Buenos Aires (Argentina) was founded by a Spanish expedition in 1536, then again in 1580. Immigration brought many French, Spanish and Italians to Buenos Aires as Buenos Aires went on to become a major city. In 1816 the Waltz was introduced to Argentina, then came the Polka, Mazurka and Schottische.
Spanish and Cuban rhythms (guajira Flamenca and flamenco) mixed and the Habanera was born. The habanera came from Havana, Cuba and made its way thru Andalusa, Spain to Argentina in the early 19th century. The Habanera, Andalusan and the Polka rhythms merged with a splice of Indian rhythms (3/8, 5/8, 6/8, 9/8) played a part in the Argentine dance known as the "Milonga." The Andalusan women would originally dance this dance with each other, usually as a solo dance. The Milonga originated as a song with a lively tempo. The tempo was quieted down and dance steps were added to it, making the Milonga the first known tango (but not yet named as such) and was very popular by mid 1840s. (Milonga's can be quite fast in tempo and are very popular today.) The name Tango came to be used sometime around 1860 or 1870, (but didn't really gain world wide notice till about 1900.) There have been writings of the African-Argentines adding some movement to the Milonga (Mondonga Tango,) however it is reported that they did this dance separately and not couple-up (similar to the Andalusian's) while the compaditos who danced with them brought this tango back to town and started adding it to their Milonga's and the two dances merged. These African-Argentines called the dance the Tango (most likely, the general public through those magazine/ newspaper writings of the time confused the Habanera with the Tango and with all the bad press of the time linked to these dances, started calling all versions "the tango" ... similar misnaming as to the Hustle.) There is some history of Spanish roots as well, with many times being called the Spanish Tango. Nobody really knows what the word "tango" means, but some suggest it to mean: a "closed place" or "reserved ground." Or it may be from the Portuguese word tangere (to touch!) There are also cities in Angola and Mali (Africa) named Tango!. Some say it is just the sound of the drum emitting "tan-go!" sound ... so wherever the word comes from, the tango was here to stay. The main musical instruments used were the Bandoneon and Guitar. The bandoneon was introduced to Argentina in the late 19th century from Germany and the guitar came from Spain. By the 1920's the tango (Argentine) was the only version left standing in Buenos Aires. The Castles are said to have introduced the Tango as a ballroom dance here in the United States, however it was most likely Maurice Mouvet with his "Tango American" or FRANCES DEMAREST AND JOSEPH C. SMITH. (some writings credit Smith.) Although Charles Durang had written about the Tango as far back as 1857 predating both. The violent knee-dipping and strenuous body-twisting that were originally associated with the American Tango were eventually removed. Rudolph Valentino would later confuse the public even more with his Apache Dance version of the dance (It has been reported, many times that Rudy, never knew the dance called the Tango, only the Apache.) The dancing public followed Mouvet and the Castles in their invention of dances and innovations, and they made a few, but the Tango was not one of them ... THEY ONLY ADDED VARIATIONS to the DANCE. Many variations of tangos have come and gone such as the Yale Tango (American), Newman Tango, Bresilien Tango, Castle's Open Tango, Maurice Tango, French Tango, Tango American, La Rumba and many more. These are basically just different styles or moves of the tango done by a performer trying to gain fame in their dansants and Teas as an innovator. When the tango hit Paris (1912,) it became all the rage throughout the world!. In Paris, a Parisian dance Instructor named Robert, was said to have standardized the French version. Another offshoot of the tango which had a lot of popularity in the early 1900's in France and the U.S. was the Apache dance which many people unmistakably called the Tango!. Carlos Gardel (1890-1935) is known to help make the Tango popular to the masses with his Tango compositions that made the dance accepted thru its music to the masses. Argentine Tango can still be danced at a few night clubs around town in the States and is still danced heavily in Buenos Aires today. The American and International Style tango (ballroom versions) has some similarities to the original but are very few and are a very subdued OR modified version of the original Argentine Tango!. This probably stems from the Ragtime era , the Apache and One Step (or Castle Walk ) merging and bastardizing the dance, as well as un-educated dance instructors of the time. A few of the better known teachers who wrote their dance treatise, would make note of the differences of the real (argentine) and One-Step versions being passed around as the original. Many people confused the One Step dance back in the day, as, many dance teachers, trying to cash in on the market, and not knowing the real (Argentine) tango, used the One Step as a base, just like the Castles (probably because of the Gaucho Walk in Tango.) Most of the teachers back then thought of the original tango as just a certain way to walk while doing the one-step, ("The Tango Walk"... Spanish, el Paseo; French, le Promenade) is used as a variety to figures as most dances back then were basic walking dances. They would describe the real Tango Step as; "the brushing or sweeping of the toe to the floor, which occurs in all figures of the Tango." The ridiculous looking Head Snaps one sees in "Today's ballroom dance versions" is a play on the history of the Gaucho (Cowboy) and his partner (they didn't smell to well,) thus portraying getting a whiff and quickly turning the head away!, these Head Snaps were in Durang's description of the tango in 1857. The Ballroom Tango (today) along with East Coast Swing and Jive were bastardized versions of their originals, However, they were sold to the public as the real thing ... en masse!. Notes: in 1925 Mr. Scott Atkinson and Dorothy Cole won the "World Tango Championships." In 1913 the "Tango-Visite" was introduced, which was a dress style for dancing with a transparent bodice and a mid-calf skirt length (Vanity Fair Magazine).
Step Descriptions from Albert Newman's Book in 1913 (paraphrased): This is perhaps the most difficult Tango, and consists of the thirteen steps described here, the Spanish and French names being given. These steps are executed in the order that pleases the gentleman, repeating each as often as he wishes: (1) El Paseo (la promenade), (2) El Marcha (la marche), (3) El Media Corte (le demi coupé), (4) El Corte (le coupé), (5) La Media Luna (la demi-une), (6) El Chassé (la chassé), (7) El Cruzado (les croises), (8) El Ocho-Argentino (le huit argentin), (9) El Rueda (la roue), (10) El Frottado (le frotté), (11) El Abanico (léventail), (12) El Molinette (le moulinet), (13) El Vigne. El Paseo: is a slow walk, consisting of one step to each measure. El Marcha: is a walk taking two steps to one measure or a step to each beat. El Paseo and El Marcha are often performed together. El Media Corte: and El Corte are stop steps and closely related. El Corte is described in the Parisienne Tango. La Media Luna: is a combination of the first two beats of Media Corte for the man and the last two beats for the lady. El Chas: is a step forward on inside foot (1), and a Two-Step (2) (x) and a step forward on outside foot (3). The rhythm is rather puzzling, but should not confuse the pupil. This step is repeated. El Cruzado: is the Scissors Step (Las Tijeras or Le Ciseaux); it is similar to a Pas de Bourrée. There is a one-step Cruzado and a three-step. El Ocho Argentino: (the argentine eight) is also called a Cross Step. color=Foot pattern draws figure 8. El Rueda: (the wheel). El Frottado: literally rubbing or polishing, is so named from the similarity of the step to the action of polishing the floor. El Abanico: (the fan) is very similar to the Ocho Argentino. El Molinette: (the mill). La Vigne: (the grape vine) crossing one foot over the other. He goes on to state: "Argentine Tango is more intended for professional use and can hardly be found practical for the ballroom" La Leçon de tango
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