TRIO BOERO-GALLARDO-GOMEZ EN LA CASA DEL TANGO

INTERVIEW TO SUSANA MILLER

Q: I listened to people  ,people that comes from La Academia, and following the Line of  La Academia; “ Susana don’t teach Tango, she teaches another thing , this Other thing is linked with another that has to be a way related or not to Tango,” What’s your opinion about this, taking into account  about position of body, the way of feeling,etc?


A: I think that everything you do has a soul, has a body. If you cant put feeling and transfer it trough your body I have to teach you some Technic of Balance which will be
In a relationship with relaxation and a good position.Is very difficult to understand and to put into the same sack these 2 things; in general relaxation implies position, position implies in the imaginary of people no relaxation, so, I relax this foot if I’m disarmed, but if I’m armed I’m erect , so till one person find the average proportional between arm, structure the body, aligment, put the column in your place and the head the same and at the same time being relaxed takes a time. Then, Technic is needed to do the step interesting, if not, what you are teaching is an step as if you are making a drawing on a map and that drawing is copied by the students.
What I want to transfer is the soul to the body. If I’m here in this position siiting in  front of you like now, I can’t transfer what I feel, my feelings.

Q: then these languages you referred is something you’ve learned with the time or from the Old Milongueros, in that case what did they think about this?
A: Is very interesting your question. I lke to answer these topic. Old Milongueros during 30-40 years of dancing,and the bodyis wise the body knows, so they arrive to the conclusion that when you did 25 times a thing, you are aquiring knowlegment now that thing works. This is all.
They were playing with this, checking, testing.
That’s why the attitude is very important; without so much tension….is like an average between attend and relax to permit you to enter in a situation of learning and enjoy. The combination to play with something, but when the situation is another, the feeling is another, the pleasure turns on in rigidity and from rigidity is very difficult to step out.

Q: I asked you following the Line of Academia, are you and Maria in the same line?
A: Yes of course,if not I won’t work with her.

Q: By other hand you can see people who needs to practice but is people whom is coming from another activities, like yoga, etc, and they think coming here can help them. I think that one thing doesn’t depends from the other.

A: When appears the moment you have to do your things,a person was not born to be a Chef of a restaurant or a dancer; one is born like a person and one day in his life, sometimes by chance, sometimes by no chance, but many times, is like life is pushing you by a way and all your biography is captured in what you are doing.
To me, is important more the Concept of the Object into Art than the Artistic Object itself . If the Artistic Object has no Concept I’m not interested.
Sometimes I wacht people dancing or a couple and if they don’t have the Concept, I don’t like them as an artistic Object.

Q: Yes, it’s a part of the question about what you dislike when you wacht someone dancing.

A: Dance has an Ideology and a Concept. I want to explain this to make more “ earthly”, more pragmatic, is, when you dance with a woman, youdance for something, for pleasure, for doing it well,for enjoying. This is what I teach. There are others whom dedicate to teach people to do shows and is good because shows are needed; is the Other Face of Tango Milonguero, people from abroad are coming here because they’ve seen something spectacular.
But this the Photo of Tango. A Photo of something that is so less and so much at the same time, that is done here. The Painting is nice, you can take a Photo, a a photoshop, I can tell you : put me taller, slim, blond,younger….It’s good.
BUT IT’S NOT ME.
In Tango is the same. There is a picture ,a photo of Tango a fantastic signification and dramatization about Tango and is good for Tango but, don’t fall into mistake, at the time of dancing on the floor appears another things. The same with Salsa, with African Music, there is a popular expression and an Artistic ,stylized one. The representation tends to the beauty, is the same than when you fall in love with a woman. You fall in love and you see her marvelous. But after a time you see she has wrinkles,has smell, etc. Tango is the same. Tango has dirt into his nails, is not that stylized thing, is not that.

