythmically challenging than those played by other orchestras. 'Recuerdo' (1924) and 'La yumba' (1946) are two of Pugliese’s most
popular tangos.
Pugliese was outspoken in his political opinions. His communist sympathies, though never violent, at times earned him
the hostility of those in power. Populist President Juan Perón is said to have had labor union heavies once intimidate
Pugliese by locking him in a sinking boat, rescuing him at the last minute; though the alleged 1949 incident has never
been proven (Pugliese, likewise, seldom spoke of it publicly), the day Pres. Perón awarded the great pianist the Order
of May (Argentina’s highest civilian award), he embraced Pugliese, saying: “Thank you, maestro, for forgiving”.[1]
Pugliese reportedly responded, “Forgive what?"
12.1 References
[1] Clarín, 26 July 1995.
12.2 External links
Memorial to Osvaldo Pugliese, Villa Crespo, Buenos Aires.
• TodoTango.com - Biography (English)
• Todo TangoTango.com - Discography (English)
• Unofficial site (Spanish)
• Unofficial site (Spanish)
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CHAPTER 12. OSVALDO PUGLIESE
• Unofficial site (Spanish)
• Osvaldo Pugliese at Find a Grave (English)
• Osvaldo Pugliese at the Internet Movie Database (English)
• Osvaldo Pugliese at Cinenacional.com (Spanish)
• Osvaldo Pugliese at AllMusic (English)
Chapter 13
Astor Piazzolla
Ástor Pantaleón Piazzolla (Spanish pronunciation: [piasola], Italian pronunciation: [pjattsɔlla]; March 11, 1921 – July
4, 1992) was an Argentine tango composer, bandoneon player and arranger. His oeuvre revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso
bandoneonist, he regularly performed his own compositions with a variety of ensembles.
In 1992, American music critic Stephen Holden described Piazzolla as “the world’s foremost composer of tango
music”.[1]
13.1 Biography
13.1.1
Childhood
Piazzolla was born in Mar del Plata, Argentina, in 1921, the only child of Italian immigrant parents, Vicente “Nonino”
Piazzolla and Asunta Manetti. His paternal grandfather, a sailor and fisherman named Pantaleón Piazzolla, had
immigrated to Mar del Plata from Trani, a seaport in the southeastern Italian region of Apulia, at the end of the
19th century. His mother was the daughter of two Italian immigrants from Massa Sassorosso, a small village in the
municipality of Villa Collemandina, in the central-north Italian region of Tuscany.
In 1925 Astor Piazzolla moved with his family to Greenwich Village in New York City, which in those days was a
violent neighbourhood inhabited by a volatile mixture of gangsters and hard-working immigrants. His parents worked
long hours and Piazzolla soon learnt how to take care of himself on the streets despite having a limp. At home he
would listen to his father’s records of the tango orchestras of Carlos Gardel and Julio de Caro, and was also exposed to
jazz and classical music, including Bach, from an early age. He began to play the bandoneon after his father spotted
one in a New York pawn shop in 1929.
After their return to New York City from a brief visit to Mar del Plata in 1930, the family went to live in Little Italy
in lower Manhattan, and in 1932 Piazzolla composed his first tango La catinga. The following year Piazzolla took
music lessons with the Hungarian classical pianist Bela Wilda, a student of Rachmaninoff, who taught him to play
Bach on his bandoneon. In 1934 he met Carlos Gardel, one of the most important figures in the history of tango, and
played a cameo role as a young paper boy in his movie El día que me quieras.[2] Gardel invited the young bandoneon
player to join him on his current tour. Much to Piazzolla’s dismay, his father decided that he was not old enough to
go along. This early disappointment of not being allowed to join the tour proved to be a blessing in disguise, as it
was on this tour that Gardel and his entire orchestra perished in a plane crash in 1935. In later years, Piazzolla made
light of this near miss, joking that had his father not been so careful, he would now be playing the harp, rather than
the bandoneon.
13.1.2
Early career
In 1936, he returned with his family to Mar del Plata, where he began to play in a variety of tango orchestras and
around this time he discovered the music of Elvino Vardaro’s sextet on the radio. Vardaro’s novel interpretation of
tango made a great impression on Piazzolla and years later he would become Piazzolla’s violinist in his Orquesta de
Cuerdas and his First Quintet.
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CHAPTER 13. ASTOR PIAZZOLLA
Inspired by Vardaro’s style of tango, and still only 17 years old, Piazzolla moved to Buenos Aires in 1938 where,
the following year, he realized a dream when he joined the orchestra of the bandoneonist Anibal Troilo, which
would become one of the greatest tango orchestras of that time. Piazzolla was employed as a temporary replacement
for Toto Rodríguez who was ill, but when Rodríguez returned to work Troilo decided to retain Piazzolla as a fourth
bandoneonist. Apart from playing the bandoneon, Piazzolla also became Troilo’s arranger and would occasionally play
the piano for him. By 1941 he was earning a good wage, enough to pay for music lessons with Alberto Ginastera, an
eminent Argentine composer of classical music. It was the pianist Arthur Rubinstein, then living in Buenos Aires, who
had advised him to study with Ginastera and delving into scores of Stravinsky, Bartók, Ravel, and others, Piazzolla
rose early each morning to hear the Teatro Colón orchestra rehearse while continuing a gruelling performing schedule
in the tango clubs at night. During his five years of study with Ginastera he mastered orchestration, which he later
considered to be one of his strong points. In 1943 he started piano lessons with the Argentine classical pianist Raúl
Spivak, which would continue for the next five years, and wrote his first classical works Preludio No. 1 for Violin and
Piano and Suite for Strings and Harps. That same year he married his first wife, Dedé Wolff, an artist, with whom he
had two children, Diana and Daniel.
As time went by Troilo began to fear that the advanced musical ideas of the young bandoneonist might undermine the
style of his orchestra and make it less appealing to dancers of tango. Tensions mounted between the two bandoneonists until, in 1944, Piazzolla announced his intention to leave Troilo and join the orchestra of the tango singer and
bandoneonist Francisco Fiorentino. Piazzolla would lead Fiorentino’s orchestra until 1946 and make many recordings
with him, including his first two instrumental tangos, La chiflada and Color de rosa.
In 1946 Piazzolla formed his Orquesta Típica, which, although having a similar formation to other tango orchestras of
the day, gave him his first opportunity to experiment with his own approach to the orchestration and musical content
of tango. That same year he composed, El Desbande, which he considered to be his first formal tango, and then began
to compose musical scores for films, starting with Con los mismos colores in 1949 and Bólidos de acero in 1950, both
films directed by Carlos Torres Ríos.
Having disbanded his first orchestra in 1950 he almost abandoned tango altogether as he continued to study Bartok
and Stravinsky and orchestra direction with Herman Scherchen. He spent a lot of time listening to jazz and searching
for a musical style of his own beyond the realms of tango. He decided to drop the bandoneon and to dedicate himself
to writing and to studying music. Between 1950 and 1954 he composed a series of works that began to develop his
unique style: Para lucirse, Tanguango, Prepárense, Contrabajeando, Triunfal and Lo que vendrá.
13.1.3
Studies in Paris
At Ginastera’s urging, Piazzolla entered his classical composition Buenos Aires Symphony, in three movements, for
the Fabian Sevitzky Award on August 16, 1953. The performance took place at the Law School in Buenos Aires
with the symphony orchestra of Radio del Estado under the direction of Sevitzky himself. At the end of the concert
a fight broke out among some members of the audience who were offended by the inclusion of two bandoneons in a
traditional symphony orchestra. In spite of this Piazzolla’s composition won a grant from the French government to
study in Paris with the legendary French composition teacher Nadia Boulanger at the Fontainebleau conservatory.
In 1954 he and his wife left their two children (Diana aged 11 and Daniel aged 10) behind with Piazzolla’s parents
and travelled to Paris. At this stage in his life Piazzolla was tired of tango and at first, he tried to hide his tanguero
past and his bandoneon compositions from Boulanger, thinking that his destiny lay in classical music. By way of
introduction to his work, Piazzolla played her a number of his classically-inspired compositions but it was not until
he finally played his tango Triunfal that she immediately congratulated him and encouraged him to pursue his career
in tango, recognising that this was where his true musical talent lay. This was to prove a historic encounter and a
cross-road in Piazzolla’s career.
During his time with Boulanger he studied classical composition including counterpoint which was to play a key
role in his later tango compositions. Before leaving Paris he heard, and was deeply impressed by, the octet of the
American jazz saxophonist Gerry Mulligan, which was to give him the idea of forming his own octet on his return
to Buenos Aires. At this time he composed and recorded a series of tangos with the String Orchestra of the Paris
Opera and began to play the bandoneon while standing up, putting his right foot on a chair and the bellows of the
instrument across his right thigh. Until that time bandoneonists played sitting down.
13.1. BIOGRAPHY
13.1.4
71
In the vanguard of nuevo tango
Back in Argentina, Piazzolla formed his Orquesta de Cuerdas (String Orchestra), which performed with the singer
Jorge Sobral, and his Octeto Buenos Aires in 1955. With two bandoneons (Piazzolla and Leopoldo Federico), two
violins (Enrique Mario Francini and Hugo Baralis), double bass (Juan Vasallo), cello (José Bragato), piano (Atilio
Stampone), and an electric guitar (Horacio Malvicino), his Octeto effectively broke the mould of the traditional
orquesta típica and created a new sound akin to chamber music, without a singer and with jazz-like improvisations.
This was to be a turning point in his career and a watershed in the history of tango. Piazzolla’s new approach to
the tango, nuevo tango, made him a controversial figure in his native land both musically and politically. However,
his music gained acceptance in Europe and North America, and his reworking of the tango was embraced by some
liberal segments of Argentine society, who were pushing for political changes in parallel to his musical revolution.
In 1958 he disbanded both the Octeto and the String Orchestra and returned to New York City with his family where
he struggled to make a living as a musician and arranger. Briefly forming his own group, the Jazz Tango Quintet with
whom he made just two recordings, his attempts to blend jazz and tango were not successful. He received the news
of the death of his father in October 1959 whilst performing with Juan Carlos Copes and María Nieves in Puerto
Rico and on his return to New York City a few days later, he asked to be left alone in his apartment and in less than
an hour wrote his famous tango, Adiós Nonino, in homage to his father.
Copes and Nieves packed out Club Flamboyan in San Juan, Puerto Rico with “Compañia Argentina Tangolandia”.
Piazzolla was serving as the musical director. The tour continued in New York, Chicago and then Washington. The
last show that the three of them did together was an appearance on CBS the only colour TV channel in the USA on
the Arthur Murray Show in April 1960.[3]
Back in Buenos Aires later that year he put together the first, and perhaps most famous, of his quintets, the first
Quinteto, initially comprising bandoneon (Piazzolla), piano (Jaime Gosis), violin (Simón Bajour), electric guitar
(Horacio Malvicino ) and double bass (Kicho Díaz). Of the many ensembles that Piazzolla set up during his career it
was the quintet formation which best expressed his approach to tango.
Piazzolla & his orchestra at television network Canal13 in 1963. (AGN)
In 1963 he set up his Nuevo Octeto and the same year premiered his Tres Tangos Sinfónicos, under the direction of
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CHAPTER 13. ASTOR PIAZZOLLA
Paul Klecky, for which he was awarded the Hirsch Prize.
In 1965 he released El Tango, an album for which he collaborated with the Argentine poet Jorge Luis Borges. The
recording featured his Quinteto together with an orchestra, the singer Edmundo Rivero and Luis Medina Castro
reciting texts.
In 1966 he left Dedé Wolff and the following year signed a five-year contract with the poet Horacio Ferrer with whom
he composed the operetta María de Buenos Aires, with lyrics by Ferrer. The work was premiered in May 1968 with
the singer Amelita Baltar in the title role and introduced a new style of tango, Tango Canción (in English: Tango
Song). Soon after this he began a relationship with Amelita Baltar. The following year he wrote Balada para un
loco with lyrics by Ferrer which was premiered at the First Iberoamerican Music Festival with Amelita Baltar and
Piazzolla himself conducting the orchestra. Piazzolla was awarded second prize and the composition would prove to
be his first popular success.
In 1970 Piazzolla returned to Paris where with Ferrer he wrote the oratorio El pueblo joven later premiered in Saarbrücken, Germany in 1971. On May 19, 1970 he gave a concert with his Quinteto at the Teatro Regina in Buenos
Aires in which he premiered his composition Cuatro Estaciones Porteñas.
Back in Buenos Aires he founded his Conjunto 9 (aka Nonet), a chamber music formation, which was a realisation
of a dream for Piazzolla and for which he composed some of his most sophisticated music. He now put aside his
first Quinteto and made several recordings with his new ensemble in Italy. Within a year the Conjunto 9 had run into
financial problems and was dissolved and in 1972 he participated in his first concert at the Teatro Colón in Buenos
Aires, sharing the bill with other Tango orchestras.
After a period of great productivity as a composer, he suffered a heart attack in 1973 and that same year he moved to
Italy where he began a series of recordings which would span a period of five years. The music publisher Aldo Pagani,
a partner in Curci-Pagani Music, had offered Piazzolla a 15-year contract in Rome to record anything he could write.
His famous album Libertango was recorded in Milan[4] in May 1974 and later that year he separated from Amelita
Baltar and in September recorded the album Summit (Reunión Cumbre) with the saxophonist Gerry Mulligan and an
Italian orchestra, including jazz musicians such as bassist Pino Presti and drummer Tullio De Piscopo,[5] in Milan.
The album includes the composition Aire de Buenos Aires by Mulligan.
In 1975 he set up his Electronic Octet an octet made up of bandoneon, electric piano and/or acoustic piano, organ,
guitar, electric bass, drums, synthesizer and violin, which was later replaced by a flute or saxophone. Later that
year Aníbal Troilo died and Piazzolla composed the Suite Troileana in his memory, a work in four parts, which he
recorded with the Conjunto Electronico. At this time Piazzolla started a collaboration with the singer Jose A. Trelles
with whom he made a number of recordings.
In December 1976 he played at a concert at the Teatro Gran Rex in Buenos Aires, where he presented his work, “500
motivaciones”, written especially for the Conjunto Electronico, and in 1977 he played another memorable concert at
the Olympia in Paris, with a new formation of the Conjunto Electronico.
In 1978 he formed his second Quintet, with which he would tour the world for 11 years, and would make him world
renowned. He also returned to writing chamber music and symphonic works.
During the period of Argentine military dictatorship from 1976 to 1983, Piazzolla lived in Italy, but returned many
times to Argentina, recorded there, and on at least one occasion had lunch with the dictator Jorge Rafael Videla.
However, his relationship with the dictator might have been less than friendly, as recounted in Astor Piazzolla, A
manera de memorias (a comprehensive collection of interviews, constituting a memoir):[6]
One year before the Los Largartos issue you went to Videla’s house and had lunch with him. Why did
you accept that invitation?
What an invitation! They sent a couple of guys in black suits and a letter with my name on it that said that
Videla expected me a particular day in a particular place. I have a book around someplace, with pictures
of all the guests: Eladia Blázquez, Daniel Tinayre, Olga Ferri, the composer Juan Carlos Tauriello, there
were painters, actors […]—Astor Piazzolla, A manera de memorias
In 1995 his family received the Konex Award, as the most important musician of the decade in Argentina.[7][8][9]
13.1. BIOGRAPHY
13.1.5
73
Traveling the world
In 1982 he recorded the album Oblivion with an orchestra in Italy for the film Enrico IV, directed by Marco Bellocchio,
and in May 1982, in the middle of the Falklands War, he played in a concert at the Teatro Regina, Buenos Aires
with the second Quinteto and the singer Roberto Goyeneche. That same year he wrote Le Grand Tango for cello and
piano, dedicated to Russian cellist, Mstislav Rostropovich which would be premiered by him in 1990 in New Orleans.
On 11 June 1983 he put on one of the best concerts of his life when he played a program of his music at the
Teatro Colón in Buenos Aires. For the occasion he regrouped the Conjunto 9 and played solo with the Buenos
Aires Philharmonic, directed by Pedro Ignacio Calderón. The programme included his 3 movement Concierto para
bandoneón y orquesta and his 3 movement Concierto de Nacar.
On 4 July 1984 Piazzolla appeared with his Quinteto at the Montreal International Jazz Festival, the world’s largest
jazz festival, and on 29 September that same year they appeared with the Italian singer Milva at the Théâtre des
Bouffes du Nord, Paris. His concert on 15 October 1984 at the Teatro Nazionale in Milan was recorded and released
as the album Suite Punte del Este.
In 1985 he was named Illustrious Citizen of Buenos Aires and premiered his Concerto for Bandoneon and Guitar
(aka Tribute to Liège and written in 1979), at the Fifth International Liège Guitar Festival on 15 March, with the Liège
Philharmonic Orchestra conducted by Leo Brouwer and Cacho Tirao on guitar. Piazzolla made his London debut
with his second Quinteto at the Almeida Theatre in London at the end of June.
With the film score for El exilio de Gardel he won the French critics Cesar Award in Paris for best film music in
1986.
He appeared at the Montreux Jazz Festival, Montreux, Switzerland, with vibraphonist Gary Burton in July 1986 and
on 6 September 1987 gave a concert in New York’s Central Park, in the city where he spent his childhood.
In September 1987 he recorded his Concierto para bandoneón y orquesta and Tres tangos para bandoneón y orquesta
with Lalo Schifrin conducting the St. Luke’s Orchestra, in the Richardson Auditorium at Princeton University.
In 1988 he wrote music for the film Sur and married the singer and television personality Laura Escalada on 11 April.
In May that year he recorded his album La Camorra in New York, a suite of three pieces, the last time he would
record with the second Quinteto. During a tour of Japan with Milva he played at a concert at the Nakano Sun Plaza
Hall in Tokyo on 26 June 1988 and that same year underwent a quadruple by-pass operation.
Early in 1989 he formed his Sexteto Nuevo Tango, his last ensemble, with two bandoneons, piano, electric guitar, bass
and cello. Together they gave a concert at the Club Italiano in Buenos Aires in April, a recording of which was issued
under the title of Tres minutos con la realidad. Later he appeared with them at the Teatro Opera in Buenos Aires in
the presence of the newly elected Argentine President Carlos Menem on Friday 9 June. This would be Piazzolla’s
last concert in Argentina.
