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"The tango argentino is a sad
thought, which can be danced"
Enrique Santos Discépolo
 Although
it has come to epitomize the glamour and elegance of high society,
with women in sleek glittering evening gowns and men in tux
and tails, the tango originated in society's underbelly--the
brothels of turn-of-the-century Argentina. As immigrants
from Europe, Africa, and ports unknown streamed into the outskirts
of Buenos Aires during the 1880's, many gravitated toward the
port city's houses of ill repute. In these
establishments, the porteños (as they were called) could
drown their troubles in a few drinks and find some companionship.
They looked desperately for a distraction to ease their sense
of rootlessness and disfranchisement as "strangers in a
strange land."
From this heady, intermingled cultural brew
emerged a new music which became the tango. Though musical historians
argue as to its exact origins, it is generally accepted that
the tango borrowed from many nations--the relentless rhythms
that the African slaves--the candombe--beat on their drums (known
as tan-go); the popular music of the pampas (flatlands) known
as the milonga, which combined Indian rhythms with the music
of early Spanish colonists; and other influences, including
Latin. Some say the word "tango" comes from the Latin
word tangere (to touch.)
Ironically, as these lonely immigrants and societal outcasts
sought to escape from their feelings, they instead developed
a music and dance that epitomized them. The wail of the tango,
it is said, speaks of more than frustrated love.
It speaks of fatality, of destinies engulfed in pain. It is
the dance of sorrow.
Originally, the tango dance developed as an "acting
out" of the relationship between the prostitute and her
pimp. In fact, the titles of the first tangos referred to
characters in the world of prostitution.
These tango songs and dances had no lyrics, were often highly
improvised, and were generally regarded as obscene. Further,
the early tangos not only represented a kind of sexual choreography,
but often a duel, a man-to-man combat between challengers
for the favors of a woman, that usually ended in the symbolic
death of an opponent. Sexual and evil forces were equally
celebrated in this ritual.
 During
this time, the wailing melancholy of the bandoneon (an accordion-like
instrument imported to Argentina from Germany in 1886) became
a mainstay of tango music.
With the advent of the universal suffrage law--passed in
Argentina in 1912--the lower classes were allowed to vote,
which served to legitimize many of its cultural mainstays,
including the tango. As it became absorbed into the larger
society, the tango lost some of it abrasiveness.
The structure of the dance, however, remained intact, and
soon the tango developed into a worldwide phenomenon.
During the first two decades of the new century, the tango
took Paris by storm. The blessings of the Parisians, in turn,
made it a staple of Argentinean high society. Tango was reigning
supreme in the cabarets and theatres frequented by
the rich. Out of this culture, the tango musician
became elevated to professional composer status.
 In
1918, lyric writing for the tango become the latest trend,
bringing forth the birth of a star who is still celebrated
five decades after his death--singer Carlos Gardel.
The memory of this handsome, charismatic performer has reached
hero worship status in Argentina.
In 1930, a sudden military coup in Argentina ended the citizens'
right to vote, and thus largely silenced the voice of the
people, the tango. During this time, a very pessimistic philosopher/singer
of the tango emerged, Enrique Santos Discepolo.
He is famous for the line, "The 20th Century is a trash
heap. No one can deny it.."
Tango revived in the late 1930's when the Argentinean masses
regained a good measure of their political freedom. They celebrated
their social rise with the tango, which became a
symbol of their physical solidarity and part of their daily
life. Again, tango musicians emerged who took the form in
new directions including Fresedo, de Caro, Pugliese, and Anibal
Troilo.
Soon, wealthy intellectuals, far removed from the working
class, began writing new lyrics for the tango. Because of
their influence, tango took on a more romantic, nostalgic,
and less threatening air, a sweet remembrance of
youth in an idyllic society that never existed.
When Juan Peron rose to power in 1946 the tango again reached
the pinnacle of popularity in Argentina, as both he and his
wife Evita embraced it wholeheartedly. Yet, with Evita's death
in 1952, the tango again fell from the mainstream spotlight.
American rock-and-roll invaded the popular scene, and the
tango again seemed out of step with its times.
Today the tango is enjoying a renaissance of popularity, keeping
the fire of this daring art form burning brightly.
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