Tango | |
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The bandoneon, an accordion-like instrument closely associated with tango | |
Stylistic origins |
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Cultural origins | Argentina[1] |
Typical instruments | |
Subgenres | |
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Fusion genres | |
Tango-rock | |
Regional scenes | |
Other topics |
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Tango rhythm.[2]
Tango is a style of music in 2
4 or 4
4 time that originated among European immigrant populations of Argentina 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.
4 or 4
4 time that originated among European immigrant populations of Argentina 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.
Origins[edit]
Early bandoneón, constructed ca. 1905
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.
Angel Villoldo's 1903 tango El Choclo was first recorded no later than 1906 in Philadelphia.[5] Villoldo himself recorded it in Paris (possibly in April, 1908, with the Orchestre Tzigane du Restaurant du Rat Mort).[6] Villoldo had to record in Paris because in Argentina at the time there were no recording studios.
Early tango was played by immigrants in Buenos Aires then later in Montevideo.[7][8][9] The first generation of tango players from Buenos Aires 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,[10] 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, tango was associated with the underclass, and attempts were made to restrict its influence[by whom?]. In spite of the scorn, some, like writer Ricardo Güiraldes, were fans. Güiraldes played a part in the international popularization of 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[11] 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.[12][13]
Argentine roots of Tango[edit]
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.[14]
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 an 1866 newspaper, that quotes the song 'La Coqueta' (an Argentine tango).[15] In 1876 a tango-candombe called 'El Merenguengué'[16][17] became very popular, after its success in the Afro-Argentines carnival held in February of that year. It is played with harp, 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 Tango.[18]
The first 'group' of tango, was composed of two Afro-Argentines, 'the black' Casimiro Alcorta (violin) and 'the mulatto' Sinforoso (clarinet).[19] They did small concerts in Buenos Aires since the early 1870s until the early 1890s. 'The black Casimiro' is author of 'Entrada Prohibida' ('Entry Forbidden'),[20] 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').[21] 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),[22] 'Señora casera' (anonymous 1880), 'Andate a la recoleta' (anonymous 1880),[22] 'El Porteñito' (by the Spaniard Gabriel Diez in 1880),[22] 'Tango Nº1' (Jose Machado - 1883), 'Dame la lata' (Juan Perez, 1888),[22] 'Que polvo con tanto viento' (anonymous 1890),[22] 'No me tires con la tapa de la olla' (A.A. 1893), 'El Talar' (Prudencio Aragon – 1895).[23] One of the first women to write tango scores was Eloísa D’Herbil. She wrote such pieces as Y a mí qué (What do I care), Che no calotiés! (Hey, no stealing) and others, between 1872 and 1885.[24][25]
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.[26][27]
1920s and 1930s, Carlos Gardel[edit]
Carlos Gardel, perpetual symbol of tango
'Por Una Cabeza' (1935) by Carlos Gardel and Alfredo Le Pera. Sung by Carlos Gardel.
Tango soon began to gain popularity in Europe, beginning in France. Superstar Carlos Gardel soon became a sex symbol who brought 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.
Youtube Tango Argentino
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.
Golden Age[edit]
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.
List of tango bandleaders during the Golden Age of tango:
Eventually tango transcended its Latin boundaries, as European bands adopted it into their dance repertoires[23–27]. Non-traditional instruments were often added, such as accordion (in place of bandoneon), saxophone, clarinet, ukulele, mandolin, electric organ, etc., as well as lyrics in non-Spanish languages. European tango became a mainstream worldwide dance and popular music style, alongside with foxtrot, slow waltz, and rumba. It somewhat diverged from its Argentinian origin and developed characteristic European styles. Famous European band leaders who adopted tango included, to name a few, Otto Dobrindt [de], Marek Weber, Oskar Joost, Barnabas von Geczy [de], Jose Lucchesi, Kurt Widmann [de], Adalbert Lutter [de], Paul Godwin, Alexander Tsfasman, as well as famous singers Leo Monosson, Zarah Leander, Rudi Schuricke, Tino Rossi, Janus Poplawski [pl], Mieczysław Fogg, Pyotr Leshchenko, and others. The popularity of European tango precipitously declined with the advent of rock-n-roll in the 50s–60s.[28][29][30][31][32]
Tango nuevo[edit]
The later age of tango has been dominated by Ástor Piazzolla, whose Adiós nonino became the most influential work of tango music 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, a musical genre that incorporated jazz and classical influences into a more experimental style.
