EDUCATIONAL TOOLKIT

2016/17 Season Photo: Evgnia Eliseeva Evgnia Photo:

Welcome! This Toolkit includes materials collected to deepen engagement with the artists, music, dance style, and historical context behind the A.R.T. production of Arrabal.

A new -infused dance theater piece, Arrabal follows one woman’s quest to understand the violence that took her father and disrupted a nation. Told through dance and propulsive music, Arrabal invites audiences into the underground world of ’ tango clubs for a dance between the present and the past.

The materials included here are selected, organized, and contextualized for ease of use in a classroom setting and for personal enrichment in preparation or as a follow-up to attending the A.R.T. production of Arrabal.

See you at the theater!

BRENNA NICELY DANIEL BEGIN Education & Community Education & Community Programs Manager Programs Fellow

@americanrep #ArrabalART Table of Contents

Arrabal and the A.R.T. A Tango with the Past...... 5-7 Meet the Artists of Arrabal...... 8-10 Thank you for participating Sergio Trujillo Talks About Arrabal...... 11-12 in the A.R.T. Education Puts ’s History in Arrabal Music...... 13-15 Experience! Arrabal Synopsis...... 16 If you have questions about Arrabal Glossary...... 17-19 using this Toolkit in your class, or to schedule an Engaging with History A.R.T. teaching artist to visit Final Countdown for a Coup d’État...... 21-22 your classroom, contact Blaming the Victims: Denialism is on the Rise in Argentina.....23-25 the A.R.T. Education and 40 Years Later, Mothers of Argentina’s Disappeared Refuse to be Silent...26-28 Community Programs Key Events in Argentina from 1946 to the Present...... 29-31 department at:

Tango Dance and Music [email protected] There Is No Audience: An Interview with Orquesta Bajofonderos...... 33-34 617.496.2000 x 8891 A Brief History of ...... 35-36 Argentine Tango Styles...... 37-38 10 Principles of Impeccable Tango Floor Craft...... 39 Bandoneon...... 40 ARRABAL Lesson Plans TOOLKIT Movement Storytelling with ...... 41-42 MANAGING EDITOR Arrabal History Tableau...... 43-44 Brenna Nicely

DESIGN Resources...... 45 Robert Duffley LEAD CONTRIBUTORS Daniel Begin, Maggie Hirst

CONTRIBUTORS Daniel Boardman, Robert Duffley, Uki Goñi, Rebecca Helgeson, Richard Ouzounian, C.L. Sulzberger, John Weidman, Jen Worster, Tango Club of Albuquerque Arrabal and the A.R.T.

4 Photo: Evgnia Eliseeva Evgnia Photo: in performance at A.R.T. Arrabal Music” (pages 13-15), composer composer Music” (pages 13-15), and , outlines the plot, and introduces major , outlines the plot, and introduces Arrabal TOOLKIT Arrabal ” (pages 11-12), director and co-choreographer Sergio Sergio and co-choreographer director ” (pages 11-12), ARRABAL ” (pages 8-10), get to know the creative team behind the play. team the creative know get to ” (pages 8-10), Arrabal section of this Toolkit (pages 4-19) introduces provides insight provides introduces (pages 4-19) section of this Toolkit the A.R.T. the Arrabal Arrabal Synopsis” (page 16) outlines the main plot points of the story. (page 16) outlines the main Synopsis” figures and historical concepts, terms, introduces (pages 17-19) Glossary” and the A.R.T.

Arrabal Arrabal Arrabal The “ The “ The of the play. the context important to In “Meet the Artists of In “Meet the Artists About Talks Trujillo In “Sergio the play. with talks about his early involvement Trujillo in History Santaolalla Puts Argentina’s In “Gustavo of his music. and the development up in Argentina Santaolalla talks about growing Gustavo The The behind developing process creative the into of the play. storytelling behind the influences the inspiration introduces John Weidman book writer (pages 5-7), with the Past” Tango In “A together. team the creative drew and what behind the play Arrabal and the A.R.T.

