Selected YouTube TangoVideos:
1. TangoClass - instructional vídeos - TangoLessons
2. Milonga and Candombe dancing
3. Tangovals clips - Tango waltzing - Valse - Tangowals
4. Great Tangoclips - fast internet access needed
5. Fast Links to Selected Tango Dance Vidio Updates
6. TangodanceClips with Humor
El tango y las milongas, documentados como fenómeno
El escritor Edgardo Cozarinsky rastrea
los mitos, personajes y rituales de la noche tanguera en Milongas, una
obra que además de recorrer los principales escenarios testimonia
las reacciones que este baile generó en figuras como Lepoldo
Lugones, Victoria Ocampo y Julio Cortázar. El flamante trabajo
de Cozarinsky tiene una fuerte apoyatura en las más de cien imágenes
del fotógrafo Sebastián Freire, que captan con sutileza
el movimiento y la sensación de “trance” que describen
quienes bailan el tango.
Milongas, recién editado por el sello Edhasa, propone un recorrido
por la historia del tango bailado: sus personajes, sus mitos y leyendas
nunca confirmadas y sobre todo, sus circuitos de baile, todo eso captado
con un agudo sentido de la observación que le permite reproducir
los modos de habla de ese ambiente y sus ceremonias más emblemáticas.
“Bailar el tango pone en escena la fuerza tenaz, inexpugnable,
del deseo”, afirma el autor, quien también se encarga de
remarcar el regreso del baile como fenómeno después de
haber atravesado todos los estados de ánimo: los años
de marginalidad hasta el triunfo en París antes de 1914, la época
de oro de la década de 1940, el olvido de las décadas
de 1960 a 1980, y el reconocimiento mundial —en París,
Tokyo y en Nueva York— desde 1983.
El objetivo de Cozarinsky, realizador de films como La guerra de
un sólo hombre y Ronda nocturna es antes que nada
el baile y no las letras ni las anécdotas de sus músicos.
El lector pasea a lo largo de 154 páginas por aquellas milongas
legendarias ante las que se rendían artistas, poetas, y aristócratas
y arrabaleros, dando lugar a una historia que se mueve entre la ficción
y la crónica de lo que el propio autor ha visto a lo largo de
su vida en las diferentes milongas.
(www.eldiariodeparana.com.ar)
Nuevo éxito del cine argentino en Francia:
Video
Edgardo Cozarinsky - Ronda nocturna / Ronde, de, nuit, Le, Rennes
The Moldavian Pimp, Edgardo Cozarinsky
In a bar in the Buenos Aires suburb of Villa Crespo our
narrator recalls his encounters with an old man of Lithuanian descent,
Samuel Warschauer, whom he came to know shortly before the man died.
Among his papers, he found the script of a curious play entitled The
Moldavian Pimp, performed in Yiddish in the poor, Jewish area of
the city in 1927-28. The play concerned young Jewish girls from the
Ukraine recruited by Jewish pimps to go to Argentina on the promises
of freedom and a new life, only to find themselves sold into prostitution.
Set in the Argentine capital and Paris, and ranging in time from the
1920s to the present day, Edgardo Cozarinsky’s beautiful and moving
novel about Jewish immigrants may be among the few records we have of
an extraordinary and little-known twilight society.
Edgardo Cozarinsky (1939) is an Argentine film director,
writer, and actor. He is possibly best known for his experimental and
"subtle semidocumentary" films.
By the late 19th century a wave of immigrants settled in
Argentina. By 1920, more than 150,000 Jews were living in Argentina.
Like the rest of the population, they were fascinated by tango. Some
danced it, others sang the melodies with Yiddish words. Jewish musicians,
often violists, quickly adopted this new style, became tango composers
and performers, adding a jewish rhythmical touch. It found the Yiddish
theatre, which started as a low-brow kind of entertainment for working-class
Jewish audiences who actively participate in the adventures of the actors
on stage. The Shoah or holocaust nightmare, gave rise to the "Ghetto
Tango", a form of song that combined elements of tango and cabaret
song with usually deeply moving, often disturbing, heart-rending lyrics.
