While often a popular topic of discussion, its actually very difficult if not impossible to try to isolate the roots of a dance by identifying a particular place of origin or with a particular historical dance. It seems much more appropriate to discuss influences rather than roots. As far as any dance having African influences, it would appear difficult to identify any modern vernacular dance thats originated in the Western hemisphere in the last 150 years that doesnt have African influences, some just being more obvious than others. As an example far removed from tango, consider the history of tap dance. Tap draws on Irish jigs, Scottish reels, English clogs and African shuffle dances. For any one of these influences to be singled out as being the roots of tap is impossible but it has clearly been influenced by all of them.
While tango undoubtedly has African influences, compared to modern Latin dances and even swing dance, the influence would seem comparatively mild. While the rhythms and some of the movements may be discerned, consider that a very defining feature of virtually all historical tribal African dances was a separation of the partners, that is, men and women danced apart, generally with no physical contact at all. The influence of this African dance characteristic can be seen in the openness of swing, disco, contemporary club dancing and in salsa. Interestingly in contrast, in tango certainly one of the most defining characteristics is the close embrace of the partners. For a surprisingly good scholarly discussion of the evolution of the influences of different musical cultures on Western music and dance, I would recommend "Cuba and Its Music: From the First Drums to the Mambo" by Ned Sublette. Dont be put off by the title, its about much more than just Cuba (which served as a crossroads) and includes good discussions of dancing. It is well-researched and documented with sources and footnotes. It presents a much better and broader analysis of the influence of African rhythms (as well as other influences) on Western music than the Thompson book on tango (even though Sublette does cite it in places). For anyone interested in the early cross-pollination of influences in the evolution of unique Western music, including tango, I would strongly recommend taking a look at the life and works of Louis Moreau Gottschalk. If you havent heard of him, he was born in New Orleans in 1829. His father was an English-born businessman of Jewish Spanish descent and his mother was French Creole Haitian. He was a child prodigy on the piano and was classically trained in Paris. When he returned, besides living in New Orleans, he made many lengthy trips to Cuba and Central and South America. He died in 1869 at the age of 40 while in Rio de Janeiro. Even though he is largely unknown today, he was hugely popular giving large concerts in the 1850s and 60s, incorporating classical skills with the ethnic music of the Caribbean and Central and South America, Creole music, the rhythms of African slaves heard in the Place Congo, Spanish folk music, and French ballroom dances. Try listening to Bamboula, written in 1845. While it is widely-regarded as the forerunner of ragtime, elements of what would become tango can be found in it also. If there is a common root of African rhythms, the haberna, ragtime, and tango, it may very well be traced through the works of Louis Moreau Gottschalk. WBSmith -------------------------------------------------------------------- mail2web.com - Microsoft® Exchange solutions from a leading provider - http://link.mail2web.com/Business/Exchange _______________________________________________ Tango-L mailing list Tango-L@mit.edu http://mailman.mit.edu/mailman/listinfo/tango-l