TANGO @ 720 "The Dance Of Passion"
Tango Tuesdays @ Club 720
720 North Wells
Chicago, IL 60610
Tango dance lesson 8 to 9 pm - $5.00
Milonga at 9 pm - $5.00
Dance lesson and Milonga - $10.00
Drink Specials

THE TANGO: A DANCE, A CULTURE, A WAY OF LIFE

A History

Although it has come to epitomize the glamour and elegance of
high society, with women in sleek glittering evening gowns and men
in tux and tails, the tango originated in society's underbelly--the
brothels of turn-of-the-century Argentina. As immigrants from
Europe, Africa, and ports unknown streamed into the outskirts of
Buenos Aires during the 1880's, many gravitated toward the port
city's houses of ill repute. In these establishments, the portenos (as
they were called) could drown their troubles in a few drinks and find
some companionship. They looked desperately for a distraction to
ease their sense of rootlessness and disfranchisement as
"strangers in a strange land."
From this heady, intermingled cultural brew emerged a new music
which became the tango. Though musical historians argue as to its
exact origins, it is generally accepted that the tango borrowed from
many nations--the relentless rhythms that the African slaves--the
candombe--beat on their drums (known as tan-go); the popular
music of the pampas (flatlands) known as the milonga, which
combined Indian rhythms with the music of early Spanish colonists;
and other influences, including Latin. Some say the word "tango"
comes from the Latin word tangere (to touch.)

Ironically, as these lonely immigrants and societal outcasts sought
to escape from their feelings, they instead developed a music and
dance that epitomized them. The wail of the tango, it is said,
speaks of more than frustrated love. It speaks of fatality, of
destinies engulfed in pain. It is the dance of sorrow.

Originally, the tango dance developed as an "acting out" of the
relationship between the prostitute and her pimp. In fact, the titles of
the first tangos referred to characters in the world of prostitution.
These tango songs and dances had no lyrics, were often highly
improvised, and were generally regarded as obscene. Further, the
early tangos not only represented a kind of sexual choreography,
but often a duel, a man-to-man combat between challengers for the
favors of a woman, that usually ended in the symbolic death of an
opponent. Sexual and evil forces were equally celebrated in this
ritual. During this time, the wailing melancholy of the bandoneon (an
accordion-like instrument imported to Argentina from German in
1886) became a mainstay of tango music.

With the advent of the universal suffrage law--passed in Argentina
in 1912--the lower classes were allowed to vote, which served to
legitimize many of its cultural mainstays, including the tango. As it
became absorbed into the larger society, the tango lost some of it
abrasiveness. The structure of the dance, however, remained intact,
and soon the tango developed into a worldwide phenomenon. Even
the Americans were doing it, although some ladies were given to
wearing "bumpers" to protect themselves from rubbing a bit too
closely against their male partners.

During the first two decades of the new century, the tango took
Paris by storm. The blessings of the Parisians, in turn, made it a
staple of Argentinean high society. Tango was reigning supreme in
the cabarets and theatres frequented by the rich. Out of this culture,
the tango musician became elevated to professional composer
status. A pioneer in this genre, Roberto Firpo, created the typical
tango orchestra--rhythm played on piano and double bass;
melodies played on the bandoneon and the violin, with strong
counter melodies and variations. The stars of this era were Osvaldo
Fresedo and Julio de Caro.

In 1918, lyric writing for the tango become the latest trend, bringing
forth the birth of a star who is still celebrated five decades after his
death--singer Carlos Gardel. The memory of this handsome,
charismatic performer has reached hero worship status in
Argentina, not unlike what Elvis Presley inspires in the USA.

In 1930, a sudden military coup in Argentina ended the citizens'
right to vote, and thus largely silenced the voice of the people, the
tango. During this time, a very pessimistic philosopher/singer of the
tango emerged, Enrique Santos Discepolo. He is famous for the
line, "The 20th Century is a trash heap. No one can deny it.."

Tango revived in the late 1930's when the Argentinean masses
regained a good measure of their political freedom. They
celebrated their social rise with the tango, which became a symbol
of their physical solidarity and part of their daily life. Again, tango
musicians emerged who took the form in new directions including
Fresedo, de Caro, Pugliese, and Anibal Troilo.

Soon, wealthy intellectuals, far removed from the working class,
"orilla," began writing new lyrics for the tango. Because of their
influence, tango took on a more romantic, nostalgic, and less
threatening air, a sweet remembrance of youth in an idyllic society
that never existed.

When Juan Peron rose to power in 1946 the tango again reached
the pinnacle of popularity in Argentina, as both he and his wife Evita
embraced it wholeheartedly. Yet, with Evita's death in 1952, the
tango again fell from the mainstream spotlight. American
rock-and-roll invaded the popular scene, and the tango again
seemed out of step with its times.

Today the tango is enjoying a renaissance of popularity, keeping
the fire of this daring art form burning brightly.

After breaking San Francisco touring musical box office records
with 92 weeks at San Francisco's Theatre On the Square through
May, 1996, Luis Bravo's FOREVER TANGO spent the summer and
fall of 1996 and the first part of 1997 on the road. Wild and frenzied
ovations greeted performances at the Spoleto Arts Festival in Italy,
and in London, Chicago, San Diego, Los Angeles, Toronto,
Montreal, Boston, and Philadelphia.

This internationally acclaimed dance spectacle arrived at
Broadway's Walter Kerr Theatre on June 16, 1997. On April 15,
1998, Forever Tango moved to the larger Marquis Theatre at
Broadway and 46th. Due to its box-office success the show has
been extended indefinitely as an open-ended run. Forever Tango is
now the longest-running tango production in Broadway history.


A LITTLE LEXICON OF TANGO:

ARRABAL: Outskirts, suburb

BARRIO: Neighbourhood or district

COMPADRE: A person living in the suburb, haughty, proud and
brave

COMPADRITO: Typical character of the suburb, a bully and a
braggart

CONVENTILLO: Edifice with multiple rooms and no basic comfort
where the immigrants of different origins live: workers, failed
craftsmen...

FUEYE: the Bandoneon

GUAPO: Nickname for a man who practises the cult of courage

LUNFARDO: Slang of Buenos Aires

MILONGA: Popular music of the pampa and the Rio del Plata

PORTENIO: Term for the residents of Buenos Aires (port)


Further reading:
"TANGO: So That You Know Who I Am"
Essay by Jorge I. Oclander

Daniel Trenner's "Bridge to the Tango Articles"
Daniel Trenner's "Spanish-English Dance Vocabulary"

El Sur del Sur "The Southernmost South Website" includes
excellent illustrated articles on tango music, tango dance and tango
folklore as part of the site's mission to provide an introduction to all
aspects of the history and culture of Argentina.
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