Tangopages, video illustrated :
Tangodance
interpretations on Gallo Ciego
Dance
interpretation on Francisco Canaro's Poema
Walking
the tango rhythm
Walking
Seduction
Dance
is a physical need
Tangowals tangovals
Milena Plebs Ezequiel Farfaro
Online Tangolessen
videoclips videolessen updated
Carlos Gavito and Maria Plazaola
Showclips Forever Tango - great milongueros
Albert Londres, la mafia Française de traite des blanches
L'Argentine et le Brésil, pays d'immigration à
la fin du XIXe et au début du XXe siècle, furent la scène
d'un important trafic de femmes, françaises, espagnoles, italiennes,
portugaises polonaises et russes. Le témoignage publié
par Albert Londres, « Le chemin de Buenos Aires », en 1927,
éclaire indirectement la prostitution au Brésil. Margareth
Rago rappelle le sérieux des enquêtes d'Albert Londres
et son entregent pour entrer dans les milieux les plus divers, et, dans
le cas présent, dans celui de la mafia française de traite
des blanches (comme on disait à l'époque) pour l'Amérique
du Sud. Il était du reste mandaté par la Société
des Nations. Albert Londres a montré comment les maquerauds
poursuivis par la justice argentine se réfugiaient au Brésil,
où ils possédaient des réseaux de magasins, servant
de société écrans pour engager du personnel féminin.
Il distinguait le réseau des proxénètes français
- la prostitution de luxe - de celui des Polaks, recrutant
dans les villages pauvres d'Europe Orientale, les masures israélites
de Pologne.
Margareth Rago étudie avec minutie “la composante
sadomasochiste” des rapports entre le proxénète
et la prostituée, ces rapports psychologiques complexes dans
la cadre du judaïsme (où proxénète et prostituée
sont bannis) en abordant une prétendue société
de bienfaisance religieuse, pour les prostituées juives, la «
Zwi Migdal » en Argentine et au Brésil (avec une maison
de retraite à São Paulo). Ayant son siège à
Buenos Aires depuis 1904 et la couverture légale d'une société
israélite d'entraide dite Varsovie, elle a participé à
« l'importation » de nombreuses prostituées juives
par leurs coreligionnaires en Argentine et au Brésil. Envoyant
des rabatteurs dans les villages pauvres et les plus touchés
par les pogroms, ils proposaient des mariages en Amérique aux
jeunes filles pauvres. Comme parallèlement l'émigration
juive dans l'État de São Paulo était importante,
la communauté juive désirait se démarquer de ces
Juifs indésirables (« temien »), aussi bien en Argentine
qu'au Brésil. Ces derniers se replièrent sur eux-mêmes:
« Ils fondaient des temples, des synagogues, construisant leurs
cimetières, des espaces de loisir comme des casinos, des théâtres,
en plus des bordels, des lupanars et des cabarets qu'ils détenaient
». En réponse, de véritables associations de défense
des femmes juives se sont créées comme la société
de bienfaisance des dames israélites et la société
israélite des amis des pauvres, ESZRA, dès 1916. Le souci
de préserver la moralité à l'intérieur de
la collectivité et celui de s'intégrer socialement imposaient
une attitude soucieuse de moralité. Mais les proxénètes
juifs - et non juifs - et leurs sociétés écrans
avaient de nombreux appuis dans les polices argentine et brésilienne
et leur pouvoir ne déclina qu'à cause d'une évolution
mondiale. (Margareth RAGO, Os Prazeres da noite (Les
plaisirs de la nuit), prostituçâo e códigos da sexualiade
feminina em São Paulo 1890-1930.)
Aller là-bas RoutePlanner
MILONGAS - CASAS de Tango Houses - BsAs Route Planner
Once upon a time in Argentina,
the peso was linked to the strong American dollar. Then, says the story,
the Argentine peso became overvalued...
That situation rendered Argentina uncompetitive, caused the economy
to slump and forced Argentina to default on its debt. The Convertibility
Law gave a peso holder the right to freely convert a peso into a US
dollar, one to one. With the repeal of the Convertibility Law On January
6th, 2002, the peso holders’ claims on foreign reserves
held at the central bank were revoked.
In few days, the peso had an enormous devaluation: one dollar became
4 pesos, which means a 400% devaluation. Foreign reserves equal to USD
17.8 billion that were the property of peso holders were confiscated
by the government. Angry Argentines protested in the streets and riots
killed people. As of 2005, the streets have become
normal. For those who have work, the minimum income is aboud 140 euros
(600 pesos).
At the present crisis with the "ARS" peso-devaluation, the people who
live on the tango live on the tourists. The economic
situation indicates that the more devaluated, the more foreign friends.