In the late 1990s, composer and pianist Fernando Otero[33] continued to add elements to the innovation process which had started decades ago, expanding the orchestration and form while including improvisation and atonal aspects in his work.
Neotango[edit]
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 range from subtle to 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 that formed in 1999 in Paris, consisting of musicians Philippe Cohen Solal, Eduardo Makaroff and Christoph H Muller. 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 traditional dancers regard it as a definite break in style and tradition.
Bajofondo Tango Club is another example of electro-tango. Further examples can be found on the CDsTango?, 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 compilation CD. In 2004, the music label World Music Network released a collection under the title The Rough Guide to Tango Nuevo.
New tango songs[edit]
In the second half of the nineteen-nineties, a new movement of tango composers and tango orchestras playing new songs was born in Buenos Aires. It was mainly influenced by the old orchestra style rather than by Piazzolla’s renewal and experiments with electronic music. The novelty lies in the new songs, with today’s lyrics and language, which find inspiration in a wide variety of contemporary styles.
Over the two first decades of this century, the movement has grown with the creation of countless bands playing new tangos. The most prominent figures leading this phenomenon have been the Orquesta Típica Fernandez Fierro, whose creator, Julian Peralta,[34][35][36][37] would later start Astillero and the Orquesta Típica Julián Peralta. Other bands also have become part of the movement such as the Orquesta Rascacielos, Altertango, Ciudad Baigón, as well as singer and songwriters Alfredo “Tape” Rubín,[34][38] Victoria di Raimondo,[39] Juan Serén,[34][40] Natalí de Vicenzo[36] and Pacha González.[36][37][40]
Musical impact and classical interpreters[edit]
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.[41][42]
Ms. Canteros settled in New York City in 1970 where she recorded later in 1989 her CD 'Tangos' when she was 78 years old.[43]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”.[44]
Since then tango has become part of the repertoire for great classical musicians like the baritone Jorge Chaminé with his Tangos recording with bandoneónistOlivier 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). Nikolai Myaskovsky composed an Argentinian Death Tango for a poem War and Peace. Kurt Weill continued this style in The Threepenny Opera (1928) (Die Dreigroschenoper), e.g. composed a song called 'Tango Ballade' or 'Zuhälterballade', a fateful song about underworld life (a symphonic version in suite Kleine Dreigroschenmusik commissioned by Otto Klemperer); a bit latter he composed another evergreen, 'Youkali' (Tango-Habanera) on French lyrics. Also noteworthy was the accordionist John Serry Sr. who composed Tango of Love & Petite Tango for accordion quartet (1955).[45] 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, 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.
Showing tango music's continued popularity, multiple international radio stations broadcast non-stop tango music today.[46]
See also[edit]
Wikimedia Commons has media related to Tango (music). |
References[edit]
- ^ abTermine, Laura (September 30, 2009). 'Argentina, Uruguay bury hatchet to snatch tango honor'. Buenos Aires. Archived from the original on 27 February 2014. Retrieved April 2, 2010.
- ^Blatter, Alfred (2007). Revisiting Music Theory: A Guide to the Practice (New York: Routledge), p.28. ISBN978-0-415-97439-4 (cloth); ISBN978-0-415-97440-0 (pbk).
- ^José Luis Ortiz Nuevo El origen del tango americano Madrid and La Habana 1849
- ^ abChristine Denniston. Couple Dancing and the Beginning of Tango 2003
- ^'Victor matrix B-3624. El choclo / Victor Argentine Orchestra'. Discography of American Historical Recordings. Univ. of Calif. Retrieved 19 November 2017.
- ^Tangocommuter (28 July 2014). 'Ángel Villoldo, Paris and early tango'. Retrieved 19 November 2017.
- ^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)
- ^'Investigando el Tango – Tésis Doctoral – Dra. Marta Rosalía Norese'. Archived from the original on 24 September 2016. Retrieved 2 August 2016.
- ^'Todotango.com – Todo sobre el tango argentino'. Archived from the original on 3 November 2013. Retrieved 2 August 2016.
- ^Tango and whores(in Spanish)
- ^McLean, Michael. Care to Tango?, Book 2. ISBN0-7390-5100-8.