There followed a concert at the Royal Carre Theatre in Amsterdam with his Sexteto and Osvaldo Pugliese’s Orquesta
on 26 June 1989, a live recording at the BBC Bristol Studios in June 1989, between concerts in Berlin and Rome, and
a concert at the Wembley Conference Centre on 30 June 1989. On 4 November 1989 he gave a concert in Lausanne,
Switzerland, at the Moulin à Danses and later that month he recorded his composition Five Tango Sensations, with the
Kronos Quartet in the US on an album of the same name. This would be his last studio recording and was his second
composition for the Kronos Quartet. His first Four, For Tango had been included in their 1988 album Winter Was
Hard. Towards the end of the year he dissolved his sexteto and continued playing solo with classical string quartets
and symphonic orchestras. He joined Anahi Carfi’s Mantova String Quartet and toured Italy and Finland with them.
His 1982 composition, Le grand tango, for cello and piano was premiered in New Orleans by the Russian cellist
Mstislav Rostropovich and the pianist Igor Uriash in 1990 and on 3 July he gave his last concert in Athens, Greece,
with the Athens Orchestra of Colours, conducted by Manos Hatzidakis.
He suffered a cerebral hemorrhage in Paris on 4 August 1990, which left him in a coma, and died in Buenos Aires,
just under two years later on 4 July 1992, without regaining consciousness.
Among his followers, the composer and pianist Fernando Otero[10][11][12][13][14] and Piazzolla’s protégé, bandoneonist
Marcelo Nisinman, are the best known innovators of the tango music of the new millennium, while Pablo Ziegler,
pianist with Piazzolla’s second quintet, has assumed the role of principal custodian of nuevo tango, extending the jazz
influence in the style. The Brazilian guitarist Sergio Assad has also experimented with folk-derived, complex virtuoso
compositions that show Piazzolla’s structural influence while steering clear of tango sounds; and Osvaldo Golijov has
acknowledged Piazzolla as perhaps the greatest influence on his globally oriented, eclectic compositions for classical
and klezmer performers.
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13.2 Musical style
Piazzolla and Horacio Ferrer around 1970
Piazzolla’s nuevo tango was distinct from the traditional tango in its incorporation of elements of jazz, its use of
extended harmonies and dissonance, its use of counterpoint, and its ventures into extended compositional forms.
As Argentine psychoanalyst Carlos Kuri has pointed out, Piazzolla’s fusion of tango with this wide range of other
recognizable Western musical elements was so successful that it produced a new individual style transcending these
influences.[15] It is precisely this success, and individuality, that makes it hard to pin down where particular influences
reside in his compositions, but some aspects are clear. The use of the passacaglia technique of a circulating bass line
and harmonic sequence, invented and much used in 17th- and 18th-century baroque music but also central to the idea
of jazz “changes”, predominates in most of Piazzolla’s mature compositions. Another clear reference to the baroque
is the often complex and virtuosic counterpoint that sometimes follows strict fugal behavior but more often simply
allows each performer in the group to assert his voice. A further technique that emphasises this sense of democracy
and freedom among the musicians is improvisation, that is borrowed from jazz in concept, but in practice involves
a different vocabulary of scales and rhythms that stay within the parameters of the established tango sound-world.
Pablo Ziegler has been particularly responsible for developing this aspect of the style both within Piazzolla’s groups
and since the composer’s death.
With the composition of Adiós Nonino in 1959, Piazzolla established a standard structural pattern for his compositions,
involving a formal pattern of fast-slow-fast-slow-coda, with the fast sections emphasizing gritty tango rhythms and
harsh, angular melodic figures, and the slower sections usually making use of the string instrument in the group
and/or Piazzolla’s own bandoneon as lyrical soloists. The piano tends to be used throughout as a percussive rhythmic
backbone, while the electric guitar either joins in this role or spins filigree improvisations; the double bass parts are
13.3. MUSICAL CAREER
75
usually of little interest, but provide an indispensable rugged thickness to the sound of the ensemble. The quintet of
bandoneon, violin, piano, electric guitar and double bass was Piazzolla’s preferred setup on two extended occasions
during his career, and most critics consider it to be the most successful instrumentation for his works.[16] This is due
partly to its great efficiency in terms of sound – it covers or imitates most sections of a symphony orchestra, including
the percussion, which is improvised by all players on the bodies of their instruments – and the strong expressive
identity it permits each individual musician. With a style that is both rugged and intricate, such a setup augments the
compositions’ inherent characteristics.
Despite the prevalence of the quintet formation and the ABABC compositional structure, Piazzolla consistently experimented with other musical forms and instrumental combinations. In 1965 an album was released containing
collaborations between Piazzolla and Jorge Luis Borges where Borges’s poetry was narrated over very avant-garde
music by Piazzolla including the use of dodecaphonic (twelve-tone) rows, free non-melodic improvisation on all instruments, and modal harmonies and scales.[17] In 1968 Piazzolla wrote and produced an "operita", María de Buenos
Aires, that employed a larger ensemble including flute, percussion, multiple strings and three vocalists, and juxtaposed movements in Piazzolla’s own style with several pastiche numbers ranging from waltz and hurdy-gurdy to a
piano/narrator bar-room scena straight out of Casablanca.
By the 1970s Piazzolla was living in Rome, managed by the Italian agent Aldo Pagani, and exploring a leaner, more
fluid musical style drawing on more jazz influence, and with simpler, more continuous forms. Pieces that exemplify
this new direction include Libertango and most of the Suite Troileana, written in memory of Aníbal Troilo. In the
1980s Piazzolla was wealthy enough, for the first time, to become relatively autonomous artistically, and wrote some
of his most ambitious multi-movement works. These included Tango Suite for the virtuoso guitar duo Sergio and
Odair Assad; Histoire du Tango, where a flutist and guitarist tell the history of tango in four chunks of music styled
at thirty-year intervals; and La Camorra, a suite in three ten-minute movements, inspired by the Neapolitan crime
family and exploring symphonic concepts of large-scale form, thematic development, contrasts of texture and massive
accumulations of ensemble sound. After making three albums in New York with the second quintet and producer
Kip Hanrahan, two of which he described on separate occasions as “the greatest thing I've done”, he disbanded the
quintet, formed a sextet with an extra bandoneon, cello, bass, electric guitar, and piano, and wrote music for this
ensemble that was even more adventurous harmonically and structurally than any of his previous works (Preludio y
Fuga; Sex-tet). Had he not suffered an incapacitating stroke on the way to Notre Dame mass in 1990, it is likely that
he would have continued to use his popularity as a performer of his own works to experiment in relative safety with
even more audacious musical techniques, while possibly responding to the surging popularity of non-Western musics
by finding ways to incorporate new styles into his own. In his musical professionalism and open-minded attitude to
existing styles he held the mindset of an 18th-century composing performer such as Handel or Mozart, who were
anxious to assimilate all national “flavors” of their day into their own compositions, and who always wrote with both
first-hand performing experience and a sense of direct social relationship with their audiences. This may have resulted
in a backlash amongst conservative tango aficionados in Argentina, but in the rest of the West it was the key to his
extremely sympathetic reception among classical and jazz musicians, both seeing some of the best aspects of their
musical practices reflected in his work.[18]
13.3 Musical career
After leaving Troilo’s orchestra in the 1940s, Piazzolla led numerous ensembles beginning with the 1946 Orchestra,
the 1955 Octeto Buenos Aires, the 1960 “First Quintet”, the 1971 Conjunto 9 (“Noneto”), the 1978 “Second Quintet”
and the 1989 New Tango Sextet. As well as providing original compositions and arrangements, he was the director and
bandoneon player in all of them. He also recorded the album Summit (Reunión Cumbre) with jazz baritone saxophonist
Gerry Mulligan. His numerous compositions include orchestral work such as the Concierto para bandoneón, orquesta,
cuerdas y percusión, Doble concierto para bandoneón y guitarra, Tres tangos sinfónicos and Concierto de Nácar para 9
tanguistas y orquesta, pieces for the solo classical guitar—the Cinco Piezas (1980), as well as song-form compositions
that still today are well known by the general public in his country, like “Balada para un loco” (Ballad for a madman)
and Adiós Nonino (dedicated to his father) which he recorded many times with different musicians and ensembles.
Biographers estimate that Piazzolla wrote around 3,000 pieces and recorded around 500.
In the summer of 1985 he appeared with his Quinteto Tango Nuevo at the Almeida Theatre in London for a weeklong engagement. On September 6, 1987, his quintet gave a concert in New York’s Central Park, which was recorded
and, in 1994, released in compact disk format as The Central Park Concert.
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CHAPTER 13. ASTOR PIAZZOLLA
Astor Piazzolla and Gerry Mulligan at the "Summit" recording, Milan, Italy, 1974.
Photograph by Pino Presti
13.4 Legacy
• Astor Piazzolla International Airport in Mar del Plata is named after him.
• New Roads Middle School named one of their classrooms after him.
• Buenos Aires music conservatory “Conservatorio Superior de Música de la Ciudad de Buenos Aires” is also
named after him.
13.5 Work
13.5.1
Ensembles
• Orquesta Típica (in English: Piazzolla’s Traditional Orchestra), aka the 1946 Orchestra, 1946-50.
• Orquesta de Cuerdas (in English: String Orchestra), 1955-1958.
• Octeto Buenos Aires (in English: Buenos Aires Octet) 1955-58.
• Jazz Tango Quintet, 1959.
• Quinteto (in English: Quintet), aka the first Quintet, 1960-70.
• Nuevo Octeto (in English: New Octet), 1963.
• Conjunto 9 (in English: Ensemble 9), aka Noneto, 1971-72 & 1983.
• Conjunto Electronico (in English: Electronic Ensemble), aka Electronic Octet, 1975.
• Quinteto Tango Nuevo (in English: New Tango Quintet), aka the second Quintet, 1979-1991.
• Sexteto Nuevo Tango (in English: New Tango Sextet), 1989-1991.
13.5. WORK
13.5.2
Film music
• Con los mismos colores, 1949.
• Bólidos de acero, 1950.
• El Cielo en las manos, 1950.
• Stella Maris, 1953.
• Sucedió en Buenos Aires, 1954.
• Los tallos amargos, 1955.
• Marta Ferrari, 1956.
• Historia de una carta, 1957.
• Una viuda difícil, 1957.
• Violencia en la ciudad, 1957.
• Operación Antartida, 1958.
• Dos basuras, 1958.
• Sábado a la noche, cine, 1960.
• Las furias, 1960.
• Quinto año Nacional, 1961.
• Detrás de la mentira, 1962.
• Los que verán a Dios, 1963.
• El fin del mundo, 1963.
• Paula Cautiva, 1963.
• Con gusto a rabia, 1965.
• Las locas del conventillo, 1966.
• Los pirañas, 1967.
• Crimen sin olvido, 1968.
• La fiaca, 1969.
• Breve cielo, 1969.
• Pulsación, 1969.
• Con alma y vida, 1970.
• La ñata contra el vidrio, 1972.
• Todo nudez será castigada, 1973.
• Viaje de bodas, 1975.
• Lumiere, 1976.
• Cadaveri eccelente, 1976.
• Il pleut sur Santiago, 1976.
• Que es el otoño, 1977.
77
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CHAPTER 13. ASTOR PIAZZOLLA
• Quand la ville s’éveille, 1977.
• Armaguedón, 1977.
• La intrusa, 1979.
• El infierno tan temido, 1980.
• Volver, 1982.
• Somos?, 1982.
• Neonstadt, 1982.
• Bella Donna, 1983.
• Cuarteles de Invierno, 1984.
• Enrico IV, 1984.
• El exilio de Gardel: Tangos, 1985.
• Sur, 1988.
• 12 Monkeys, 1995 .
13.5.3
Discography
• Two Argentinians in Paris (with Lalo Schifrin, 1955)
• Sinfonía de Tango (Orquesta de Cuerdas, 1955)
• Tango progresivo (Buenos Aires Octeto, 1957)
• Octeto Buenos Aires (Octeto Buenos Aires, 1957)
• Astor Piazzolla (Orquesta de Cuerdas, 1957)
• Tango in Hi-Fi (Orquesta de Cuerdas, 1957)
• Adiós Nonino (1960)
• Piazzolla Interpreta A Piazzolla (Quinteto, 1961)
• Piazzolla … O No? (canta Nelly Vazquez, Quinteto, 1961)
• Nuestro Tiempo (canta Hector de Rosas, Quinteto, 1962)
• Tango Contemporáneo (Nuevo Octeto, 1963)
• Tango Para Una Cuidad (canta Héctor De Rosas, Quinteto, 1963)
• Concierto en el Philharmonic Hall de New York (Quinteto, 1965)
• El Tango. Jorge Luis Borges – Astor Piazzolla (Orquesta and Quinteto, 1965)
• La Guardia Vieja (1966)
• La Historia del Tango. La Guardia Vieja (Orquesta, 1967)
• La Historia del Tango. Época Romántica (Orquesta, 1967)
• ION Studios (1968)
• María de Buenos Aires (Orquesta, 1968)
• Piazzolla En El Regina (Quinteto, 1970)
• Original Tangos from Argentina Vol. 1 & 2 (solo bandeneon, 1970)
13.5. WORK
79
• Pulsación (Orquesta, 1970)
• Piazzolla-Troilo (Dúo de Bandoneónes, 1970)
• Concerto Para Quinteto (Quinteto, 1971)
• La Bicicleta Blanca (Amelita Baltar y Orquesta, 1971)
• En Persona (recita Horacio Ferrer, Astor Piazzolla, 1971)
• Música Popular Contemporánea de la Ciudad de Buenos Aires. Vol.1 & 2 (Conjunto 9, 1972)
• Roma (Conjunto 9, 1972)
• Libertango (Orquesta, 1974)
• Piazzolla and Amelita Baltar (1974)
• Summit (Reunión Cumbre) (with Gerry Mulligan, Orquesta, 1974)
• Suite Troileana-Lumiere (Orquesta, 1975)
• Buenos Aires (1976)
• Il Pleut Sur Santiago (Orquesta, 1976)
• Piazzolla & El Conjunto Electrónico (Conjunto Electrónico, 1976)
• Piazzolla en el Olimpia de Paris (Conjunto Electrónico, 1977)
• Chador (1978)
• Lo Que Vendrá (Orquesta de Cuerdas and Quinteto Tango Nuevo, 1979)
• Piazzolla-Goyeneche En Vivo, Teatro Regina (Quinteto Tango Nuevo, 1982)
• Oblivion (Orquesta, 1982)
• Suite Punta Del Este (Quinteto, 1982)
• Live in Lugano (Quinteto, 1983)
• SWF Rundfunkorchester (1983)
• Concierto de Nácar – Piazzolla en el Teatro Colón (Conjunto 9 y Orquesta Filarmónica del Teatro Colón, 1983)
• Live in Colonia (Quinteto Tango Nuevo, 1984)
• Montreal Jazz Festival (Quinteto Tango Nuevo, 1984)
• Live in Wien Vol.1 (Quinteto Tango Nuevo, 1984)
• Enrico IV (sound track of film Enrico IV, 1984)
• Green Studio (1984)
• Teatro Nazionale di Milano (1984)
• El Nuevo Tango. Piazzolla y Gary Burton (Quinteto, 1986)
• El Exilio de Gardel (soundtrack of film El Exilio de Gardel, Quinteto, 1986)
• Tango: Zero Hour (Quinteto Tango Nuevo, 1986)
• Tristezas de un Doble A (Quinteto Tango Nuevo, 1987)
• Central Park Concert (Quinteto, 1987)
• Concierto para Bandoneón – Tres Tangos with the Orchestra of St. Luke’s, Lalo Schifrin (conductor), Princeton
University (1987)
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CHAPTER 13. ASTOR PIAZZOLLA
• Sur (soundtrack of film Sur, Quinteto, 1988)
• Live in Tokyo 1988 (Quinteto Tango Nuevo, 1988)
• Luna. Live in Amsterdam (Quinteto Tango Nuevo, 1989)
• Lausanne Concert (Sexteto Nuevo Tango, 1989)
• Live at the BBC (Sexteto Nuevo Tango, 1989)
• La Camorra (Quinteto Tango Nuevo, 1989)
• Hommage a Liege: Concierto para bandoneón y guitarra/Historia del Tango (1988) with Liège Philharmonic
Orchestra conducted by Leo Brouwer. The concerto was performed by Piazzolla with Cacho Tirao, the Historia
by Guy Lukowski and Marc Grawels.
• Bandoneón Sinfónico (1990)
• The Rough Dancer and the Cyclical Night (Tango apasionado) (1991)
• Five Tango Sensations (Astor Piazzolla and the Kronos Quartet, 1991)
• Original Tangos from Argentina (1992)
• Lausanne Concert (Sexteto Nuevo Tango, 1993)
• Central Park Concert 1987 (Quinteto, 1994)
• El Nuevo Tango de Buenos Aires (Quinteto, 1995)
• 57 Minutos con la Realidad (Sexteto Nuevo Tango, 1996)
• Tres Minutos con la Realidad (Sexteto Nuevo Tango, 1997)
13.6 See also
• María de Buenos Aires, a tango opera by Piazzolla
• Estaciones Porteñas, Piazzolla’s 4 Seasons
• 12 Monkeys, a movie whose soundtrack is derived and excerpted from Piazzolla’s Suite Punta del Este
• Ave Maria on YouTube
13.7 References
[1] Holden, Stephen (July 6, 1992). “Astor Piazzolla, 71, Tango’s Modern Master, Dies”. The New York Times. Retrieved
January 6, 2014.
[2] Todo Tango - La amistad de Gardel y Piazzolla
[3] Collier, María Susana Azzi ; Simon (2000). Le grand tango : the life and music of Astor Piazzolla. Oxford [u.a.]: Oxford
Univ. Press. p. 73. ISBN 0195127773.
[4] “Astor Piazzolla - Piazzolla: Libertango CD”. CD Universe. Retrieved January 19, 2014.
[5] http://www.piazzolla.org/works2/reunion.html
[6] Piazzolla, Astor (1998). A manera de memorias. Libros Perfil. p. 85. ISBN 950-08-0920-6.
[7] Also has been nominated for the Grammy Award.
[8] Also received the César Award.
[9] Also was awarded at the Gramado International Film Festival.
13.8. EXTERNAL LINKS
81
[10] John Sunier. “fernando-otero-pagina-de-buenos-aires-nonesuch”. . Retrieved 2008-01-23.
[11] “Fernando Otero Wins Latin Grammy Award”. Nonesuch Records. November 15, 2010.
[12] Andrew Chatfield (April 13, 2012). "'Tango on Steroids’: Virtuoso Pianist Graces Wesleyan Stage”. Patch.
[13] Frank J. Oteri (March 12, 2013). “Sounds Heard: Fernando Otero—Romance". NewMusicBox.
