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seem vulgar and immoral, thus unsuitable for respectable society. Additionally, tango was also closely associated with brothels and bars of Buenos Aires, which the elites also considered disreputable. Many of the early tango lyrics and moves were considered to be too sexually suggestive, exacerbating the elites’ disdain for the dance. These characteristics of tango significantly deviated from the
Argentine elites’ nationalist agenda to promote an image of Argentine identity that emphasized European sophistication and refinement. Consequently, the elites saw tango as a threat to their cultural hegemony.
26:
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such change was the adoption of a more respectful style of dance by encouraging the dancers to adopt a more upright posture and to eliminate the more sexually provocative movements. The elites also enoucraged the composers and lyricists to create less explicit tango music by adopting more traditional musical forms such as waltz. In 1913, tango began to move from the dark side of town to elegant dance palaces. In 1916,
208:
279:, forever associating tango with the feeling of tragic love as revealed in the lyric. During the first decade of the 20th century, some songs under the name of tango were recorded, but these recordings did not achieve great popularity. However, in 1921, 'El Sonido de la Milonga' helped bring about the rise of tango, and introduced it properly as a form to the people.
145:
aspiration to become a modern and civilized nation, as well as their racial and nationalist ideologies that sought to establish a homogenous and
European-based population. To attract immigrants, the Argentine government implemented various measures, such as offering free land, providing financial incentives, and establishing immigration agencies in Europe.
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At the beginning of its history, tango was looked down upon by the
Argentine elites for a number of reasons. First of all, tango's associations with marginalized groups, especially the immigrants and people of African descent, who were considered lower-class and uncivilized, made tango the dance form
144:
In the late 19th and early 20th centuries, Argentina experienced a significant wave of immigration that transformed its demographic composition. The immigration policy at the time was shaped by the
Argentine elites’ desire to promote economic growth, their need to populate its vast territories, their
92:
community in Buenos Aires, influenced both by ancient
African rhythms and the music from Europe. These African rhythms are thought to come from the candombe, which was characterized by energetic, "jerky" movements. Conversely, the milonga was a fusion of the Spanish-Cuban habanera and the imported
243:
As the dance form became wildly popular with upper and middle classes around the world, Argentine high society adopted the previously low-class dance form as their own. However, the
Argentine high society did a few significant modifications to the dance form before elevating its social status. One
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travelled to Europe and the first
European tango craze took place in Paris, soon followed by London, Berlin, and other capitals. Towards the end of 1913 it hit New York in the US, and Finland. These exported versions of Tango were modified to have less body contact ("Ballroom Tango"); however, the
203:
was introduced to Buenos Aires from
Germany, and it became linked inextricably with tango music starting in about 1910. In 1912, Juan "Pacho" Maglio was very popular with his recorded tangos featuring the bandoneon accompanied by flute, violin and guitar. Between 1910 and 1920, tango featured on
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However, this influx of diverse immigrants also led to social tensions and conflicts which engendered nationalist movements that sought to promote a “pure” Argentine identity aimed to exclude the more inferior immigrants. Under the
Argentine government's efforts to Europeanize and modernize the
104:
dance that may share a common ancestor in a minuet-style
European dance. All sources stress the influence of the African communities and their rhythms, while the instruments and techniques brought in by European immigrants played a major role in its final definition, relating it to the
93:
European polka. The mazurka is another European element thought to have a hand in the tango's development. It is thought that, over time, these elements intersected in the outer districts of Buenos Aires and developed into the Tango.
157:
that different marginalized groups converged while expressing themselves in dances. They frequently met in “tangos” where whites and people of color played music and danced together.
