The Congress of the Argentine Nation

        The building of the Congress of the Argentine Nation is located in Buenos Aires, at the western end of Avenida de Mayo. Its main entrance faces towards the front of Casa Rosada (which is twelve blocks away, at the Eastern end of the same avenue), as a metaphor for the complementary nature of the legislative and the executive branch. 

        In 1896 the construction was awarded to the Italian architect Vittorio Meano, who was also the second constructor of the Colón Theater. After Meano’s death in 1904, the construction was assigned to the Belgian Jules Dormal Godet, who respected Meano’s original proyect.

Inaugurated in 1906, important details of the building were not completed until 1946; therefore, when something took longer than expected, porteños used to say “it takes longer than the congress construction”.

The Kilometre Zero for all Argentine National Highways is marked on a milestone at La Plaza del Congreso, in front of the building. 

UNDER CONSTRUCTION (CIRCA 1905)

1910 - TAKEN FROM THE CORNER OF HIPÓLITO YRIGOYEN AND AV. ENTRE RÍOS

Celedonio Flores Biography

Celedonio Esteban Flores (1896 - 1947), a.k.a. “el Negro Cele”, was a poet and a tango lyricist, maybe the most important author of the so-called tangos lunfas (songs completely written in lunfardo). In his youth, he tried to imitate the pompous writing of the famous Nicaraguan poet Rubén Darío, but soon Celedonio chose the scenes, characters and language he saw and heard in his neighborhood, Villa Crespo.

            In 1920 a newspaper published one of his poems called Por la pinta; Carlos Gardel decided to compose a music for it: the result was the tango Margot, the first of the 21 lyrics of Celedonio that “El Morocho del Abasto” would record in his career.

Celedonio wrote more than 70 tango lyrics and many poems and sonnets lunfardos. Many times his writing style is defined in opposition to Pascual Contursi’s: the lyrics of Celedonio are usually humorous, sometimes sarcastic, always vigorous, unlike the sentimental and plaintive tone of Contursi.

Here the poem “Por qué canto así" that expresses the way Celedonio felt and conceived the tango. 

CELEDONIO (CIRCA 1930)

Por qué canto así

(C.E. Flores - J. Razzano)

Porque cuando pibe me acunaba en tangos
la canción materna que llamaba al sueño,
y escuché el rezongo de los bandoneones
bajo el emparrado de mi patio pobre.
Porque vi el desfile de las inclemencias
con mis pobres ojos de llorar abiertos,
y en aquella pieza de mis buenos viejos
tuvo la pobreza su mejor canción...

Y yo me hice en tangos,
me fui modelando en odio, en tristeza,
en las amarguras que da la pobreza,
en llantos de madres,
en las rebeldías del que es fuerte y tiene
que cruzar los brazos
cuando el hambre viene...
Y yo me hice en tangos,
porque es bravo, es fuerte,
tiene algo de vida,
tiene algo de muerte...

Porque quise mucho, porque me engañaron,
y pasé la vida barajando sueños...
Porque soy un árbol que vivió sin flores,
porque soy un perro que no tiene dueño...
Porque tengo odios que nunca los digo,
porque cuando quiero me desangro en besos...
Porque quise mucho y no me han querido...
¡Por eso yo canto tan triste, por eso!

THE ANTHOLOGICAL VERSION OF JULIO SOSA (1961)

History & Present of Lunfardo

Lunfardo originated as a criminal jargon at the end of the 19^th century in Buenos Aires and its arrabales [“outskirts”]. At first, it was spoken by thieves, procurers and fraudsters as a code language used to make communications unintelligible to others, but soon lunfardo spread to tango lyrics and finally to all social classes. That outlaw origin explains the variety of synonyms that lunfardo has for criminal activities and characters (and also the very name given to the jargon: the word “lunfardo” means “thief”).

Lunfardo was the linguistic result of the cultural mixing created by the European immigration, so its terms mostly have its roots in European languages (dialects of Italian, Spanish and French), but also some lunfardo words come from African and South American aboriginal languages (Quechua, Guaraní). It is not a language itself, because lunfardo follows the Spanish grammar and syntax, but its “dictionary” became so extensive that allowed an entire poetry and literature. 

It was banned in 1943 by the military dictatorship, that’s why many tango lyrics underwent ridiculous alterations until lunfardo was again permitted in 1947.

Nowadays lunfardo is part of the colloquial language of Buenos Aires and other cities of Argentina. Through the years, some of its terms have fallen into disuse, but many of them are still used with the same meaning they had more than one hundred years ago.