So the supply is the tangodistrict, with hotels five stars including,
milongas for all the tastes. There are tanguerías, tango-schools,
tango-studies, academies, and the industry of tanguero souvenir is multiplied
until unsuspected limits.
Four of each ten tourists mention the tango as reason to travel to Buenos
Aires. The tango mundial promotes the capital of tango. The championship
counts on several features like markets for clothes and the shoes that
are used to dance tango, and also jewels, discs and photographies. Between
the competition-pairs that arrive from the outside Argentine, there
are some coincidences: all take advantage of the trip to become qualified
taking classes and, of course, concurring to whatever milongas they
can. Many are to the front of their own milongas, academies or companies
of dance.
During tango festivals and competition contests, the hotel sector, the
traditional articles such as souvenirs, tango discs, books and videos,
beneficiaries with the presence of the foreign tourists. It generates
dividends in the gastronomy, the fashion and the transport. Tangomusic
moves around the world about 3,000 million dollars, of that single total
1% (30 million) correspond to Argentina.
Tanguero tourism has changed the appearance of the
milongas circuit. The habitués de los salones see their
old codes change. Taxi dancers rent themselves to foreign fans
for the social dance. Electronic tango attracts young people and gay
milongas change the old gender codes. The invasion of foreign tangueros
changes the milongas. "Before they were always such that we had
space to rotate . The codes changed to please them, drain the dancefloor
to put more tables. The idea that they have is to put much people and
it does not concern the quality of the dance space" says an old
milonguero who doesn't like today's workshop time spirit.
Buenos Aires
Las autoridades turísticas argentinas están utilizando el
tango como reclamo turístico, debido a que este baile esencialmente
bonaerense está nuevamente de moda en Buenos Aires, donde se ha convertido
en una muy importante fuente de ingresos económicos para la ciudad.
La identificación del país, y especialmente de la Ciudad de
Buenos Aires, con el tango permite que día a día se incremente
el número de turistas atraídos por esa actividad, con el consecuente
movimiento económico que supera hoy los 400 millones de pesos anuales.
Un calculo del Gobierno porteño estima que son unos 405 millones
de pesos los que los turistas dejan anualmente en la ciudad por medio de
actividades relacionadas con este fenómeno cultural.
De ese total, generado en forma directa por la actividad, 195 millones los
aportan los shows de tango; 52,5 millones los tours del exterior y los workshops
especiales; 40 millones las clases; 35 millones en souvenirs, arte y libros;
35 millones en otros espectáculos y medios de difusión; 28,5
millones en milongas; 12 millones en discos y 7,5 millones en zapatos y
vestimentas. El gran despegue se dio a partir de la devaluación de
2002, cuando debido al cambio de precios relativos y la tendencia a la búsqueda
de nuevos destinos, Argentina, y Buenos Aires en particular, recibieron
un incremento sostenido de la llegada de nuevos visitantes del exterior.
En cinco años, desde el 2000 al 2005, los turistas que concurrieron
a espectáculos de tango pasaron de 570.317 a 815.020. De ese total,
el 40 por ciento fueron europeos, 30 por ciento de Estados Unidos y Canadá,
25 por ciento del resto del mundo y el 15 por ciento de América Latina.
Las autoridades y el sector turístico capitalino están haciendo
una fuerte apuesta por promover los lugares más emblemáticos
relacionados con el tango en la ciudad, así como rescatando otros
que, por diversas causas, cayeron en el olvido.Tal es el caso del Café
de los Angelitos, uno de los iconos del viejo Buenos Aires, al que
acudían los más famosos cantantes de tango argentinos, entre
ellos Carlos Gardel, que tras 15 años cerrado abrió sus puertas
ayer, con una nueva imagen totalmente tanguera destinada a captar al turismo
extranjero.
Fundado en 1890, el Café de los Angelitos fue durante más
de un siglo centro de reunión y tertulia de artistas y escritores,
como José Ingenieros, o de políticos, como los socialistas
Juan B. Justo y Alfredo Palacios, todos los cuales dieron fama a este café
emplazado en la hoy muy concurrida avenida Rivadavia. Ya antes de adoptar
su nom bre definitivo, el café recibía a figuras del tango.Incluso
allí fueron contratados en 1917 Carlos Gardel y José Razzano,
quienes formaban por entonces un dúo. Otros habitués eran
Aníbal Troilo, Osvaldo Pugliese, Florencio Parravicini y los socialistas
Juan B. Justo y Alfredo Palacios.