Q: in general European milongueros tends to idealize…
A: and here too.
Let me finish the point.
This is the Concept I like to teach.When a man and a woman want to learn for dancing into the salon, to have a pleasure moment, to have together something intense, I’m interested toteach that Concept.
But when I go to see a show I don’t want to see that, I want to see another thing, it’s different. But when I wacht in the pista ( salon) the same that is doing for the show and is being dance for the circle of friends, etc, for the stalls,  I don’t like, andI see that.

Q: Do you think Tango Salon tends to that?
A: No, not necessarily. It’s something lighter then this Tango, is not Tango Milonguero yet.
Tango Milonguero as a punch, an impact hard, very hard.

Q: I ask you this because I had a partner in Russia and she came here and returned. She is now with anorher partner and they do a tango that it’s a mix milonguero-salon and she told me that suddenly she’ve got tired of this. She feels it like a gym.
A: I repeat: it happens that Open Tango comes from a Context that is exhibition and after comes to Close Tango. Is like an evolution. People here in Buenos Aires have the sense of milonga deeper, milonga is picaresque,hard, the irresistible melody of the milonga, so these points attracts so much,  so you can find in the milongas  so many milongueros, and people  here and in milongas of Europe, where there are many and good dancers.

Q: Do you think that/ Because I’ve watched many colleagues of you that go there and teach steps or people whom come for shows and giving lessons.
A: Listen. When people say or you begin to learn here in Buenos aires we can realize it  faster. They begin to dance, wacht something special and want to do that, when a guy begins he wants to do that too, we All want to do that , but with the years, you get another things into your soul, less narcissism, appreciation of much more what happens into you in relation with a woman, with the music…
But Tango grows and grows in the Open, and it is good but the people whom stay into that Tango need to change. Because if you don’t change of that, in five years you are absolutely tired, its something unbearable. And whom continues dancingOpen Tango are professionals whom have a Market, it’s good, is people who has to do that, I don’t have so much reasons to be opposed to the job of that people.
I say what I’m doing and nothing more. I can teach that open, do kicks, sacadas, etc play with Tango, nut here I have to go directly, to enlarge the frame, and then the man have to get a woman , to walk with her and that experience is very hard if I can say, terrible and at the same time irresistible. So, for me, La Academia is an alternative is what we have.
Would be good to live in the 40’s where we didn’t had tv , only may be an small radio and dance Tango.
But we have email, computers, virtual spaces,virtual sex, epoch changed!!!

Q: With respect to Technique after so many discussions, the axes, the balance, the era of the Body, are we returning to hands for leading? I can understand it in open Tango…
A: No, in open Tango is not used so often. You can see them sweeting because they don’t use hands so much. The Hands has to be relaxed. I do everything with the Hand and body is going behind her, following her. I walk in different directions and my hand is moving, the hand moves and the Body is moving behind the Hand.

Q: I don’t want to take more of your time but I want from you a comment about music, I know that at leat all of us are behind a point so important, fundamental like Music if not, Dance can’t serve or would be another thing. Do you thing that we have to put attention to the Theme, to the letter, because there ae people that is so “ locked” into the technique in the Dance that they are not so interested about what is happening outside them.
A: I understand you. Music preceded Dance. Nothing exist without Music. Music becomes before Dance. Dance is aboutMusic. If you don’t have addiction to Music, you can’t do anything.

Q: Talking abut Tango, is there a type of music you don’t like?
A: Of course. I’m not interested in Dance something that is not milonguero. Tango Milonguero has a marked Rhythm and very hard and may be pugliese may be Biagi, doesn’t matter but into all the bodies, the Rhythm, the Knock is what defines the Dance. Foe example, there’s some Tangos of pugliese we don’t dance because it has a so long rithmical variant that when you are intellectually waiting for the knock and at the sme time with the woman that knock never arrives. It’s simple. Music has a knock. This is a thing relly popular I’ve seen in my life, I’ve seeing it in Africa, in Asia, in Uruguay, in Mexico, there is no popular Music without Knock. But as I told you when shows appears the knock can be in another parts, as an estilization.
It’s not the Music, that is something more ethereal. But despite of this you can observe now that is different. When I began dancing tango, 25 years ago, music was not so close to Dance like now. Dance was based only in the Figure in the Form,now is more engaged with the Music.
Q: with the show
A: yes, with the Show and the Music. One thin is to Dance, one thing is to Dance with the Other and another thing is to do Music. You can follow the Knock with the basic step but between one knock and the other there is a World, Can you see?
Q: yes
A: Happens a lot of things.