[14] Vivian Schweitzer (February 25, 2008). “Music Review: Kronos Quartet - Premieres Range in Palette From Balkans to
Argentina”. The New York Times.
[15] Carlos Kuri: Piazzolla: la música límite. Buenos Aires: Corregidor, 1997.
[16] See Kuri (ibid); also Natalio Gorin, Piazzolla: A Memoir, Amadeus Press 2001.
[17] El Tango, Polygram S.A. LP 24260 / Polydor 829866-2, 1965, Argentina (currently out of print).
[18] See Azzi and Collier, Le Grand Tango: The Life and Music of Astor Piazzolla, Oxford University Press, 2000.
13.8 External links
• Astor Piazzolla in AllMusic
• Piazzolla discography
• Piazzolla.Org founded by John Buckman
• (Spanish) Todo tango:Piazzolla
• (Spanish) Piazzolla Revolucionario
• (Spanish) Querido Astor
• (Spanish) Piazzollazzo.com.ar
• (French) E-Astoria.be (Ensemble Astoria).
• (Slovene) Astorpia.com (Astorpia Tango Quintet).
• Piazzolla Sheet Music For Accordion
see also “Tangata” – the music of Astor Piazzolla...the Manny Bobenrieth Ensemble, R&L Records
• Analytical review of Pablo Aslan’s Piazzolla in Brooklyn
Video recordings
• “Milonga sin Palabras” on YouTube Played by Eckhart Duo
• Fuga Y Misterio on YouTube Played by Classical Jam
• Fracanapa on YouTube Played by Classical Jam
• Maria de Buenos Aires on YouTube Played by Astorpia Tango Quintet.
• Libertango on YouTube Original version by Astor Piazzolla
• Libertango on YouTube Played by Néstor Marconi and Yo-Yo Ma.
• Oblivion on YouTube Played by Cellistanbul and Julian Lloyd Webber
• Decarisimo on YouTube Played by Nuevo Tango Ensamble
• Performance of Oblivion on YouTube
• Libertango on YouTube Played by Glass Duo
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CHAPTER 13. ASTOR PIAZZOLLA
• Oblivion on YouTube Version for Oboe and String Orchestra performed by Eugene Sidorov and State Symphony of Tatarstan, conductor Fuat Mansurov
• Fugata on YouTube Played by Nuevo Tango Ensamble
• La muerte del angel on YouTube Played by Nuevo Tango Ensamble
• Oblivion on YouTube Played by Catherine Wilson
• Escualo on YouTube Played by Astor Piazzolla y su Quinteto Tango Nuevo
Chapter 14
Dino Saluzzi
Timoteo “Dino” Saluzzi (born May 20, 1935 in Campo Santo (Ingenio San Isidro), Salta Province) is an Argentine
musician. The son of popular carpero composer and instrumentalist Cayetano Saluzzi,[1] and father of the guitarist
José Maria Saluzzi.[2]
14.1 Career
Dino played the bandoneón since his childhood. Other than his father, he was influenced by Salta musicians such as
Cuchi Leguizamón, and by the lyrical strain of the tango of Francisco de Caro and Agustin Bardi. Dino described
the vividness of his musical sketches as “an imaginary return” to the little towns and villages of his childhood.
For much of his youth, Saluzzi lived in Buenos Aires, playing with the Radio El Mundo orchestra.[1] He would play
in orchestras for a living, while touring with smaller, sometimes jazz-oriented ensembles, developing a personal style
that made him a leading bandoneonist in Argentine folklore and avant-garde music (especially since Ástor Piazzolla
did not participate in projects other than his own). His record career doesn't start until the 70s, along with Gato
Barbieri, when he signed a couple of crazy lyricism albums under the name of Gaucho. Over this decade, he worked
on many tours in South America and specially in Japan, but always associated to other names, as Mariano Mores or
Enrique Mario Franchini.
Through word-of mouth publicity (mostly from expatriate musicians) he was invited to several European music festivals, and landed a contract with the ECM label. Several records have resulted, including Kultrum, 1982. From the
beginning of the 1980s onwards, there were collaborations with European and American jazz musicians including
Charlie Haden, Tomasz Stanko, Charlie Mariano, Palle Danielsson, and Al Di Meola.
ECM brought Saluzzi together with Charlie Haden, Palle Mikkelborg and Pierre Favre for Once Upon A Time ... Far
Away In The South, and subsequently with Enrico Rava for Volver. Rava had worked extensively in Argentina, and
Haden’s sympathy for Latin American music was well-known; furthermore Palle Mikkelborg and Dino Saluzzi had
worked together productively in George Gruntz's band: there was a common ground on which an artistic exchange of
ideas could take place. Saluzzi later played with 'Haden’s Liberation Music Orchestra', and the 'Rava Saluzzi Quintet'
also toured.
In 1991, Saluzzi recorded an album with his brothers Felix and Celso and his son José María on guitar, kicking off
his “family project”, which has since toured many countries. Mojotoro drew upon the full range of South American
musics: tango, folk, candina music, candombe, the milonga music of the la Pampa province...
Anja Lechner and Dino have toured widely as a duo, too and US jazz magazine “Down Beat” declares the album that
recorded together, Ojos Negros album of the year (best of 2007 list).
Dino Saluzzi symphonic works were presented with Anja Lechner and Metropole Orkest at Muziekgebouw, Amsterdam in February, 2009. Soloist: Dino Saluzzi - bandoneon; Guest: Anja Lechner - cello; Conductor: Jules Buckley.
14.2 Discography
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CHAPTER 14. DINO SALUZZI
14.2.1
As leader
• 1972: De Vuelta a Salta (RCA Camden)
• 1973: Bandoneón Tierra Adentro - Vol. 1 (RCA Camdon)
• 1975: Bandoneón Tierra Adentro - Vol. 2 (RCA Victor)
• 1977: Dedicatoria (Melopea)
• 1980: Bermejo (Microfón)
• 1982: Kultrum (ECM)
• 1985: Once Upon a Time - Far Away in the South (ECM)
• 1986: Volver with Enrico Rava (ECM)
• 1988: Andina (ECM)
• 1991: Argentina (West Wind Latina)
• 1996: Cité de la Musique (ECM)
• 1998: Kultrum with the Rosamunde Quartett (ECM)
• 2001: Responsorium (ECM)
• 2002: Senderos (ECM)
• 2006: Ojos Negros (ECM), with Anja Lechner
• 2009: El Encuentro (ECM)
• 2011: Navidad de Los Andes (ECM), with trio including Anja Lechner and Felix Saluzzi
Los Chalchaleros Con El Bandoneón De Dino Saluzzi
• 1972: La Cerrillana (RCA Victor)
Dino Saluzzi Group
• 1991: Mojotoro (ECM)[3]
• 2005: Juan Condori (ECM)
• 2014: El Valle De La Infancia (ECM)
Trio with Anthony Cox and David Friedman
• 1995: Rios (veraBra)
Trio with George Gruntz and Thierry Lang
• 2005: Trio Tage (PJL)
14.3. REFERENCES
14.2.2
As sideman
With Pedro Orillas
• 1970: Soy Buenos Aires (RCA Camden)
With Litto Nebbia
• 1981: Tres Noches En La Trastienda (Melopea), trio including Bernardo Baraj
With George Gruntz
• 1983: Theatre (ECM)
With Al Di Meola
• 1990: World Sinfonia (Tomato)
• 1993: World Sinfonia II - Heart of The Immigrants (Telarc)
• 1996: Di Meola Plays Piazzolla (Atlantic)
With Rickie Lee Jones
• 1991: Pop Pop (Warner Bros.)
With Maria João
• 1996: Fábula
With Tomasz Stańko
• 1998From the Green Hill (ECM)
With Giya Kancheli in quartet including Gidon Kremer and Andrei Pushkarev
• 2010: Themes From The Songbook (ECM)[2]
14.3 References
[1] Leggett, Steve. “Dino Saluzzi: Biography”. AllMusic. Retrieved 16 July 2011.
[2] “Dino Saluzzi”. Discography. Discogs.com. Retrieved 2014-04-27.
[3] “Dino Saluzzi Group - 02 Tango a mi Padre”. YouTube. Retrieved 2014-04-27.
14.4 External links
• Official site of Dino and José María
• Dino Saluzzi Interview
• Saluzzi Profile at European Jazz Network
• Dino Saluzzi ECM recordings
• Official Myspace
85
Chapter 15
Rodolfo Mederos
Rodolfo Mederos (born March 25, 1940) is an Argentine bandoneonist, composer and arranger. He lived in Cuba
and France; in Argentina, he founded the cult group Generación Cero.
15.1 Beginnings
Mederos is a porteño, born in the neighborhood of Constitución. He spent his childhood in the province of Entre
Ríos, and later went to the University of Córdoba to study biology.
As a young man he was captivated by fellow bandoneonist Ástor Piazzolla. He played with Piazzolla for several years
before joining the Osvaldo Pugliese Orchestra, alongside other young musicians.
15.2 1960s
After 1960 he put together his early groups to play at provincial radio stations and on television. His Octeto Guardia
Nueva had such an impact that Astor Piazzolla, when he heard it during one of his tours, suggested that Mederos
travel to Buenos Aires.
Later, Piazzolla returned to Córdoba and invited Mederos to appear in his recitals.
In 1965 Mederos traveled to Buenos Aires and cut his first record “Buenos Aires, al rojo” in which he played Cobián’s
and Piazzolla’s pieces as well as his own compositions.
After spending two years abroad, first in Cuba and later in Paris, he returned to Argentina, and in 1969 he joined
the new Osvaldo Pugliese orchestra, which was formed due to the decision of its former players who wanted to play
only with the ensemble, Sexteto Tango, they had recently put together. He was in the bandoneon section with Arturo
Penón, Daniel Binelli and Juan José Mosalini.
15.3 Generación Cero
In 1976 he put together a new group, Generación Cero, that attracted a cult following. His appearance with his
group was hardly conventional and perhaps irreverent. Its sound tried to achieve a fusion between jazz, rock and the
music of Buenos Aires. It displayed far-fetched arrangements with impressionist reminiscences. It was an intentional
rupture, a juvenile search that looked for a new road in music.
Although the group contained a bandoneon, and despite other similarities, their music was not a variant of the tango
genre. Neither the “licks” nor the rhythm belonged to tango, and the arrangements modified the melody to the point of
making it hardly recognizable. However, little by little they were reaching an intellectual sector, avid for innovations.
In 1976 the first LP was released, “Fuera de broma 8”. It started a series of this never-conforming and audacious
style. The subsequent albums were: “De todas maneras” (1977), “Todo hoy” (1978), “Buenas noches, Paula” (1983),
“Verdades y mentiras” (1984) and “Reencuentros” (1989).
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15.3. GENERACIÓN CERO
Rodolfo Mederos
87
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CHAPTER 15. RODOLFO MEDEROS
Despite their features, these works reached a widespread recognition, and Mederos’ artistic personality was growing
and achieving public acclaim, especially abroad.
15.4 1990s
Mederos began the 1990s with a solid position in the musical scene. He returned to the recording studios with a
new series of CDs, in different settings:"Tanguazo” (1993), “Carlos Gardel” (1994), Mi Buenos Aires querido” with
a trio that spotlighted the great pianist Daniel Barenboim (1995), “El día que Maradona conoció a Gardel” (1996),
“El tanguero” (1998) and “Eterno Buenos Aires” (1999). In 2000 he continued his output with the record “Tango
Mederos-Brizuela” and with another disc that included the soundtrack of the film “Las veredas de Saturno” that he
had composed twenty years before.
In 1999 Mederos formed a quintet with the pianist Hernán Posetti, the violinist Damián Bolotín, the guitarist Armando
de la Vega and the double-bassist Sergio Rivas. They recorded the above-mentioned disc “Eterno Buenos Aires”.
15.5 Soundtracks
Besides the soundtrack of the French-Argentine motion picture directed by Hugo Santiago (1986), Mederos composed the soundtracks, or part of them, of: Sergio Renán’s “Crecer de golpe” (1976), Simón Feldman’s “Memorias
y Olvidos” (1987), Tristan Bauer’s “Después de la tormenta” (1991), Jana Bokova’s “Diario para un cuento” (1997),
Jaime Chávarri’s “Sus ojos se cerraron” (1998) and Bebé Kamin’s “Contraluz” (2001).
15.6 Collaborations
Mederos’ special ductility to blend different rhythms and genres with an air of tango can be evidenced by the series of
recitals in which he has appeared, invited by folk, pop and rock musicians. Also, we can highlight his collaborations in
recordings with Mercedes Sosa and Luis Alberto Spinetta, and recently with the Catalonian Joan Manuel Serrat in his
disc titled “Cansiones.” Mederos had played with the latter in 1994 in two numbers on the disc “Nadie es perfecto.”
15.7 Sayings
«Somewhere art must irritate and arouse suspicions. Art is authentic when it is not complacent.» «There is a kind of
piazzollization that is smothering. His pieces (Piazzolla’s) produce light, but they can dazzle.»
15.8 External links
• http://www.todotango.com/ENGLISH/creadores/rmederos.asp
• http://www.rodolfomederos.com.ar/ [Official Site]
Chapter 16
List of tango music labels
16.1 See also
• Tango music
89
Chapter 17
La cumparsita
"La cumparsita" is a tango written in 1916 by the Uruguayan musician Gerardo Matos Rodríguez, with lyrics by
Pascual Contursi and Enrique Pedro Maroni. It is among the most famous and recognizable tangos of all time.[1][2]
Roberto Firpo, director and pianist of the orchestra that premiered the song, added parts of his tangos “La Gaucha
Manuela” and “Curda Completa” to Matos’ carnival march (“La Cumparsita”), resulting in “La cumparsita” as it is
currently known.[3][4]
The title translates as “the little parade”, and the first version was a tune with no lyrics. Later, Pascual Contursi wrote
words to make the most popular version of the song. The lyrics begin: “The little parade of endless miseries...”
17.1 History
The song was originally a Argentinan carnival march, whose melody was composed in early 1916 by an architecture
student in Montevideo, an 18-year-old man named Gerardo Hernán “Becho” Matos Rodríguez, the son of Montevideo’s Moulin Rouge nightclub proprietor Emilio Matos. On 8 February 1916, Matos Rodríguez had his friend
Manuel Barca show orchestra leader Roberto Firpo the music in the cafe called La Giralda. Firpo looked at the music
and quickly determined that he could make it into a tango. As presented to him it had two sections; Firpo added
a third part taken from his own little-known tangos “La gaucha Manuela” and “Curda completa”, and also used a
portion of the song “Miserere” by Giuseppe Verdi from the opera Il trovatore.[5][6] Years later, Firpo reported the
historic moment as follows:
In 1916 I was playing in the café La Giralda in Montevideo, when one day a man was accompanied
by about fifteen boys — all students — to say he brought a carnival march song and they wanted me to
review it because they thought it could be a tango. They wanted me to revise and tweak the score that
night because it was needed by a boy named Matos Rodríguez. In the 2/4 [march time signature] score
there appeared a little [useful melody] in the first half and in the second half there was nothing. I got
a piano and I remembered my two tangos composed in 1906 that had not had any success: “La gaucha
Manuela” and “Curda completa”. And I put in a little of each. At night I played the song with “Bachicha”
Deambroggio and “Tito” Roccatagliatta. It was an apotheosis. Matos Rodríguez walked around like a
champion... But the tango was forgotten, its later success began when the words of Enrique Maroni and
Pascual Contursi were associated with it.[7]
Firpo recorded the song in November 1916 for Odeon Records: Odeon release number 483.[5] He used the recording
studio of Max Glücksmann in Buenos Aires, and employed two violinists, one bandoneón player (Juan Bautista
“Bachicha” Deambrogio), and one flute player to join him as bandleader on piano.[8] The song was pressed as the
B-side of a 78 rpm release, and had only a modest success, fading in familiarity after several years.[8]
Lyrics to the song were written by the Argentine Pascual Contursi in 1924, and soon became a hit. This version of
the song is considered the most widely known tango song in the world, closely followed by "El Choclo".[9] Contursi
recorded the song under the title “Si Supieras” (“If you knew”). Living in Paris at that time, Matos Rodríguez
discovered, that the song was a big hit, when he talked with Uruguayan violinist and tango orchestra leader Francisco
Canaro, who was playing the tune at Paris engagements as “Si Supieras”. Canaro told Matos Rodríguez the song
was “all the rage by all the orchestras”.[8] Matos Rodríguez spent the next two decades in various court battles over
90
17.1. HISTORY
91
royalties, and finally succeeded in ensuring, that “La cumparsita” was re-established as the title of the song. However,
Contursi’s lyrics became intimately associated with the song.
Canaro formulated a binding agreement in 1948, one which would end the lawsuits. He determined that 20 percent
of all royalties would go to the estates of the lyricist Contursi and his business partner Enrique P. Maroni. The other
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CHAPTER 17. LA CUMPARSITA
80 percent of recording royalties would go to the estate of Matos Rodríguez. Canaro established, that future sheet
music printings would show Contursi’s lyrics in addition to less well-known ones written by Matos Rodríguez, and no
other lyrics.[8]
17.2 Legacy
Famous versions of this tango include Carlos Gardel's vocal and performances by orchestras led by Juan d'Arienzo,
Osvaldo Pugliese and Astor Piazzolla. La Cumparsita is very popular at Milongas; it is a common tradition for it to
be played as the last dance of the evening.
The song was named cultural and popular anthem of Uruguay by law.[10] in 1997.[11]
[12]
Gene Kelly dances to “La cumparsita” in the film Anchors Aweigh (1945). The song was included in a ballroom scene
of the film Sunset Boulevard (1950), in which Gloria Swanson and William Holden danced the tango. In the 2006
dance movie Take the Lead, Jenna Dewan, Dante Basco and Elijah Kelley danced to a remixed version.[13]
In the 1959 film Some Like It Hot, La cumparsita is played by a blindfolded Cuban band during a scene in which Jack
Lemmon dressed in drag dances with overstated flair in the arms of Joe E. Brown who thinks Lemmon is a woman.[14]
During the filming in 1958, actor George Raft taught the other two men to dance the tango for this scene.[15]
17.2.1
Miscellaneous
In the Olympic Games of Sydney 2000, the Argentine team marched with the Uruguayan music “La cumparsita”.
This originated protests and official claims from the Uruguayan government.[16] The work was also an opening part
of an infamous radio drama: The War of the Worlds an episode of the American radio drama anthology series The
Mercury Theatre on the Air. It was performed as a Halloween episode of the series on 30 October 1938, and aired
over the Columbia Broadcasting System radio network. This was directed and narrated by actor and future filmmaker
Orson Welles.
