Aguafuertes Tangueras
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THE TANGO ARTS MAGAZINE NUMBER 3 | JUNE 2021 | BIMONTHLY EDITION AGUAAGUAFFUERUERTTESES TTANGUERASANGUERAS 1 EDITORIAL - EDITION NUMBER #3 I want to begin this editorial by paraphrasing Allen Ginsberg’s depositaries of a technical, moral and absolutist integrity that poem ‘Howl’. nobody granted them, more than themselves. I have seen people who in their beginnings approached this culture with ‘I have seen the best dancers, musicians, djs and organizers of apparent humility. Then, as the years went by, taking a step out my generation consumed by their own ego.’ of the anonymity to which they were destined, they became the new idols of a supposed non-existent reign that they self- Yes, in 22 years of participating, in one way or another, in this managed. And they did it by convincing (deceiving) a public merry-go-round called tango, I have seen things that many of that follows them (whether in their neighborhood, town or city) you cannot imagine (another crude citation). But nothing so of a truth that in the end was not valid. They invested not only serious or so rude as to say - oops, this is too much! It all falls money but also time in themselves. within the normal canons of human behavior and happens in all environments, but...We are almost to the point. With time, his entourage - we are not all fools forever - discover him, in his limits, in his arrogance, in his mediocrity, whether We must not fall into generalization, there are exceptions that human or technical. The same public that used to adore him, are not rare. Tango, with its generosity, has given exacerbated now sees him as a friend they are fond of. That same public prominence, through an insistent self-promotion (through the that entered tango for various reasons and wants to continue different social networks) to characters in this labyrinth, continues trying to of innate mediocrity, as well as to others grow, trying to develop, trying to of great talent. The latter with well- invent itself, and not to be a puppet in deserved recognition of their talents, the hands of some, consumed by ego. be they in dance, music, organization or simply playing music. I remember an anecdote, many years ago. At a dinner, a well-known tango That is where the distinction between character who could be a dancer, dj being a professional and an amateur or organizer, all the time we were comes in. Difficult dichotomy. There sharing the table, he did not stop is an important sector of the public talking, not only about his technical that when they enter this world, skills, but above all about how much sometimes dark, sometimes bright, the world of tango had to thank him. which we call ‘beginners’, does not At one point he started talking about have the necessary elements to fame, “his fame”, and he was insistent distinguish between one and the other enough to the point of being irritating. (professional or amateur). Clearly In my umpteenth glass of wine, or many do not ask themselves about this amaro, I don’t remember, was when distinction, since the reasons that lead the respect passed me by, and I told them to learn a dance such as tango him: “What fame are you talking are the most varied. From plain and about? If we leave this restaurant simple socialization, to the search for a now, there are hundreds of people job (which many disguise as “passion”). in the street and nobody will look A famous Argentine proverb says “The at you, you’re just one more idiot in fault is not of the pig, but of the one the crowd. If you want to talk about who feeds it”. fame, look at Mick Jagger, Monica Bellucci, George Clooney. These are As I said at the beginning, in these years people who can’t go out on the street I have seen many things, from those because of the number of fans who who have created their own ranch as recognize them, and who won’t stop if it were a sect, those who threaten asking for autographs or selfies. That competitors, those who denigrate their is fame, and that fame leads you to peers, those who denounce alliances to live a life that neither you nor I ever shit on others, and the list could go on, dreamed of”. Needless to say, that it is quite long. But exposing the other character never spoke to me again. side of the coin, I have also seen great artists, dancers, djs, musicians and In spite of the fact that in the last 10 organizers finally consumed by their years tango is living an international own ego. relevance it never had before (in my opinion a new “Golden Age”, either Let’s digress here. Without going because of the orchestras, or