5813  Milonga Rules, Nazism, and the Preservation of

Date: Mon, 19 Oct 2009 07:03:30 -0700 (PDT)
From: RonTango <rontango@rocketmail.com>
Subject: [Tango-L] Milonga Rules, Nazism, and the Preservation of
Tango Culture
To: tango-l@mit.edu

----- Original Message ----

>
> A/ Tango Milonga
>
> It is a social activity consisting of
>
> Meeting and dancing with friends old and new
> Seeking a tango trance
> Lanes that progress around the room; no zig-zagging around the middle
> Smaller 2-3 step sequences and rock steps
> Moderate strides and cautious boleos
> Maybe occasional brushes with other dancers
>
> B/ Authentic Argentine tango
>
> (i) What is allowed?
>
> Salon-style tango including:
>
> milonguero/apilado/petitero/caquero/Villa Urquiza
> club tango
>
> Golden age tango music from the late 30?s to the 50?s
>
> (ii) What is not allowed?
>
> Tango orillero
> Tango nuevo, including volcadas, kicks above the knee, multiple guanchos
> Fantasia/salon tango
> cayengue
> tango music post 1950?s
> alternative/neo tango music
>

Except that I see no prohibition against canyengue in and one milonguero has told me he dances 'orillero', this more-or-less describes the overwhelming majority of milongas (> 100/week) in Buenos Aires. Tango music post 1950s will be played occasionally if it is in the style of the 30s-50s tango music (e.g. One may occasionally hear Color Tango).

I realize this was said in jest. What I cannot understand is why some dancers object to trying to recreate Argentine tango culture outside Argentina. Tango is not only the dance, it is the music and the culture, the latter including certain codes of social interaction. Can't we try to recreate this in peace?

> Subject: [Tango-L] Tango NAZI- STYLE POLICE
>
> This is a reply to Social Tango rules and Milonga regulations
> ..
> if you follow these regulatory "Tango-Nazi" suggestions
>
> - Tango will STAY underground, no new people will come
> - Tango will be danced by only the above age of 55 (especially in North America)
> - No diversity will be exist. Universal DJing system would work, so no
> djing skills required since if everyone plays the same tandas with
> same order at same set up.

Actually, I think nuevo overwhelming milongas is doing a good job of stamping out diversity.

> Reality check: We are in the 21st century and the year is 2009, it's
> not 1946 and we don't live in Buenos Aires.
> I would suggest the ones who cry for authentic tango experience and
> dream about TANGO TIME MACHINE, just move to BsAs.

This gives us a lot of options, doesn't it?

So now cultural preservation is being associated with Nazism, the great annihilator of cultures it didn't like. By goose-stepping into our milongas, nuevo is driving tango milonguero into the underground. So who really are the Nazis here?

A respect for cultural diversity allows all cultures to thrive. Traditionalists are not asking nuevoists to stop dancing. You certainly have many alternative milongas to choose from. We're just asking you to allow us to preserve the culture we admire in the type of environment we want to create. In our house, please respect our house rules. To not do so is arrogant and immature. Grow up and recognize you can't just impose your behavior on everyone.

Ron

Date: Mon, 19 Oct 2009 07:57:06 -0700 (PDT)
From: Alberto Gesualdi <clambat2001@yahoo.com.ar>
Subject: Re: [Tango-L] Milonga Rules, Nazism, and the Preservation of
Tango Culture
To: tango-l@mit.edu

Some time ago (october 11th) ?I send a letter to the editor , local Buenos Aires newspaper La Nacion, on the subject of tango inmaterial heritage acepted by Unesco. I will translate the letter .

Alberto

?
Tango rioplatense
?
Mr. Editor:
"The inclusion of tango, based on the joint petition of Argentina and Uruguay , on the list of world inmanent heritage of Unesco, makes almost useless to keep discussing the geographical area of tango.
?
Both countries , in a brotherhood gesture from their representatives of the cities of Buenos Aires and Montevideo , agreed that tango was born on the basin of the Rio de la Plata, among the popular social classes of the cities of Buenos Aires and Montevideo.
?
In this region, where a mixture happened of european emigrants , descendants from african slaves and natives (criollos) , a melting pot of cultural pattens, beliefs and?? rites? happened,? being transformed?? into a ?specific cultural identity.
?
Within this identity, the characteristics ?that emerge in music , dance and poetry of tango , are in turn, an incarnation and vector of a diversity and cultural dialogue.
?
Coming from this origin, it is acknowledged and greeted?, that it has been difussed all over the world, and that now , it belongs to everybody , or to nobody , since it is related to mankind.
?
In what is essential, tango is?born and reproduces, on those that value and appreciate it, live where they live, in this planet.
?
Alberto Gesualdi
dni 11286086


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