Q: Finally I want repeat a coment from my partner and ashe told me: I gained skills, but I lostfaith in my dance…and selfcomfidence.
A: happens what I told you, between the Tension and attention, if the Use of technique is dependen from the Balance, Form,etc but after is under a tension anervous tension, and paying attention to another parts of the Body. Technicque helps but is not the Target. Target is the Feeling, but how can I go to the Feeling if you are under Tension, if you can not manage that Technique?
Q: Technic and the Partner is not that important?
A:This is this way. When one person dances well, when one person has a good relationship with the world that person can dance with anyone, with the best and with the worse. That person improves the conection with everyone.





REPORTAJE A SUSANA MILLER


P: lo que me llama la atención es lo que dice la gente sobre la línea de La Academia. Uno de los comentarios es: Susana no enseña un paso, es otra cosa, esa otra cosa esta vinculada con algo que tiene que ver o no con el tango. Vos que opinás sobre la posición del cuerpo, la manera de sentir a otra persona?

R: Yo pienso que tiene que ver porque todo lo que pasa tiene un cuerpo; si vos querés ponerle sentimiento y transmitirlo a través de tu cuerpoentonces te tengo que enseñar algunas técnicas de equilibrio que están relacionadas con la  relajación y una postura y esto es muy difícil de entender y poner en la misma bolsa las dos cosas. Porque relajación implica postura y postura implica en el imaginario no-relajación o sea: si me relajo estoy desarmado y si me armo estoy tieso; hasta que uno entienda ese promedio, esa proporción entre armarse y estructurar el cuerpo, alinearse con la columna y la pelvis en su lugar y no obstante estar relajado.. lleva un tiempo, entonces, la técnica es necesaria para que el paso sea interesante; sino lo que enseñas es un paso como si hicieras en un mapa un dibujo y se lo dieras a la gente, y lo que yo quiero trasmitir es a través del cuerpo para poner el alma, porque sin el cuerpo en estas condiciones, el alma tampoco se trasmite, si yo estoy asi con vos, hablando a través de esta mesa, por más que sienta algo adentro yo no lo puedo trasmitir y los lenguajes son para transmitir lo que uno siente.

P: estos lenguajes...esto es algo nuevo, es algo que vos aprendiste, es algo que viene de los viejos milongueros; que pasaba con los viejos milongueros?

R: es muy interesante tu pregunta. Los viejos milongueros hacen lo que yo digo pero lo aprendieron despues de 30, 40 años bailando; y el cuerpo es sabio y llega un momento en que vos hiciste veinticinco veces una cosa y vas conociendo como es esa cosa para hacerla mejor. Eso es todo. Ellos no tuvieron que aprender como se hace , como si fuera una alumna o un alumno que viene 3, cuatro años a tomar clases conmigo; esto lo hicieron durante doce, catorce años y han jugado, han jorobado, han chichoneado con esto; aquí la actitud es muy importante para relajarse, para entrar en una situación de aprender, porque lo que le quita placer a la cosa  se vuelve en rigidez y desde la rigidez es muy dificil salir.

P: tanto vos como Maria están en la misma Linea.

R: si, claro, sino no estariamos juntas.

P: tambien por otro lado hay gente que hace yoga, otras cosas que ellos creen que esta conectado con el Tango.

R: mirá, cuando llega el momento de hacer lo tuyo, uno nace cocinero y otro nace bailarín. Uno es una persona y un buen dia se encuentra, aleatoriamente o no tanto, muchas veces la vida te va llevando por un camino y toda tu biografia se plasma en lo que estás haciendo. A mi me importan más los conceptos dentro del arte que el objeto artistico en sí mismo si no tiene ningun concepto. Yo a veces veo bailar gente que tiene un concepto y a mí no me gusta.

