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