Re: [TANGO-L] narrow-minded religiosity?

[Bruno <romerob @TELUSPLANET.NET>]

Just made some comments on the post from Ecsedy Aron:

>Salon style in itself is a version of the tango exported from the suburbs
to Europe and imported back.<

I do not think salon was exported from the suburbs rather it was copied and
sanitized to make people from upscale classes feel better they were not
dancing like low status people from the arrabales (orillas). 

The Tango that came back from Paris was derided by the locals (criollos).
Nicanor Lima in his manual "El Tango Argentino de Salon" (1916?) criticized
the Parisian Tango as inauthentic and of bad taste.  Also, the tango from
Hollywood portrayed by Rudolph Valentino was scorned as of bad taste because
of the way the tango choreography had been altered -- very long steps and
funny lateral corridas.
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>Have you seen how people in Montevideo dance tango??? It is essentially the
same thing as in BsAs.<

The movements may be similar but the intention would be different.
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>Argentine Tango is most likely a name that was given to tango by
non-argentines.<

Nicanor Lima gave the name "El tango Argentino de Salon" circa 1916 possibly
to differentiate it from the Parisian Tango.
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>Since portenos call it simply tango and it would not make
sense any other way.<

There were tango orilleros, tango americanos (habaneras), tango de salon,
tango compadritos, etc.
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>Just think: when you say AT you will include all styles (stage and
non-stage, open and closed embrace) and all dances (milonga, vals, tango and
maybe we can call canyengue a separate dance and not just a style?).<

Canyengue a.k.a. Paso Candombe appears to be a transition between the
Milonga and the Tango Orillero.

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>Of course you can still start debates whether a style is authentic or not.
But obviously you will not be able to find enough evidence for the
preeminence of any one particular style - especially, that these styles are
not properly documented.<

Styles such as Tango Orillero and its choreography was first documented in
the plays for "Justicia Criolla" by Ezqeuiel Soria in 1897 the theme of this
play come as result of interactions of blacks in daily life in Buenoa Aires.
Other plays with Tango Orillero choreography danced on stage were "Ensalada
Criolla" by Enrique De Maria, and "Los Disfrazados" by Carlos Mauricio
Pacheco.


Bruno

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