- ^ToTANGO. LA CUMPARSITA – Tango's Most Famous SongArchived 2005-12-30 at the Wayback Machine
- ^TodoTango. Ricardo García Blaya. Tangos and Legends: La CumparsitaArchived 2008-03-10 at the Wayback Machine
- ^'Revista Quilombo – Noticias, columnas, articulos y opiniones'(PDF). Archived from the original(PDF) on 10 March 2012. Retrieved 2 August 2016.
- ^'Notas - Historia del Tango - El nacimiento del Tango - hlm!.Tango - Hágase la música - hagaselamusica.com'. Retrieved 2 August 2016.
- ^Tango-candombe afroargentino 'El Merenguengué'.Archived 2012-03-21 at the Wayback Machine[verification needed]
- ^Jorge Gutman
op. cit.[full citation needed] - ^Museum House of Carlos Gardel “The Black history of Tango”.Archived 2011-07-06 at the Wayback Machine
- ^www.RrinconDelTango.com. ''Historia del tango-Los primitivos conjuntos' por Tesy Cariaga – Buenos Aires – Argentina.- .: Rincón del Tango :'. Archived from the original on 12 July 2006. Retrieved 2 August 2016.
- ^El negro Casimiro Alcorta, y su tango 'Entrada Prohibida'. Archived 2011-07-06 at the Wayback Machine
- ^El negro Casimiro Alcorta, y su tango 'Concha Sucia'.
- ^ abcdeScholz, Cora (2008). Tango argentino—seine Ursprünge und soziokulturelle Entwicklung (in German). GRIN Verlag. p. 19. ISBN3-640-11862-6.
- ^'Lugares de baile'. Retrieved 2 August 2016.
- ^Horvath, Ricardo (2006). Esos malditos tangos: apuntes para la otra historia (in Spanish). Buenos Aires, Argentina: Editorial Biblos. p. 61. ISBN978-950-786-549-7.
- ^Ostuni, Ricardo (22 November 2011). 'La baronesa del tango' [The baroness of tango] (in Spanish). Buenos Aires, Argentina: InfoNews. Archived from the original on 14 July 2017. Retrieved 14 July 2017.Italic or bold markup not allowed in:
|publisher=
(help) - ^'Todotango.com – Todo sobre el tango argentino'. Archived from the original on 16 May 2013. Retrieved 2 August 2016.
- ^'Todotango.com – Todo sobre el tango argentino'. Archived from the original on 23 March 2014. Retrieved 2 August 2016.
- ^Jürgen Wölfer Jazz in Deutschland – Das Lexikon. Alle Musiker und Plattenfirmen von 1920 bis heute. Hannibal Verlag: Höfen 2008, ISBN978-3-85445-274-4
- ^Michael H. Kater: Gewagtes Spiel. Jazz im Nationalsozialismus. Köln 1995, ISBN3-423-30666-1.
- ^Schnoor, Hans: Barnabás von Géczy. Aufstieg einer Kunst. Dresden: Verlag der Dr. Güntzschen Stiftung o.J.(um 1937) mit Diskografie B.v.G. auf Electrola-Schallplatten.
- ^Драгилёв, Д. Лабиринты русского танго. — СПб.: Алетейя, 2008. — 168 с — ISBN978-5-91419-021-4
- ^Bruce Bastin, notes to 'German Tango Bands 1925–1939', Harlequin CD HQCD-127
- ^Michael Hill. 'About Fernando Otero'. Nonesuch Records. Retrieved 2013-05-13.
- ^ abc'Julián Peralta: La selección de los tangos nuevos'. Retrieved 2016-10-09.
- ^Cas, Andrés. 'Levantar al tango de su siesta'. Clarin.com. Retrieved 2016-10-09.
- ^ abc'Tangos de estreno: clásicos de las orquestas del futuro'. Retrieved 2016-10-09.
- ^ abtiempoar.com.ar. ''Pensamos al tango como una música popular' – tiempoar.com.ar'. tiempoar.com.ar. Retrieved 2016-10-09.
- ^Peters, Lucas. 'Tango, te cambiaron la pinta'. Clarin.com. Retrieved 2016-10-09.
- ^'Di Raimondo: Cantar en una orquesta típica es un sueño'. Diario Uno. Retrieved 2016-10-09.
