A napolitan dances a tarantela to have fun; the porteño dances a Tango to meditate his luck(which is usually bad luck) or to round out unfinished thoughts about the general structure of human existence (Ernesto Sábato)
In 1930 extended poverty on all of Buenos Aires demanded a voice capable of interpreting what was happening and it found it in Enrique Santos Discépolo and his Tango Yira… yira… The composition of this Tango –Discépolo composed also the music–, was exhausting and lengthy for him.
And then came the “heirs”. Magazines, as I said, organized contests to try to find –with no success until now- to the successor of Gardel. The first ones were the imitators, that not only tried with innocence to copy the singing and repertoire, including the changes of n’s by r’s; but also the hairstyle and even tried that their pseudonyms ended in “e” or “el”, for example Armando Barbé.
(Note: If you haven´t done it yet, we recommend that you read the first and second part of this article, and then continue with this third and last part)
In the same manner as tango was not a creation of marginal people, despite of what has been said so often, neither was lunfardo, in my opinion. Although it’s fair to say, without being a creation of marginal people, lunfardo is from the linguistic point of view, a marginal language, in the sense that, term by term, it’s opposed to the standardized language.
Body language exists with its own codes. Like any other language, it is related to the history and the culture of the people.
We will mention what we understand by language, as a milestone, to start to think the dance of tango like a true dialogue between two that, in an embrace, communicate with no obstacles of race or origin.
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In 1930 extended poverty on all of Buenos Aires demanded a voice capable of interpreting what was happening and it found it in Enrique Santos Discépolo and his Tango Yira… yira… The composition of this Tango –Discépolo composed also the music–, was exhausting and lengthy for him.
And then came the “heirs”. Magazines, as I said, organized contests to try to find –with no success until now- to the successor of Gardel. The first ones were the imitators, that not only tried with innocence to copy the singing and repertoire, including the changes of n’s by r’s; but also the hairstyle and even tried that their pseudonyms ended in “e” or “el”, for example Armando Barbé.
