Queer Tango (or Tango Queer) is to dance Argentine tango without regard to the traditional heteronormative roles of the dancers, and often to exchange the leader and follower roles. Therefore, it is related to open role or same-sex tango. The queer tango movement permits not only an access to tango for the LBGTQIAA+ community, but also supports female leaders and male followers, regardless of sexual orientation.
Queer Tango was not approved at first, due to the blurred lines of gender roles and social class rankings being affected. The Queer Tango movement breaks these rigid heteronormative gender roles of the tango world and permits all the permutations of partnering within tango. Same-sex tangoing is frequent: men dance with men, [1] [ non-primary source needed ] women dance with women, who can lead or follow. Also men dance with women, exploring open role reverse. The term queer , commonly used as a synonym for the LBGTQIAA+ community, is used here in a larger sense. A queer tango dancer shifts the focus from sexuality to gender which allows to enhance his expressiveness by way of role exchange. Therefore, the Queer Tango scene gives not only a home to gay, lesbian, bisexual, transgender, intersex tangueras and tangueros (tango dancers), where they can feel comfortable, it also creates a liberated tango environment for gender-neutral dancing, where rules and codes of traditional tango no longer restrain communication between people. By way of queer tango teaching, heterosexuals dancers can learn the open role reverse and enhance their competences in tango. [2] [ self-published source ]
As with all types of social dance, including conventional tango, the skill level of Queer Tango varies. [3] Dancers who engage in queer tango are interested in expression. [4] "Bodies without organs" is a concept explored through same-sex tangoing, which allows people to experiment the dynamic presented in the technique. Living outside of the body and its organs can be a way for people to work more creatively and release ongoing stresses:
We suggest that redrawing, blurring and/or smudging the boundaries of the essential(ized) body, poking holes and coming to terms with the porosity of our skin, might help us to grapple with the partial and processual becoming of our bodies-in-relation.This detaches form from function, challenges prefigured/ predetermined conceptions and understandings of body parts (including sexual elements, organs, and limbs), and opens up possibilities for thinking otherwise (and perversely) about the roles and functional boundaries being created and policed. |— Chessa Adsit-Morris, "It Takes More Than Two to (Multispecies) Tango: Queering Gender Texts in Environmental Education". [5]
There is one story which claims that tango as a dance was born in the brothels of Buenos Aires, another relates that tango was created by men dancing tango between men on street corners at the beginning of the 20th century:
"Because of a shortage of women in the immigrant population, there were really only two practical ways for a man to get close to a woman under these circumstances. One was to visit a prostitute and the other was to dance. The men practicing together, looking for the best ways to please a woman when they danced with her, preparing for that rare moment when they actually did have a woman in their arms, were the people who created the Tango as a dance."
In the first decade of the 20th century, tango became famous as a couple dance (man-woman) in Paris. [7] There are also French and American postcards [8] from the first decades of the 20th century which represent tango between women. This feminine replica of man-to-man-tango generated much less literary documentation, yet a more extensive iconography tinged with a voyeuristic accent of eroticism:
"The origin of those images, like the origin of the enthronement of tango as a universal fashion, is Paris. They are mostly anonymous pictures of women before the retina of a man one imagines to be complacent with the image of two women narrowing the distance between their bodies, something this dance encourages. One cannot see in them any self affirmation of feminine propriety, but rather, flattery or seduction toward the male spectator.[…]On one hand, Saphic flirtation or outright lesbianism was exercised by valid individuals belonging to circles of artistic luster wherein this was entirely admissible. On the other hand, the cabarets, in their obvious role as vias for sexual escapism, found their place in society. The image of tango between women is to drink from both springs and, from both, some images representing it have been handed down to us."J. Alberto Mariñas, They dance alone… [8]
This popularity of Tango in Europe, and especially in Paris, made it an interesting couple dance (man-woman) for the upper classes in Buenos Aires, and the Tango was re-imported from Europe for their benefit. [7] The original way to dance it in same-sex couples got lost and was forbidden. Only male-female couples were allowed to dance in public milongas.