17.3 In popular culture
The song is heard in the Tom and Jerry episode Down Beat Bear.
Many artistic gymnasts have used variations of the song as their floor routine soundtracks including Vanessa Atler
(1998–99), Jamie Dantzscher (2000), Oana Petrovschi (2001–02), Elvire Teza (1998), Elise Ray (1997–98), Natalia
Ziganchina (2000), Maria Kharenkova (2013) and Mykayla Skinner (2011-12).
17.4 See also
• Music of Argentina
• Music of Uruguay
17.5 References
[1] Gusman, Luis (2000). “La Cumparsita”. Encyclopedia of Contemporary Latin American and Caribbean Cultures. CRC
Press. p. 462 (restricted online copy, p. 462, at Google Books). ISBN 978-0-415-22971-5.
[2] Bethell, Leslie (1995). The Cambridge history of Latin America. Cambridge university Press. p. 361 (restricted online
copy, p. 361, at Google Books). ISBN 978-0-521-49594-3.
[3] “La cumparsita”, the great collaboration of Roberto Firpo.
[4] History of “La Cumparsita”
[5] Blaya, Ricardo García. “La cumparsita”. Las Historias: Tangos y Leyendas (in Spanish). Todo Tango. Retrieved 1 March
2011.
17.6. EXTERNAL LINKS
93
[6] Rios, Carlos. “Historia de “La cumparsita"". Trabajos (in Spanish). Congreso Internacional Quien Es Gardel. Retrieved
1 March 2011.
[7] Selles, Roberto; Pinsón, Néstor. “Roberto Firpo”. Los Creadores (in Spanish). Todo Tango. Retrieved 1 March 2011.
[8] Braverman, Eran. “La Cumparsita – The Most Famous Tango Song”. Very Tango. Retrieved 1 March 2011.
[9] The 90’s “Tango of the tangos”
[10] Ley Nº 16.905
[11] Página/12 Web :: espectaculos :: ¿Quién no conoce “La Cumparsita”?
[12] Globovision.com - La mítica Cumparsita jalona triángulo turístico Argentina-Chile-Uruguay
[13] “Soundtracks for Take The Lead (2006)". IMDb. Retrieved 1 March 2011.
[14] Thomson, David (2008). 'Have You Seen...?': A Personal Introduction to 1,000 Films. Random House Digital. p. 930.
ISBN 0307264610.
[15] Yablonsky, Lewis (2000). George Raft. iUniverse. p. 219. ISBN 0595010032.
[16] Article on BBC.co.uk
17.6 External links
• La cumparsita on YouTube.
Chapter 18
Contradanza
This article is about the dance and its music. For the band, see Contradanza (band).
The contradanza (also called contradanza criolla, danza, danza criolla, or habanera) is the Spanish and SpanishAmerican version of the contradanse, which was an internationally popular style of music and dance in the 18th
century, derived from the English country dance and adopted at the court of France. Contradanza was brought
to America and there took on folkloric forms that still exist in Mexico, Venezuela, Colombia, Peru, Panama and
Ecuador.
In Cuba during the 19th century it became an important genre, the first written music to be rhythmically based on an
African rhythm pattern and the first Cuban dance to gain international popularity, the progenitor of danzon, mambo
and cha cha cha, with a characteristic "habanera rhythm” and sung lyrics.
Outside Cuba the Cuban contradanza became known as the Habanera - the dance of Havana - and that name was
adopted in Cuba itself subsequent to its international popularity in the later 19th century.[1] though it was never so
called by the people who created it.[2]
18.1 History
The contradanza was popular in Spain and spread throughout Spanish America during the 18th century. But Haitians
fleeing the Haitian Revolution of 1791 brought to the Cuban version a Creole influence and a new syncopation.[3][4][5]
The earliest Cuban contradanza of which a record remains is “San Pascual Bailón” which, written in 1803.[6][7]
Certain characteristics would set the Cuban contradanza apart from the contredanse by the mid-19th century, notably
the incorporation of the African cross-rhythm called the tresillo.[8] The habanera rhythm can be thought of as a
combination of tresillo and the backbeat.
The habanera is also slower and as a dance more graceful in style than the older contradanza but retains the binary
form of classical dance, being composed in two parts of 8 to 16 bars each, though often with an introduction.[9][10]
An early identifiable “contradanza habanera”, La Pimienta, an anonymous song published in an 1836 collection, is
the earliest known piece to use the characteristic "habanera" rhythm in the left hand of the piano.[11]
The contradanza, when played as dance music, was performed by an orquesta típica composed of two violins, two
clarinets, a contrabass, a cornet, a trombone, an ophicleide, paila and a güiro (Alén 1994:82). But the habanera was
sung as well as danced.
During the first half of the 19th century, the contradanza dominated the Cuban musical scene to such an extent
that nearly all Cuban composers of the time, whether composing for the concert hall or the dance hall, tried their
hands at the contradanza (Alén 1994:82). Among them Manuel Saumell (1817–1870) is the most noted (Carpentier
2001:185-193).
The New Orleans born pianist/composer Louis Moreau Gottschalk (1829-1869) wrote several pieces with the rhythm,
gleaned in part from his travels through Cuba and the West Indies: “Danza” (1857), “La Gallina, Danse Cubaine”
(1859), “Ojos Criollos” (1859) and “Souvenir de Porto Rico” (1857) among others.
It is thought that the Cuban style was brought by sailors to Spain, where it became popular for a while before the turn
94
18.1. HISTORY
95
Georges Bizet (1838–1875) included a Habanera in his opera Carmen (1875), derived from Yradier’s El Arreglito.
of the twentieth century. The Basque composer Sebastian Yradier's La Paloma (The dove), achieved great fame in
Spain and America. The dance was adopted by all classes of society and had its moment in English and French salons.
It was so well established as a Spanish dance that Jules Massenet included one in the ballet music to his opera Le Cid
(1885), to lend atmospheric color. Maurice Ravel wrote a Vocalise-Étude en forme de Habanera, and a habanera
for Rapsodie espagnole (movement III, originally a piano piece written in 1895), Camille Saint-Saëns' Havanaise for
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CHAPTER 18. CONTRADANZA
violin and orchestra is still played and recorded today, as is Emmanuel Chabrier's Habanera for orchestra (originally
for piano). Bernard Herrmann's score for Vertigo (1958) makes prominent use of the rhythm as a clue to the film’s
mystery.
“Habanera” rhythm. Play
In Andalusia (especially Cadiz), Valencia, Alicante and Catalonia the habanera is still popular. La Paloma, La bella
Lola or El meu avi (My grandfather) are well known.[12] From Spain the style arrived in the Philippines where it
still exists as a minor art-form.[13] In the twentieth century the habanera gradually became a relic form in Cuba,
especially after the success of the son. However, some of its compositions were transcribed and reappeared in other
formats later on: Eduardo Sánchez de Fuentes' Tú is still a much-loved composition.[14] The music and dance of
the contradanza/danza are no longer popular in Cuba but are occasionally featured in the performances of folklore
groups.
18.2 Rhythm
Top: habanera rhythm—tresillo-over-two. Bottom: vertical hemiola—three-over-two.
The habanera rhythm’s time signature is 2/4. An accented upbeat in the middle of the bar lends power to the habanera
rhythm, especially when it is as a bass[15] ostinato in contradanzas such as “Tu madre es conga.”[16] Syncopated crossrhythms called the tresillo and the cinquillo, basic rhythmic cells in Afro-Latin and African music, began the Cuban
dance’s differentiation from its European form. Their unequally-grouped accents fall irregularly in a one or two bar
pattern:[17] the rhythm superimposes duple and triple accents in cross-rhythm (3:2) or vertical hemiola.[18]
This pattern is heard throughout Africa, and in many Diaspora musics,[19]
18.2. RHYTHM
97
The habanera rhythm shown as tresillo (lower notes) with the backbeat (upper note).
known as the congo,[20] tango-congo,[21] and tango.[22] Thompson identifies the rhythm as the Kongo mbilu a makinu,
or 'call to the dance.'[15][23] The syncopated rhythm may be vocalised as “boom...ba-bop-bop”,[15] and “da, ka ka
kan.”[23] It may be sounded with the Ghanaian beaded gourd instrument axatse, vocalized as: “pa ti pa pa”, beginning
on the second beat so that the last “pa” coincides with beat one, ending on the beginning of the cycle so that the part
contributes to the cyclic nature of the rhythm, the “pa’s” sounding the tresillo by striking the gourd against the knee,
and the “ti” sounding the main beat two by raising the gourd and striking it with the free hand.[24]
Cinquillo. Play
The cinquillo pattern is sounded on a bell in the folkloric Congolese-based makuta as played in Havana.[25]
Carpentier (2001:149) states that the cinquillo was brought to Cuba in the songs of the black slaves and freedmen
who emigrated to Santiago de Cuba from Haiti in the 1790s and that composers in western Cuba remained ignorant
of its existence:
A variant of the habanera rhythm.[26]
“In the days when a trip from Havana to Santiago was a fifteen-day adventure (or more), it was
possible for two types of contradanza to coexist: one closer to the classical pattern, marked by the spirits
of the minuet, which later would be reflected in the danzón, by way of the danza; the other, more popular,
which followed its evolution begun in Haiti, thanks to the presence of the 'French Blacks’ in eastern Cuba
(Carpentier 2001:150).”
Manuel disputes Carpentier’s claim, mentioning “at least a half a dozen Havana counterparts whose existence refutes
Carpentier’s claim for the absence of the cinquillo in Havana contradanza” (Manuel 2009: 55-56).[27]
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CHAPTER 18. CONTRADANZA
18.3 Danza, tango and later developments
The 6/8 contradanza evolved into the clave (not to be confused with the key pattern of the same name), the criolla
and the guajira. From the contradanza in 2/4 came the (danza) habanera and the danzón (Carpentier 2001:147).
According to Argeliers Léon (1974:8), the word danza was merely a contraction of contradanza and there are no
substantial differences between the music of the contradanza and the danza. Both terms continued to denominate
what was essentially the same thing throughout the 19th century. But although the contradanza and danza were
musically identical, the dances were different.
A danza entitled “El Sungambelo”, dated 1813, has the same structure as the contradanza - the four-section scheme
is repeated twice, ABAB (Santos 1982) and the cinquillo rhythm can already be heard.
The danza dominated Cuban music in the second half of the 19th century, though not as completely as the contradanza had in the first half. Two famous Cuban composers in particular, Ignacio Cervantes (1847–1905) and
Ernesto Lecuona (1895–1963), used the danza as the basis of some of their most memorable compositions.
In Cuba the danza was supplanted by the danzón from the 1870s onwards, though the danza continued to be composed
as dance music into the 1920s. By this time, the charanga had replaced the orquesta típica of the 19th century (Alén
1994:82- example: “Tutankamen” by Ricardo Reverón). The danzón has a different but related rhythm, the baqueteo,
and the dance is quite different.
The Argentine milonga and tango makes use of the habanera rhythm of a dotted quarter-note followed by three eighthnotes, with an accent on the first and third notes.[28] To some extent the habanera rhythm is retained in early tangos,
notably El Choclo[28] and “La Morocha” (1904).[29] As the consistent rhythmic foundation of the bass line in Argentine
tango the habanera lasted for a relatively short time until a variation, noted by Roberts, began to predominate.[30]p124
In 1883 Ventura Lynch, a student of the dances and folklore of Buenos Aires, noted the milonga was; “so universal
in the environs of the city that it is an obligatory piece at all the lower-class dances (bailecitos de medio pelo), and
... has also been taken up by the organ-grinders, who have arranged it so as to sound like the habanera dance. It is
danced in the low life clubs...”[31]
Ornamented and distributed throughout the texture, the contradanza remains an essential part of the tango’s music.[30]p2
Anibal Troilo’s “La trampera” (Cheating Woman), written in 1962, uses the same habanera heard in Bizet’s Carmen.[23][32]
18.4 African American music
African American music began incorporating Cuban musical motifs in the 1800s. Musicians from Havana and New
Orleans would take the twice-daily ferry between those cities to perform. Whether the rhythm and its variants were
directly transplanted from Cuba or merely reinforced similar rhythmic tendencies already present in New Orleans is
probably impossible to determine. The habanera rhythm is heard prominently in New Orleans second line music, and
there are examples of similar rhythms in some African American folk music such as the foot-stamping patterns in
ring shout and in post-Civil War drum and fife music.[33] John Storm Roberts states that the musical genre “reached
the U.S. 20 years before the first rag was published.”[34]
For the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming and developing, the
habanera was a consistent part of African American popular music.[35] Early New Orleans jazz bands had habaneras
in their repertoire and the tresillo/habanera figure was a rhythmic staple of jazz at the turn of the 20th century. A
habanera was written and published in Butte, Montanta in 1908. The song was titled “Solita” and was written by Jack
Hangauer.[36] Scott Joplin's “Solace” (1909) is considered a habanera (though it’s labeled a “Mexican serenade”).
"St. Louis Blues" (1914) by W.C. Handy has a habanera/tresillo bass line. Handy noted a reaction to the habanera
rhythm included in Will H. Tyler’s “Maori": “I observed that there was a sudden, proud and graceful reaction to
the rhythm...White dancers, as I had observed them, took the number in stride. I began to suspect that there was
something Negroid in that beat.” After noting a similar reaction to the same rhythm in “La Paloma”, Handy included
this rhythm in his “St. Louis Blues,” the instrumental copy of “Memphis Blues,” the chorus of “Beale Street Blues,”
and other compositions.”[37]
Jelly Roll Morton considered the tresillo/habanera (which he called the Spanish tinge) an essential ingredient of
jazz.[38] The rhythm can be heard in the left hand on songs like “The Crave” (1910, recorded 1938).
Now in one of my earliest tunes, “New Orleans Blues,” you can notice the Spanish tinge. In fact, if
you can’t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning,
18.4. AFRICAN AMERICAN MUSIC
WC Handy (1873-1958) aged 19
99
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CHAPTER 18. CONTRADANZA
Scott Joplin (c. 1867-1917)
I call it, for jazz—Morton (1938: Library of Congress Recording).[39]
Although the exact origins of jazz syncopation may never be known, there’s evidence that the habanera/tresillo was
there at its conception. Buddy Bolden, the first known jazz musician, is credited with creating the big four, a habanerabased pattern. The big four (below) was the first syncopated bass drum pattern to deviate from the standard on-thebeat march.[40] As the example below shows, the second half of the big four pattern is the habanera rhythm.
18.4. AFRICAN AMERICAN MUSIC
Jelly Roll Morton (1885-1941)
Buddy Bolden’s “big four” pattern.[41] Play
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CHAPTER 18. CONTRADANZA
18.5 Popular adaptations
• The b-side to Kate Nash’s 2007 single Foundations, was entitled 'Habanera'.
• Mickey, Donald, Goofy: The Three Musketeers features the song “Chains of Love” which is set to the tune of
Habanera.
• Paradiso Girls' song “Who’s My Bitch” samples a recording of this song.
• La Paloma
18.6 References
[1] Manuel, Peter (2009: 97). Creolizing Contradance in the Caribbean Philadelphia: Temple University Press.
[2] Alejo Carpentier cited by John Storm Roberts (1979: 6). The Latin tinge: the impact of Latin American music on the United
States. Oxford.
[3] “History of Cuban Music”. Retrieved 19 January 2014.
[4] Carpentier 2001:146
[5] The History of Latin American Dance by Jessica Martinez
[6] Orovio 1981:118
[7] Manuel, Peter (2009: 67), Creolizing Contradance in the Caribbean. Philadelphia: Temple University Press.
[8] Sublette, Ned 2004. Cuba and its music: from the first drums to the mambo. Chicago. p134
[9] Grenet, Emilio 1939. Música popular cubana. La Habana.
[10] Santos 1982
[11] Roberts, John Storm (1979: 6). The Latin tinge: the impact of Latin American music on the United States. Oxford University
Press.
[12] Berenguer González, Ramón T. “La Comisión de San Roque” Habanera Mp3· ISWC: T-042192386-5 2007
[13] Spanish Influence Dances.
[14] Carpentier, Alejo 2001 (1945). Music in Cuba. Minneapolis MN.
[15] Listen again. Experience Music Project. Duke University Press, 2007. p75 ISBN 978-0-8223-4041-6
[16] Manuel, Peter (2009: 20). Creolizing Contradance in the Caribbean. Philadelphia: Temple University Press.
[17] The New Grove Dictionary of Jazz. Oxford University Press, 2003. ISBN 978-1-56159-284-5
[18] Peñalosa, David (2009: 41). The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins. Redway, CA:
Bembe Inc. ISBN 1-886502-80-3.
[19] Peñalosa, David (2009: 41-42). The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins. Redway, CA:
Bembe Inc. ISBN 1-886502-80-3.
[20] Manuel, Peter (2009: 69). Creolizing Contradance in the Caribbean. Philadelphia: Temple University Press.
[21] Acosta, Leonardo (2003: 5). Cubano Be Cubano Bop; One Hundred Years of Jazz in Cuba. Washington D.C.: Smithsonian
Books.
[22] Mauleón (1999: 4) Salsa Guidebook for Piano and Ensemble. Petaluma, California: Sher Music. ISBN 0-9614701-9-4.
[23] Thompson, Robert Farris. 2006. Tango: the art history of love. Vintage, p117 ISBN 978-1-4000-9579-7
[24] Peñalosa (2009: 42).
[25] Coburg, Adrian (2004: 7). “2/2 Makuta” Percusion Afro-Cubana v. 1: Muisca Folklorico. Bern: Coburg.
[26] Roberts (1998:50).
18.7. SEE ALSO
103
[27] Manuel, Peter (2009: 55-56). Creolizing Contradance in the Caribbean. Philadelphia: Temple University Press.
[28] “El Choclo” sheet music at TodoTango.
[29] La morocha sheet music at TodoTango.
[30] Baim, Jo 2007. Tango: creation of a cultural icon. Indiana University Press. ISBN 978-0-253-34885-2.
[31] Collier, Cooper, Azzi and Martin. 1995. Tango! The dance, the song, the story. Thames & Hudson, London. p45 (ISBN 0500-01671-2) citing Ventura Lynch: La provinciade Buenos Aires hasta la definicion de la cuestion Capital de la Republica.
p.16.
[32] “La trampera” sheet music at TodoTango.