925:
286:, violinist, formed an orchestra in 1920 and made the tango more elegant, complex and refined, as well as changing the time signature of most pieces from 2/4 to 4/4. With
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country, those who did not fit the “pure” and civilized image of the Argentine identity were excluded from urban centers like Buenos Aires and gradually pushed to the
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government in 1930 caused Tango to decline. Its fortunes were reversed as tango became widely fashionable and a matter of national pride under the government of
441:
228:. In 1922 guidelines were first set for the "English" (international) style of ballroom tango, but it lost popularity in Europe to new dances including the
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and the other working-class populations were especially crucial in shaping the emergence of tango by combining the different influences, including the
96:
Even though the present forms developed in Argentina and Uruguay from the mid 19th century, there are earlier written records of Tango dances in
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129:. Initially tango was just one of the many dances practiced locally, but it soon became popular throughout society, as theatres and street
64:
There are numbers of theories about the origin of the word "tango". One of the more popular in recent years has been that it came from the
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Several paintings by the Uruguayan artist Pedro Figari (1861-1938) dating from the 19th century depict tango being danced there.
843:
697:
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313:. Male-only Tango dancers used to practice among themselves for up to 3 years prior to their debut (going to a public
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styles to which Tango would contribute back at a later stage, when it became fashionable in early 20th century Paris.
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513:
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248:, an extremely successful bandleader of the period, cemented the instrumentation for the standard tango sextet: two
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spread it from the suburbs to the working-class slums, which were packed with hundreds of thousands of European
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324:
The dance lived on in smaller venues until its revival in the 1980s following the opening in Paris of the show
72:
to describe a style of music, lent its name to a completely different style of music in Argentina and Uruguay.
137:. The development of Tango had influences from the cultures of several peoples that came together in these
721:"The Argentine Tango As A Discursive Instrument And Agent Of Social Empowerment: Buenos Aires, 1880-1955"
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of ethnicities. For this reason Tango is often referred to as the music of the immigrants to Argentina.
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950:
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317:), and that practice fell under the prohibition of public gatherings. One of the results was that
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dance was still thought shocking by many, as had earlier been the case with dances such as the
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languages of Africa. Another theory is that the word "tango", already in common use in
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Slavery and Beyond: The African Impact on Latin America and the Caribbean, page 122
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743:""Entre Tango y Payada": The Expression of Blacks in 19th Century Argentina"
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More Than Two to Tango : Argentine Tango Immigrants in New York City
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DeLaney, Jeane (14 October 2014), Foote, Nicola; Goebel, Michael (eds.),
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Classically trained musicians weren't associated with tango music until
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became more popular because it did not require males' gatherings.
922:""Antes Ă©ramos todos cantores de esquina y jugadores de potrero""
678:"Immigration, Identity, and Nationalism in Argentina, 1850–1950"
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on bandoneon, De Caro's orchestra was famous for over a decade.
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175:
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Skidmore, Thomas E.; Smith, Peter H.; Green, James N. (2014).
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153:, the suburbs between urban and rural areas. It was in these
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and adapted it for tango, creating the popular and iconic
236:, and as dancing as a whole declined due to the growth of
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The Tango derives from the Cuban habanera, the Argentine
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seems to have first been used in the 1890s. In 1902 the
442:"Argentina, Uruguay bury hatchet to snatch tango honor"
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and restrictions introduced after the overthrow of the
191:
During the period 1903–1910 over a third of the 1,000
631:(Matanzas, Imprenta de la Real Marina, 1836, Pg. 242)
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In Argentina this resurgence was largely fostered by
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and the banning of public gatherings by the military
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Immigration and National Identities in Latin America
44:, began in the working-class port neighborhoods of
886:A Brief Introduction to the History of Tango Music
551:
497:
496:Gabriela Nouzeilles, Graciela R. Montaldo (2002).
305:. Tango declined again in the 1950s with economic
113:Argentina’s Immigration Policy in the 19th Century
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684:, University Press of Florida, pp. 91–114,
500:The Argentina Reader: History, Culture, Politics
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409:Tango! : the dance, the song, the story
199:sold in large quantities. In about 1870 the
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88:, and is said to contain elements from the
866:: CS1 maint: location missing publisher (
798:Tango And The Political Economy Of Passion
795:
586:"The Popular Roots of the Argentine Tango"
924:(in Spanish). Nos Digital. 24 June 2013.