P: que es lo que te gusta cuando ves a alguien bailar?

R: el baile tiene una ideologia y tiene un concepto; que quiere decir para hacerlo mas general, para hacer mas pragmático el tema: bailar para divertirte, para pasarlo bien, para tener placer con la mujer con la que estas bailando. Esto es lo que yo enseño. Hay otros que se dedican a enseñar a la gente el espectáculo y está bueno porque el espectáculo es necesario al Tango Milonguero, es como la otra cara del Tango Milonguero, lo muestran en el mundo y vienen aca porque han vistoalgoespectacular...pero esa es la foto del tango, sacas una foto de algo que es mucho menos que lo que se hace y mucho más al mismo tiempo. La pintura esta linda, vos me sacás una foto, me haces un fotoshop y yo te digo : poneme un poquito mas alta, un poquito más rubia, un poquito más joven, esta todo bien.
PERO NO SOY YO.
 Con el Tango es lo mismo, hay una “picture” , una foto del Tango, una significación, una dramatización del Tango que es fantástica, le hace bien al Tango, pero no confundamos. A la hora de bailar en el piso pasan otras cosas. Lo mismo la Salsa, en las Danzas Africanas igual. Tienen una expresión popular y una versión artística, estilizada, las representaciones siempre son bellas. Esto es lo mismo que enamorarse de una mujer. Te enamora y la ves maravillosa y después de unos años empezás a ver otras cosas, que tiene barritos, que tiene arrugas, etc, el Tango es lo mismo, el Tango es medio sucio, tiene barro en las uñas, no es esa cosa estilizada y perfecta, no es así.

P: en general, la gente que esta en Europa tiende a idealizar ...

R: y aca también,pero quisiera terminar con el concepto, ese concepto que quiero enseñar; cuando vienen un hombre y una mujer que quieren aprender para bailar en el salón para tener un momento de placer, un diálogo corporal intenso, me interesa ensenar el concepto, pero cuando voy a ver un espectaculo no quiero ver eso, es diferente, quiero ver otra cosa, pero cuando veo que en pista se hace lo mismo y que bailan para la platea y bailan para la góndola y bailan con narcisismo, eso es un Concepto que lo veo y que a mi no me gusta.

P: vos crees que en el Tango Salonero se tiende a eso?

R: No, no necesariamente porque están en otra, es mas light.

P: te pregunte esto porque conozco el caso de muchas parejas que en Europa hacen un “mix” entre Tango de Salón y Tango Milonguero y algunas de esas personas me han dicho que de golpe se cansaron de todo eso, se sienten como en un gimnasio.

R: lo que pasa es que el Tango Abierto coresponde a un contexto que es la exhibición y después cuando crece y maduras los temas, entrás en una especie de crisis porque la gente que hace Tango Abierto hoy es muy poca acá porque acá esta el incentivo de la milonga, eso cuando vienen se los lleva de las narices, esa cosa condimentada y muy fuerte y quieren eso, quieren ese colorido irresistible, eso es lo que les pasa. Pero en Europa hay muchos lugares milongueros y lo bailan muy bien.

P: he visto muchos colegas tuyos que van allá y enseñan cosas o tipos que caen de los shows..

R: acotemos la ecuacion rápida, tenemos la milonga. Ellos ven el Show y quieren hacer eso. Cuando uno empieza, tambien quiere hacer eso. Todos queremos hacere eso. Despuescon los años, pasas a otro estadio, te pasan otras cosas en el alma, te pasas del narcisismo y empezas a valorizar lo que te pasa adentro en relacion a la mujer y con la música; pero el tangocrece en el Abierto, lo cual es bueno porque depues a la gente lo que le va a quedar en el Tango es cerrarlo porque despues de cinco años haciendo eso te repudrís, te cansás, y lo siguen haciendo el Tango Abierto los maestros que tienen ya su mercado , está bueno, además es gente que tiene que hacer eso, yo no emito opinión, yo no critico a nadie, hay muchas razones para hacerlo, yo elijo lo que yo hago nada más, después vos empezás y si vos tenes quince años, que vas a hacer? Milonguero? NO. Empezás a jorobar, jugar con el Abierto que después vas a aprender más con el Milonguero, por eso yo no hago el Abierto acá; porque seria hacerlo in vitro, no seria natural natural es jorobar es chichonear con el Tango con coces y patadas y despues empezar ; yo no hago eso asi que tengo que abrir el marco y tener la posibilidad de caminar, sólo con la mujer, es algo muy fuerte pero para La Academia es una alternativa, no la mejor, es la que disponemos.Sería bueno que pasara lo que pasaba en los 40 donde no habia TV y vos ponías una radio la de tu casa y bailabas, ahora hay internet y hay juegos virtuales y hasta sexo virtual, bueno cambió todo, cambió la época. Es otra época.