- ^ ab'Canción porteña en el festival de tango'. Retrieved 2016-10-09.
- ^JohnDavidChapman (8 August 2011). 'Arminda Canteros, pianist, plays Invierno Porteño by Astor Piazzolla'. Retrieved 2 August 2016 – via YouTube.
- ^'El Tango y sus invitados: Arminda Canteros'. Retrieved 2 August 2016.
- ^'El Tango y sus invitados: Arminda Canteros – Tangos(Solos de piano)-1989'. Retrieved 2 August 2016.
- ^'Tango Malambo – Cecilia Pillado´s Label'. Archived from the original on 17 August 2016. Retrieved 2 August 2016.
- ^Library of Congress- Copyright Office, Tango of Love, Petite Tango. Copyright – Alpha Music Co., New York, NY. Composer: John Serry Sr. 1955
- ^Argentine Tango Radio
Further reading[edit]
- Collier, Simon; Haas, Ken (1995). Tango! : the dance, the song, the story. New York, NY: Thames and Hudson. ISBN0500016712. OCLC467187943.
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Tango_music&oldid=913339309'
From Wikipedia, the free encyclopedia
For the modern international dance form that evolved from the Argentine tango, see tango (dance). For other uses, see Argentine tango (disambiguation).
The embrace of two Argentine tango dancers
Argentine tango is a social dance and a musical genre that originated in Argentina and Uruguay.[citation needed]
Argentine tango 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 reimported from Europe and North America. There are records of 18th and early 19th century tango styles in Cuba and Spain,[1] while there is a flamenco tangos dance that may share a common ancestor in a minuet-style European dance.[2] 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. Close embrace is often associated with the more traditional styles, while open embrace leaves room for many of the embellishments and figures that are associated with tango nuevo.
Tango is essentially walking with a partner and the music. Musicality (i.e. dancing appropriately to the emotion and speed of a tango) is an extremely important element of dancing tango. A good dancer is one who makes you see the music. 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 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 styles, is that the follower will usually be led to alternate feet. Another is that the follower rarely has her weight on both feet at the same time. Argentine tango is a new orientation of couple dancing.
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 you find 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 of you, there are likely people waiting behind you. 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.
Contents
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Comparison to ballroom tango
Competitive vs. social dance
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 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 in Buenos Aires, attracting competitors from around the world.
Embrace (abrazo)
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 complete 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; each partner is over their own axis. Whether open or closed, a tango embrace is not rigid, but relaxed, like a hug.
Walking (caminando)
Another difference is that the leader may freely step with his left foot when the follower steps with her left foot too. In English, this is sometimes referred to as a 'crossed' or 'uneven' walk (or as 'walking in the crossed system') 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) yet keeping the follower's weight unchanged. This is another major difference with ballroom tango, where a weight change by one partner leads to an automatic 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-'90s they began using 'parallel/crossed' and later 'normal/crossed'.
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. 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,[3] 2 strong beats on 4 (dos por cuatro). Astor 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.[4]
Steps
Unlike the majority of social dance, Argentine tango is not a set step, but is a completely improvised dance combining various steps in a spontaneous manner, as determined by the lead. Most Argentine tango teachers teach complex figures, but then break them down into simpler parts. They then teach students how to improvise their own figures. Here is what might be taught in beginner classes.
- Caminata - 'walk' in Spanish
- Baldosa - ('tile') 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, together.
- Salida - ('exit', also 'beginning' - as of a journey) any of several patterns that begin a figure. The first half of the baldosa is one such pattern.
- Resolución - any of several patterns that end a figure. The second half of the baldosa is one such pattern.
An Argentine tango figure, then, is the pattern salida + basic steps + resolución. (In the baldosa the number of basic steps is zero.) This makes for flexible, ever-changing patterns unlike those of conventional partner dances. This gives leaders exceptional opportunity to improvise, and is part of why the Argentine tango is unique in the dance world.
There are other basic steps than caminadas, including the following.
- Cadencias - 'cadence' as when soldiers 'count cadence' by stepping in place. (The word is sometimes mistakenly applied to the following.)
- Cunitas - rock steps, to side, forward, or back. Comes from rocking a cuna 'cradle'
- Cazas - 'chases' when one foot steps forward and the other chases it to step beside it. Can be used as a resolución.
