Escuela de Tango Danza "DISCEPOLIN"




The hypothesis that the choreography tanguera was born like jeer to the black candombe finds handle in its own evolution.
All the testimonies coincide in that the filigrees of a tango began to be embroidered in an individual way. The compadrito, in a corner, demonstrated to its friends, or to the woman that wanted to conquer, its abilities for the cut and the gulch. It is the creation of a loner that exhibits proud something that didn't exist.
Later on, the tango was only danced among men, although this fact scandalizes Vidart that denies it with hardness.
"It is lie, it is error, it is chilly intellectuals' novelería that newly they discover the tango and they want to warm the blood with their ember, to say that the tango was danced by alone men in its beginning. The dance in even of man and woman is a joining mockery in the primitive societies and you/he/she follows it being today, in spite of all the fiorituras interposed by the living room between the choreography and the sex. The tango, I eat the milonga before and before the dance, was still danced always in male couple and female. When two men danced together it was to learn difficult steps for pedagogic simple reasons. And nothing else. To look for other serious silly, if not grotesque" motivations.
Surely, this is one of the few cases in those that Vidart that has made extraordinary contributions to the popular music's study, makes a mistake. Because although it seems absurd, as long as it dances of even, the tango began being danced among men. Already Evaristo Carriego, the first great poet of the popular neighborhoods of Buenos Aires, testifies him, around 1906, in his poem The soul of the suburb: In the street good people waste her guarangos decires but smooth, because to the compass of a tango that is "The brunette" one they shine agile courts DOS ORILLEROS.
Carriego doesn't describe a man and a woman dancing, but to two men. The testimonial and photographic tests of compadritos dancing is numerous. León Benarós bases this reality in the prevailing machismo in the suburbs and in the whole society of that time.
"Absurdly - he/she writes - he/she is a couple of males the first one that agrees to dance the tango, in some corner. The tango seemed only "Thing of men." It would indignate to attribute to the act the homosexual most minimum content. It is about an ability demonstration, of a splendor. Even later, when the tango conquers the woman for the dance, 'her' it won't be the fundamental ingredient, the last objective, but the dance in yes, the ostentation of knowing how to dance, the almost liturgical respect for that that leaves making, without another intention, without some lubricity. Only when the tango you "nocturniza", when one makes cabaret matter, he/she becomes - sometimes - in pretext for the loving ulterioridad.
But the true Creole, the Argentinean, is modest of his intimacy. It rejects the ostentatious one I paw public, for respect to itself and their partner."
Benarós insists in the topic and it contributes other testimonies. Some of their arguments are of a lot of weight. For example, when he/she affirms that "the demonstration of two men dancing is aseptic, insospechable of second intentions", because the third sex could hardly survive in an atmosphere of raw machismo like the one of then. Even when the woman accepts the tango and she incorporates to her cult, the first dancers would be the Chinese cuarteleras and the pupils of the brothels, the narcissism of the compadrito will assist more to the tango in yes that to its bargain partner. He will not even care too much that it is beautiful, but rather he/she dances well that accompanies him in the demonstration with intelligence and success.
The author also mentions Caesar Viale who confirms the above-mentioned in "Prints of my time": "The tango had not still arrived to the center, he/she walked for the suburbs; when more it was danced among men in the sidewalks, in front of the conventillos, to the compass of the organs with wheels driven by its proprietors, Neapolitans and Calabrians of mane renegrida and lustrous."
Another investigating notable, Horacio Ferrer, is of the same opinion, although he/she adds him/her a shade. "Some columnists - he/she affirms - they sustain that in these beginnings the Tango is danced among men. We should say better than it is also danced among men, because always, until today, it has been danced for even of males, but in almost all the cases like training stops then to dance it with women. Also in the later time of the cabarets, while they wait the clients, the women danced to each other."