[33] Kubik, Gerhard (1999: 52). Africa and the Blues. Jackson, MI: University Press of Mississippi.
[34] Roberts, John Storm (1999: 12) Latin Jazz. New York: Schirmer Books.
[35] Roberts, John Storm (1999: 16) Latin Jazz. New York: Schirmer Books.
[36] http://sandersmusic.com/bootnote.html?cut=4
[37] Father of the Blues: An Autobiography. by W.C. Handy, edited by Arna Bontemps: foreword by Abbe Niles. Macmillan
Company, New York; (1941) pages 99,100. no ISBN in this first printing
[38] Roberts, John Storm 1979. The Latin tinge: the impact of Latin American music on the United States. Oxford.
[39] Morton, “Jelly Roll” (1938: Library of Congress Recording) The Complete Recordings By Alan Lomax.
[40] Marsalis, Wynton (2000: DVD n.1). Jazz. PBS
[41] "Jazz and Math: Rhythmic Innovations", PBS.org. The Wikipedia example shown in half time compared to the source.
18.7 See also
• Danzón
• French contredanse
• Guaracha
• La tumba francesa
• Music of Haiti
• Contra dance
18.8 Sound file
•
18.9 Further reading
• Alén, Olavo. 1994. De lo Afrocubano a la Salsa. La Habana, Ediciones ARTEX
• Carpentier, Alejo. Music in Cuba. Edited by Timothy Brennan. Translated by Alan West-Durán. Minneapolis:
University of Minnesota Press, 2001.
• Léon, Argeliers. 1974. De la Contradanza al Danzón. In Fernández, María Antonia (1974) Bailes Populares
Cubanos. La Habana, Editorial Pueblo y Educación.
• Orovio, Helio. 1981. Diccionario de la Música Cubana. La Habana, Editorial Letras Cubanas. ISBN 959-100048-0
• Santos, John. 1982. The Cuban Danzón: Its Ancestors and Descendants, liner notes. Folkways Records FW04066
104
CHAPTER 18. CONTRADANZA
18.10 External links
• Habanera’s blog from Tony Foixench.
• Habanera’s website.
• “3-Habanera and danzón” (Cuban Music Website).
• The Cuban Danzon: Its Ancestors and Descendants 1982. Various Artists. Folkways Records - FW04066
• Legran Orchestra La Comisión de San Roque Habanera Mp3· ISWC: T-042192386-5 2007. Published with
the permission of the owner of rights
Chapter 19
History of the tango
Tango postcard, c. 1919
Tango, a distinctive dance and the corresponding musical style of tango music, began in the working-class port
neighborhoods of Buenos Aires (Argentina); and years later in Montevideo, Uruguay; the area of the Rio de la
Plata.[1]
19.1 Etymology
There are a number of theories about the origin of the word “tango”. One of the more popular in recent years has
been that it came from the Niger–Congo languages of Africa.[2][3][4] Another theory is that the word “tango”, already
in common use in Andalusia to describe a style of music, lent its name to a completely different style of music in
Argentina and Uruguay.[5]
105
106
CHAPTER 19. HISTORY OF THE TANGO
19.2 Origin of the dance
The dance derives from the Cuban habanera, the Argentine milonga and candombe, and is said to contain elements
from the African community in Buenos Aires, influenced both by ancient African rhythms and the music from Europe.
Even though the present forms developed in Argentina from the mid 19th century, there are earlier written records
of Tango dances in Cuba and Spain,[6][7] while there is a flamenco Tangos dance that may share a common ancestor
in a minuet-style European dance.[5] All sources stress the influence of the African communities and their rhythms,
while the instruments and techniques brought in by European immigrants played a major role in its final definition,
relating it to the Salon music styles to which Tango would contribute back at a later stage, when it became fashionable
in early 20th century Paris.
In Argentina, the word Tango seems to have first been used in the 1890s. In 1902 the Teatro Opera started to include
tango in their balls.[8] Initially tango was just one of the many available local dances, but it soon became popular
throughout society, as theatres and street barrel organs spread it from the suburbs to the working-class slums, which
were packed with hundreds of thousands of European immigrants. The development of the Tango had influences
from the cultures of several peoples that came together in these melting pots of ethnicities. For this reason Tango is
often referred to as the music of the immigrants to Argentina.[5]
During the period 1903–1910 over a third of the 1,000 gramophone records released were of tango music, and tango
sheet music sold in large quantities.[8] In 1910 the bandoneon was introduced to Buenos Aires from Germany and
it became linked inextricably with tango music from then on. In 1912, Juan “Pacho” Maglio was very popular with
his recorded tangos featuring the bandoneon accompanied by flute, violin and guitar. Between 1910 and 1920, tango
featured on 2,500 of the 5,500 records released.[8]
Men in Buenos Aires dance and play tango (ca. 1900)
By 1912, dancers and musicians from Buenos Aires travelled to Europe and the first European tango craze took
place in Paris, soon followed by London, Berlin, and other capitals. Towards the end of 1913 it hit New York in the
USA, and Finland. These exported versions of Tango were modified to have less body contact (“Ballroom Tango”);
however, the dance was still thought shocking by many, as had earlier been the case with dances such as the Waltz. In
1922 guidelines were first set for the “English” (international) style of ballroom tango, but it lost popularity in Europe
to new dances including the Foxtrot and Samba, and as dancing as a whole declined due to the growth of cinema.
As the dance form became wildly popular with upper and middle classes around the world, Argentine high society
adopted the previously low-class dance form as their own. In 1913, tango began to move from the dark side of town
to elegant dance palaces. In 1916, Roberto Firpo, an extremely successful bandleader of the period, cemented the
arrangements for standard tango sextet: two bandoneons, two violins, piano and double bass. Firpo heard a march by
Uruguayan Gerardo Matos Rodríguez and adapted it for tango, creating the popular and iconic La Cumparsita.[9]
In 1917, folk singer Carlos Gardel recorded his first tango song Mi Noche Triste, forever associating tango with the
feeling of tragic love as revealed in the lyric.
Classically trained musicians weren't associated with tango music until Julio De Caro, violinist, formed an orchestra
in 1920 and made the tango more elegant, complex and refined, as well as slowing the tempo somewhat. With Pedro
19.3. SEE ALSO
107
Laurenz on bandoneon, De Caro’s orchestra was famous for over a decade.[9]
In Argentina, the onset in 1929 of the Great Depression and restrictions introduced after the overthrow of the Hipólito
Yrigoyen government in 1930 caused Tango to decline. Its fortunes were reversed as tango became widely fashionable
and a matter of national pride under the government of Juan Perón. Tango declined again in the 1950s with economic
recession and the banning of public gatherings by the military dictatorships. It should be noted that male-only Tango
dancers used to practice among themselves for up to 3 years prior to their debut (going to a public Milonga (place)[10] ),
and that practice fell under the prohibition of public gatherings. One of the results was that rock and roll became
more popular because it did not require males’ gatherings.
The dance lived on in smaller venues until its revival in the 1980s following the opening in Paris of the show Tango
Argentino, The Broadway musical Forever Tango, and in Europe Tango Pasión.
19.3 See also
• Tango
19.4 References
[1] Termine, Laura (30 September 2009). “Argentina, Uruguay bury hatchet to snatch tango honor”. Buenos Aires. Retrieved
2 April 2010.
[2] Slavery and Beyond: The African Impact on Latin America and the Caribbean page122 ISBN 0-8420-2485-9
[3] online etymolgy
[4] Gabriela Nouzeilles, Graciela R. Montaldo. The Argentina Reader: History, Culture, Politics. pp. 197–198. ISBN 0-82232914-X.
[5] Denniston, Christine. Couple Dancing and the Beginning of Tango 2003
[6] Esteban Pichardo, Diccionario Provincial de Voces Cubanas (Matanzas, Imprenta de la Real Marina, 1836, Pg. 242)
[7] José Luis Ortiz Nuevo El origen del tango americano Madrid and La Habana 1849
[8] Reflections about the origins of tango, Ricardo García Blaya
[9] Denniston, Christine. A Brief Introduction to the History of Tango Music
[10] Denniston, Christine. “The History of Tango Dance”. Self. Retrieved 7 May 2012.
Chapter 20
Milonga (dance)
Milonga dance is dancing to milonga music.
Milonga dance incorporates the same basic elements as Tango but permits a greater relaxation of legs and body.
Movement is normally faster, and pauses are less common. It is usually a kind of rhythmic walking without complicated figures, with a more humorous and rustic style in contrast with the serious and dramatic Tango.
There are different styles of Milonga: “Milonga Lisa” (Simple Milonga), in which the dancer steps on every beat of
the music; and “Milonga con Traspié", in which the dancer uses Traspiés or contrapasos (changes of weight from one
foot to the other and back again in double time or three steps in two beats) to interpret the music. Thus, dynamics
may be danced without having to run fast or without the use of much space.
In a book published in 1883 Ventura Lynch, a noted contemporary student of the dances and folklore of Buenos
Aires Province, noted the influence the Afro-Argentine dancers had on the compadritos, who apparently frequented
the Afro-Argentine dance venues, “the milonga is danced only by the compadritos of the city, who have created it as
a mockery of the dances the blacks hold in their own places”.[1]
Ventura also noted the popularity of the milonga. “The milonga is so universal in the environs of the city that it is an
obligatory piece at all the lower-class dances (bailecitos de medio pelo), and it is now heard on guitars, on paper-combs,
and from the itinerant musicians with their flutes, harps and violins. It has also been taken up by the organ-grinders,
who have arranged it so as to sound like the habanera dance. It is danced too in the low life clubs around...[main]
markets, and also at the dances and wakes of cart-drivers, the soldiery and compadres and compadritos.[1]
Distinctive elements added from candombe were “quebradas”, improvised, jerky, semi-athletic contortions, the more
dramatic the better, and cortes, a suggestive pause, or sudden break in the figures of the dance. Unlike in the then
“Tango” of that group, however, where these movements were danced apart, they were now danced together.[2] Jose
Gobello suggested that the mazurka was also altered in the districts close to the docks. This Africanized milongatango, as well as the habanera and mazurka, was frowned upon, and found wholly unacceptable by some sections of
Argentine high society.[1]
20.1 References
[1] Collier, 1995, pp. 44–45.
Citing Ventura Lynch, La provinciade Buenos Aires hasta la definicion de la cuestion Capital de la Republica, page 16.
[2] Collier, 1995, pp. 46–47.
108
Chapter 21
Figures of Argentine tango
Figures of Argentine tango are elements of Argentine tango.
21.1 Introduction and terminology
21.1.1
History
On the basis of several instructional tango books published between 1911–1925 [1][2] early tango figures can be
grouped into eight categories: corte, paseo, la marcha, ocho, grapevine, ruedas, media luna, molinette.[3] From that
period we still have: ocho, sentada, media luna, molinete, sandwich.[4]
In 2010 there exists as many as 200 instructional DVDs discussing elements of Argentine tango dance.[5] These
include titles devoted to tango technique and basics [6] [7] tango nuevo [8] [9] [10] [11] milonguero style (also known by
estilo del centro in Buenos Aires) [12] [13] [14] and various elements of the dance such as giros. [15] There are many
guides and dictionaries to tango terminology on the internet. [16] Tango terminology is described in several books.
[17] [18] [19] [20] [21] [22]
21.1.2
Terminology
Alternative names are provided in (braces) but usage of tango related names varies: for example entrada and sacada or
voleo and boleo may be used to describe the same steps. The names used here follow many sources including English
instructional DVDs (such as Christy Coté and George Garcia DVDs published by Dancevision),[23] Argentine DVDs
which often have English subtitles, internet resources, and published books and glossaries.
21.2 Basic concepts: axis, steps, embrace.
21.2.1
Body position and basic steps
Effective lead and elegant following depends on proper position of feet, hips, and torso of the leader and the follower.
21.2.2
On and off axis
Position-related concepts of Argentine tango are axis and off-axis positions. Body position in which legs are approximately perpendicular to the floor is called 'axis’ and there are two axis positions associated with one of two legs.[7]
Off-axis positions are called apile (apilado, carpa, volcada) or colgada.[8] The center of balance moves outside one’s
body in case of the off-axis moves.
109
110
CHAPTER 21. FIGURES OF ARGENTINE TANGO
21.3 Embrace and styles
Argentine tango dancing consists of a variety of styles that developed in different regions and eras and in response to
the crowding of the venue and even the fashions in clothing. It is danced in an embrace that can vary from very open,
in which the dancers connect at arms length, to very closed, in which the connection is chest-to-chest, or anywhere in
between. Styles of dance are not predefined by the embrace itself and many figures of tango salon style are danced in
an open embrace, it is also possible to dance tango nuevo in close V-shape embrace. The milonguero (apilado) style
is an exception; its close embrace without V-shape and emphasis on maintaining this embrace throughout the dance
predetermines range of possible movements and their shape.
21.3.1
Dance embraces
21.3.2
Practice embraces
Embrace hold used during tango practice. One example is when both partners hold hands, the follower holds the
leader’s shoulders, and variants.
21.4 Walk and salidas
21.4.1
Walking systems
Walking in a cross system is defined as the couple stepping simultaneously with their two right legs and stepping
simultaneously with their two left legs. Walking in a parallel system is defined as the couple stepping simultaneously
with the leader’s right and follower’s left leg, and then with the leader’s left and the follower’s right leg. When dancers
are facing each other, the cross system results in an anti-mirror effect. For this reason, in ballroom tango cross system
is never used unless both dancers are facing the same direction. Argentine tango, however, makes extensive use of the
cross system with dancers facing each other. In Argentine tango, the leader can change his weight from one foot to
another while the follower’s weight remains unchanged; this is the simplest method of changing from parallel system
to cross system or vice versa. By contrast in ballroom tango, a weight change by one partner leads to an automatic
weight change by the other.
The cross system and parallel system walk nomenclature originated with the Naveira/Salas “Investigation Group.”
Early on, they used 'even/uneven' to describe the arrangement of legs in the walk or turn. By the mid-1990s, they
began using 'parallel/crossed' and later 'normal/crossed'. The process of changing from the parallel system to cross
system (or vice versa) by having the leader change weight without the follower changing weight (or vice versa) is
named contrapaso, or “contra-step”. This change can be made off or on the normal beat.
21.4.2
Eight count basic (8CB)
Basic step (paso básico, basico cuadrado y cruzado) is used for education purposes and almost never danced as a
basic step of tango. For this reason it is sometimes called pejoratively academic basic. Nevertheless it contains basic
elements of the dance. Also, it serves a purpose of “establishing notation” to more complex tango elements. Basic
step (eight count basic, 8CB) is composed of back step, side step, cross for the lady (leader steps outside of his partner
with his right leg), forward step, and side step. Basic steps can also be divided into four phases: salida – position
1 and 2 and transition from position 2 to position 3; caminata (position 3 and 4), cross (position 5), and resolution
(positions 6,7,8). There are variants of the basic step.
Baldosa (tile) or cuadrado (square) is a six-step figure similar to the ballroom box step except the man starts with his
right foot, then steps back, side, forward, forward, side, feet together; the baldosa is the basic step of milonga. This
baldosa is similar to eight count basic with the exception of the cross.
Some Argentine tango teachers teach complex figures but break them down into simpler parts. Subsequently they
teach students how to improvise their own figures. Beginner classes may include caminada – combination of caminar
(walk), cross, and ochos. The beginning part of a figure, its starting-point, is called salida (exit or beginning – as in
“beginning of a journey”). The end part of a figure is called resolución. Combination of the salida, a walk, the cross
of the lady and the resolución is called basic step (paso basico, la base, salida simple).
21.5. TECHNIQUE AND EMBELLISHMENTS
111
Thus, an Argentine tango figure is the pattern of salida, combination of elements, and resolución. This makes for flexible, ever-changing patterns. It gives leader an exceptional opportunity to improvise, and in part makes the Argentine
tango unique in the dance world.
21.4.3
Salidas
21.5 Technique and embellishments
21.5.1
Follower’s technique and embellishments
As in many dances most spectators focus on the follower – her elegance, grace, music interpretation as well as technique. Even though these are highly individual attributes there are some accepted ideas of what makes a follower
graceful and beautiful when dancing tango. Such skills include leg projection and weight transfer, stability in movements, elegance in leg placement and leg extension, pivoting, embellishments, as well as expression of emotions.
21.5.2
Leader’s technique
Both partners can contribute to tango improvisations with adornments (sp. adornos, decoration) known also as decorations (sp. decoration). Adornments do not have to be led or marked. Several embellishments are: aguja, amague,
boleo, caricia, cuatro, enroscar, golpecito, lustrada, rulo.
21.5.3
Expressions of emotion
Expression of emotions such as raising hand by a follower and gently lowering it on partner’s shoulder; dancing with
cheeks together.
21.5.4
Variants and shape
It is interesting to note that tango elements come in a variety of shapes determined by, for example, elasticity or
flextion of the execution of movement. Such variants gives a figure a more modern or traditional look, it can be an
expression of the follower’s creativity, or simple adjustment to how crowded is the floor.
Many tango steps are often borrowed from tango shows, but modified for the tight spaces and flow of other dancers
around the floor. Many of these steps are part of tango nuevo. The shape of the steps can vary – for example,
how the follower’s body is curved during the step may change according to her interpretation of the music or the
moment. There are several instructional videos illustrating sequences of tango nuevo such as colgadas and volcadas
with elements of traditional tango.,[8][9][10]
21.6 Figures
21.6.1
Cross and ocho
Large group of classic and elegant tango figures is related to two basic steps: forward cross step and backward cross
step. Their combinations form cruce (cross), ochos (figure eight), as well as giros (turns).
21.6.2
Circular movements
Circular movements are inherent part of tango and have special importance in tango vals.[15] These include
112
21.6.3
CHAPTER 21. FIGURES OF ARGENTINE TANGO
Foot play
Steps related to foot play steps spice up the walk and the dance. These are ways for leaders and followers to challenge
and tease their partners and make dance more playfull. There are different shapes of these moves and their look
depends on how crowded is the venue or the follower’s interpretation of the lead.
21.6.4
Sacada and entrada
21.6.5
Gancho and enganche
21.6.6
Boleos
21.6.7
Colgada and volcada
21.6.8
Everything else
21.6.9
Ending figures
The most typical endings of tango are simple positions, for example “sandwich” or “tango close”. However, in the
popular culture tango endings are often associated with more dramatic figures such as listed below.
21.7 Notes and references
[1] Castle, Vernon and Castle, Irene (1911). Modern Dancing. New York: Harper and Brothers.
[2] Clendenen, F. Leslie (1914). Dance Mad: Or, the Dances of the Day. St. Louis: Arcade.