P: con repecto a la técnica, con repecto al eje, al balance, el movimiento de los cuerpos...se vuelve otra vez a la mano?

R: es con la mano...la usan los milongueros todo el tiempo. No se vé porque la mano esta relajada. Vos no la ves pero mi cuerpo es solidario con la mano.Ojo. Si la mano se mueve el cuerpo se mueve tras de la mano. El cuerpo la sigue.

P: todos estamos detras de una cuestion que es la música; vos creés que hay que ponerle atencion a la música o a los temas, o a la letra, porque hay gente que se encierra tanto en la tecnica que a veces en el baile no le interesa lo que esta escuchando.

R: es un tema, pero la música precede al baile. No hay nada que no tenga música, si no tenés adicción a la música, ni en el ballet podes bailar.

P: Hay un tipode Tango, de música que no te guste, que digas que no queres  bailar?

R: Si, claro. Lo que no es milonguero no me interesa bailar. El milonguero tiene un ritmo muy marcado y muy fuerte que define el golpe, puede ser Pugliese, o Biagi. Pero el golpe  es lo que define el baile, vos te encontras con alguna variante rítmica de Pugliese a veces tan larga que cuando estas con la mujer con la que estas bailando  y escuchando lo mismo y tenés que moverte solidariamente tenés que inventarlo, estas buscando un golpe que no llega, entonces se hace difícil. El tema del golpe esta en todas las músicas populares, lo he visto en Africa, en Brasil, no hay baile popular que no lo tenga. Cuando hay un Baile espectáculo es otra cosa.Es la Estilización. Está basado en la visibilidad, no en la música, es una cosa etérea. Ahora, no obstante eso, si observás un espectáculo ahora, si lo comparás como cuando yo empecé a bailar hace veinticinco años, es mucho más musical ..el baile ahora se engancha más con la música. En el espectáculo. Antes, el espectáculo estaba más conectado con el show y no con la música. Una cosa es bailar con el golpe y otra es con la música. El golpe lo tenes que seguir. Es basico.
Ahora, lo que pasa entre un golpe y otro golpe, hay todo un mundo pues pasan muchas cosas.

VENDRAS ALGUNA VEZ- WILL YOU COME SOME DAY Tango Music A Malerba Letter: L Cesar Amadori – 1938

Si supieras que estoy solo
entre tanta y tanta gente
si supieras que estoy triste
mientras ríen locamente;
tengo todo y me parece
que sin vos no tengo nada....
y en la noche atormentada de mi amor,
te pregunta temblando mi voz.

Vendrás alguna vez...decime.
Vendrás por el camino de mi soledad.
Y no me importa lo que diga la gente,
ya ves, humildemente, te pido que vuelvas.
Vendrás alguna vez...mentime.
Mentime si es que nunca volverás.
Porque prefiero vivir de esa mentira,
que andar tras de la muerte sabiendo la verdad.

Tu reuerdo me persigue,
tan tenaz como la sombra,
y en la noche solitaria
oigo el viento que te nombra.
Yo te llamo en mi amargura
aunque nadie me conteste,
y es inútil que proteste pues mi amor
es mas fuerte que todo el rencor.