These are some lunfardo words you can hear in the streets and cafés of Buenos Aires:

Afanar  v.t. to steal

Apoliyar  v.i. to sleep

Bardo n. mess, confusion, muddle. Hacer ~ to make trouble, to provoke

Bife  n. slap, punch

Bondi  n. streetcar; bus

Cana  n. police; prison. Mandar en ~ to denounce, to inform on

Chamuyar  v.t. to convince; to speak loquaciously to achieve something; to deceive; to seduce

Chanta  adj. deceitful, unreliable

Deschavar(se)  v.t. to denounce; to give away

Escabiar  v.i. to drink (alcohol)

Laburar  v.i. to work 

Mina  n. woman

Orto  n. (vulg.) butt. Tener ~ to be lucky

Quilombo  n. originally “brothel”, also “mess”

Rati (vesre –reversing the order of syllables within a word– of Tira)  n. policeman

History of La Casa Rosada

                La Casa Rosada [“The Pink House”], located in front of the historic Plaza de Mayo, is the seat of the executive branch of the government of Argentina and one of the most emblematic buildings of Buenos Aires. It underwent many changes before assuming its present form. In fact, three architects took part in the construction during the 19^th century: the Swedish Carl Kihlberg built the Central Post Office, Henrik Åberg (Swedish as well) refurbished the old State House, and the Italian Francesco Tamburini (also the author of the first project for the Colón Theater) in 1884 joined the two neighboring buildings and designed the great central archway on Balcarce Street.  

            The pink colour of the walls has it origin in the 19^th century custom of mixing the whitewash paint with hog’s or bull’s blood because their fixative properties. 

THE OLD STATE HOUSE AND THE CENTRAL POST OFFICE BUILDING 

(TAKEN FROM THE PRESENT CORNER OF RIVADAVIA AND 25 DE MAYO. CIRCA 1880)

THE NEW STATE HOUSE (WITH THE REFURBISHMENT OF HENRIK ÅBERG) 

AND THE CENTRAL POST OFFICE BUILDING BEFORE TAMBURINI’S WORK

TAMBURINI’S ARCHWAY (DETAIL) 

THE PRESENT CASA ROSADA

The origin of the word TANGO

Although the origin of the word “tango” is still a matter of discussion, the most accepted hypothesis indicates that it has its roots in the African languages of the enslaved people of Angola, Congo and Sudan brought to South America between the 16^th and the 18^th century, during the Colonial Period. At first, “tangó” designated the place where the African natives were imprisoned before they were shipped to their destination; later the term came to refer to the places where black people gathered to sing and dance in their exile. By extension, “tangó” would have become the word to designate the popular music played in brothels and taverns, environment where tango, as a specific music and dance genre, would be born at the end of the 19^th century.

            These words with an African origin (“tango”, “milonga”, “canyengue”) remind the legacy of one of the roots that shaped the popular culture of Buenos Aires. 

SOUTH AMERICAN BLACK PEOPLE
DANCING AND SINGING

     

About La Boca

La Boca is a southern neighborhood of Buenos Aires, so called because it sits at the mouth (“boca” in Spanish) of the Riachuelo. For many years its port was the main port of the city, but at the end of the 19^th century it was replaced by Madero Port, specially prepared to receive ships with deep draft. During the great immigration period of the 19^th many Italian immigrants, mostly Genovese, settled down in the neighborhood and gave La Boca its current appearance (in fact, the name that La Boca neighbors and Boca Juniors fans currently give to themselves –“xeneixes”– means “Genovese” in that Italian dialect). The newcomers used to stay in conventillos, big houses with many rooms for rent (a room for each family) and an internal patio: the shared areas of conventillos helped to mix those different immigrant cultures, making possible the exchange and communication between them. Tango, lunfardo and the 20^th century popular culture of Buenos Aires would arise from the combination of that mixing and the previous cultural substratum.

               

 THE OLD BRIDGE OF LA BOCA

PATIO OF A CONVENTILLO

(BEGINNING OF 20th CENTURY)

 TYPICAL CONVENTILLO OF LA BOCA 
(WITH SHEETS OF METAL AS WALLS)

Aníbal Troilo Biography

    Aníbal Carmelo Troilo (1914 - 1975), a.k.a. “el Gordo” and “Pichuco”, was a bandoneon player, composer, tango bandleader and beloved friend.

            When he was ten years old, his mother bought him his first bandoneon which Troilo would use almost his entire career. His uncle and the radio provided him the only music lessons he had and “Pichuco” learned them very fast: since 1929 he was part of many bands and tango orchestras until he formed his own típica with his distinctive sound in which important musicians, later soloists or bandleaders themselves, would participate (for example, the singers Edmundo Rivero and Roberto “Polaco” Goyeneche, the guitarist Roberto Grela and Astor Piazzolla).        

            Troilo formed a creative duo with his best friend, the poet Homero Manzi; they composed together Sur, Che, bandoneón, Barrio de tango, Discepolín, Romance de barrio, songs that tango musicians consider authentic masterpieces of the genre. After Manzi’s death in 1951, Troilo composed Responso (prayer for the dead) in his memory, a heartfelt instrumental piece in which the bandoneon notes sound like the faltering breathing of “Pichuco”.

            Astor Piazzolla, who revolutionized the genre in the 50’s, always expressed his admiration and affection for whom he considered his first maestro in tango. In 1970 they recorded two bandoneon duet pieces: that recording is a truly milestone in tango history, a warm embrace between two different styles and feelings.             

 PICHUCO'S "BREATHING"

ANÍBAL TROILO AND ÁSTOR PIAZZOLLA - VOLVER