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ISSN 1409-6900 | UDK 82+7     Blesok no. 70 | volume XIII | January-February, 2010



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                     Peer-reviewed journal
Blesok no. 70January-February, 2010
Essays

To Live Is To Dance Tango

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p. 1
Nataša Sardžoska


    Tango is as old as the mankind: it was born with the first pain of the soul.
    Tango is a love story that last three minutes, ambiguous conversation without words, vertical expression of a horizontal desire.
    Tango did what it pleased with us and it led us and misled us and it ordered us and found us again

    
    Jorge Luis Borges

The dance is exterior and interior artistic form, psychological and physical motion whose expression transfer, shifts and send messages in a very intensive fashion. Philosophical law of the motion, the dance is also an aesthetic metaphor of acknowledging life and knowing the world. But much beyond that: the dance knits whole historical époques giving birth to authentic cultures such as the Argentine tango.
    The story about tango begins in the second part of the nineteen century. Its origins has however controversial debates. The word “tango” in the Royal Encyclopaedia of Spain in 1803 was defined as “Party and dance of the black people of Africa and the people of South America”. According to some historians the word has actually African origin deriving etymologically from the words “tam-tam”and “kandombe” used in some African dances. In the Boza dialect the idiom “toka tango” was often referred to the beginning of the dances. A part this the African slaves in Argentina used to call “tango” the place where they were gathering often. Other theories highlight that this dance assumes its authentic form in the period of the European immigration in Argentina, around 1800, when mainly masculine population enhances needs of brothels. Near Rio de la Plata boats bringing Italian, German, Russian, English, Polish, Jewish and Spanish culture are smashing already existing dances and movements of the Argentine gauchos, African Candombe and Cuban Habanera. This fantastic sublimate of dancing expressions will create a new dance: Milonga – fusion of poetry, immigrant sadness, Polish mazurka, vals and Cuban habanera. The Milonga will become the dance of the poor.
    The tango was born on the street, in dark and suspicious districts, in bars with bad reputation as consolation of the migrants, which dreaming of wellness were facing street delinquency, criminal and butcheries. That is the reason why the first tango was danced by the so called ‘compadritos’, the local gangsters which were dancing on the cobbled streets with street musicians, in dark sides of the city called ‘arrabal’ shimmering between the sound of the violin and the bandoneon. Man dancing






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