Nextango, histoy of the tango.

Brief introduction.

Buenos Aires was, and is, the undisputed capital of the tango, Mecca of all young person which it drew notes on pentagram, that transmits his to feel poetic to the paper or, that aprons the throat to sing, although the creativity of that life that moved between Creoles, tanos, the displaced Gallegos and gauchos era, and is, shared by smaller sisters like Montevideo, Rosary, Cordova and Mendoza, among others. Because the hopes and the problems were, and are, equal in all the great cities of the region. In all of them it was, and it is, the same broth of culture.
E1 tango followed the eventful journeys of people and it accompanied them in these decades. It had his moments of glory as they had Uruguayan Argentineans and. And also the periods of pain and crisis. In that sense, he was shared in common with the evolution of the towns. But not without an attractive dose of picardia, it knew to have his autonomy and to universalize themselves. That one is the great paradox of the tango. For inside, it walked at the speed of the society. When the River of the Silver "ate the world" with flourishing economies, wonderful artists, thinkers of great reputation and an unbeatable soccer, the tango showed all its might. In the times of pain and crisis, in these countries the sort seemed sleepy and, often, defeated by novelerÃa that arrived from the outside. In the world, nevertheless, he maintained all his use and, for example, the spectators shook in the cinemas of the Lavalle Street in Buenos Aires, or of 18 of Julio in Montevideo as in innumerable foreign films they sounded the first agreed ones of any tango.
Outside he lived and he was recognized, although in the River of the Silver they killed it time and time again. But also time and time again the tango resurged of its apparent ashes with new and shining authors, singing notables and spectacular dancers. Because he is inmortal and it has the vital force that, in greater or smaller proportion, they give the towns him through the years. So that the tango dies, it will be necessary that the River of the Silver disappears of the Earth face. As that does not happen, the tango will not disappear either. And for that reason, every certain time, it will be necessary to eternally update the history of the tango, adding to him the new thing that will be contributing.
The serious and warm voice of Insipid Julio escapes of the plate of a disc, it dominates the atmosphere and it opens the way to a reflection that, more than that, is certainty and verification in spite of the interrogatory tone of verses: Who is saying to you, Che pebete, that passed the time firulete? Without a doubt, who made that bold affirmation is not of this world and she does not know that there will be tango while there is a desperate type to kiss the lips of a pebeta on flower, a treason to count, a complaint that to transmit or a joy that to share.

Origin of the word tango.

Between the many mysteries that the tango locks up, first he is the one of his own denomination. The voice tango is in the cultures African, Hispanic and colonial. According to some theories, tango would derive from tang, that in one of the languages spoken in the black continent it means to feel, to touch and to approach. Between the bantúes, in addition, there are two languages that denominate tanga and tangui. And between the sudanoguineanas languages Figure tangalé. Peculiarly, the Hispanic content of the word approaches African tang. Tango in Castilian is considered a voice derived from tangir, that in old Spanish it is equivalent to toll, and of tangere, that is, to touch in Latin.
In the colony, as well, tango was the denomination that the black gave their patches of percussion. They pronounced it like acute word: tangó. Y tangó as also the dances that organized the African arrived at the force to the Rio de Plata meetings such disorders were created that the montevideanos rich, and car-considered respectable, got to request to the Virrey Francisco Javier Elío who prohibited "the tangos of the black". The Honduran meaning that offers the dictionary, referred to a species of drum that makes the natives, seems to approach al felt African of the word. It is difficult to know if one is about a chance or a transculturacion.

Conformation.

Single like curiosity, because in principle they do not have entailment with the origin of the River plate tango, it is possible to mention that a region of Japan is called Tango, like an infantile celebration of that country, and which formerly in Brazil tango was synonymous of samba.

The musical pretango, sorts and the interpreters who served as antecedents the tango sheltered in bars of sailors, in quarters of Chinese cuarteleras, milongas of bad fame, doubtful cabarets and brothels.
The tango as so, nevertheless, had vocation of great torrent from the beginning and looked for the spaces opened until reaching the universaltation. Prudencio Aragón with destroying (1895), Rosendo Mendizábal with the Entrerriano (1897), Ernesto Ponzio with Don Juan (1898) and Manuel Campoamor with sergeant Cabral (l899), authors of the first "tangazos" of history, constructed the foundations on which the new one would be based and new born musical building. Its independence, its personality, is given by the coincidence of how each one of them described, its respective work: "Creole Tango for piano".
With "the Creole" adjective a native creation was vindicated. And with the mention of the piano one is inquiring that already then the tango had become rich instrumentally and that had happened to be interpreted in the halls.
Previously, in the last sections of their gestation, and in Buenos Aires, Italian had added him the accordion and the organito, with which they gave to the tango his planidero tone, quejumbroso, that without a doubt will influence in later tear letters. Because it is difficult to find another instrumental combination so appropriate to poetically reflect the sadness and the suffering before the treason or the poverty that no, they remedy neither the work nor the honesty.
EI new product prisoner to places of doubtful prestige, but, that reflected did not have left the soul of the popular classes, of the laburantes, of which day to day they fight by the subsistence and of all the simple people who lived in the peripheries of the main River plate cities. That town filled in Buenos Aires peringundines and the academies of Montevideo. Piringundines and academies were the most modest premises of dance that, by the end of the XlX century, were fundamental factors as much for the expansion of the tango as for the development of their choreography, and so that the pairs learned to dance it.