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539:Couple Dancing and the Beginning of Tango
556:. Oxford University Press. p. 245.
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195:released were of tango music, and tango
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928:from the original on 30 September 2013.
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629:Diccionario Provincial de Voces Cubanas
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293:In Argentina, the onset in 1929 of the
40:and the corresponding musical style of
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725:Open Access Theses & Dissertations
690:10.5744/florida/9780813060002.003.0004
659:Reflections about the origins of tango
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204:2,500 of the 5,500 records released.
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100:and Spain, while there is a flamenco
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440:Termine, Laura (30 September 2009).
219:By 1912, dancers and musicians from
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554:Modern Latin America, Eight Edition
411:. New York, NY: Thames and Hudson.
256:. Firpo heard a march by Uruguayan
13:
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780:
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719:Tabares, Lorena (1 January 2014).
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504:. Duke University Press. pp.
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125:started to include tango in their
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774:Breve Historia CrĂtica Del Tango
252:, two violins, piano and double
52:(Uruguay); on both sides of the
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215:dance and play tango (ca. 1900)
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444:. Buenos Aires. Archived from
273:recorded his first tango song
1:
796:Savigliano, Marta E. (1995).
642:El origen del tango americano
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900:"The History of Tango Dance"
741:Poosson, Sylvain B. (2004).
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7:
776:. Buenos Aires: Corregidor.
485:Online Etymology Dictionary
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10:
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832:Viladrich, AnahĂ. (2013).
183:Becoming A National Symbol
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644:Madrid and La Habana 1849
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18:Not to be confused with
584:Collier, Simon (1992).
407:Collier, Simon (1995).
258:Gerardo Matos RodrĂguez
117:In Argentina, the word
29:Tango postcard, c. 1919
898:Denniston, Christine.
884:Denniston, Christine.
772:Gobello, José (1999).
661:, Ricardo GarcĂa Blaya
640:José Luis Ortiz Nuevo
537:Denniston, Christine.
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30:
806:10.4324/9780429497001
269:In 1917, folk singer
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28:
800:. Taylor Francis.
761:– via JSTOR.
627:Esteban Pichardo,
448:on 11 October 2009
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193:gramophone records
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845:978-1-299-78446-8
699:978-0-8130-6000-2
563:978-0-19-992923-8
299:HipĂłlito Yrigoyen
20:Histoire du Tango
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330:, The Broadway
327:Tango Argentino
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276:Mi Noche Triste
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123:Teatro Opera
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747:Confluencia
385:Queer Tango
197:sheet music
107:salon music
66:Niger–Congo
42:tango music
38:tango dance
940:Categories
838:. Tucson.
427:References
418:0500016712
355:Chamarrita
303:Juan PerĂłn
250:bandoneons
135:immigrants
50:Montevideo
862:cite book
854:855896486
598:0309-2984
307:recession
201:bandoneon
155:arrabales
70:Andalusia
60:Etymology
926:Archived
759:27923034
365:Lunfardo
349:See also
170:condombe
86:candombe
705:7 April
606:4289184
452:2 April
332:musical
230:Foxtrot
211:Men in
164:milonga
151:arrabal
90:African
82:milonga
902:. Self
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512:
508:–198.
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238:cinema
176:payada
167:, the
102:Tangos
76:Origin
946:Tango
906:7 May
755:JSTOR
602:JSTOR
234:Samba
226:Waltz
127:balls
119:Tango
34:Tango
908:2012
868:link
850:OCLC
840:ISBN
810:ISBN
707:2023
694:ISBN
594:ISSN
558:ISBN
541:2003
510:ISBN
470:ISBN
454:2010
413:ISBN
372:(or
254:bass
232:and
98:Cuba
802:doi
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