Vendrás alguna vez...decime.
Vendrás por el camino de mi soledad.
Y no me importa lo que diga la gente,
ya ves, humildemente, te pido que vuelvas.
Vendrás alguna vez...mentime.
Mentime si es que nunca volverás.
Porque prefiero vivir de esa mentira,
que andar tras de la muerte sabiendo la verdad.
                         

                                     

If You knew that I'm alone
Between so, so many people
If you knew that I'm so sad
and they laugh as they were crazy;
I have everything but seems to me,
That without you I have nothing,
and in the stormng life of my love,
My voice, trembling asks you:

Will you come some day...tell me
You will come some day by the solitude way
And I don't care what people could say
You know, modestly, I ask you to come,
Will you come some day...lie me
Lie me if you never will come back,
Cause I prefer to live into this lie
Than walk behind the Death knowing the Truth.

Your memory pursues me,
so hard as the shadow,
and in the solitaire night
I hear the wind that names you.
I am calling into my sadness,
although nobody calls me,
and its useless that I protest cause my Love
Is stronger than all the bitterness.



Will you come some day...tell me
You will come some day by the solitude way
And I don't care what people could say
You know, modestly, I ask you to come,
Will you come some day...lie me
Lie me if you never will come back,
Cause I prefer to live into this lie
Than walk behind the Death knowing the Truth.

ANTS,TANGO, DOGS,TANGO, POOL TANGO DANCER TANGO,EVERYBODY TANGO,EVERYWHERE TANGO!!!

Piano ,bandoneon and violins all comanded by the great Rodolfo Biagi aboard a neat and punctillous optimism,come over here to go over there,how oxigenating and carefree !!! Tango of the Good Old Days?? Sure. but they sincopated so well to carry on with thw now a lonely dancer all tangled up within diverse exotic nature that among other things includes Misiones Golden Ants, Britanico's Manolo waiter, Veira Coaching San Lorenzo Athletic Club Football Team, a dandy old-fashioned at queen bess, dad with rubber -bow and the kids throwing stones in stereo, a penguin with oil saved by specialists,a plane menacing Buenos Aires...                              

HISTORY-ORIGINS OF TANGO

ORIGINS OF TANGO

REPORT  OF ORIGINS OF TANGO

Reading about the different or similar point of view of the investigators I decided to describe them in form of simple schematic, sketches to describe what every author was dealing with the problem and with a better comprehension of them.

I tried, into these sketches to define a direction of a flux, ending with the proposition of the Investigator, to a final conclusion.

We  can see  that music is traveling from one country to another, and at the same time transforming and receiving different influences.

I found that music traveled from the Old World to the New World and viceversa, changing  of name, adopting others, staying in some places as migratory birds and finally laying to another part.

Could be that those music that stayed in a place couldn’t get any evolution as the “migrant” music or form of music, going finally to an  invisibilisation process.

 I found different positions of Authors, different ideas coming from them, some of them interesting and originals.

Others,  allowed  themselves  a view of complet dependence from Europe. The so called “Theory of Cultural Radiation” from a superior level to an inferior one.

The lack of  Documentation, or documents that can be distorted in benefits of a Theory, the Myths that are reserved in order to simplify the final arriving to a conclusion, the quick simplification , attempted against a clear identification of the problem.

These were the obstacles I found about all the information I had in my work table:

1)     Huge, extensive bibliography

2)     Diversity of judgment

3)     Multitude of every type of authors, famous novels authors, music lovers, lecturers, musicologists, musicians, historians,etc.

4)     Lack of strictly investigations in some of them.

5)     Lack of Documentation.

6)     Never- ending discussions between authors.

2- DIAGRAMS

Was not my intention the elaboration or repetition and no afirmation of any of the Theories about Tango Origin’s.

But I tried, into the limits I could , that its possible to understand what’S new on every Author’s Theory.

So, I described it in from Diagrams for each Author and  looking for any logical interpretation and conclusion. I’ve tried that these Diagrams were  as simple as possible  and that  can be followed by a System like a Flux Diagram, sometimes I found one or more of the Investigators dealing by the same way of logic.