[3] Baim, Jo (2007). Tango: Creation of a Cultural Icon. Bloomington and Indianapolis: Indiana University Press. ISBN
978-0-253-34885-2.
[4] Castro, Luis and Mendoza, Claudia (2007). Argentinian tango, the dance in depth. Berkeley, CA: General Printing.
[5] Tejastango.com
[6] Paez, Luiza (2005). Follower’s technique by Luiza Paes. Pulpo’s Tango. (head, hands, arms, legs, feet, natural step, pivot,
ochos, turn, cross, boleo, sacada, barrida, contact, enganche, adorments)
[7] Balmaceda, Julio and Rosa, Corina (2005). DVD, Tango secrets and basis, Vol. 1. Julio Balmaceda y Corina de la Rosa
Prodduciones. (el eje, la intención, el caminar, la contraposición, el abrazo, basico cuadrado y cruzado, primer secuencia
caminada, ocho adelante, ocho atrás, combinación del ocho adelante y atrás, medio giro derecha e izquirda)
[8] Rosas, Gustavo and Natoli, Gisela (2007). Curso basico de colgadas y volcadas, Tango, Vol.1, Fusion tango nuevo y
tradicional. Gus Producciones. DVD, in Spanish with English subtitles (colgada en línea, colgada circular, colgada en
apertura, colgada en apertura con cruce atrás, arrastre con colgada, colgada en cruce atrás, colgada en ocho atrás, colgada
en suspensión, ochos atrás bloqueados en volcada, volcada con dibujo círcular de la pierna libre, ocho cortado, secuencias
de colgadas & volcadas).
[9] Rosas, Gustavo and Natoli, Gisela (2008). Curso basico de colgadas y volcadas, Tango, Vol.2, Fusion tango nuevo y
tradicional. Gus Producciones. DVD, in Spanish with English subtitles (sanguchito colgado, sanguchito colgado y gancho,
colgada en apertura, barrida, colgada y gancho, americana, colgada y gancho, boleo, colgada y sacada, colgada en apertura
con cruce, volcada y gancho, volcada líneal y circular).
[10] Rosas, Gustavo and Natoli, Gisela (2010). Tango “Milonguero Nuevo”, Vol. 1., DVD, Tango tradicional con elementos
nuevos. Gus Prodduciones. (step of Gisela, the stop and pasada, soltada in turn to the right, stop and colgada positions,
soltada and back sacada, blockade soltada, linear boleo, linear boleo with enganche, volcadas and colgadas, ela paso básico,
salida simple, salida cruzada (salida of 1940’s), ocho atrás, ocho adelante),
[11] Paez, Luiza and Esbrez, Norberto (“Pulpo”). Pulpo’s tango en La Patriótica. (trap sacadas, wrap sacadas, drags, basic
ganchos, 3 ganchos, 4 ganchos, gancho boleo, carried gancho, enganches)
21.7. NOTES AND REFERENCES
113
[12] Gavito, Carlos and Duran, Marcela (2000). Un tal Gavito (Someone called Gavito), Classes de tango, DVD and tape, Vol.
1. MusicMedia Productions. (salida in two steps, salida or basic step, cadence with woman’s sweep, walking on the edge
of the roof, the corkscrew, walk with sacada and boleo (role of the knee), walking on both sides of the woman, cadence
with turn, “fan” with barrida sacada and boleo, enrosque with walk).
[13] Gavito, Carlos and Duran, Marcela (2000). Un tal Gavito (Someone called Gavito), Classes de tango, DVD and tape, Vol.
2. MusicMedia Productions. (tent salida, barrida with backwards sandwich, barrida with forward turn, boleo with traspie,
back sacada, forward cross, natural cross, enrosque, sacada-sacada, escape with boleos).
[14] Gavito, Carlos and Duran, Marcela (2000). Un tal Gavito (Someone called Gavito), Classes de tango, DVD and tape, Vol.
3. MusicMedia Productions. (waiting, beauty and simplicity, veiled glances, subtle expressions, apíle o carpa, syncopated
salida, sandwiches in turn, barrida from position 2, double cross, wheel with sandwich, induced barrida).
[15] Balmaceda, Julio and Rosa, Corina (2005). Tango giros, Vol. 2. DVD. Julio Balmaceda y Corina de la Rosa Prodduciones.
(foundation of the circular movement, structure of the twist, double time in turn, showing medio tempo to the woman,
twists with entradas (difference between sacada and entrada), twist with entrada to the right, twist with entrada to the left,
twist with entrada both ways, exercises for lapiz, turn to the left with lapiz, exercises with the lapiz: woman, turn with
entradas and lapiz to the right, turn with enrosques (twists), twist with entradas and sacadas, twist with entradas and sacada
behind the man, La Bordona)
[16] Tejastango.com
[17] Saba, Benzecry (2010). New glossary of tango dance, key tango Argentino dance terms, prefaces by Juan Carlos Copes and
Carlos Gavito, epilogue Miguel Angel Zotto. Abrazos. ISBN 978-987-24481-8-9.
[18] Saba, Gustawo Benzecry (2007). Embracing tango, techniques and metaphors between tango and life. Abrazos. ISBN
978-3-939871-03-3.
[19] Denniston, C. (2007). The meaning of tango; the story of the Argentinian dance. Portico. ISBN 978-1-906032-16-6.
[20] Turner, David (2004). A passion for tango. Dingley Press. ISBN 0-9547083-1-8.
[21] Paz, Alberto and Hart, Valorie. Gotta tango. Human Kinetics. ISBN 978-0-7360-5630-4.
[22] Gift, Virginia (2008). Tango: A history of obsession. ISBN 1-4392-1462-X. includes chapter “New Tango” by Gustavo
Naveira
[23] Dancevision.com
Chapter 22
Milonguero
This article is about a term for a tango dancer. For the close-embrace tango dance style, see Milonguero style.
A milonguero is a person who spends time dancing social tango. The word comes from milonga, an Argentine word
meaning tango dance hall or tango dance event.
The term was used from the 1870s to mark a man who spent much of his time dancing tango of any style.[1] Since the
early 20th century the term referred to a man immersed in the tango culture specific to Buenos Aires. A milonguero
frequented dance halls, dancing to the music of tango, milonga and waltz. Such a man was “raised and groomed on
tango” and his “reverence for the dance and its traditions” strongly influenced the way he danced. The term milonguero
was used by others to distinguish a skilled and courteous dancer, not a term for oneself.[2] After the 1955 coup ousted
Juan Perón in Argentina, the tango was repressed, a sort of “dark age” for tango dancing, ending in 1983.[3]
Until the beginning of the 1980s milonguero also had a strong negative connotation, signaling a womanizer who
typically had no job.[4] Such womanizers would typically visit downtown milongas and cafes where anonymity was
more prevalent than in the clubs of the barrios; the crowded circumstances and the greater intimacy allowed by the
greater anonymity fostered a close-embrace style dancing, which was the motivation of Susana Miller to use the term
milonguero to denote the close embrace style dancing prevalent in downtown milongas.[4][5]
The term milonguero changed to mean one who had been a frequent dancer during tango’s Golden Age of the 1930s
and '40s[6] and it also lost its negative connotations. Due to the loss of the negative connotations there are more
dancers who would nowadays be considered milongueros - such as many respected and skillful salon style dancers of
the barrios - and hence the identification of the dance of milongueros with milonguero-style tango is no longer apt.[5]
Though there are many individual differences between men, milongueros generally dress conservatively, wearing a
sport coat or suit, dress shirt and often a tie. They do not attempt to converse with their partner during a song. They
are keenly aware of others on the dance floor and they maintain the “line of dance”, a stately progression of all the
couples moving counter-clockwise around the dance floor. The milonguero does not bump into or kick other dancers;
he employs mostly circular movements to keep an inward focus for himself and his partner, and to allow for small
adornments made with the foot. Above all, he interprets the mood of the music with his dancing.[2] He cherishes
each musical pause as it comes, and he executes movements that coincide with musical phrases.[7]
The milonguero generally selects skillful partners to maintain his reputation. He makes certain to lead his partner
into movements that will show her in the best light; he does not show off his own skill to the detriment of his partner.
He knows that if he makes the woman look good dancing then he looks good dancing.[2]
He dances to songs from his favorite artists, sitting out the others. Many milongueros prefer music of the Golden
Age, especially the marked rhythmic music of Juan D'Arienzo, the older rhythmic pulses of Francisco Lomuto, or
the sweeping orchestrations of Carlos di Sarli. Many milongueros will not dance to a song sung by a female vocalist
or—out of great respect—a song sung by Carlos Gardel. Some take this preference further and will not dance to any
song containing lyrics. Modern tangos such as those by Astor Piazzolla are generally avoided; the transitional later
tangos of Osvaldo Pugliese, with their emphasis on tempo changes, are shunned by many but particularly favored by
others.[2] Recordings produced before 1983 are preferred.[8] Popular tango tunes from the Golden Age never fade
for the milonguero: veteran dancer José “Poroto” Oviedo told his friends to “play di Sarli at my wake”, a request that
was honored at his death in April 2000, the romantic di Sarli song “Bahía Blanca” chosen for the occasion.[9]
In modern times, the feminine form milonguera has been used to refer to a woman who is an avid tango dancer, one
who goes out dancing as much as possible.[10] Other similar terms are tanguero for a man and tanguera for a woman.
114
22.1. REFERENCES
115
Veteran tango dancers
22.1 References
[1] Klein, Gabriele (2009). Tango in Translation: Tanz zwischen Medien, Kulturen, Kunst und Politik. Tanz Scripte 19. transcript Verlag. pp. 62–63. ISBN 383761204X.
[2] Romero, Migdalia (2010). Tango Lover’s Guide to Buenos Aires: Insights and Recommendations. iUniverse. pp. 78–82.
ISBN 1440166757.
116
CHAPTER 22. MILONGUERO
[3] Denniston, Christine (2003). “The Dark Age of Tango”. History of Tango. history-of-tango.com. Retrieved May 6, 2012.
[4] “Practimilonguero interview with Oscar “Cacho” Dante, dance partner and teacher of Susana Miller”. Retrieved Oct 31,
2012.
[5] “Tango Estilo del Centro (Tango Downtown Style): Reclaiming the Term as a Replacement for Tango Milonguero - discussion”. Retrieved Oct 31, 2012.
[6] Denniston, Christine (2003). “The Tango Renaissance”. History of Tango. history-of-tango.com. Retrieved May 6, 2012.
[7] Klein 2009, p. 67.
[8] Albrecht, Madlen (2009). Le développement du Tango à partir de 1983: Un travail sur le changement du Tango de 1983
jusqu'à aujourd'hui (in French). GRIN Verlag. pp. 6–7. ISBN 3640390946.
[9] Thompson, Robert Farris (2006). Tango: The Art History of Love. Random House Digital. p. 189. ISBN 1400095794.
[10] Washabaugh, William (1998). The Passion of Music and Dance: Body, Gender and Sexuality. Berg. pp. 97–98. ISBN
1859739091.
22.2. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
117
22.2 Text and image sources, contributors, and licenses
22.2.1
Text
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Nv8200pa, Topbanana, Dekay, AlexPlank, Robbot, Altenmann, Romanm, Bkell, Bkaindl, Lyellin, Wile E. Heresiarch, Taion, HangingCurve, Zigger, Gzornenplatz, Jaan513, Gyrofrog, Chowbok, Gadfium, Pgan002, Alexf, Abu badali, Jossi, Vina, Karl-Henner, Wyllium, Grstain, Mindspillage, Discospinster, Guanabot, Supercoop, ThomasK, Mani1, ESkog, Elwikipedista~enwiki, Aranel, CanisRufus,
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XLinkBot, Spitfire, Freshbakedpie, Tangobohemia, Spamned, Realors, Addbot, Jojhutton, Raywil, Mootros, Ronhjones, K.abichandani,
Jncraton, Lilsweetheart10, Cst17, Cambalachero, Manuelgarber, Pguild, Tomek0216, Favonian, Wizmaster, Tide rolls, Lightbot, Sugarbutty, Micaela19~enwiki, Luckas-bot, Yobot, II MusLiM HyBRiD II, Minvogt, Danctango, KamikazeBot, Kgdom, Ciphers, Jim1138,
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Onlyt tooth, Jkforde, Tim1357, Pcirrus2, Mono, Fox Wilson, Vrenator, Kolobochek, Kenny Gill, TangoCapital, Diannaa, Reach Out to
the Truth, Sideways713, DARTH SIDIOUS 2, Mean as custard, IANVS, Jmanubaroni, Oguz5561, EmausBot, Dewritech, NauNicole,
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Moon Lord, MadGuy7023, Dexbot, Nosaj2011, Maggots28, De234, ChemTerm, Epicgenius, Acetotyce, Roxyuru, DavidLeighEllis,
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118
CHAPTER 22. MILONGUERO
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ChaChaFut, Michael David, Ser Amantio di Nicolao, CPMcE, IronGargoyle, Acertijo, Stwalkerster, Kripkenstein, Impy4ever, Dockingman, Joseph Solis in Australia, Lcardozo, Fma12, CmdrObot, Drinibot, Scheridon, THF, ShelfSkewed, Equendil, Cydebot, Steel,
Kiske, DumbBOT, Thijs!bot, Barticus88, Ravenclaw~enwiki, CharlotteWebb, Escarbot, Ejansson, Dr. Blofeld, Tjmayerinsf, Xocoyote, Rvitti, Wesborland, Jmm53087, Góngora, Brusegadi, Andres68, Kraxler, Nazroon, Alsee, Shack, Beaire, Johnpacklambert, A
Nobody, STBotD, LibrarianKathy, Roberto Fiadone, Dnfenner, VolkovBot, WOSlinker, Philip Trueman, TXiKiBoT, Magiko, Rexdwyer, Steve Fishboy, NicoBolso, Billinghurst, Toda6515, HistoriaPR, Moebiusuibeom-en, Calliopejen1, Anklefear, Mixi10, Pteronura
brasiliensis, Manchego1944, Aspects, BenoniBot~enwiki, Rosiestep, Anchor Link Bot, Mr. Stradivarius, Denisarona, Explicit, Julian505,
Hoplon, ClueBot, Binksternet, Fadesga, Drmies, Joao Xavier, Magiciandude, Kenya C, Alexbot, Frozen4322, Mistercantsin, 1ForTheMoney, Lord Cornwallis, Tjako, DumZiBoT, Krezyle, Silviarg74, XLinkBot, Bilsonius, Alimgazy, PhoenixMourning, Good Olfactory,
Shoemaker’s Holiday, Addbot, Hahc21, Rahomasharo, MartinezMD, Moosehadley, Cambalachero, Doppler13, Chzz, Donfulgencio,
Deathtanz, Rye22, Lightbot, Zorrobot, Gvnn, Luckas-bot, Yobot, Themfromspace, Againme, AnomieBOT, Glenfarclas, Clarakoser,
4twenty42o, GrouchoBot, Nekko09, LucienBOT, Auntclara2009, Jukka Tarvonen, Igna, I dream of horses, Skyerise, Mercy11, Callanecc,
Aldomaz, Woorijip, Tbhotch, TjBot, EmausBot, John of Reading, Jorge c2010, Rodrigo uy, Cobaltcigs, FiOmega, SporkBot, Captain Assassin!, Elena Torres, Jonasprimero, Cmazzoni87, Santiis09, Mjbmrbot, ClueBot NG, CactusBot, Elebefa, Theopolisme, Julián
Barsky, Arcano.Carbonero, HMSSolent, Charrua3642, Lowercase sigmabot, HerFariasP, Gervasio4, AvocatoBot, Argos3, Mark Arsten,
Toccata quarta, Cyberbot II, Junn-junnNPR, Gustavo33or, Delotrooladoo, Marcelo O. Martínez, Lugia2453, VIAFbot, Zorzaluruguay,
Leodelacruz, Roxyuru, Zerabat, Jr8825, NickDimou, Ginsuloft, Jhon estrada, OccultZone, Acortes1776, Linben9, Todotangoweb, Sebamateo, Librosdediamante, KasparBot, Federicooliv, Quz Delamo and Anonymous: 344
• Aníbal Troilo Source: http://en.wikipedia.org/wiki/An%C3%ADbal_Troilo?oldid=660715300 Contributors: William Avery, TUF-KAT,
Darkwind, Habj, Steinsky, RedWolf, Alexf, Rosarino, Mark Zinthefer, Rich Farmbrough, Bobo192, Acjelen, Marianocecowski, GregorB, Wahoofive, Lockley, YurikBot, BOT-Superzerocool, SmackBot, Unyoyega, Freek Verkerk, Ser Amantio di Nicolao, Rigadoun,
GNB, King of the North East, Shimofusa Dainagon, Waacstats, Creasy, Dnfenner, Rei-bot, BotMultichill, Sfan00 IMG, Alexbot, Ad-
22.2. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
119
