Tango: comes from the Latin word tangere (to touch.)
Bravo said “Looking closely at the dancers and you'll see the
relationship between the prostitute and her client. The dance is intricate, legs
intertwine but all of the movement is from the waist down.
If properly danced, the upper body is stiff, the look between the dancers
intense but distant. It is the intensity of lust and power. It is the passion of
The male controls with his eyes. Yet, it is she who is really in control. A
mere brush of her hand across his neck or his chest.
It is she who dances."
dances and music from around the world have had some influence, this rather
detracts from the people who really created and evolved the Tango into its
current form. These are the people of Buenos Aires (Good Wind), who in
the bars, cafes and dance halls made the Tango, danced the Tango, lived, loved
and occasionally died for the Tango.
is the voice of the streets of Buenos Aires. Any suggestion that they may be
dancing some sort of second hand steps or regurgitating music taken from Europe
or Africa must be rejected as somewhat insulting to all the great milongueros
who have danced and innovated down though years. It is equally insulting to the
great Tango maestros who have drawn on their own life experiences when composing
certainly, the most important factor in the evolution of the Tango was the
influence brought in by the Habanera, created in Havana, Cuba, and also known as
the Andalusian Tango.
some point the Milonga and The Habanera were fused to form the embryonic version
of the Tango. At this point you have a dance which has influences from around
about 1880, large scale immigration, most of whom were men, increased the
population Buenos Aires. One figure suggests that at one point the ratio may
have been about 50 men for every woman.
tempted by the idea of a better life and streets paved with gold, instead found
a lonely squalid place with muddy streets and poor accommodation. Often they
were stranded on the outskirts of the city and everyday became a struggle to
one trade that flourished above all others was prostitution. A reflection of the
hardships endured by the people, a way of survival for some, and a desperate
means of earning income for others. It is unlikely the working girls saw much of
the money. For many men, owning a woman who earned good money working in a
brothel, became a status symbol.
is here in the brothels and bordellos on the back streets of Buenos Aires, that
the Tango really came to life. These illegal brothels, most became known as Academies
de Dance, were the massage parlours of their day. The dance had to be
simple, so if the police raided the joint (police which hadn't been bribed),
there would appear to be "dancing instruction" going on.
was the rise of the Compadritos and the Compadres who really launched the Tango.
Compadritos - the street man, sometimes but not always, small time villains,
petty criminals and pimps. Compadres - the local men of some means, sometimes
shady dealings, slightly better off than the compadritos who tried to emulate
dance probably started out as some form of acting out of the relationship
between the prostitute and pimp. This was often reflected in the titles of the
first tangos which referred to characters in the world of prostitution. It must
also be noted that when written lyrics began to appear, women were often
portrayed as evil temptresses, there to lead men into sin and degradation.
this time, the dance was totally rejected be the upper class elite of Buenos
Aires society, as a dirty street dance. Although, many of the young well-to-do
gentlemen, would allegedly visit the ‘Dance Academies’ for
1880, a new instrument arrived from Germany, the Bandoneon. A difficult
instrument to master but its wailing sound caught the very feeling of the Tango.
It became inextricably linked to the music of the Tango, from then to now.
the early 1900, however, a new type of lyric began to appear. One recalling
bygone times, often with a sad, melancholia, recalling wasted lives, lost loves,
unrequited love, the missing of a mother, the missing of your barrios [district]
or street but most all, the love of the Tango itself. The lyrics were written in
the language of the streets of Buenos Aires, Lunfardo, a mixture of Spanish,
Italian, Native Creole and words strangely twisted.
change in the Tango lyrics may also have occurred at this time because it is
thought that Tango was first demonstrated by the Argentinean playboy Ricardo
Guiraldes in 1910/1911 in Paris. It was so different from the dances of the time
and considered somewhat obscene. It challenged the conventions of acceptable
public behaviour of the time. The Comtesse Melainie de Pourtalis stated, upon
seeing a demonstration of the dance in 1912, "Is one supposed to dance it
the rapid acceptance by the people of Europe of the dance, invariably meant that
it was re-exported back to Buenos Aires. Now it was embraced by the upper
classes, who had so vigorously opposed it only a few years early.
dance was banned by the Pope after a private viewing, and Kaiser Wilhelm I, forbade his officers to dance it whilst wearing their uniforms, effectively
banning it from all state balls.
the Tango survived, and evolved, thanks to the people of Buenos Aires. But its
not the end of the story. In a way, the Tango is even more threatened today than
in its early years. Why? Because of the creeping Europeanisation of dance.
than anything else, the Tango is about a connection, an empathy between two
people, the need to embrace, and be in the arms of another, to escape, albeit
for just a brief moment of time, and in that moment, to live a life time …
Europeans and the North Americans have no connection to this concept. It is
totally alien to them. They see the dance in terms of “how flashy can I be
with the steps” and I want more steps, and more steps. All I want to do is
impress the people standing around the edges of the dance floor. This is, in a
way, the very antithesis of the concept of the Tango.
Tango must be simply danced, with immense feeling, with a sense of energy flowing between the dancers. This energy grows or decreases as the music ebbs and flows. It is a seduction, or a private conversation, something to be quietly shared, not publicly displayed.