El Bar de los Angelitos fue fundado por el migrante italiano Batista Fazio
en 1890 con el nombre Bar Rivadavia, y cambió de nombre a "Angelitos"
en alusión irónica a sus primeros comensales: gente de costumbres
poco señoriles, según medios especializados. "Voy
a ver a mis angelitos", decía un viejo comisario de Balvanera
cada vez que había un robo. Su destino era el Bar Rivadavia, en Rivadavia
y Rincón. Por entonces, era un galpón con piso de tierra y
billares frecuentado por malandras, jornaleros o payadores, como Gabino
Ezeiza. En 1920, el español Carlos Salgueiro compró el local
y lo rebautizó Café de los Angelitos en recuerdo
de la ocurrencia del comisario. El Café de los Angelitos, uno de
los más importantes emblemas de la cultura tanguera argentina y frecuentado
por Carlos Gardel y otros exponentes del género, fue reinaugurado
hoy en un acto y será reabierto al público mañana,
tras permanecer cerrado por más de 15 años.
Argentina :
Population: 36.2 million (2001 official figures), 1.5 million
currently overseas
Life expectancy: 71.8 years (male); 78.8 years (female)
Capital city: Buenos Aires (population 3.04 million; approx
12 million live in the greater Buenos Aires metropolitan area)
People: Most Argentines are of European origin, especially Spanish
and Italian. Substantial numbers also came from France, Poland, Russia
and Germany. The Jewish community is the 7th largest in the world outside
Israel. There are also more than 1 million people of Arab descent. Around
1% of the population are indigenous people living mainly in the north
and west.
Religion (s): Roman Catholic (90%); Protestant (2%); others include
Judaism and Islam.
Currency: Peso
Major Political parties: Partido Justicialista (PJ): Peronist Party;
Union Civica Radical (UCR): Radical Party; Alternativa por una Republica
de Iguales (ARI)
Government: Argentina is a constitutional republic. The President
is directly elected for a four-year term, which can be renewed once. The
legislature consists of a bicameral National Congress, made up of an Upper
House Senate (72 members, three for each province) and a Lower House Chamber
of Deputies (257 deputies).
Head of State: President Nestor Kirchner (since 25 May 2003)
Geography
Argentina is the second largest country in Latin America after Brazil
(almost all the countries of Western Europe and Scandinavia could fit
inside Argentina's land mass). The country is widely diverse and includes
rain forest in the north, vast areas of fertile farming land in the centre,
the Andean mountain range to the west and the desolate plains of Patagonia
in the south, leading down to ice glaciers at the southern tip. Argentina
has the world's southernmost city (Ushaia).
HISTORY DATA
1516 Juan Diaz de Solis explores Rio de la Plata
1536 First foundation of Buenos Aires by Pedro de Mendoza
1550-1600 Colonisation of Argentina's interior by the Spanish based
in Peru and Paraguay
1810 On 25th of May, Buenos Aires revolutionary council declares
freedom from Spain
1816 On 9th of July, formal declaration of Argentine independence
1853 Argentine Constitution is agreed
1880 Buenos Aires becomes capital of Argentina
1916 First universal male suffrage in Presidential elections; Hipolito
Yrigoyen (UCR) is elected
1930 Hipolito Yrigoyen ousted from his second presidency by the
first military coup in the twentieth century (lasted two years)
1946 General Juan Peron elected President
1951 General Peron re-elected President
1952 Death of General Peron's wife Eva Duarte (Evita)
1955 General Peron ousted in military coup (lasting 3 years) and
went into exile. Peronism banned.
1973 General Peron returned from exile and elected President for
the third time
1974 General Peron dies; succeeded as President by widow Isabel
1976 Military government takes over amid political chaos and internal
terrorism
1982 Falkland Islands
1983 Military government falls: Raul Alfonsin elected President
1989 Alfonsin resigns amid economic chaos and hyper-inflation and
hands over to President-elect Carlos Menem
1994 Pacto de Olivos: New constitution approved, allowing President
to serve two consecutive terms
1995 President Menem re-elected for second term
1999 Fernando De La Rua elected President
2001 President De La Rua resigns in December following widespread
civic unrest and protests against his economic policies. Adolfo Rodriguez
Saa elected President by Congress but resigns a week later
2002 Eduardo Duhalde is elected interim President by Congress in
January with a mandate to finish De La Rua's term.
