In those ambient iniciáticos of the tango, of strong cane, of smoke of thick and ordinary tobacco, of brave, quarrelsome competition, the woman hardly blunted her presence through foreign prostitutes - in her French majority - or small of the well-known interior popularly as Chinese.
The Buenos Aires dance was born bastard, macho and orillera and the féminas found difficult to even frank those forbidden doors for the gentle society of the time. But the Tango knew how to wait for them and he gave them the safe-conduct in its customs to the muses milongueras that they came to illuminate the dancing new tracks in living rooms and clubs that displaced to academies, bailongos and cabarutes.
For heshould give way the impudence of their movements, transforming them in an intimate, sensual substance, recoleta that embraced to a community whose feelings were nonnegotiable and where males and mines shared a common passion. One and another created to the music's compass, the man taking, marking compasses and steps, the woman interpreting the way of to return and to enjoy in their body what the dancer was proposing him/her.
And in this corner it comforts us to bring for the coordinates from the memory to that viejecita, called Carmen Micaela Riso of Cancellieri, although artistically when having adopatado their maternal Spanish grandmother's last name, she knows it to him as Carmencita Calderón and that during years it was pioneer and archetype, in the room and the scenario, in academies, in cinema, in tours, accompanying dancers of long fame and challenging the prejudices of the time, because the tango was not only macho.
I liked to throw her of the language so that she spoke of those times in that he admired her to him so much:
-Nowadays there are many dancers as Cachafaz, and complete dancers...
-Don't say that, please! The Cheek was the biggest of all - she responded exalted -. Nobody has made his steps, nobody was so elegant, nobody invented so much...
Carmencita, as we called him all, it was a queen but the marketing of the time he/she didn't give more than for a minimum jubilation. She learned how to dance to the 13 years at home, with their brother Eduardo and she didn't never dream of professional dancer's future. A night of 1932 it accompanied the smallest two sisters to dance to the Club Without Direction in their neighborhood of Villa Urquiza. The mother had died young and she went in guard's quality, although she had nothing else that 27 years. Some friends that knew their abilities punctured it so that she danced with an I habituated of a lot of prestige.
"- She was an Italian, peeled gentleman that had been widower he/she made a little. There I remembered that I had seen pass the retinue from the house window, in the Constituent avenue. I didn't look like each other anything of the other world, so I paid them attention and I danced with him. Carmencita" Remembered.
The dancer in question was anything less than Tarila - José Giambuzzi - teacher of many outstanding that after some tangos, he made him/her a proposition.
"- Would not you want to dance with me in my Academy and with Cachafaz in his?"
Cachafaz was the magic word and, the following day, it was her in the coffee of Currents and Talcahuano where it stopped "The Cheek" every afternoon and where it would introduce to its great friend, Carlos Gardel and to others of its bar as Alippi, Muiño or Tito Lusiardo, because the first table of the sweet shop was its "secretary."
Cachafaz was ugly, pock dive, almost had a spot patibularia that was able to disappear when he/she skated its varnishes for the blackboard and to its side like fastened thistle, Carmen would complete the item more emblemático. Maffia debuted with Pedro's orchestra in San Fernando's Theater, they made numerous tours, mainly with Canaro and its "History of the Tango", and the last presentation together was in 1942 in Mar del Plata.
After dancing "Don Juan", in the dressing rooms, "The Cheek" -55 years -, he would fall fulminated of a syncope. That year 42 in a Palermo crowded Palace, with Ángel's orchestra D'Agostino - that was also a dancer - and Ángel's voice Vargas, Carmencita was acclaimed by the milongueros, making even with Pibe Palermo - José María Takes a bath -.
She always knew that to be allowed to take for a man in the track or the scenario is not to be subordinated or to be subjected by the male, but accepting its conduction to be able to dance. And this way, while the arm like a snake coils in the figure that will break, her, in trance, navigating in the latitude of the staff, sometimes ignoring the somber boast of some men, She improvised with them figures and complicated drawings that they woke up admiration.
Arisen of the popular school, of the living rooms and clubs mires, their corporal language was only, filled of feeling and of a brave simplicity that he/she doesn't memorize in academies. Woman neither lover of the mythical Cheek that it was always her about you, was not although it took her 16 years of age. It never rehearsed choreography some! And he/she remembered to their mother like the secret teacher: She "always told me: "To get up the head and non look to the floor", and it corrected me the posture. She died with 39 years, poor, and my father died without knowing that I danced tangos, because it was very bad seen."
The time spent it like to any creature but its outpost teaching arranged to future that the milonguera knows to be allowed to take validating the male's proposal that he/she dances well. And that grace to its sensibility tanguera, to its delivery and dedication, with its own style and conviction, will achieve next to him a nonnegotiable emotion.
I saw it already dance very bigger, next to Juancito Averna, and it maintained that fire interior, remarkable precision in the rhythm, moving to the music's compass and of the erratic drawings that their young partner proposed him/her, with an old and renovated emotion. He/she danced with The Cheek in the movie "Carnival of In the past", of 1940, it was 10 years next to him, it accompanied other dancers and it is recognized generously by their successors.
Carmencita transmitted that tango that one whistled and was hummed by the streets and that her mother sang while she washed the clothes. The one that one walked for the Buenos Aires tracks without hooks neither spectacular voleos, but with a nonnegotiable, only hug, slipping the sole for the floor, without verse neither flannel, because for mainly the first era to dance and to feel the "Gordo" (Troilo) fueye, the piano of the Blind one or the compass of D'Arienzo.
Carmencita continued adding, nonagenaria died, and when recreating her in having aged pictures, homenajeamos in its person to all the milongueras that you/they go in the tracks to the ancestral call of the tango.
José Gobello defined this way it: "Vos sos the piba without time / milonguera of high range, / eternal sos as the tango that takes you in their compass. / Carmencita Calderón the tiles your gulches shiver / foreseeing, your races, your sittings / when they invite to dance." Amen.