Thank you Andy, I will read this paper, and translate part of it, is too long
for the standard messages of tango L policy, to copy all.
One difficult that I see with this works, as well as the note of Benzecry Saba
on milonga codes, is the ... let s say " fairy tale" approach.
Once the writer starts to describe or comment something, it takes it out from
what it is, a real place with an everyda changing life, to a mental
construction, a label if you want .
To give an example , Benzecry Saba comments on a tango academy , the Gaeta
school. so the reader, today , year 2009 , tend to imagine a tango school like
the schools are today.
A friend of mine, long milonguero experience, came from his town of a province,
2.000 km aways from Buenos Aires, to work and study here. He dance some tango
in his town, but their experience was in folklore dances. So he see this
advertisement on a newspaper ( this was the 60´s , almost 50 years ago), and
went to this Gaeta " school". On his own words, he find a filthy hole , where
some people come and go, without a true teaching, but some practice , erratic ,
without a syllabus or method. One of the assistants was Todaro , mainly his
assistance was to lead pupils or to make them lead, years later he made his
"Todaro" method.
this is something that has to be taken into account. There were no "teachers",
but people that dance. On the 80's some other people here in Buenos Aires,
notice there was demand for tango teachers, and take this men and women, who
was very simple people ( some of them , living on a small pension as public
servants retired ), and present this "tango apilado" style , as something that
was the authentic argentine tango.
This brand of "styles" was something made for marketing reasons . Another old
milonguero told a researcher on tango history , with his naive vision " let me
see if I understand, you are working on an university paper , explaining what
we do inside this milonga ?? And your teachers at the university thinks this is
a subject ?? How wonderful !!"
alberto
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