2003 Nestor Kirchner elected President by the Argentine people
and inaugurated on 25 May.
Argentina has a system of presidential democracy. There is universal
suffrage and voting is obligatory. Since the return to civilian government
in 1983, Argentina has had four democratically elected Presidents: Raul
Alfonsin, Carlos Menem, Fernando De La Rua, and on 25 May 2003, Nestor
Kirchner.
ECONOMIC EVOLUTION
The Argentine population grew at extremely high rates up to the first
World War, the turning point occurred during the 1920s, population growth
decreased substantially between 1914 and 1947.
The growth of the labor force was essential for the expansion of agriculture.
During the second half of the nineteenth century there was an intense
process of colonization of the territory in the form of latifundia, great
estate farms. The area of land under cultivation doubled between 1900
and 1905, and again between 1905 and 1915.
The phenomenal wage differential between Argentina and some European countries
like Italy, attracted a colossal flow of overseas immigrants that constituted
Argentina’s main labor force.
During the period 1870–1914, there were also intense internal migrations
as a response to differential local labor market conditions. A similar
process also induced a massive flow of capital into the country.
Unemployment was quite low before WorldWar I, because of the large-scale
immigration and high rates of growth of real wages.
However, the country went through severe crises during the twentieth century,
which may have been followed by sharp increases in the unemployment rate.
The labor market before the 1930's was a "spot-market",
a non-contractually based labor market. This was especially so before
World War I and during the 1920's.
The slaughterhouses meat industry in Argentina shows a parallel, the meat industry resembled
a spot market. The manager of personnel chose among workers at the door
to the frigorifique where many workers waited in line for "…you,
you, and you ".
The relationship between the workers and the frigorifique was plagued
with conflicts. The argument over the extension of the working day predominated
in the first decades of the 20'th century, while wages were the main conflict
during the collective bargaining era.
In 1944, the government established a minimum payment scheme: every worker
had to receive a minimum payment of 60 hours every two weeks, regardless
of the time they worked during that period. Thus, the flexibility of labor
relations in the industry was seriously broken.
The 1960s were a period of severe conflicts between workers and "los
frigoríficos". By the way, the Buenos Aires neighborhood known
as 'Mataderos', which in the old days was also known as "Nueva Chicago",
was a center for the beef industry, where they butchered the cows.
During the era of the modern, institutional or rigid market,
labor relations became contractual, both explicitly and implicitly,
at the collective and individual levels. Several circumstances converged
in the development of a contractual labor market in Argentina after
the recovery from the deep crisis of the early 1930s.
A manufacturing sector in a noncompetitive environment favored the development
of powerful trade unions. Finally, among the other factors that contributed
to the power of the Argentine syndical movement, the most important was
the right granted to unions to administrate the workers’ national
health insurance system. This characteristic is unique to the Argentine
syndical movement, and certainly, it has provided the unions with a considerable
and enduring amount of power. Under civilian as well as military regimes,
wages were determined by the government instead of by collective bargaining.
The deep transformation of the system of labor relations initiated between
the 1940s and early 1950's, was as unstable as was the economy and its
political institutions.
Labor movements grew more when they were institutionally insulated, surrounded
with a nonconducting material from the market forces that drive up competition
among workers. Union movements have grown where unions control unemployment
benefits, where the labor market is centrally organized, and where social
democratic parties with close ties to organized labor have been in power.
In Argentina the unemployment insurance system was developed only during
the 1990s, and it is not under the control of unions. However, the Argentine
unions have had an even more powerful resource to sustain their growth,
the administration of the workers’ health insurance system. This system
was originally developed through collective bargaining at the end of the
1950s. During the early 1960s, the government created by law health insurance
systems for some industries and some state government employees. Finally,
in 1970, there was established a mandatory system for all workers that
is financed by the contributions of both employers and employees.
By the early 1970s, it was clear that the strategy of inward-looking import
substitution adopted during the early 1940s could not be sustained any
longer.
The economy needed to recover full access to world markets for capital
and goods to restore a process of economic growth. In 1975, inflation
reached an unprecedented level of almost two hundred percent. Public perspectives
on inflation were now hostile.
The military government that took power in 1976 established as its main
economic goal the reduction of inflation.The military that ruled the country
between 1976 and 1983 attempted to discipline unions by temporarily suppressing
collective bargaining and some other syndical rights, an illegitimate
and myopic, short-sighted strategy that did not work in the end.
