ORIGINS
OF TANGO
REPORT OF ORIGINS OF TANGO
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 Spain
and from there arrived to Argentina
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
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
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
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