Brief introduction. Buenos Aires was, and is, the undisputed capital of the tango, Mecca of all young person which it drew notes on pentagram, that transmits his to feel poetic to the paper or, that aprons the throat to sing, although the creativity of that life that moved between Creoles, tanos, the displaced Gallegos and gauchos era, and is, shared by smaller sisters like Montevideo, Rosary, Cordova and Mendoza, among others. Because the hopes and the problems were, and are, equal in all the great cities of the region. In all of them it was, and it is, the same broth of culture. E1 tango followed the eventful journeys of people and it accompanied them in these decades. It had his moments of glory as they had Uruguayan Argentineans and. And also the periods of pain and crisis. In that sense, he was shared in common with the evolution of the towns. But not without an attractive dose of picardia, it knew to have his autonomy and to universalize themselves. That one is the great paradox of the tango. For inside, it walked at the speed of the society. When the River of the Silver "ate the world" with flourishing economies, wonderful artists, thinkers of great reputation and an unbeatable soccer, the tango showed all its might. In the times of pain and crisis, in these countries the sort seemed sleepy and, often, defeated by novelerÃa that arrived from the outside. In the world, nevertheless, he maintained all his use and, for example, the spectators shook in the cinemas of the Lavalle Street in Buenos Aires, or of 18 of Julio in Montevideo as in innumerable foreign films they sounded the first agreed ones of any tango. Outside he lived and he was recognized, although in the River of the Silver they killed it time and time again. But also time and time again the tango resurged of its apparent ashes with new and shining authors, singing notables and spectacular dancers. Because he is inmortal and it has the vital force that, in greater or smaller proportion, they give the towns him through the years. So that the tango dies, it will be necessary that the River of the Silver disappears of the Earth face. As that does not happen, the tango will not disappear either. And for that reason, every certain time, it will be necessary to eternally update the history of the tango, adding to him the new thing that will be contributing. The serious and warm voice of Insipid Julio escapes of the plate of a disc, it dominates the atmosphere and it opens the way to a reflection that, more than that, is certainty and verification in spite of the interrogatory tone of verses: Who is saying to you, Che pebete, that passed the time firulete? Without a doubt, who made that bold affirmation is not of this world and she does not know that there will be tango while there is a desperate type to kiss the lips of a pebeta on flower, a treason to count, a complaint that to transmit or a joy that to share.
	Origin of the word tango. Between the many mysteries that the tango locks up, first he is the one of his own denomination. The voice tango is in the cultures African, Hispanic and colonial. According to some theories, tango would derive from tang, that in one of the languages spoken in the black continent it means to feel, to touch and to approach. Between the bantúes, in addition, there are two languages that denominate tanga and tangui. And between the sudanoguineanas languages Figure tangalé. Peculiarly, the Hispanic content of the word approaches African tang. Tango in Castilian is considered a voice derived from tangir, that in old Spanish it is equivalent to toll, and of tangere, that is, to touch in Latin. In the colony, as well, tango was the denomination that the black gave their patches of percussion. They pronounced it like acute word: tangó. Y tangó as also the dances that organized the African arrived at the force to the Rio de Plata meetings such disorders were created that the montevideanos rich, and car-considered respectable, got to request to the Virrey Francisco Javier Elío who prohibited "the tangos of the black". The Honduran meaning that offers the dictionary, referred to a species of drum that makes the natives, seems to approach al felt African of the word. It is difficult to know if one is about a chance or a transculturacion.
Conformation. Single like curiosity, because in principle they do not have entailment with the origin of the River plate tango, it is possible to mention that a region of Japan is called Tango, like an infantile celebration of that country, and which formerly in Brazil tango was synonymous of samba. The musical pretango, sorts and the interpreters who served as antecedents the tango sheltered in bars of sailors, in quarters of Chinese cuarteleras, milongas of bad fame, doubtful cabarets and brothels. The tango as so, nevertheless, had vocation of great torrent from the beginning and looked for the spaces opened until reaching the universaltation. Prudencio Aragón with destroying (1895), Rosendo Mendizábal with the Entrerriano (1897), Ernesto Ponzio with Don Juan (1898) and Manuel Campoamor with sergeant Cabral (l899), authors of the first "tangazos" of history, constructed the foundations on which the new one would be based and new born musical building. Its independence, its personality, is given by the coincidence of how each one of them described, its respective work: "Creole Tango for piano". With "the Creole" adjective a native creation was vindicated. And with the mention of the piano one is inquiring that already then the tango had become rich instrumentally and that had happened to be interpreted in the halls. Previously, in the last sections of their gestation, and in Buenos Aires, Italian had added him the accordion and the organito, with which they gave to the tango his planidero tone, quejumbroso, that without a doubt will influence in later tear letters. Because it is difficult to find another instrumental combination so appropriate to poetically reflect the sadness and the suffering before the treason or the poverty that no, they remedy neither the work nor the honesty. EI new product prisoner to places of doubtful prestige, but, that reflected did not have left the soul of the popular classes, of the laburantes, of which day to day they fight by the subsistence and of all the simple people who lived in the peripheries of the main River plate cities. That town filled in Buenos Aires peringundines and the academies of Montevideo. Piringundines and academies were the most modest premises of dance that, by the end of the XlX century, were fundamental factors as much for the expansion of the tango as for the development of their choreography, and so that the pairs learned to dance it.
Derechos reservados Grupo Roseau, S.A. de C.V. This site uses Flash 6 o higher and it's best view is in 800 X 600 pixeles. Web site made in México by: IMAXION GRAPHICS.