- Stepping outside, walking outside - the man moves further to his left (or less often right) so that both his feet are outside his partner's
- Cruzada - (from cruzar - to cross) the follower steps back right then back left, crossing her left foot over her right before finishing the step. A 'chase' with a 'cross'. One way to go from the outside position back to the inside position.
- Ocho - a figure-8 traced by the follower's feet when moving forward or backward.
- Giro - a turn (in either direction), often a complete 360-degree turn
- Media Luna - a half moon, the shape of a half giro
- Molinete - (windmill, wheel) the follower walks in a cadena (chain, braid, grapevine) around the leader, the hub of the wheel[5]
- Paso Básico - 'basic step' There are several, including the baldosa and the molinete. Another popular one begins with the three-step salida from the baldosa. However, on step 2, the side step, the leader steps outside his partner. After step 3 he then leads his partner into the two steps of the cruzada. The three steps of the resolución makes eight steps in all. This eight-step pattern is abbreviated the 8CB.
Intermediate steps further spice up the caminatas, including the following 'dueling feet' actions. These are ways for leaders to challenge and tease their partners.
- Sacada - the leader displaces his partner's unweighted leg outward as they walk.[6]
- Parada - the leader halts the motion of the other dancer with her legs apart and weight on both feet
- Barrida - one partner sweeps the others foot, displacing it along the floor
- Arrastre - (drag) synonym for 'barrida'
- Sandwich - the leader places both feet on either side of the other dancers forward foot.
- Gancho - one dancer hooks their leg around their partner's leg.
Women also can contribute to the in-the-moment improvisations of tango dancing with adornos ('adornments'). These include the following.
- Golpecitos - 'little toe taps' done between steps.
- Golpes - 'toe taps' which rebound high behind the woman - not recommended on a tight floor!
- Amagues - 'threats, feints' a kick by one foot across in front of the other. May be very small kicks, or very high (though usually only in choreographed show routines).
- Boleos - 'throws' when an ocho is quickly reversed in the middle, the woman's foot is thrown to the side and wraps around her leg at the knee. (Comes from the way the weighted balls at the ends of gauchos' bolas wrap around an animal the South American cowboys want to capture.)
- Caricias - 'caresses' usually by the woman, who rubs her thigh, calf, or foot down her partner's body.
Advanced tango steps are often borrowed from tango shows, but modified for the tight spaces and flow of other dancers around the floor.
- Saltitos - 'little leaps'
- Elevaditos - 'little lifts'
- Colgadas - spins around a common center while leaning outward
- Volcadas - extreme leans, usually followed by an adorno. These include amagues or front boleos, a drag of the woman across the floor, and calesitas (carousels, or merry-go-rounds).
Related dances
Argentine tango dancers usually enjoy two other related dances: Vals (waltz) and Milonga.
Music for the Vals is in 3/4 time but otherwise very similar to tango music. Tango dancers dance the Vals much like they do tango only with a waltz rhythm that has one beat per measure (at a beginner-level). This produces 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 is characterized by its lack of pauses; continual turns (giros) in both directions are not done as in ballroom quick waltz, although turns are sometimes introduced for variety.
Some say that Milonga is essentially tango; the differences lie in the music, which has a strongly-accented beat, and an underlying 'habanera' rhythm. Dancers avoid pausing, and often introduce double time steps (incorrectly called syncopations) and more appropriately called traspies into their walks and turns. Milonga uses the same basic elements as tango, with a strong emphasis on the rhythm, and figures that tend to be less complex than some of those danced in some varieties of tango. Syncopation is a hotly debated topic among musicians and dancers, since syncopation has a special meaning in music and a different meaning among most dance teachers. 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 tango dance parties. This double meaning of the word milonga can be confusing unless one knows the context in which the word 'milonga' is used. People who dance at milongas are known as milongueros.