The queer tango movement which revives the origins of tango as a same-sex couple dance is relatively recent. It was founded in Hamburg, Germany where in 2001 the first gay-lesbian milonga was organized. [9] In the same year the First International Queer Tango Argentina Festival was brought to life. Since 2001 it takes place every year in order to bring together same sex couples in tango from all over the world. Born in Germany, the Queer Tango movement inspired other countries to create local queer tango scenes. Meanwhile, Queer Tango festivals are celebrated for example in Argentina, [10] Montevideo, in Denmark, [11] Sweden, [12] Paris, and in the United States. [13]
In the bastion of traditional heteronormative tango, Augusto Balizano opened the first queer milonga, La Marshall, in Buenos Aires in 2002. [14] A few years later, in 2005 Mariana Docampo started a weekly milonga in San Telmo called Tango Queer. [15]
While queer tango is more and more common in the milongas in Buenos Aires, [16] discrimination persists against same-sex couples or couples who reverse the traditional sex-assigned roles. In late March 2022, a new milonga housed in a famous tango institution posted a list of rules at its entrance. Among those rules was a strict prohibition on same-sex couples dancing together.
Members of the queer tango community continue to combat this type of discrimination. The Feminist Movement of Tango (Movimiento Feminista de Tango) maintains a social media presence to disseminate information, raise consciousness, and engage in activism.
Founded by Anahí Carballo [17] in 2015, Tango Entre Mujeres [18] [19] [20] (TEM) is the first Argentine-based all-women tango dance company. The first scene of its 2019 work Vinculadas [21] includes reenacted quotes of the insults that the company has received for its groundbreaking work. Some of these include, "you [meaning women dancing with each other] are the death of tango!" and "pan con pan es comida de tontos."
Happy Together is a 1997 Hong Kong romantic drama film written and directed by Wong Kar-wai starring Leslie Cheung and Tony Leung Chiu-wai, depicting a couple's turbulent romance. The English title is inspired by the Turtles' 1967 song of the same name, which is covered by Danny Chung on the film's soundtrack. The Chinese title is an idiomatic expression suggesting "the exposure of something intimate".
Tango is a partner dance and social dance that originated in the 1880s along the Río de la Plata, the natural border between Argentina and Uruguay. The tango was born in the impoverished port areas of these countries from a combination of Argentine Milonga, Spanish-Cuban Habanera, and Uruguayan Candombe celebrations. It was frequently practiced in the brothels and bars of ports, where business owners employed bands to entertain their patrons. It then spread to the rest of the world. Many variations of this dance currently exist around the world.
The Tango Lesson is a 1997 drama film written and directed by Sally Potter. It is a semi-autobiographical film starring Potter and Pablo Verón, about Argentinian Tango.
Tango is a style of music in 2
4 or 4
4 time that originated among European and African immigrant populations of Argentina and Uruguay. It is traditionally played on a solo guitar, guitar duo, or an ensemble, known as the orquesta típica, which includes at least two violins, flute, piano, double bass, and at least two bandoneóns. Sometimes guitars and a clarinet join the ensemble. Tango may be purely instrumental or may include a vocalist. Tango music and dance have become popular throughout the world.
Candombe is a style of music and dance that originated in Uruguay among the descendants of liberated African slaves. In 2009, the United Nations Educational, Scientific and Cultural Organization (UNESCO) inscribed candombe in its Representative List of the Intangible Cultural Heritage of Humanity.
Argentine tango is a musical genre and accompanying social dance originating at the end of the 19th century in the suburbs of Buenos Aires. It typically has a 2
4 or 4
4 rhythmic time signature, and two or three parts repeating in patterns such as ABAB or ABCAC. Its lyrics are marked by nostalgia, sadness, and laments for lost love. The typical orchestra has several melodic instruments and is given a distinctive air by the bandoneon. It has continued to grow in popularity and spread internationally, adding modern elements without replacing the older ones. Among its leading figures are the singer and songwriter Carlos Gardel and composers/performers Francisco Canaro, Juan D'Arienzo, Carlos Di Sarli, Osvaldo Pugliese, Elvira Santamaría, and Ástor Piazzolla.
María de Buenos Aires is a tango opera with music by Ástor Piazzolla and libretto by Horacio Ferrer that premiered at the Sala Planeta in Buenos Aires on 8 May 1968.
Tango, a distinctive tango dance and the corresponding musical style of tango music, began in the working-class port neighborhoods of Buenos Aires (Argentina) and Montevideo (Uruguay); on both sides of the Rio de la Plata.
