Innovators
Had a conversation the other day which gave me a new perspective on the roles played by the milongueros in Buenos Aires.
I had always imagined (or “misled” to have the impression?? 🙂 ) that the milongueros as we know were more or less the torch-bearers of tradition and everything old-school!? Not that there is anything wrong with that, mind you, because otherwise we won’t be able to get glimpses of how tango was back in the Golden Age, 50-60 years ago.
However, perhaps due to the “competition” to dance with good followers, or entire nights of dancing to only one orchestra*, rivalries between barrios, lack of any one dominant style (more teachers??), etc., the milongueros were able to create many things which were distinctive and unique, both for themselves individually and at milongas at different barrios. Here I am not really talking about “innovating” as in the original spirit of Naveira/Chicho/Salas (and definitely not the modern-day tango nuevo) which for me has its place. I am referring to the act of pushing the boundaries of what was possible without opening the embrace, and discovering subtle ways of dancing to the music. It’s a pity that there are fewer and fewer examples of that variety from the Golden Age era every year.
* There is evidence to suggest that orchestras such as D’Arienzo, Di Sarli, Troilo, etc., played at one place for the whole night.
Taking things too seriously
Tangocynic has been producing some hilarious stuff so far but I think this tops everything that came earlier because, while stereotypical this may be, I am quite certain there are people who behave as portrayed in the tango scenes around the world…
Delusions
I think, as in all walks of life, any tango communities can have people who are delusional.
I believe it all goes back to how differently people grapple with new concepts, or in some cases how they have been led “up the creek” by one or more teacher-figures, as it were. 🙂 It is often amusing to see the consequences because of these slightly skewed interpretations.
For example, it may not be uncommon to see a couple practicing hard at some fixed choreographies. This, even if executed awkwardly, is fine by me as long as the couple is not under the illusion that the same steps can be tried out on a unsuspecting partner on a social dance floor. Or that they think that they are actually preparing for social dancing, where each part in a dancing couple moves by listening to the proper leads/follows of the other. Otherwise, to each their own!
Another common misconception about Golden Age tango music is that it’s really only for beginners, and full of rhythmic stuff*? Or so people interested in using alternative music would have you believe… Actually I have no specific disdain for using alternative music – as long as it is the music that can bring people to dance, to the music that is. After all, tango is a dance which yearns for an emotional connection to the music you dance to. However, I do take issues when people consider alternative music as something superior and essential for “survival” of tango music, or that tango nuevo is somehow more “interesting” for the masses when the very same advocates still have trouble walking in flats to the beat… 😯
* The irony is that the same people who made these claims don’t seem to notice the heavy rhythm in techno-style music from Gotan Project, for example.
Maps
Just for fun – and since I was constructing a map of tango venues in Singapore anyway – I decided to create a map of interesting tango-related places in Buenos Aires. Incidentally, I have been to all places marked on the map, except for Villa Malcolm, Club Fulgor, Club Glorias Argentinas and Salon El Pial (where La Baldosa is held). I will certainly be adding to it as I recall more places. Although this is probably a duplication of effort with existing maps but, hey, it’s my map with places that I am interested in! 🙂
View Buenos Aires tango in a larger map
* Note that I have only marked one shoe store, so far! 😀