Resurgence of Argentine tango in North America
In 1983, the dance show Tango Argentino, staged by Claudio Segovia and Hector Orezzolli, opened in Paris, France, starring dancers Juan Carlos Copes[7] and Maria Nieves,[8] Pablo Veron, Miguel Zotto and Milena Plebs,[9] and Virulazo and Elvira.[10] In 1985, the show opened on Broadway in New York City.[11] 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.[12] 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.[13] 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.[14] 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 week-long dance festival. The following year, Powers moved his festival to Stanford University and asked 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.[15]
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 former student, Nora began a new festival in the same vein: 'Nora's Tango Week', held in Emeryville, California.[16] Moretti would continue to co-produce the festival until his death on June 22, 2005, just days before that year's Tango Week.[17]
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.[18]
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.[19]
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.[20]
Daniel Trenner has been credited with bringing improvisational social Argentine tango to the United States.[21] 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.[22] 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 new-found appreciation of traditional tango back to New York and conducted classes. In 1991, Trenner began working with Rebecca Shulman in performing and teaching tango.[23] (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.[24]
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. The 'Argentine tango' danced on the show is not authentic Argentine tango according to authorities such as Daniel Trenner, who has said, 'It too bad there is no good tango dancing on this show.'[citation needed]
Styles of Argentine tango
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.[25] Its main characteristics are its musicality and playfulness. Its rhythm is described as 'incisive, exciting, provocative'.[26]
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).[27]
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
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
Salon tango was the most popular style of tango danced up through the Golden Era of the dance (1950's) when milongas (tango parties) were held in large dance venues and full tango orchestras performed. Later, when the Argentine youth started dancing rock & roll and tango's popularity declined, the milongas moved to the smaller confiterias in the center of the city, resulting in the birth of the 'milonguero/apilado/Petitero/caquero' style.
Salon tango is characterized by slow, measured, and smoothly executed moves. It includes all of the basic tango steps and figures plus sacadas, barridas, and boleos. The emphasis is on precision, smoothness, and musicality. The couple embraces closely but the embrace is flexible, opening slightly to make room for various figures and closing again for 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:
- El Turco Jose Brahemcha
- Gerardo Portalea (deceased)
- Luis 'Milonguita' Lemos (deceased)
- 'Finito' Ramón Rivera (deceased)
- 'Lampazo' Jose Vazquez (deceased)
- Virulazo (deceased)
- Miguel Balmaceda (deceased)
- in the milongas at Club Sin Rumbo, Sunderland, El Pial and Canning.
One of the most famous examples of the elegant Salon style is the Villa Urquiza style, named after the northern barrio of Buenos Aires where the clubs Sin Rumbo and Sunderland are located. Dancers who are currently leading the wave of Villa Urquiza Style tango are:
- Carlos Perez and Rosa
- Mingo and Esher Pugliese
- Jorge Dispari and Marita 'La Turca'
- Miguel Angel Zotto and Milena Plebs (Miguel now dances with Daiana Guspero)
- Osvaldo Zotto and Lorena Ermocida (no longer dance partners when Osvaldo Zotto deceased on the 8th January 2010)
- El Chino Perico
- Javier Rodriguez and Andrea Misse
- Alejandro Aquino
- Andres Laza Moreno
- Samantha Dispari (daughter of Jorge and Marita)
- Fabian Peralta and Natacha Poberaj
- the Misse family (Andrea, Sebastian, Gabriel, and Stella)
- Geraldine Rojas de Paludi (daughter of Jorge and Marita)
'Estilo milonguero' (tango apilado/confiteria style)
This style originated as the 'petitero' or 'caquero' style in the 1940s and 50s in closely packed dance halls and 'confiterias', so it is danced in close embrace, chest-to chest, with the partners leaning - or appearing to lean - slightly towards each other to allow space for the feet to move. There are not many embellishments or firuletes or complicated figures for the lack of space in the original milonguero style but now also those figures are danced, which only at first glance seem impossible in close embrace. Actually, a lot of complicated figures are possible even in milonguero.
Although the rhythmic, close-embrace style of dancing has existed for decades, the term 'Milonguero Style' only surfaced in the mid- '90s when the name was created by Susana Miller, who had been the assistant to Pedro 'Tete' Rusconi. Many of the older dancers who are exponents of this style (including 'Tete') prefer not to use the label.
Tango nuevo
Tango nuevo is a dancing and teaching style that emphasizes a structural analysis of the dance. It is a result of the work of the 'Tango Investigation Group' (later transformed into the 'Cosmotango' organization) pioneered by Gustavo Naveira and Fabian Salas in the 1990s in Buenos Aires. By taking tango down to the physics of the movements in a systematic way, they have created a method of analyzing the complete set of possibilities of tango movements, defined by two bodies and four legs moving in walks or circles. This investigation provided a view of a structure to the dance that was expressed in a systematic way.