From 1976, we enter the period of a search for a modern, flexible
labor market. There are reasons to expect that labor redistribution
took place during the 1990's, as the privatized firms reduced their
employment and, most importantly, the manufacturing sector faced a substantial
decrease in its relative prices as it faced stronger foreign competition.
|
Cela
fait quelque temps que je suis inquiet, agité, je n'en peux plus.
Je le sais, je dois partir, j'en ai besoin. Et ça me coûte
à en mourir, ça me consume, ça me fait suer. Mais
qu'est-ce qui me coûte le plus? Rester ici à faire comme
si tout allait bien, avec mes soixante-dix ans, ma retraite, ma bonne
santé, la boîte où je travaille, ou suivre ma passion
et lever l'ancre? Suivre, accompagner le destin qui est là en moi,
depuis cinquante ans et plus : c'est peut-être un rêve,
une illusion, une de ces chimères que je nourris. J'en paierai
le prix, mais je veux y aller, je dois y aller, à Buenos Aires.
Depuis le jour où, enfant, j'ai vu mon père
danser le tango sur l'estrade, j'ai tout compris. Et quelque chose en
moi s'est retourné, jusque dans mes tripes. J'ai vu ses yeux briller
alors qu'il saisissait ma mère, leurs corps étroitement
serrés, avançant d'un pas majestueux, sur le rythme sentimental
et sensuel d'une danse sinueuse. J'en ai été horriblement
jaloux, pourtant, j'ai voulu être comme lui, comme eux.
Oui, j'ai été jaloux, sur le moment, mais
c'est une passion différente qui m'anime à présent;
comme la Malena du tango, aujourd'hui je ressens la pena del bandoneon,
les accents tristes du bandonéon.
Je la ressens ici dans mon coeur comme une étreinte,
qui me porte là-bas, qui m'appelle à Baires, je veux sentir
ce bon air, peu m'importe la pollution dont on parle, je veux descendre
la Boca et trouver le Caminito Amigo, que entonces estabas bordeato
de trebol y yuncos en flor et descendre à la Vuelta de Rocha.
Je veux aller au Sud, dans ce Sud de l'hémisphère austral,
comme on dit, voir ce Rio de la Plata et tous ces gens qui vont et viennent
le long des avenidas. À la maison, je le répète chaque
jour à ma Carmela ou Carmen, comme j'aime l'appeler : vuelvo
al Sur, quiero al Sur, sueño al Sur, et elle ne sait rien encore,
elle ne sait pas ce qui me passe par la cabeza. Elle me dit
Ernesto, qu'est-ce que tu as? Tu veux aller à la mer, tu veux aller
en Sicile? puis elle sourit.
Ma pauvre petite femme, je ne l'ai même pas emmenée
en voyage de noces; à l'époque, nous n'avions pas un sou
de côté, mais surtout, je ne voulais aller nulle part, je
ne voulais pas voyager, partir. Rester ici, au même endroit, dans
cette ville enfumée, à peine prendre un train, un autocar
et à la limite, aller à Gênes, qui me semble déjà
si lointaine et exotique. Rester ici avec les amis du bar, les collègues
du bureau, la famille, l'orchestre de la Sala Gay, du B&W Lutrario,
et puis Leroy.
Je suis resté collé, cloué à
ces trottoirs, à ce quartier pendant soixante-dix ans, mes pas
ont usé les pavés de Turin. J'ai fait semblant de ne pas
avoir peur, j'ai même renoncé à des postes très
avantageux en Russie, en Bulgarie, pour ne pas mourir d'angoisse, de sueurs
froides, pour ne pas mouiller ma chemise, voire mon pantalon. Et dire
que je passe pour un type solide, courageux même, alors qu'en fait,
partir me fait mourir.
Seule Carmen le sait et elle le garde pour elle; il
fut un temps où elle me houspillait même, mais peu à
peu, elle a, elle aussi, perdu l'envie de se distraire en voyageant. Notre
unique grande distraction a été la danse. Carmen et moi
nous nous sommes rencontrés à la Sala Gay, nous nous sommes
connus au son des mambos et des rumbas, et puis je l'ai initiée
au tango et là, elle s'y est plongée corps et âme,
c'est alors que je l'ai sentie en moi et que nous avons formé un
couple uni, dans la danse et dans la vie. Maintenant, nos enfants sont
grands, ils n'ont plus besoin de nous et nous, nous sommes toujours ici.