Uruguayan tango is a rhythm that has its roots in the poor areas of Montevideo around 1880. Then it was extended to other areas and countries. As Borges said: "...tango is African-Montevidean [Uruguayan], tango has black curls in its roots..." He quoted Rossi, that sustained that "...tango, that argentine people call argentine tango, is the son of the Montevidean milonga and the grandson of the habanera. It was born in the San Felipe Academy [Montevideo], a Montevidean warehouse used for public dances, among gangsters and black people; then it emigrated to underworld areas of Buenos Aires and fooled around in Palermo's rooms..." This also implies that different forms of dance were originated in the neighborhoods of Montevideo, Uruguay in the last part of the 19th century and in the early 20th century that was particular from that area and different from Buenos Aires. It consists of a variety of styles that developed in different regions of Argentina and Uruguay.
Orquesta El Arranque is an Argentine tango orchestra formed in Buenos Aires in 1996.
Luis Pereyra is a dancer and choreographer of Tango Argentino and Argentine folk dances.
The World tango dance tournament is an annual competition of Argentine Tango, held in Buenos Aires, Argentina, usually in August, as part of the Buenos Aires Tango Festival organized by the city's government. In 2014 the events were between 13-26/August.
German Cornejo & Gisela Galeassi are an Argentine tango dance duo. They have been dancing together since early 2011, currently dancing for German Cornejo's Dance Company (GCDC), performing as lead dancers for the company. , Gisela and German won the title of World Tango Champions in 2003 and 2005, respectively, at the Campeonato Mundial de Baile de Tango . Both German & Gisela have appeared in numerous TV shows, Films and have toured extensively throughout the world. They have been judges in regional tango championships in Chile, Spain, Italy, Colombia and Japan. The duo is mostly known to Anglo-speaking audiences for their appearance in the American reality television show ¡Q'Viva!: The Chosen. and recently in America's Got Talent. They were winning finalists in Jennifer Lopez & Marc Anthony's TV show Q Viva culminating in the Las Vegas stage show of the same name in May 2012, at the Mandalay Bay Arena. In June 2012 they were JLO's special guest artists at her first-ever concert in Buenos Aires.
Milonguero is a style of close-embrace tango dancing, the name coined by Susana Miller and Oscar "Cacho" Dante from the Argentine word "milonguero". Milonguero is a term for a skillful and respectful tango dancer who holds a reverence for the type of traditional social tango that is danced at milongas in Buenos Aires, Argentina. The two uses of the term do not coincide: many dancers who are considered to be milongueros do not dance milonguero-style tango.
A milonguero is a person who spends time dancing social tango. The word comes from the term milonga referring to a tango dance event.
Milonga dance is dancing to milonga music.
Azucena Maizani was an Argentine tango singer, composer and actress who was born in Buenos Aires on November 17, 1902, and died in the same city on January 15, 1970. She was discovered in 1920 by Francisco Canaro and quickly emerged as a major star. Her frequent appearances on stage and radio made her the female counterpart of Carlos Gardel although she did not enjoy as successful a film career as he did, appearing in a handful of films including Buenos Aires Sings (1947). During many years she gave performances dressed with men's suits or criollo cowboy attire for which she was known by the nickname "Funny-face Cowgirl", given to her by Libertad Lamarque in 1935.
Café de Hansen, Antiguo Hansen, Lo de Hansen, Restaurant del Parque 3 de Febrero or Tarana was a café in Buenos Aires, Argentina, and was one of the birthplaces of tango. Because of its monumental impact on the development and dissemination of the music, Café Hansen is often referenced in some of the most popular tango songs in Argentina.
Tango Argentino is a musical stage production about the history and many varieties of Argentine tango. It was created and directed by Hector Orezzoli and Claudio Segovia, and premiered at the Festival d'Automne in Paris in 1983 and on Broadway in New York in 1985. The Mel Howard production became a world-wide success with numerous tours culminating with a Broadway revival in 1999–2000. It set off a world-wide resurgence of tango, both as a social dance and as a musical genre. Tango Argentino recreates on stage the history of tango from its beginnings in 19th-century Buenos Aires through the tango's golden age of the 1940s and 50s up to Piazzolla's tangos. Most of the dancers in the show did their own choreography.
Lorena Ermocida is an Argentine tango dancer, teacher and choreographer.