In walks, their explorations pioneered what were once called 'alterations' and are now called 'changes of direction' or 'cambios'. In turns, they focus on being very aware of where the axis of the turn is (in the follower/in the leader/in between them). This tends to produce a flowing style, with the partners rotating around each other on a constantly shifting axis, or else incorporating novel changes of direction.
Many of the recent popular elements in tango vocabulary, such as Colgadas, owe their debut on the tango scene to the popularity of Gustavo's and Fabian's approach.
From this teaching style, a new and unique style of dancing has developed, called by many a 'tango nuevo' style. The most famous practitioners of 'tango nuevo' are Gustavo Naveira, Norberto 'El Pulpo' Esbrés, Fabián Salas, Esteban Moreno, Claudia Codega, Sebastian Arce, Mariana Montes, Chicho Frumboli, and Pablo Verón. Interestingly enough, all of these dancers have highly individual styles that cannot be confused with each other's, yet can be easily recognized as tango nuevo.
Tango nuevo is often misunderstood and mislabeled as 'show tango' because a large percentage of today's stage dancers have adopted 'tango nuevo' elements in their choreographies.
Show tango
Show tango, also called Fantasia, is a more theatrical and exaggerated form of Argentine tango developed to suit the stage. It includes many embellishments, acrobatics, and solo moves. Unlike other forms of tango, stage tango is not improvised and is rather choreographed and practised to a predetermined piece of music. This means that often moves are shown that cannot be led.
Advent of 'alternative tango music'
While Argentine tango has historically been danced to traditional tango music produced by such composers as Osvaldo Pugliese, Carlos Di Sarli, Juan D'Arienzo, in the 90's a younger generation of tango dancers began dancing tango to what was referred to as 'alternative tango music'; music from other genres like, 'world music', 'electro-tango', 'experimental rock', 'trip hop', and 'blues', to name a few. Artists like Kevin Johansen, Gotan Project, The Tango Saloon, Otros Aires, Tom Waits, Portishead, and Louis Armstrong are among those favored in alternative tango music playlists.
Tango nuevo is often associated with 'alternative tango music', see nuevo tango, but any of the other tango styles can be danced to it.
Tango films
Argentine tango is the main subject in these films:
- Adiós Buenos Aires (1938)
- The Tango Bar (1988), starring Raúl Juliá[28]
- 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, 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[29]
- El Ultimo Bandoneon (2006), directed by Alejandro Saderman[30]
Argentine tango is featured or referred to in these films/TV shows:
- The Four Horsemen of the Apocalypse (1921) - In quite possibly the very first film ever to include a tango scene, Rudolph Valentino dances an Argentine tango in this silent film.
- 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.
- Tango Lesson by Sally Potter
- Moulin Rouge! (2001) - Two minor characters perform a tango while Ewan McGregor's character sings 'Le 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.
- Cafe de Los Maestros (2008)
- Der Letzte Applaus/ The Last Applause (2009)
A culture developed for tango films in the Cinema of Argentina beginning in the early 1930s. See Category:Tango films.
See also
- Maxixe (dance) (or Brazilian tango)
References
- ^ [José Luis Ortiz Nuevo El origen del tango americano' Madrid y La Habana 1849]
- ^'Christine Denniston. 'Couple Dancing and the Beginning of Tango' 2003'. History-of-tango.com. http://www.history-of-tango.com/couple-dancing.html. Retrieved 2010-03-15.
- ^''Caminar''. Users.pandora.be. 2008-08-25. http://users.pandora.be/Tango-E-Vita/tango/Caminar.htm. Retrieved 2010-03-15.
- ^'Tango and modern dance''. Users.pandora.be. 2007-06-23. http://users.pandora.be/Tango-E-Vita/tangoiste/TANGOkinesis.htm. Retrieved 2010-03-15.
- ^''Molinete''. Users.pandora.be. http://users.pandora.be/Tango-E-Vita/nlp/clip.htm. Retrieved 2010-03-15.
- ^''Sacada''. Users.pandora.be. 2007-07-06. http://users.pandora.be/Tango-E-Vita/tangoiste/tangolessen/sacada.htm. Retrieved 2010-03-15.
