Corso: Storia del Tango (4 hours) - Rome - 6 Dicembre 2009
Curso History of the Tango (4 horas) - Rome - December 6, 2009 Professor: Lidia Ferrari
Conferencia with fotos y videos ilustrativos
My report will consider more than one hundred years of history of the tango in its four dimensions of expression: music, speech, dance and song. Present cultural geography, social and political life of the city that gave the country: Buenos Aires.
The tango spread from the late 19th century in a city where trade is accelerating in the wake of a massive European immigration, which transforms into a cosmopolitan city, rich in cultural events.
In such a world populated by people who speak different languages \u200b\u200band that we meet both in brothels in the patio of the 'conventillos' or along the sidewalks of the streets is the gestation of a 'way of dancing' profoundly original accompanied by the music then Available: milonga, tango, Andalusian mazurka, candombe. The diversity of environments and characters of the city are found in the tango: the brothels, cafes, clubs, colleges - places where you can dance aristocrats, 'compadritos', the bullies, the 'Milonguita'.
Del Tango will be analyzed both the changes in his coming and going for the world is relevant aspects of the evolution and transformation of its forms of expression. In music we will walk the years ranging from the 'trio' primitive, through innovation 'decariana', to the great orchestras of the '40s, Astor Piazzolla, and the revival of recent times. The route of the words of the tango: the texts of the origins and prostibili, through Angel Villoldo, Pascual Contursi and the tango song, Celedonio Flores. The poets of tango: Discépolo y Manzi. Horacio Ferrer y Eladia Blazquez. The reflection of comedy and tragedy of 'Porteño' in the words of the tango. In dance we will focus in analyzing both the diversity of sites where we danced and danced as the stages of its evolution choreography, reflecting the different role played by the dancers. The song we will do the raids in the manner of interpretation of the song 'Buenos Aires': by Villoldo, through Gardel, the singer so far. The perspective of this paper will outline the historiographical and mythical aspects that shape the way we perceive the tango. Este curso será
dictado en el marco del Corso and Instructor for Bailarina de Tango Argentino que organizes the Italian National Academy Tango Argentino. Para más información : www.anitatango.it
In tango there is nothing to give. Tribute to the "Café de los maestros"
In tango there is nothing to give. Tribute to the "Café de los maestros" (film released in August 2009 in Buenos Aires ) Lidia Ferrari
This popular music called tango reaches the Teatro Colon, the perfect place of classical music, with the help of a musician who loves music and not stopped thinking about the differences between classical and popular music. For music, good can be popular and get to all those who love complexity and simplicity, in short, the wealth of music, tango, music that "there how to give ", as one of the protagonists of the film.
"Café de los maestros" is a necessary film. Apologies for appeal to this commonplace that they hardly say anything. It is necessary for the recognition of the quality of a musical genre and its makers, necessary for the dissemination of why is there hidden, buried, opaque to certain glow of the media, this world we live in the media and puppets made famous , wasting light on those whose only merit was to expose his face on camera. Because there are others. Others who have their own brightness. Those who do not need neon lights to illuminate and enlighten. Those who have own shine light into the darkness. Radiate light around him. That's what the film achieves Kohan-Santaolalla. Filming those who by their own light can spread, across the sea from the famous River Plate, the passion that produces . These teachers have the eternity of the musical richness and perennial complex authenticity of what you sing, what played in the home, patio, in the neighborhood club.
The film was not necessary to produce these talents, not to deploy, or to provide work for those who are recognized there. It is necessary to make this light be expanded to other places where one would not. Because to do what did not matter if they had to pay the collective of the Boca Center.
is a necessary film to see those teachers who are great because shed talent, work, music, passion, excitement to the four winds by the intense desire to do . It's a film needed to show what they are . No vain selfishness or competition, only generosity. Teachers recognize not by vanity, but because they love, and about themselves, that they do the tango, the music that "there is nothing to give." The passion and talent overflowing nobility. The emotion that makes us hear what they say and do not priceless. And they know it. Carlos Garcia says in the film: "Who to play a tango not feel a shudder in the heart that is dedicated to another thing." What they do is pure emotion. Do not do it for money. That comes later. O not come. Whatever. Or not, but it does not matter.
For those who know these teachers and we know its path, and love and enjoy everything we can, Santaolalla now need to share the excitement of another small work of art: the movie. The film only shows something that is there. Simply. Must see, must know view. There is fading of the direction of the film. is recognition that the ultimate value of the film is to narrate what they already know the story is told. What is already there, just waiting for someone to see and capture for us.
Modesty and generosity of the teachers who were gathered there doubles on modesty and generosity of the film. No vanity, no exaltation, no idolatry. Only show the emotion, the passion of the musician, the singer whose life that. Someone says: "I married the orchestra." only talk about it. That overwhelming passion for tango. That is not transmissible but by the substantial osmosis those who live in the Rio de la Plata. Outsiders are stick. Ie is a real movie. made by those who know what it is the tango. Whether it tango or not. Are River Plate. And that's enough. Outsiders can see. Those inside the feel. Buenos Aires is portrayed from those who live and love, and not from those who view outside. It is a true Buenos Aires. Beautiful, fast, intense, emotional . Santaolalla
came to collect what was always met. Meeting in the feeling. In joy and pleasure they have lavished these musicians and singers. Few know who he is Chula Clausi. Or perhaps unaware that Horacio Salgán released his own book. Only here, a great music, an admired by Arthur Rubinstein and also great musicians of religion, must edited his own pocket book. There was no university or any editorial it would seek to ask him to write before I did alone and of motus own. No publisher or distributor who approached him. And much less Salgán approached them. It does not need. Or perhaps it would require the . Maybe if I go outside Europe or U.S. would be a recognized genius, sponsored, financed, promoted. It's true. But beyond Salgán not have to. It's here. And Salgán is ours, with all the difficulties of these musicians who never thought end up playing in Columbus, but no did not do wonders for your art. As said Macedonio Fernández, quoted in the film, "the tango is all that we ask permission to Europe." Then came
Santaolalla. So why did not need to produce art, emotion and talent in this very complex and rich music that is the tango, he was not required nor Salgán or for Mores, or to Clausi, or to Baffa, Lagrima Rios nor or Virginia Luque, nor Podesta or Stampone, or those who are there or for missing ... that was not essential for life any of them, arrived. And yes. After I left the cinema I thought. Santaolalla is indispensable for this emotion, excitement, great emotion that makes us watch this movie generous, modest, teacher appreciation. So the film is not only necessary but essential. Thanks Santaolalla. Lidia Ferrari
Buenos Aires, August 2009
"Café de los Maestros", de Miguel Kohan is a documentary about the great figures of tango. The film brings together 21 of the most important musicians and singers of tango, men and women aged between 75 and 93. Virginia Luque, Mariano Mores, Leopoldo Federico, Horacio Salgán Lagrima Rios and some of those who are the protagonists. Gustavo Santaolalla is one of the producers of the film along with a Brazilian filmmaker Walter Salles and producer Lita Stantic Argentina.
Maestro Carlos Garcia: http://www.youtube.com/watch?v=Q3Dh16tRnU8
