Escuela de Tango Danza "DISCEPOLIN"
By Néstor Pinsón
Aliases: The milkman, Basque
He receives their nicknames to be a Basque milkman's son, of the then neighborhood of The Pity, where he learned how to dance from very small to the compass of the street organs.
It was dancer of Frank's circus Brown, the foreign celebrated clown that came to win fame to this country that he took for adoption.
In 1901 Casimiro Aín travels to Europe in a load ship, working of any thing less as dancer.
To their return in 1904 it acts in our theater Opera next to their wife Marta.
During the festejos of the Centennial (1910) it acts with great success, transforming definitively into a professional of the dance when it travels in 1913 to France with the typical orchestra that they integrated the bandoneonista Vicente Loduca, the violinist Eduardo Monelos and the pianist Celestino Ferrer.
They showed up in the mythical Cabaret The Paw that was the haven of the Argentinean community resided in Paris and that the musician headed Manuel Pizarro.
Then it travels to New York where it remains three years, returning to Buenos Aires in 1916. .
The decade of the '20 find it again in Paris, where it wins with their partner Jasmine, the World Championship of Modern Dances that was carried out in the theater Marigny in the month of June and competing with 150 couples.
Later with German Edith Peggy all Europe traveled and in 1930 it returns definitively to Argentina to act more some few years.
This counts it and Aín affirms it in a report that was carried out to its return of Italy. But our friend, the musicologist Enrique Camera, professor of the University of Valladolid and with many years of residence in Italy, it traveled with patiently the hemeroteca of Vatican, especially their Roman daily L'Osservatore, and he didn't find anything in this respect.
In an article transcripto in the magazine Tango and Lunfardo Nº 34 directed by Gaspar Astarita, the journalist Abel Curuchet interviews Casimiro Aín, in an appeared publication March 21 1923.
There he tells us: he is "in fact a nice man that speaks to big voices, neither young neither old, he will be at most forty years old. Of medium stature, you still dressed with correction when their elegance is scarce. To the knowledge that I am a columnist and that I ignore their work and their prestige, the man strives to update of his life.
"If it is danced a lot? Never as this year, people seem that she doesn't want more than to dance. I don't give supply with the lessons.
"Look at this notebook, I look at it and I read, in alphabetical order, the yams lives "copetudos"(important).
They plows "those that I gave him lessons. I was devoted by chance to the dances. It was curious boy's adventure and bohemian. My first exit of the country was there for 1903. Not knowing what to make in Buenos Aires, I went aboard without direction in to vapor that led me to England. I was one month in London and of there I passed Paris. With two friends we begin to travel the bars and cabarets, with to frayed and miserable guitar and to violin destartalado, we form to wandering and picturesque triplet. I began to dances the Creole tango. The success that we had was firm, we begin to make money to bulk. Of Paris I went to Spain, where after to brief demurrage, I returned to my country. I left perfecting in the dances and I made notorious progresses that were worth me important contracts to it you it you dance in the theaters, ace number of party end.
"In 1913, desirous of conquering fame and fortune, I made my second exit of the homeland. In the vapor Sierra Window, we leave to the adventure, me and three boys friends. One of them pianist, the other one loaded her violin and the third with to bandoneón. (there am refers to Ferrer, Monelos and Loduca, trip that was financed by Ramón Alberto López Buchardo, important character of the Buenos Aires society).
We "arrive to South Bulogne Mer and neither well we disembark we take the quick train to Paris that arrived at twelve in the night. It was to night of to cruel winter and the first thing that we decides there am went to go to Montmartre. We find the first cabaret and we entered, it was overflowing of people. And arrived the moment entered with it ours, we attracted the public that threw us some francs, so many that the four live very well during one month. There was luck, because that cabaret was the "Princess", famous then when in hands of Manuel Pizarro grants to scholarship me "The Paw."
I walked "also for Denmark, Germany, Russia and Portugal. At the moment I don't believe that has returns to the Old World. Here I have gathered to respectable fortune that allows me to live surrounded of comforts. My family, my mother, my wife and my children plows also.
Do "you want to know how much I dance? I will mention him/her a case. The seven days of the week, for twenty-four hours, they give a total of hundred sixty eight hours. Because well, during the week of the last carnival I danced hundred twenty-four hours distributed this way: in the living room of the Club Pueyrredón, seventy four hours; added to the seven or eight daily lessons that are other fifty hours. Supposing that every hour of dance it corresponds to three kilometers, I have tr"
Also, write down that I have danced with some twenty thousand people. aveled three hundred seventy two kilometers.
"If I make a lot of money? Per year about hundred twenty thousand pesos.
"In that Preposition a lady and she asks to the dancer when he will be able to go to their house for some lessons, Aín consults its notebook and he answers him that newly in three weeks, the lady retires after greeting coldly.
We really check that he is a successful" artist.