I found that, some of them made my job easy but others began to answer and very critics with his colleagues…so everything was more difficult…There was whose could not justify or probe a hypothesis and put a final point abruptly.

And there was who using his fame or prestigious were  used and were lost in the sea of  vanity.

Also there were another Authors whom used their Musical Knowlegdments to fundament their Hypothesis, was for me impossible to integrate them in a Simple Scheme as it was presented.

In fact., I think these Diagrams can help to get a new view of the Origin of Tango.

I’ve been used Bibliography from the Authors, copies, parts of their Books and the  Library of the National Institute of Musicology.

Diagrams are in an Excel attached sheet and they are:

DIAGRAM 1	AFROCUBAN TANGO-ANDALUZ TANGO	ROBERTO SELLES
DIAGRAM 2	CREOLE TANGO	ROBERTO SELLES
DIAGRAM 3	ANTOLOGY OF TANGO OF RIO DE LA PLATA	JORGE NOVATI
DIAGRAM 4	THE MUSIC IN CUBA	ALEJO CARPENTIER
DIAGRAM 5	THE HISTORY OF TANGO 1-BLACK ROOTS OF TANGO-CANDOMBE	BLAS MATAMORO
DIAGRAM 6	HISTORY OF TANGO-SPANISH ROOTS OF TANGO	BLAS MATAMORO
DIAGRAM  7	ARGENTINEAN’S DANCES AND SONGS	CARLOS VEGA

                        DIAGRAM 1

                        DIAGRAM 2      

                          DIAGRAM 3

                          DIAGRAM 4

                         DIAGRAM 5

                           DIAGRAM 6

                              DIAGRAM 7

3-COMPARISON AND CROSSING DATA

DIAGRAMS 1 y 2: Roberto Selles thinks that Tango is coming from a black Counter dance, he doesn’t talk about Habanera but Tango that leaves Cuba to Cadiz and from there with the contribution of Cadiz and we can see from Scheme there is a continuous turnaround from Havana to Cadiz till the insertion in America as Andaluz Tango.

Second Scheme is in reality a continuation of the first were Tango becomes Creole Tango.

DIAGRAM 3: Jorge Novati gives as origin the Country Dance which is in England and after goes to Cuba were  it is converted into Habanera or Tango and from there arriving to the Rio de la Plata from Europe.

DIAGRAM 4: Alejo Carpentier  begins from a part of Counter dance and in Cuba and Santo Domingo and accepts that Habanera was in Cuba before. From there the rhythm left to Spain and from there arrived to Argentina. We could see a superposition between 2 Theories: Schemes 1 and Scheme 4.

DIAGRAM 5 : Blas Matamoro, Black Roots of Tango-Candombe.The Author only admits a certain influence in the choreography of Candombe but denies every other contribution from Candombe to Tango.

DIAGRAM 6: Spanish Roots of Tango : coming also from Counter dance in the Courts but from Spain and arrives to Rio de la Plata trough the Zarzuela appearing like Tango Porteño or Habanera, depending on the social behaviors were it was Developer.

DIAGRAM 7 – Coming from Andalusia were it was a very popular genre as Andaluz Tango and trough Zarzuela where were added Habaneras, polkas and mazurkas. Arriving to Buenos Aires were Creole Authors and Spaniards residents were composing mores Andaluz Tango that will be evolving till finally merged into Creole Tango.

To clarify these concepts and coincidences and contradictions we could say then :

That Counter dance arrives from Europe to America and  as:

Habanera…………………………………………………….D-6

Habanera,Andaluz Tango………………………….............. D-4

Habanera ………………………………………….............. D-3

\Which was the vehicle from these rhythms from Spain or from Europe?

Zarzuela……………………………………………………D-1, D-6

Ballroom (¿??? Habanera???.......................................D-3

Zarzuela and Habanera………………………………………D-4

And arrived to Buenos Aires as:

Andaluz Tango…………………………………………….D-1,D-7

Spanish Tango/Andaluz…………………………………...D-2

Habanera…………………………………………………..D-3

Zarzuela and Habanera………………………………………D-4

Zarzuela……………………………………………............D-6

Zarzuela: Spanish Operetta

Aharounian Coriun,2007 Musicas populares del Uruguay.Montevideo.Universidad

De la Republica.

