OPINION

New "Nuevo Tango" Sacrifices Tradition and Grace

Written by Terence Clarke
Published April 15, 2008

Tango is back, the kids are dancing it in Buenos Aires and worldwide, and this is a good thing. It was relegated for many years — especially in Argentina, where it was born — to the status of an old dance done by old people in a rickety sort of way. There were several reasons for this.

Rock and roll came to Argentina in the 1960's with the same force with which it went everywhere. An entire generation of Argentines was raised on the music of The Beatles, The Rolling Stones, and all those bands that followed after them. Tango became a kind of relic.

Politics also played a roll. When the Argentine military overthrew Isabel Perón's government in 1976, tango encountered the disfavor of the ruling generals and the oligarchy that for the most part supported them. Tango dance and music was a product of the by far more populous lower classes, definitely a blue-collar phenomenon.

If all those syndicalists were getting together to dance tango in those huge music halls, they must surely be plotting against the junta as well. Many of the dance halls were closed. Tango was labeled as a smutty undertaking beneath the notice of a properly respectful society, and it wilted as a popular art form.

It was by no means obliterated, though, and musicians and dancers continued developing the form in many important ways. Astor Piazzolla's revolutionary ascendancy, after all, to world fame as a composer and performer was well under way by the mid-seventies.

Superb dancers like Juan Carlos Copes and Maria Nieves who, ten years later, brought their great stage shows to Paris and then the United States — thus re-energizing the world's awareness of tango — were then working on their dance in little Buenos Aires clubs and practice rooms and kitchens, honing the art that would eventually bring them such fame.

Tango suffered nonetheless for many years, ignored by the large masses of people that had once worshipped it - an erotic, mournful antique. Now it is center stage once again, in every major city on every continent. Classes, shows, videos, film, writing, and the graphic arts all celebrate tango now, and there seems to be no end in sight. The best part about this is that people under 30-years-old are dancing and teaching tango.

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Terence Clarke is a San Francisco novelist, journalist, and film maker who writes about the arts.
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New "Nuevo Tango" Sacrifices Tradition and Grace
Published: April 15, 2008
Type: Opinion
Section: Culture
Filed Under: Culture: Society, Culture: Holidays and Traditions, Culture: Dance
Writer: Terence Clarke
Terence Clarke's BC Writer page
Terence Clarke's personal site
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Comments

#1 — April 17, 2008 @ 13:04PM — Geoff

The author seems to have visited a DNI in an alternate reality: what he describes is a travesty of a studio I know quite well.

I have found them to be a remarkably consistent and effective set of teachers. Furthermore their tecnica is both self consistent and effective - and is a totally different matter from style.

I am particularly surprised by the comment that in DNI they didn't concentrate on the lead and the music. My experience has been quite different - in all the classes I have attended there these have been matters of particular concern!

As to the question of dress - well, it's a social dance and the mood is pretty casual now. As a friend, who is a well Tango Teacher put it a couple of years ago when he changed his style "I realised it's not the 1940s any more."

I don't find this article either accurate or helpful.

#2 — April 17, 2008 @ 15:20PM — SSpar

I don't have a lot of experience in dancing, but what I realized after watching and dancing (leading as well as following) Tangos, Salsas, Forros and other latin dances, and watching some incredible Indian Classical dancers is that: One has to dance dance what he or she HEARs in the music. That is what makes a good dance. The styles, tradition are secondary. No matter what you just have to dance your personality, with honesty.

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