Mais l'année dernière, j'en ai fait une
belle. J'ai décidé d'en finir, presque de me faire violence
et nous sommes partis. Carmencita, transportée de joie, n'en revenait
pas. J'ai acheté un de ces voyages bon marché pour Barcelone
qui, de l'avis de tous, n'est pas loin. Pour la première fois,
nous avons embarqué à bord d'un avion et, tandis que nous
montions la passerelle et que Carmen me serrait le bras, mon coeur s'emballait
malgré les calmants, je me sentais mal et à moitié
ivre : tout ça pour goûter un peu de Sabor Latino.
Nous étions bien, si bien que nous sommes même
restés une semaine de plus dans un petit hôtel pas trop cher
et au bout de quarante ans, nous pouvions enfin voir de vrais danseurs
de flamenco et de salsa. Et nous aussi nous avons dansé. Finalement,
nous l'avons fait notre voyage de noces, et nous avons fait des folies.
Maintenant je me sens un peu plus rôdé
aux voyages, et je veux faire le grand pas, peut-être le dernier,
pendant qu'il est encore temps, parce que je veux retourner dans une patrie
à laquelle je n'ai jamais goûté, je veux volver,
je veux Baires, danser dans une bodega de tangos et peut-être
même y mourir : je la saisirai, je la respirerai, je l'écouterai :
c'est là que je veux aller
vivre mon Argentine :
Vuelvo al Sur,
Como se vuelve siempre al amor,
Vuelvo a vos,
Con mi deseo, con mi temor,
Siento el Sur,
Come tu cuerpo en la intimidad,
comme je le dis et l'ai toujours dit à ma Carmencita.
www.mariobianco
/ Mario Bianco
Il
viaggio di Ernesto Caudera
con mi deseo con mi temor
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E'
da qualche tempo che sono inquieto, turbato, non ne posso più,
lo so, devo partire, ho bisogno di farlo. E mi costa da morire,
mi strugge, mi fa sudare. Ma cosa mi pesa di più? Stare
qua a far finta di star bene, con i miei settant'anni, la mia
pensione, la mia buona salute, la mia boita o seguire la mia passione
e salpare? Seguire, accompagnare il destino che sta lì,
dentro di me da cinquant'anni e più: può essere
sogno, illusione, una chimera mia che allevo dentro; la pagherò
tutta ma ci voglio andare, ci devo andare a Buenos Aires. Da quando,
bambino, ho visto mio padre ballare il tango su di un di un ballo
a palchetto, al paese, ho capito tutto e qualcosa mi è
girato dentro, proprio nelle viscere. Ho visto i suoi occhi brillare
mentre afferrava mia madre in quel modo stretto, i corpi così
aderenti, incedenti in una danza sinuosa, dal ritmo sentimentale
e sensuale che ne fui tremendamente geloso, ma volli essere come
lui, come loro.
Fui geloso sì, in quel momento, ma è
una diversa passione a muovermi, ora; come la Malena del tango
ora sento.. pena de bandoneon. La sento qui nel cuore come una
stretta, che mi spinge, mi chiama là a Baires, voglio sentire
quelle arie buone, non mi importa niente dello smog che dicono,
voglio scendere a la Boca e cercarmi il Caminito amigo, que entonces
estabas bordeado de trebol y yuncos en flor e scendere alla Vuelta
de Rocha. Voglio andare al Sud, a quel Sud, all'emisfero australe,
come dicono, vedere quel Rio de la Plata e tutta quella gente
che va e viene per le Avenidas. Lo dico ogni giorno in casa alla
mia Carmela o Carmen, come mi piace chiamarla: Vuelvo al Sur,
quiero al Sur, sueño el Sur, e lei non sa ancora niente,
non sa cosa mi gira per la cabeza. Mi dice - Ernesto, cos'hai?
Vuoi andare al mare, vuoi andare in Sicilia? - e poi sorride.
Poveretta, mia moglie, non le ho nemmeno fatto
fare il viaggio di nozze; non avevamo una lira da parte, allora,
ma soprattutto, io non volevo andare da nessuna parte, non volevo
viaggiare, partire. Stare qui, al solito posto in questa fumosa
città, prendere soltanto un treno, una corriera ed andare
magari a Genova, che mi sembra ancora così lontana ed esotica.