dbot, JBsupreme, Lightbot, Zorrobot, Arapova, Luckas-bot, BlopaGotan, Sherlock4000, Triquetra, Againme, GrouchoBot, Andres arg,
RjwilmsiBot, Jack Greenmaven, VIAFbot, Monybo, Apollinaire93, Grammar OCD, KasparBot and Anonymous: 4
• Carlos di Sarli Source: http://en.wikipedia.org/wiki/Carlos_di_Sarli?oldid=664184605 Contributors: TUF-KAT, Owen, RedWolf, Texture, Ferdinand Pienaar, Joyous!, Bletch, Acjelen, Marianocecowski, MIT Trekkie, Rjwilmsi, YurikBot, Wavelength, BOT-Superzerocool,
Pegship, J. Van Meter, Bluebot, Colonies Chris, TechPurism, Ser Amantio di Nicolao, RyJones, GNB, King of the North East, Usgnus,
Cydebot, .anacondabot, VoABot II, RedTailedHawk, Waacstats, LordAnubisBOT, Pstefani, Optimisteo, Binksternet, DumZiBoT, Héctor
Guido Calvo, Addbot, Dawynn, Hubschrauber729, SpBot, Juqipedia, Sherlock4000, Materialscientist, RjwilmsiBot, SD5bot, Triomio,
VIAFbot, ChemTerm, John B. Sullivan, KasparBot and Anonymous: 13
• Rodolfo Biagi Source: http://en.wikipedia.org/wiki/Rodolfo_Biagi?oldid=660698070 Contributors: TUF-KAT, Tobias Conradi, Bobo192,
Marianocecowski, RussBot, Gaius Cornelius, Colonies Chris, GNB, King of the North East, Waacstats, Dnfenner, Monegasque, Binksternet, Héctor Guido Calvo, RogDel, MystBot, Addbot, Lightbot, Yangxiao111, Full-date unlinking bot, RjwilmsiBot, Triomio, VIAFbot,
ChemTerm, John B. Sullivan, KasparBot and Anonymous: 3
• Juan d'Arienzo Source: http://en.wikipedia.org/wiki/Juan_d'Arienzo?oldid=660715313 Contributors: Deb, TUF-KAT, Rl, Owen, Pigsonthewing, JillandJack, Alexf, D6, Marianocecowski, Stemonitis, YurikBot, RobotE, Gaudio, KnightRider~enwiki, Chris the speller,
Whpq, Ser Amantio di Nicolao, GNB, King of the North East, Dr. Blofeld, Chrisjj3, Waacstats, R'n'B, CommonsDelinker, VolkovBot,
AlleborgoBot, SieBot, Binksternet, Icarusgeek, Alexbot, DumZiBoT, RogDel, Addbot, Dawynn, Lightbot, Marc87, Ptbotgourou, Jackie,
Juqipedia, Againme, Xqbot, Marcelo holot, Full-date unlinking bot, RjwilmsiBot, WikitanvirBot, ZéroBot, John Cline, AdventurousSquirrel, CSJJ104, Fylbecatulous, BattyBot, Mogism, Triomio, VIAFbot, Plotkyn, John B. Sullivan, KasparBot and Anonymous: 12
• Mariano Mores Source: http://en.wikipedia.org/wiki/Mariano_Mores?oldid=663194860 Contributors: William Avery, FlaBot, Happymelon, CmdrObot, Cydebot, Scanlan, Waacstats, Ggha~enwiki, CommonsDelinker, Fowl2, VolkovBot, Bluelilis, Alexbot, Addbot,
Dawynn, Cambalachero, Lightbot, Yobot, Sherlock4000, Eliasemanuelbrandanfranco~enwiki, LucienBOT, RjwilmsiBot, ZéroBot, Fcarcena01,
Pokbot, Jonan2, HarDan, Triomio, ChemTerm, KasparBot and Anonymous: 9
• Osvaldo Pugliese Source: http://en.wikipedia.org/wiki/Osvaldo_Pugliese?oldid=660715320 Contributors: TUF-KAT, Owen, Dekay,
RedWolf, Everyking, Alexf, D6, Bender235, Marianocecowski, Mtiedemann, BD2412, Rjwilmsi, FlaBot, YurikBot, Mxcatania, Unyoyega, Chris the speller, Jwillbur, Freek Verkerk, Ser Amantio di Nicolao, GNB, Lemoncake123, Joseph Solis in Australia, King of the
North East, Cydebot, Thijs!bot, Storkk, DagosNavy, Rothorpe, Waacstats, Reedy Bot, VolkovBot, TXiKiBoT, Tangogrrl, Kumioko (renamed), Sfan00 IMG, Muro Bot, Leofric1, Addbot, Dawynn, Hubschrauber729, Legobot, Yobot, Againme, Xqbot, RjwilmsiBot, TjBot,
SporkBot, CactusBot, Movses-bot, VIAFbot, KasparBot and Anonymous: 12
• Astor Piazzolla Source: http://en.wikipedia.org/wiki/Astor_Piazzolla?oldid=663018225 Contributors: Derek Ross, Youssefsan, 0, Deb,
Camembert, AntonioMartin, Александър, Tobias Conradi, Bemoeial, Viajero, Hyacinth, Secretlondon, Robbot, RedWolf, Donreed,
Jmabel, Naddy, Wikibot, JackofOz, Varlaam, Mboverload, Ferdinand Pienaar, Gadfium, SarekOfVulcan, Antandrus, ClockworkLunch,
Karol Langner, Rdsmith4, Cornischong, Rosarino, Chepry, D6, Discospinster, Guanabot, Spundun, Murtasa, Bender235, CanisRufus, El C, Matve, Miscreant, Thedarkestclear, AppleJuggler, Alansohn, Elpincha, Thebeginning, Monk127, Ksnow, Marianocecowski,
Dirac1933, Mcsee, TomTheHand, MartyHeyman, Jeff3000, Stefanomione, Graham87, Rachel1, BD2412, Wikix, Shauri, Koavf, Erebus555, Missmarple, Firebreeze, FlaBot, Introvert, Melodia, YurikBot, Al Silonov, Evillan, Maierhoefer, NawlinWiki, Veledan, Badagnani, Kylegann, Rronalds, S. Neuman, Daniel C, Paul Magnussen, Apples and oranges, Nick Watts, Ninly, VodkaJazz, GrinBot~enwiki,
SmackBot, SaxTeacher, Jacek Kendysz, KocjoBot~enwiki, Eskimbot, Chris the speller, MalafayaBot, Agustobulo~enwiki, Colonies Chris,
Chlewbot, Ohconfucius, Ser Amantio di Nicolao, Gobonobo, Lvazquez, Kripkenstein, Pejman47, Missionary, Joseph Solis in Australia,
Twas Now, Joanberenguer, J Milburn, Makearney, Líffæri, Rcharding, Ken Gallager, Cydebot, Justus Nussbaum, Hebrides, Thijs!bot,
Dimmy melb, David from Downunder, Shimofusa Dainagon, Wmlunatic~enwiki, EdJohnston, Alexkrilow, DudleyDoWrite, Dr. Blofeld,
Piotr (Venezuela), AndreasWittenstein, DagosNavy, MegX, Rothorpe, .anacondabot, Pablosalvador, Magioladitis, VoABot II, NIKOLAI RYSKOV, Cedric Diggory, Lperyer, Timribchester, Vokoder, Chrisrick, Alsee, Hlnodovic, Numbo3, Btouburg, LordAnubisBOT,
Victuallers, Rar81, Angus, Idioma-bot, Dnfenner, VolkovBot, Iwavns, TXiKiBoT, JPense, Steve Fishboy, AlleborgoBot, SieBot, Gerakibot, DanBLOO, Byrialbot, Bowsbows, Lightmouse, Ken123BOT, Sfan00 IMG, Fadesga, Drmies, TheOldJacobite, Trivialist, Astorpia, Alexbot, BobH2O, Sun Creator, SchreiberBike, Muro Bot, Djtrifun, Deerlike, Gerard Samuel, Duckinatree, SilvonenBot, Addbot, Chosco, LinkFA-Bot, Sweetwendelina, Tide rolls, Luckas-bot, Yobot, Kseon, Pablo323, Againme, Discanto, AnomieBOT, Hautboist, Xqbot, Gus2710, Gforce1948, GrouchoBot, Mi-parti, SassoBot, FrescoBot, Artoffuge, Mishae, RjwilmsiBot, EmausBot, Belestin,
Nu.Jazz, Freerise, Chiorbone da Frittole, ZéroBot, CoolJazz5, Staszek Lem, CactusBot, Anzaanza, Frafus78, Engranaje, Ymblanter,
H.crrr23, Yerevantsi, ArgentineNebur, Khazar2, Dexbot, Mogism, Desafinado68, TDKR Chicago 101, Bruski D., Nicholasjoelbannister,
MilliVanilli2012, Epicgenius, NickDimou, Synthwave.94, Theog11, Ginesfanego, Lorenzo1913, Tressargentos, Vickyplebs, KasparBot
and Anonymous: 135
• Dino Saluzzi Source: http://en.wikipedia.org/wiki/Dino_Saluzzi?oldid=663827469 Contributors: Tobias Conradi, D6, Bender235, Yonkie,
Elpincha, Nereocystis, Marianocecowski, Firien, FlaBot, Joonasl, AllyD, Maierhoefer, Cinabrium, SmackBot, Bananenschnecke, Tapered, E-Kartoffel, Violncello, Writie, JoeBot, King of the North East, Cydebot, Justus Nussbaum, Thijs!bot, Robina Fox, Magioladitis,
Waacstats, Mind meal, TXiKiBoT, DISEman, Mateway, Jax 0677, XLinkBot, Addbot, Lightbot, Marc87, DerechoReguerraz, Mikkelanjelo, RjwilmsiBot, ZéroBot, Knuand, VIAFbot, Filedelinkerbot, KasparBot and Anonymous: 16
• Rodolfo Mederos Source: http://en.wikipedia.org/wiki/Rodolfo_Mederos?oldid=660180569 Contributors: Topbanana, Thedarkestclear,
Tabletop, FlaBot, Mxcatania, SmackBot, Bluebot, Monni95, Iridescent, ChrisCork, CmdrObot, King of the North East, Synergy, Lufemed,
Waacstats, The dugout, Jevansen, S, Dnfenner, TXiKiBoT, Addbot, Sonnygentry, DerechoReguerraz, RjwilmsiBot, Matt Chase, VIAFbot, KasparBot and Anonymous: 6
• List of tango music labels Source: http://en.wikipedia.org/wiki/List_of_tango_music_labels?oldid=378747028 Contributors: Tobias
Conradi, Xezbeth, Marianocecowski, Teklund, Gcmarino, Bluebot, John254, Tomasf, AntiVandalBot, Tavix, Gnome de plume, Marinahanu and Anonymous: 3
• La cumparsita Source: http://en.wikipedia.org/wiki/La_cumparsita?oldid=660327738 Contributors: Isomorphic, Rednblu, Ed g2s, Fak119,
Alexf, Mrrhum, Grstain, Ericamick, Bender235, Marianocecowski, Zntrip, Alan Canon, SMC, Latka, Tedder, Gaius Cornelius, Mxcatania, SmackBot, Chris the speller, Freek Verkerk, Obina, Shlomke, Sharcho, GNB, Pduggan, MarcosFenn, NaBUru38, Fixmanius,
Cydebot, DumbBOT, Thijs!bot, N5iln, Rees11, Saxophobia, MER-C, Magioladitis, ZPM, Hoverfish, LordAnubisBOT, McSly, GS3,
GrahamHardy, Dnfenner, VolkovBot, Harfarhs, NicoBolso, Kmhkmh, Pruxo, Canislupusarctos, Marsilalv, Sfan00 IMG, Binksternet,
PipepBot, Wikievil666, Fadesga, Izmir2, Vini 175, BenjaminTeague123456, DumZiBoT, Mbakkel2, Prosperosity, Mickey2008w, Addbot, LaaknorBot, Triquetra, Eumolpo, Xqbot, Seattlecinnamongirl, Jukka Tarvonen, Maher27777, Skyerise, White Shadows, J36miles,
120
CHAPTER 22. MILONGUERO
EmausBot, Ὁ οἶστρος, Edipo yocasta, El rrienseolava, Fixertool, Negromacondo, Helpful Pixie Bot, SSalines, Theworldgymnast1,
Xenxax and Anonymous: 39
• Contradanza Source: http://en.wikipedia.org/wiki/Contradanza?oldid=653276717 Contributors: The Epopt, Hyacinth, Taxman, Jph,
Dimadick, Quarl, Ryan Norton, JuJube, Eitch, SmackBot, Ioannes Pragensis, Alaibot, Thijs!bot, CopyToWiktionaryBot, Ricardovacilon,
Rdec, Radziun, Oxymoron83, Niceguyedc, Koumz, Addbot, Neodop, Redheylin, Lightbot, Artcomceo, LazyStarryNights, Thomas W.
Jefferson, Dr clave, Erianna, Vvven, Savvyjack23, EoRdE6 and Anonymous: 6
• History of the tango Source: http://en.wikipedia.org/wiki/History_of_the_tango?oldid=662301375 Contributors: William Avery, Nealmcb,
Altenmann, Taion, Antandrus, Discospinster, Rich Farmbrough, Kwamikagami, Marianocecowski, BDD, Woohookitty, MONGO, Graham87, Paul foord, Gaius Cornelius, Muntuwandi, XGustaX, Tony1, SmackBot, Melchoir, Carl.bunderson, Chris the speller, Mukadderat, Hu12, Cbrown1023, JForget, AndrewHowse, Heroeswithmetaphors, Luna Santin, Tangerines, Pro crast in a tor, MegX, Bongwarrior, VoABot II, S3000, MarshalN20, R'n'B, CommonsDelinker, Robertgreer, KGV, Magiko, Sintaku, Macdonald-ross, Flyer22, Maitland1007, Guchogu, ClueBot, Binksternet, Niceguyedc, Mundtec, DragonBot, Thomaselstedr, Realors, Addbot, Download, Tide rolls,
Gail, MuZemike, Yobot, Ilikebuggers, Ipatrol, Materialscientist, Citation bot, LilHelpa, Capricorn42, Megustalastrufas, Doulos Christos, January, NauNicole, K6ka, Hydriz, Edipo yocasta, El rrienseolava, ClueBot NG, Helpful Pixie Bot, Magazine1212, Zeeyanwiki,
Stanly666 and Anonymous: 58
• Milonga (dance) Source: http://en.wikipedia.org/wiki/Milonga_(dance)?oldid=648094647 Contributors: Bearcat, Stuartyeates, LadyofShalott, Lee.Sailer, Ocdnctx, ClueBot NG, ChemTerm and Anonymous: 3
• Figures of Argentine tango Source: http://en.wikipedia.org/wiki/Figures_of_Argentine_tango?oldid=626630582 Contributors: Kwamikagami, Jaalto, CmdrObot, ShelfSkewed, Chrisjj3, RebelRobot, Binksternet, Fadesga, Addbot, Yobot, FrescoBot, Pcirrus2, Lotje, John of
Reading, GoingBatty, Helpful Pixie Bot, Mogism, ChemTerm and Anonymous: 14
• Milonguero Source: http://en.wikipedia.org/wiki/Milonguero?oldid=627326071 Contributors: Darkwind, RedWolf, Wile E. Heresiarch,
FreplySpang, Avocado, SmackBot, Gcmarino, Sadads, Pflatau, Hu12, Anklefear, KathrynLybarger, Binksternet, Felix Folio Secundus,
Dawynn, MPSShanahan, Headhitter, Safakburak, Erik9bot, Diannaa, BG19bot, ChemTerm and Anonymous: 4
22.2.2
Images
• File:Aa-bandoneon.jpg Source: http://upload.wikimedia.org/wikipedia/commons/e/e8/Aa-bandoneon.jpg License: CC-BY-SA-3.0 Contributors: ? Original artist: ?
• File:Ambox_globe_content.svg Source: http://upload.wikimedia.org/wikipedia/commons/b/bd/Ambox_globe_content.svg License: Public domain Contributors: Own work, using File:Information icon3.svg and File:Earth clip art.svg Original artist: penubag
• File:Ambox_important.svg Source: http://upload.wikimedia.org/wikipedia/commons/b/b4/Ambox_important.svg License: Public domain Contributors: Own work, based off of Image:Ambox scales.svg Original artist: Dsmurat (talk · contribs)
• File:Anibal_Troilo_1971.png Source: http://upload.wikimedia.org/wikipedia/commons/3/3c/Anibal_Troilo_1971.png License: Public
domain Contributors: Libro “Grandes Maestros de la fotografia argentina” Bagó Original artist: Alicia D'Amico
• File:ArgentinianTangoRhythm.jpg Source: http://upload.wikimedia.org/wikipedia/commons/d/d8/ArgentinianTangoRhythm.jpg License: Public domain Contributors: Made in Sibelius 3 Original artist: Viktor S
• File:Astor_Piazzolla_(canal_13,_1963).jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/63/Astor_Piazzolla_%28canal_
13%2C_1963%29.jpg License: Public domain Contributors: Archivo General de la Nación Argentina Original artist: Unknown (registered
by Canal 13 Argentina)
• File:Astor_Piazzolla_e_Gerry_Mulligan_in_studio.jpg Source: http://upload.wikimedia.org/wikipedia/commons/b/ba/Astor_Piazzolla_
e_Gerry_Mulligan_in_studio.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Pino Presti
• File:Audio_a.svg Source: http://upload.wikimedia.org/wikipedia/commons/2/2b/Audio_a.svg License: Public domain Contributors:
• 'A'_(PSF).png Original artist: 'A'_(PSF).png: Pearson Scott Foresman
• File:Ballerina-icon.jpg Source: http://upload.wikimedia.org/wikipedia/commons/3/3a/Ballerina-icon.jpg License: CC-BY-SA-3.0 Contributors:
• Snowdance.jpg Original artist: Snowdance.jpg: Rick Dikeman
• File:Bandoneon-curved.jpg Source: http://upload.wikimedia.org/wikipedia/commons/4/41/Bandoneon-curved.jpg License: CC BYSA 2.5 Contributors: ? Original artist: ?
• File:Bandoneón-142-Flat.svg Source: http://upload.wikimedia.org/wikipedia/commons/5/55/Bandone%C3%B3n-142-Flat.svg License:
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• File:Bandoneón.ogg Source: http://upload.wikimedia.org/wikipedia/commons/a/ab/Bandone%C3%B3n.ogg License: CC BY-SA 3.0
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• File:Basic_habanera_rhythm,_Roberts_1998_50.jpeg Source: http://upload.wikimedia.org/wikipedia/en/5/56/Basic_habanera_rhythm%
2C_Roberts_1998_50.jpeg License: CC-BY-3.0 Contributors:
Own work
Original artist:
Steve_Pastor (talk) (Uploads)
• File:Big_four_Buddy_Bolden.png Source: http://upload.wikimedia.org/wikipedia/commons/c/c8/Big_four_Buddy_Bolden.png License:
CC BY-SA 3.0 Contributors: Own work Original artist: Dr clave (talk)
• File:Buenos_Aires_-_Bandoneon_tango_player_-_7435.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/66/Buenos_
Aires_-_Bandoneon_tango_player_-_7435.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Jorge Royan
• File:Carlos_Gardel_Abasto_Buenos_Aires.jpg Source: http://upload.wikimedia.org/wikipedia/commons/c/c7/Carlos_Gardel_Abasto_
Buenos_Aires.jpg License: CC BY-SA 2.0 Contributors: ? Original artist: ?
22.2. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
121
• File:Carlos_Gardel_Rubias_de_New_York.JPG Source: http://upload.wikimedia.org/wikipedia/commons/7/72/Carlos_Gardel_Rubias_
de_New_York.JPG License: Public domain Contributors: La fotografía en la Historia Argentina, tomo II, ISBN 950-782-644-0, página
264 Original artist: Autor sin identificar. Archivo General de la Nación
• File:Carlos_di_Sarli_1969.jpg Source: http://upload.wikimedia.org/wikipedia/commons/8/82/Carlos_di_Sarli_1969.jpg License: Public domain Contributors: magazine El Alma que Canta, April 1969 Original artist: Unknown
• File:Cinquello_bell_pattern.png Source: http://upload.wikimedia.org/wikipedia/en/6/61/Cinquello_bell_pattern.png License: CC-BYSA-3.0 Contributors:
I (Dr clave (talk)) created this work entirely by myself. Original artist:
Dr clave (talk)
• File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original artist: ?