- ^'resume and timeline'. Juan Carlos Copes. 1931-05-31. http://www.juancarloscopes.com/ingles/curriculum/curriculum.html. Retrieved 2010-03-15.
- ^'Keith Elshaw. 'Maria Nieves''. Totango.net. http://totango.net/maria.html. Retrieved 2010-03-15.
- ^'Milena Tango. Milena Plebs bio'. Milenatango.com. http://milenatango.com/english/milena.html. Retrieved 2010-03-15.
- ^JVilas. 'Virulazo: Interview by the journalist Guillermo Alfieri'. Todotango.com. http://www.todotango.com/English/creadores/virulazo.html. Retrieved 2010-03-15.
- ^'Keith Elshaw. 'Juan Carlos Copes''. Totango.net. http://www.totango.net/copes.html. Retrieved 2010-03-15.
- ^Tango List. Barbara Garvey. Re: [TANGO-L Going to Bs As (Detecting sham and incompetent Teachers) June 27, 2003]
- ^Posted on Nov 6th 2008 1:30PM by Kelly Wilson (2008-11-06). 'Brigitta Winkler bio'. Members.aol.com. http://members.aol.com/btango5/bio.htm. Retrieved 2010-03-15.
- ^'George A. Nicol. 'Interview with Nora Dinzelbacher''. Inscenes.com. http://www.inscenes.com/noraint1.htm. Retrieved 2010-03-15.
- ^'Keith Elshaw. 'CARLOS GAVITO 1942 - 2005''. Totango.net. http://totango.net/gavitowork.html. Retrieved 2010-03-15.
- ^'BA Tango. Spotlight. 'Nora Dinzelbacher: The First Lady of Bay Area Tango'Nancy Friedman (2003)'. Batango.com. http://www.batango.com/spotlight/noras_profile.php. Retrieved 2010-03-15.
- ^'BA Tango. Spotlight. 'BA TANGO REMEMBERS BOB MORETTI' Nancy Stevens Mendoza & David Mendoza'. Batango.com. 2005-06-22. http://www.batango.com/spotlight/remembering_bob_moretti.php. Retrieved 2010-03-15.
- ^Tango List. Barbara Garvey. Re: [TANGO-L Revival of Tango in North America July 25, 2003]
- ^'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. http://starbulletin.com/2000/03/24/features/story1.html. Retrieved 2010-03-15.
- ^''Oldest Tango Festival' Randy of Miami, March 23 and 26, 2007'. Virtuar.com. http://www.virtuar.com/tango/articles/2007/oldest_fest.htm. Retrieved 2010-03-15.
- ^'Daniel Trenner Tribute'. Pythia.uoregon.edu. 2003-04-24. http://pythia.uoregon.edu/~llynch/Tango-L/2003/msg00833.html. Retrieved 2010-03-15.
- ^daniel trenner :: tango. 'Daniel Trenner. 'Tango: the Argentine Social Dance' (1998)'. Danieltrenner.com. http://www.danieltrenner.com/daniel/ar_tango.html. Retrieved 2010-03-15.
- ^'Dance Manhattan. 'Rebecca Shulman''. Dance-manhattan.com. http://www.dance-manhattan.com/main_frame.php?cf=./content_teacher_display.php&ins_id=36. Retrieved 2010-03-15.
- ^Tom Stermitz. Re: [TANGO-L Revival of Tango in North America / Pellicoro Book, July 25, 2003]
- ^'TangoCanyengue.org'. TangoCanyengue.org. http://www.tangocanyengue.org. Retrieved 2010-03-15.
- ^ José Sebastián Tallon El tango en su etapa de musica prohibida 1959
- ^ Athus Espindola, Diccionario del Lunfardo 2002
- ^ IMDb. Tango Bar
- ^ IMDb. 12 Tangos - Adios Buenos Aires (2005)
- ^El Ultimo Bandoneon (2006)
External links
Culture and Community
- Tango Festivals Worldwide information about all tango festivals.
- KnowTango wiki-map for all tango events in the world.
- Worldwide tango information system, free and neutral, includes festivals, milongas, links, teachers, musicians, poets, DJs, CDs.
Tutorials
- batango.com - guide to tango terminology
- tangoterms.com - Audio and video for basic terms in tango
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