dancers, into psychological merits that do not with events that go from Alaska to concern me, I want to go into what is Hong Kong), there is something that the “Ego”, and I will go for the simplest, can lead it to its own decadence, the commonplace. and it is what was present before the pandemic, the ego, the one that Ego is like cholesterol, there is a good creates disasters, not the healthy one and a bad one. The good one and creative one. Just as the ego can allows you to do things, it gives you courage, the necessary create, it can destroy. At least we could handle this “virus”. Let courage to go on stage, to paint a picture, to compose a us not fall into its trap, something has changed in the world, we song, to model a sculpture or to invent a dish. The bad Ego, had more time to reflect, to develop ourselves internally. Let’s on the other hand, is destructive, manipulative, generates not let it consume us. Let us allow our ego to play, to create, banal problems, distorts, confuses and places you in useless to invent, to have fun and without much thought we will obtain competitions. It sets up schemes of success that have nothing achievements never imagined. to do with the creative act or with the true nature or essence of creating something. (Thanks Tute) Colorín colorín colorado this story is not over yet. Back to what I was saying. I have seen great blah blah blah J.V blah... who, through their supposed superiority, look at the world (of tango) from a pedestal that they themselves built, The management is not responsible for the opinions expressed and try to make their entourage believe that they are legitimate by its collaborators. La Catedral © Martin Malamud IndEX #3 P. 3: Editorial by La Redacción Edition N° 3 /June 2021 P. 5: INDEX. Editor: Jorge Vacca P. 7: A LO CHICHO by Mariano “Chicho” Frumboli. Translations: Monica Maria Fumagalli (Ita- P. 10-11: FASHION: Blonde & Brunette by Alevtina Silaeva. lian), Alevtina Silaeva (Russian), Sofia Galanaki (Greek), Suria Lopez Echeverria (English). P. 12: “Gran Tango” by Carlos Alonso. Graphics and Layout: Gonzalo Parada P. 13: TANGOURMET by Carlitos Espinoza. P. 14-15: THE IMPOSTOR’S PLUMB by R.R. Barrios. Style Editor (Spanish): Diego Amorin Pages 16-18: Mandrágora Porteña. Interview to Matías EDITOR Mauricio by Diego Amorin. Legal Headquarters P. 21: VEGANISM by Lucila Cionci & Joe Corbata. P. 22-23: I am not Milonguero by Ricardo Shoua- PINTA BRAVA SRL Illustration Pablo Lobato. Paraguay 1307 2nd Floor, of 24 P. 25-27: IN TRIP: Tango in Russia by Fernando Sanchez & Alevtina Silaeva. BUENOS AIRES Argentina P. 28: “Silence” by Enrique Ringa. Cover illustration: Carlos Nine P. 29: Queer Tango by Mariana Docampo. P. 30-31 RECOMMENDED. Books and Music Carlos Nine was an Argentine cartoonist, painter and sculp- tor. P. 32: INCLUSION. Tango Fog Interview to Emiliano Naticchioni by Jüri Lehm. Between 1983 and 1990 he drew countless covers for Humor magazine, directed by his colleague Andrés Cascioli. P. 33: TWO TO TANGO: El Abrazo by Ariadna Naveira and Fernando Sanchez He drew for the magazines Fierro, L’Écho des Savanes, Il Grifo, Co & P. 34-35: BATIENDO LA POSTA. El Chino Laborde Co, Noticias and the US, Argentine and Italian editions of Playboy. His interviews Adriana Varela drawings appeared regularly in the newspapers Clarín and Le Monde. P. 36-38: SAY NO MORE. Interview with Miguel Angel He illustrated the first editions of Zotto and Daiana Guspero by Georgy Korovin. Crónicas del Ángel Gris and El libro del fantasma, by Alejandro Dolina. In P. 39-41: The Violent Office of Dancing by Pamela Damia France he edited, among others, the books Crímenes y Castigos (1991) P. 42-43: DJ WORLD. Interview with Yatma Diallo by and Fantagas (1995), with his own Jorge Vacca texts and drawings. In 2005 he saw published an adapta- tion of chapter 16 of the first part of Don Quixote in the collective work Lanza en astillero. Regarding an article exploring the nature and particularities of his work, Nine observed in early 2009: “When you turn the corner and run into a unicorn, there’s nothing you can do, it’s a unicorn. [...]. My work enjoys and suffers from the same singularity as my land. I was not born from a cabbage; I am the result of this particular culture. I am as original or detestable as my country, and I take on that loving responsibility.” In 2012 Carlos Nine received the Konex Platinum Award as the most outstanding illustrator of the decade in Argentina. Street Art by Nafir -Teheran- Iran 5 6 A LO CHICHO believe that there are many terms, from past times, and defini- but because it was already happening before.