• File:Comparing_tresillo_and_hemi.tif Source: http://upload.wikimedia.org/wikipedia/commons/9/9b/Comparing_tresillo_and_hemi.
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• File:Conga.svg Source: http://upload.wikimedia.org/wikipedia/commons/3/37/Conga.svg License: CC0 Contributors: Open Clip Art
Library image’s page Original artist: pacofsm
• File:Cortez_bw.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/61/Cortez_bw.jpg License: Public domain Contributors: Modern Dancing Original artist: Mr and Mrs Vernon Castle
• File:D_Arienzo.jpg Source: http://upload.wikimedia.org/wikipedia/commons/4/45/D_Arienzo.jpg License: CC BY 3.0 Contributors:
Own work Original artist: Robertorobot
• File:Demonstratie_van_de_tango_1930.ogv Source: http://upload.wikimedia.org/wikipedia/commons/6/63/Demonstratie_van_de_tango_
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• File:Dino_Saluzzi.jpg Source: http://upload.wikimedia.org/wikipedia/commons/9/9e/Dino_Saluzzi.jpg License: CC BY-SA 2.0 Contributors: Dino Saluzzi Original artist: Sheldon (Shelly) Levy Buffalo, NY, USA
• File:Early-bandonion.jpg Source: http://upload.wikimedia.org/wikipedia/commons/7/7a/Early-bandonion.jpg License: CC-BY-SA3.0 Contributors: ? Original artist: ?
• File:Edit-clear.svg Source: http://upload.wikimedia.org/wikipedia/en/f/f2/Edit-clear.svg License: Public domain Contributors: The
Tango! Desktop Project. Original artist:
The people from the Tango! project. And according to the meta-data in the file, specifically: “Andreas Nilsson, and Jakub Steiner (although
minimally).”
• File:Fileteado_Elvio_Gervasi_Gardel.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/6f/Fileteado_Elvio_Gervasi_
Gardel.jpg License: Public domain Contributors: Own work Original artist: I´m the owner of this work
• File:Fileteado_Gardel_Abasto_Untroib.jpg Source: http://upload.wikimedia.org/wikipedia/commons/b/b8/Fileteado_Gardel_Abasto_
Untroib.jpg License: CC-BY-SA-3.0 Contributors: Taken by the uploader, w:es:Usuario:Roberto Fiadone Original artist: Taken by the
uploader, w:es:Usuario:Roberto Fiadone
• File:Flag_of_Argentina.svg Source: http://upload.wikimedia.org/wikipedia/commons/1/1a/Flag_of_Argentina.svg License: Public domain Contributors: Based on: http://manuelbelgrano.gov.ar/bandera/creacion-de-la-bandera-nacional/ Original artist: (Vector graphics
by Dbenbenn)
• File:Flag_of_Buenos_Aires_City.png Source: http://upload.wikimedia.org/wikipedia/commons/4/4c/Flag_of_Buenos_Aires_City.png
License: Public domain Contributors: own work, and used this image Original artist: Juan de Garay (original), Enrique Peña (historian),
and Ordenanza N° 49,669.
• File:Flag_of_Cuba.svg Source: http://upload.wikimedia.org/wikipedia/commons/b/bd/Flag_of_Cuba.svg License: Public domain Contributors: Drawn by User:Madden Original artist: see below
• File:Flag_of_Uruguay.svg Source: http://upload.wikimedia.org/wikipedia/commons/f/fe/Flag_of_Uruguay.svg License: Public domain
Contributors: design of the sun copied from URL [1], which was copied by Francisco Gregoric, 5 Jul 2004 from URL [2] Original artist:
User:Reisio (original author)
• File:Gardel-Silva-1923.jpg Source: http://upload.wikimedia.org/wikipedia/commons/4/45/Gardel-Silva-1923.jpg License: Public domain Contributors: Archivo Gráfico de la Nación Argentina Original artist: José María Silva (died 2000). Because of Law 9739/art.20
(Uruguay) -photo taken by request- copyright was in head of Carlos Gardel (1890-1935).
• File:Gardel.jpg Source: http://upload.wikimedia.org/wikipedia/commons/d/d2/Gardel.jpg License: Public domain Contributors: Archivo
General de la Nación Original artist: José María Silva (1897-2000) [#cite_note-1 [1]] Because of Law 9739/art.20 (Uruguay) -photo taken by
request- copyright was in head of Carlos Gardel (1890-1935).
• File:Georges_bizet.jpg Source: http://upload.wikimedia.org/wikipedia/commons/9/96/Georges_bizet.jpg License: Public domain Contributors: http://www.metronimo.com/fr/portraits/show.php?start=0&file=bizet3.jpg&album=7 Original artist: Étienne Carjat
• File:Gnome-mime-sound-openclipart.svg Source: http://upload.wikimedia.org/wikipedia/commons/8/87/Gnome-mime-sound-openclipart.
svg License: Public domain Contributors: Own work. Based on File:Gnome-mime-audio-openclipart.svg, which is public domain. Original artist: User:Eubulides
• File:Habanera_(clave).png Source: http://upload.wikimedia.org/wikipedia/en/9/9d/Habanera_%28clave%29.png License: CC-BY-SA3.0 Contributors:
I (Dr clave (talk)) created this work entirely by myself. Original artist:
Dr clave (talk)
• File:Habanera_cut-time.jpg Source: http://upload.wikimedia.org/wikipedia/commons/7/78/Habanera_cut-time.jpg License: CC BYSA 3.0 Contributors: Own work Original artist: Dr clave
122
CHAPTER 22. MILONGUERO
• File:Habaneras.ogg Source: http://upload.wikimedia.org/wikipedia/commons/a/ac/Habaneras.ogg License: Public domain Contributors:
? Original artist: ?
• File:Homer2_tango_al_reves.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/8d/Homer2_tango_al_reves.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_al_reves1.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/8b/Homer2_tango_al_reves1.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_apile.JPG Source: http://upload.wikimedia.org/wikipedia/commons/e/ef/Homer2_tango_apile.JPG License: CC
BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_boleo_high.JPG Source: http://upload.wikimedia.org/wikipedia/commons/7/7c/Homer2_tango_boleo_high.JPG
License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_boleo_low.JPG Source: http://upload.wikimedia.org/wikipedia/commons/0/0b/Homer2_tango_boleo_low.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_boloe_circular.JPG Source: http://upload.wikimedia.org/wikipedia/commons/f/fc/Homer2_tango_boloe_circular.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_cadence1.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/28/Homer2_tango_cadence1.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_cadence2.JPG Source: http://upload.wikimedia.org/wikipedia/commons/e/e9/Homer2_tango_cadence2.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_cheeks_together.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/82/Homer2_tango_cheeks_together.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_colgada_exaggerated.JPG Source: http://upload.wikimedia.org/wikipedia/commons/0/08/Homer2_tango_colgada_
exaggerated.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_colgada_hip_under.JPG Source: http://upload.wikimedia.org/wikipedia/commons/b/b7/Homer2_tango_colgada_
hip_under.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_colgada_straight.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/83/Homer2_tango_colgada_
straight.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_corte1.JPG Source: http://upload.wikimedia.org/wikipedia/commons/c/ce/Homer2_tango_corte1.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_corte2.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/28/Homer2_tango_corte2.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_dissociation.JPG Source: http://upload.wikimedia.org/wikipedia/commons/1/18/Homer2_tango_dissociation.JPG
License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2
• File:Homer2_tango_dissociation2.JPG Source: http://upload.wikimedia.org/wikipedia/commons/b/bb/Homer2_tango_dissociation2.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_empujadita1.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/87/Homer2_tango_empujadita1.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_empujadita2.JPG Source: http://upload.wikimedia.org/wikipedia/commons/7/7a/Homer2_tango_empujadita2.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_enrosque.JPG Source: http://upload.wikimedia.org/wikipedia/commons/e/ee/Homer2_tango_enrosque.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_finale1.JPG Source: http://upload.wikimedia.org/wikipedia/commons/4/4e/Homer2_tango_finale1.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_gancho.JPG Source: http://upload.wikimedia.org/wikipedia/commons/d/d3/Homer2_tango_gancho.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_giro1.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/23/Homer2_tango_giro1.JPG License: CC
BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2
• File:Homer2_tango_giro2.JPG Source: http://upload.wikimedia.org/wikipedia/commons/f/f8/Homer2_tango_giro2.JPG License: CC
BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_giro3.JPG Source: http://upload.wikimedia.org/wikipedia/commons/3/34/Homer2_tango_giro3.JPG License: CC
BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_giro4.JPG Source: http://upload.wikimedia.org/wikipedia/commons/0/00/Homer2_tango_giro4.JPG License: CC
BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_hand_up_down.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/84/Homer2_tango_hand_up_
down.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_jump.JPG Source: http://upload.wikimedia.org/wikipedia/commons/4/44/Homer2_tango_jump.JPG License: CC
BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_kick.JPG Source: http://upload.wikimedia.org/wikipedia/commons/b/bb/Homer2_tango_kick.JPG License: CC
BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_leg_trap1.JPG Source: http://upload.wikimedia.org/wikipedia/commons/6/6d/Homer2_tango_leg_trap1.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_leg_trap2.JPG Source: http://upload.wikimedia.org/wikipedia/commons/4/44/Homer2_tango_leg_trap2.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
22.2. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
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• File:Homer2_tango_milonguero_part.JPG Source: http://upload.wikimedia.org/wikipedia/commons/c/c2/Homer2_tango_milonguero_
part.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_needle.JPG Source: http://upload.wikimedia.org/wikipedia/commons/e/ec/Homer2_tango_needle.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_position1.JPG Source: http://upload.wikimedia.org/wikipedia/commons/e/e9/Homer2_tango_position1.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2
• File:Homer2_tango_position2.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/21/Homer2_tango_position2.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_position3.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/85/Homer2_tango_position3.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_position5.JPG Source: http://upload.wikimedia.org/wikipedia/commons/f/fe/Homer2_tango_position5.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_position6.JPG Source: http://upload.wikimedia.org/wikipedia/commons/b/b0/Homer2_tango_position6.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_position7.JPG Source: http://upload.wikimedia.org/wikipedia/commons/d/d7/Homer2_tango_position7.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_practice_hold.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/2c/Homer2_tango_practice_hold.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_practice_hold1.JPG Source: http://upload.wikimedia.org/wikipedia/commons/4/47/Homer2_tango_practice_hold1.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_practice_hold2.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/8e/Homer2_tango_practice_hold2.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_practice_hold_tea.JPG Source: http://upload.wikimedia.org/wikipedia/commons/4/44/Homer2_tango_practice_
hold_tea.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_pulling.JPG Source: http://upload.wikimedia.org/wikipedia/commons/4/4c/Homer2_tango_pulling.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_quatro.JPG Source: http://upload.wikimedia.org/wikipedia/commons/4/42/Homer2_tango_quatro.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_risky_embrace.JPG Source: http://upload.wikimedia.org/wikipedia/commons/e/e9/Homer2_tango_risky_embrace.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_sacada_deep.JPG Source: http://upload.wikimedia.org/wikipedia/commons/d/d7/Homer2_tango_sacada_deep.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_sacada_shallow.JPG Source: http://upload.wikimedia.org/wikipedia/commons/e/ea/Homer2_tango_sacada_shallow.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_side_colgada_hip_under.JPG Source: http://upload.wikimedia.org/wikipedia/commons/b/b7/Homer2_tango_
side_colgada_hip_under.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_swing.JPG Source: http://upload.wikimedia.org/wikipedia/commons/0/09/Homer2_tango_swing.JPG License: CC
BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_tap_both.JPG Source: http://upload.wikimedia.org/wikipedia/commons/5/58/Homer2_tango_tap_both.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_touch_head.JPG Source: http://upload.wikimedia.org/wikipedia/commons/f/fa/Homer2_tango_touch_head.JPG
License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_volcada_arm_pit1.JPG Source: http://upload.wikimedia.org/wikipedia/commons/9/9b/Homer2_tango_volcada_
arm_pit1.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_volcada_arm_pit2.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/2c/Homer2_tango_volcada_
arm_pit2.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_volcada_side.JPG Source: http://upload.wikimedia.org/wikipedia/commons/c/c9/Homer2_tango_volcada_side.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_walking_on_his_feet.JPG Source: http://upload.wikimedia.org/wikipedia/commons/c/c2/Homer2_tango_walking_
on_his_feet.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer2_tango_you_are_mine.JPG Source: http://upload.wikimedia.org/wikipedia/commons/7/7c/Homer2_tango_you_are_mine.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_arrestre.JPG Source: http://upload.wikimedia.org/wikipedia/commons/e/ec/Homer_tango_arrestre.JPG License:
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• File:Homer_tango_bicicleta.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/8f/Homer_tango_bicicleta.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_cabeceo.JPG Source: http://upload.wikimedia.org/wikipedia/commons/a/a6/Homer_tango_cabeceo.JPG License:
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• File:Homer_tango_colgada_step_over.JPG Source: http://upload.wikimedia.org/wikipedia/commons/3/3f/Homer_tango_colgada_step_
over.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_collect.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/2d/Homer_tango_collect.JPG License: CC
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• File:Homer_tango_cross_her.JPG Source: http://upload.wikimedia.org/wikipedia/commons/a/a8/Homer_tango_cross_her.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_cross_walk.jpg Source: http://upload.wikimedia.org/wikipedia/commons/2/20/Homer_tango_cross_walk.jpg License: CC BY-SA 3.0 Contributors: Own work Piotr Cirrus Original artist: Pcirrus2
• File:Homer_tango_embrace_close.jpg Source: http://upload.wikimedia.org/wikipedia/commons/8/8c/Homer_tango_embrace_close.
jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_embrace_close_full.JPG Source: http://upload.wikimedia.org/wikipedia/commons/f/f4/Homer_tango_embrace_
close_full.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_embrace_millonguero.jpg Source: http://upload.wikimedia.org/wikipedia/commons/1/1b/Homer_tango_embrace_
millonguero.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_embrace_open_full.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/2f/Homer_tango_embrace_
open_full.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_embrace_open_part.jpg Source: http://upload.wikimedia.org/wikipedia/commons/c/ce/Homer_tango_embrace_
open_part.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_enganche.JPG Source: http://upload.wikimedia.org/wikipedia/commons/f/f7/Homer_tango_enganche.JPG License:
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• File:Homer_tango_enganche_both.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/27/Homer_tango_enganche_both.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2
• File:Homer_tango_gancho_overturned.JPG Source: http://upload.wikimedia.org/wikipedia/commons/6/67/Homer_tango_gancho_
overturned.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_lapiz.JPG Source: http://upload.wikimedia.org/wikipedia/commons/6/68/Homer_tango_lapiz.JPG License: CC
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• File:Homer_tango_lift.JPG Source: http://upload.wikimedia.org/wikipedia/commons/7/76/Homer_tango_lift.JPG License: CC BYSA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_linear_voleo.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/6a/Homer_tango_linear_voleo.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_lustrada.JPG Source: http://upload.wikimedia.org/wikipedia/commons/d/de/Homer_tango_lustrada.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_mordida.jpg Source: http://upload.wikimedia.org/wikipedia/commons/d/dd/Homer_tango_mordida.jpg License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2
• File:Homer_tango_parada.JPG Source: http://upload.wikimedia.org/wikipedia/commons/7/70/Homer_tango_parada.JPG License: CC
BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_parallel_walk.jpg Source: http://upload.wikimedia.org/wikipedia/commons/1/1b/Homer_tango_parallel_walk.jpg
License: CC BY-SA 3.0 Contributors: Own work Piotr Flatau Original artist: Pcirrus2
• File:Homer_tango_pasada.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/8f/Homer_tango_pasada.JPG License: CC
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• File:Homer_tango_piernazo.JPG Source: http://upload.wikimedia.org/wikipedia/commons/4/42/Homer_tango_piernazo.JPG License:
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• File:Homer_tango_planeo.JPG Source: http://upload.wikimedia.org/wikipedia/commons/f/f7/Homer_tango_planeo.JPG License: CC
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• File:Homer_tango_quebrada.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/8d/Homer_tango_quebrada.JPG License:
CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_rebote.JPG Source: http://upload.wikimedia.org/wikipedia/commons/a/ab/Homer_tango_rebote.JPG License: CC
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• File:Homer_tango_sacada_back_her.JPG Source: http://upload.wikimedia.org/wikipedia/commons/1/14/Homer_tango_sacada_back_
her.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_salida_americana.JPG Source: http://upload.wikimedia.org/wikipedia/commons/9/96/Homer_tango_salida_americana.
JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_sentada.jpg Source: http://upload.wikimedia.org/wikipedia/commons/f/f0/Homer_tango_sentada.jpg License: CC
BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_soltada_her.JPG Source: http://upload.wikimedia.org/wikipedia/commons/c/c4/Homer_tango_soltada_her.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_soltada_him.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/2d/Homer_tango_soltada_him.JPG
License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_suspended_volcada.JPG Source: http://upload.wikimedia.org/wikipedia/commons/7/79/Homer_tango_suspended_
volcada.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
• File:Homer_tango_volcada_close.jpg Source: http://upload.wikimedia.org/wikipedia/commons/c/c9/Homer_tango_volcada_close.jpg
License: CC BY-SA 3.0 Contributors: Own work Piotr Cirrus Original artist: Pcirrus2
• File:Homer_tango_volcada_open.jpg Source: http://upload.wikimedia.org/wikipedia/commons/2/26/Homer_tango_volcada_open.jpg
License: CC BY-SA 3.0 Contributors: Own work Piotr Cirrus Original artist: Pcirrus2
• File:Homer_tango_voleo_back_her.JPG Source: http://upload.wikimedia.org/wikipedia/commons/8/84/Homer_tango_voleo_back_
her.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: Pcirrus2 Piotr Cirrus
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• File:Homer_tango_voleo_forward_her.JPG Source: http://upload.wikimedia.org/wikipedia/commons/5/5f/Homer_tango_voleo_forward_
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• File:How_Tango_Conquered_the_World.webm Source: http://upload.wikimedia.org/wikipedia/commons/5/50/How_Tango_Conquered_
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artist: Stefan Zierock
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126
CHAPTER 22. MILONGUERO
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22.2.3
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