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The subtitle, An Art History of Love, would seem at first glance to have nothing to do with dance, but it accurately reflects Thompson's methods. Thompson is a brilliantly creative reader of visual and literary clues, from architecture and street murals in Buenos Aires to caricatures of black figures published a century ago and works of fine art.
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Thompson documents early performers who were black, from the first bandoneista on record, to golden age composer Horacio Salgán and contemporary milonga dancer Facundo Posadas.Īs background for an Afro-Argentine presence, Thompson documents a continuous history of Kongo spiritual belief and practice in Argentina, from the dances of the black candombe societyvirtual embassies with their own kings and queensto the way Buenos Aires cab drivers stream red ribbons from their rearview mirrors today. Black musicians implemented percussive tactics in the way the strings and bandoneons are played, and special effects like "arrastres," whooshing runs (parodied in Hollywood's tango cliché) that pump up the dancers. Don't be fooled by the instrumentation, Thompson says. One of the paradoxes here: tango is black music that has no drums. Tango, " the fabulous dance of the past hundred years," started life as a creole: "the Kongo grind, caught in a waltz-like embrace." Even more than has previously been acknowledged, the origins of tango are black, via Kongo culture imported from Central Africa and Cuba.
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Not only are blacks present on the Pampas and in the port city of Buenos Aires, he argues, but their influence has been disproportionate to their numbers. Robert Farris Thompson, a professor of African art at Yale, champions black contributions to Argentina's national dance in his passionate, polemical new book, Tango: An Art History of Love. But when it comes to a shaping Afro-Argentine presence, most people say, no: for that, you'll have to go next door, to Uruguay. Most tangueros agree that African influences were strong in Argentina in the 19th and early 20th centuries, when tango's roots were watered by the candombe societies, resulting in the quickstep milonga that tangueros still dance today, and canyengue, tango's "melting" predecessor. Yet, it's a commonly held belief that Argentina's black minority is so small as to have played no major role in tango's development. Robert Farris Thompson, Tango: An Art History of Love (Pantheon, 2005)Įvery Argentinian is proud of the tango.
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As well as in-depth coverage of lines which are unique to the Tango, Orlov presents a complete repertoire for Black in those variations which transpose to other openings.It is just as important to be well danced as it is to be well versed or well read. Now his secrets, including much original analysis, are published in this book. International Master Georgi Orlov is a leading American player and analyst who has played the Tango for over 10 years, and has been instrumental in its growth in popularity. Played by top US Grandmasters including Benjamin, Shabalov and Dzindzichashvili, the 'Tango' received the highest vote of confidence when the US champion Alex Yermolinsky played it against Garry Kasparov at the Chess Olympiad in 1996. Virtually unknown to most players, the Black Knights' Tango is one of the few chess openings which enables Black to fight for the initiative from the very start of the game. A new opening which enables Black to call the tune!īamboozle your opponents from the very start of the game with this little known but perfectly sound opening which has considerable surprise value.