Quick Introduction to Tango

“The tango argentino is a sad thought, which can be danced”.

Enrique Santos Discépolo

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 porteños (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 Germany 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.

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.

In 1918, lyric writing for the tango become the latest trend, bringing forth the birth of a star who is still celebrated six decades after his death–singer Carlos Gardel. The memory of this handsome, charismatic performer has reached hero worship status in Argentina.

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, 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.