Restare qui con gli amici del bar, i compagni dell'officina, i
parenti, l'orchestra della Sala Gay, del Blechenduait Lutrario,
poi Leroy.
Sono restato incollato, appiccicato a questi
marciapiedi, a questo quartiere per settant'anni, ho consumato
le lose di Torino con i miei passi, fingendo di non aver paura,
ho rinunciato persino a delle trasferte vantaggiosissime in Russia,
in Bulgaria, per non morire di batticuore, di sudore, per non
inzuppare camicie e magari anche mutande. E pensare che passo
per un tipo solido, addirittura coraggioso e invece partire mi
fa morire.
Solo Carmen lo sa e tiene nascosto tutto; una
volta mi sgridava anche, poi ha perso pian piano anche lei la
voglia di svagarsi viaggiando. L'unico grande svago è stato
il ballo, con Carmen ci siamo conosciuti alla Sala Gay, ci siamo
conosciuti con i mambi e le rumbe, e poi l'ho introdotta al tango,
dove ha messo tutta sé stessa, l'ho sentita dentro ed abbiamo
fatto una bella coppia di ballo e di famiglia; ora i figli sono
grandi, non hanno più bisogno di noi, e noi siamo sempre
qui.
Ma l'anno scorso ne ho fatto una grossa, ho
deciso di finirla, di farmi quasi violenza e siamo partiti, Carmencita
stralunava dalla gioia. Ho preso uno di quei viaggi a buon prezzo
per Barcellona, che secondo tutti non è lontana; per la
prima volta ci siamo imbarcati su di un aereo e mentre salivamo
su quella scaletta e Carmen mi stringeva un braccio, mi scoppiava
il cuore, malgrado le pastiglie di calmante e mi sentivo male
e mezzo ciucco: per sentire un po' di sabor latino ho fatto questo.
Siamo stati bene, talmente bene che ci siamo pure fermati una
settimana in più, in un alberghetto da buon prezzo, e dopo
quarant'anni abbiamo visto veri ballerini di flamenco e di salsa,
abbiamo ballato anche noi, abbiamo fatto finalmente il viaggio
di nozze, abbiamo fatto follie. Per cui un po' mi sento collaudato
ai viaggi e voglio fare ora il grande passo, forse l'ultimo, finché
sono in tempo, perché voglio tornare a una patria che non
ho mai gustato, voglio Volver, voglio Baires, ballare in una bodega
de tangos e magari anche morirci: la afferrerò, la annuserò,
la ascolterò: là voglio andare
vivere la mia
Argentina:
Vuelvo al Sur,
como se vuelve siempre al amor,
vuelvo a vos,
con mi deseo, con mi temor,
siento el Sur,
como tu cuerpo en la intimidad,
come dico ed sempre ho detto alla mia Carmencita.
Piazzolla & Klezmer
Los años de niñez que el músico argentino
Astor Piazzolla vivió en Estados Unidos, fueron los más
decisivos en su formación personal. El hecho de vivir en
un barrio de inmigrantes italianos y judíos generó
una interacción cultural muy interesante. La familia Piazzolla
vivía al lado de una sinagoga, escuchando constantemente
tanto la música litúrgica como la de los músicos
judíos en casamientos y jaguim como purím. Inclusive
llegó a trabajar en esa misma sinagoga, según sus
propias palabras, como “goy fun shabes”.
“Muchos de los ornamentos escuchados en sus solos de bandoneón
(su música más personal y expresiva), son muy cercanos
a los ornamentos que se escuchan en el klezmer, sobre todo en
los sonidos del clarinete y el violín (sonidos tan fáciles
de relacionar con la risa y el llanto). Pero el “elemento
judío” más notorio en la música de
Piazzolla es sin lugar a dudas el ritmo, el compás compuesto”,
señala Mariano Wolman, el autor del artículo publicado
en la revista Convergencia.
Esta exposición a los ritmos del klezmer fue lo que influyó
inevitablemente la concepción rítmica del joven
Piazzolla. Y es este mismo ritmo el que puede ser fácilmente
identificado en gran parte de su creación musical. El mismo
que sonaba ajeno al tango más tradicional, y por el cual
Piazzolla no era querido ni su música comprendida. Y es
precisamente este elemento musical, el que es en nuestros días
parte inseparable de la música que más representa
a la Argentina.
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