Ferrer,Horacio 1999.El Tango.Su Historia y evolucion.Buenos Aires Pena Lillo.

Gesualdo,Vicente.1961.Historia de la musica en la Argentina.Buenos Aires beta 2 volumenes.

Novati,Jorge 1980.Antologia del Tango Rioplatense.Desde sus comienzos hasta 1920.Buenos Aires.Instituto Nacional de Musicología ¨Carlos Vega.¨

Matamoros,Blas 1976.Origenes musicales¨(55-98) La Historia del Tangos sus origenes.Buenos Aires.Corregidor.

Selles Roberto 2004.El Origen del Tango.Buenos Aires.Hecuba.

Vega,Carlos 1936.Danzas y canciones argentinas.Buenos Aires.Ricordi.

Ricardo Garcia Blaya

www.todotango.com/spanish/biblioteca/cronicas/origenesdel tango.asp

                    

PERMANENCE OF TANGO

The perdurability of Tango depends not only of its quality as popular art, etc,  but because it has the possibility  to be transferred into another rhythm.

Every Tango can be converse and merge with another popular music without losing its autentical roots.

There are hundreds of examples  as Adios Muchachos played by Louis Armstrong, Vida Mia by Dizzie Gillespie, or Nieblas del Riachuelo song by The Flamenco singer La Cigala, between others.

This reliability of this Urban Music is not often encounter in another Popular Urban Musics.

By the contrary is not possible to  apply these concepts to the so called Clasical Music, because into this Music, the artist cant “remove” notes and replace them without trespassing a forbidden limit imposed by  the constitution of that music, by the concept and by the context.

It’s impossible for a pianist, as example, to play a piece of Mozart, with changes during its execution. It has to be played from the first note to the last one the Author has written.

It’s not the time to make an absurd comparison but it’s not the way of Tango.

A piece of Tango can be changed in such  FORM THAT ONLY BY PARTS, SOMETIMES, it we can be recognize  as the Original.

But, no matter, because Tango flourish into that Freedom.. Because as a Popular Urban Music, Tango has exceded sounds questions being converted in a Cultural Phenomenon.

That’s why as an Urban Popular Music needs multidisciplinaries studies and many speciailist will be  required to do that job. We'll see some  examples of that reliability:

  Title:Nada - Tango- Authors Dames-Sanguineti           

Orchestra Miguel  Calo                                       

Singer Raul Iriarte

Title:  Nada-Bossa Nova- Artist: Caetano Veloso

Title: Por una Cabeza- Authors: Gardel & Le Pera- Tango-Singer Carlos Gardel

Title: Por una Cabeza- Authors: Gardel & Le Pera- Reggae - Los Pericos

We can find hundreds of these type of examples, however neither one version nor the others loses the vital esence of its composers, this is the point I wanted to arrived.: that Tango has  HUGE RELIABILITY TO BE TRANSFORM AS IF IT WERE  AN  ELASTIC BALLL which finally, returns or conserve its own image, reflected  everywhere. And this possibility aims to the musicians of every parts of the World to attempt with a Tango and with their own cultural behaviour.

DANCE “BODY CAN BE OUR PARTNER”

The body realized itself when mind release him.

As a bamboo branch, it preserves its structure in a relaxation and into our uncritical observation of our emotions.

The system is “naturally” elastic and dynamics. The body, as a vegetable, is solid and liquid, contains water and solids parts. The “trapped” emotions in the body have a tendency to solidify themselves, destabilizing the proportion of the elements in the System.

A calm and soft breathing put into place the vertebral column, cartilages becoming

distended and the nerves around muscles, spilling generously everything that was dry into the body.

Susana Miller – Tango Teacher-  February 2011

More information about Susana go to
www.tangodowntown.net-susanabio.html
www.chicagotangofestival.com.Susana_Miller.php