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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

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

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.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

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.

symboliek_magie_paardansen_mystiek_samenspel

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

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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