5 Image: Cylla Von Tiedmann Von Cylla Image: features the best of Argentinian Tango Arrabal with all its excitement and sensuality. TOOLKIT ARRABAL writer John Weidman introduces the inspiration behind the play, how the exceptional the exceptional how behind the play, the inspiration introduces John Weidman writer But there is an Argentine expression: “the past is predator.” And the searing scars which is predator.” “the past expression: is an Argentine But there and on the on the people of Argentina had inflicted of the the brutal experience this day. linger to psyche Argentine “disappeared” by a regime which claimed to have no knowledge of who had abducted them of who had abducted no knowledge have which claimed to a regime by “disappeared” had gone. they or where in 1983, the Videla War the British in the Falklands to their loss by and humiliated Discredited as in Argentina period known to an end the seven-year bringing aside, stepped finally regime the Dirty War. independence only fifty years after our own. our years after only fifty independence was government elected when a democratically in 1976, place took coup recent most The to Determined Videla. Rafael Jorge General a brutal led by by overthrown kidnapped, systematically dictatorship the Videla who opposed its rule, anyone eradicate men and women Argentines—young as 30,000 as many cases murdered and in most tortured, creative team came together, and how they approach storytelling using the tools of music and of tools using the storytelling approach they and how came together, team creative dance. a of ,” “30 Years celebrated Argentina 2013, 10, On December ago, years Two in the country’s rule democratic of uninterrupted period marking the longest holiday national its which declared In a country A milestone. without a military coup. years Thirty history. A Tango with the Past with A Tango by John Weidman Arrabal Arrabal and the A.R.T. 6 was clearly going to be no clearly going to was Arrabal TOOLKIT ARRABAL challenging. (Word to the wise: Don’t try this at home.) Don’t try this at the wise: to challenging. (Word being requires imagination an audience’s a musical which captures said, creating That to suited best dialogue—are music, lyrics, dance, tools— which story-telling to sensitive clubs. me in the first things which hooked the two were this story tell use to would we And the tools but music and dance. words, place—not misunderstood often a musical is a peculiar and challenging task, the book for Crafting more it even do it with virtually no language makes it. To who attempt the people by even choreographer, Sergio Trujillo. Sergio choreographer, tale of coming-of-age both political and personal. The was crafted which we story The “disappeared” was Rodolfo, whose father, of womanhood, girl on the verge a young Arrabal, in her her courage she takes later years Eighteen an infant. just the junta when she was by embarking on a knew, never she became of the father what discover hands and sets out to tango underground of Buenos Aires’ world shadowy the sultry, which leads her into journey Almost all the work I have done in the musical theater has involved taking an unnerving but has involved done in the musical theater I have all the work Almost create to And helping the unknown. into step exhilarating of Gustavo consisted life to musical bring this new to assembled team creative The exception. musicians; Julio Zurita, a brilliant Argentine of Argentine collection and his remarkable made up entirely a cast and story-telling; sense of theatricality with an innate choreographer and co- director and multi-award-winning and multi-talented and actors; dancers of Argentine At once melancholy and joyful, constraining and liberating, “the tango,” said Argentine author said Argentine “the tango,” and liberating, constraining and joyful, melancholy once At to struggled often poets have of something that expression direct “is a Borges, Luis Jorge celebration.” also be a a fight may the belief that in words: state dance. theatrical intensely married to music, now theatrical Intensely The tango, I learned, was born in the working-class neighborhoods of Buenos Aires at the at neighborhoods of Buenos Aires born in the working-class I learned, was tango, The men who had immigrant by populated largely end of the 19th century—neighborhoods behind in and children their wives leaving often their fortunes, make to Argentina to come bond between the passionate the dance, by emotions evoked intense and . The contact and for yearning feelings of these lonely men the reflect said to tango partners, are connection. knew little or nothing about. little or nothing knew when And Argentina. was elsewhere and that elsewhere, music came from This hooked. I was I of musical theater, world the music into his move anxious to was Gustavo that out I found it might lead. and wherever it might develop however process, be part of that to wanted of the tango. experience real first my and to Buenos Aires to was months later several Which and then through dance. and then through And theatrical. ears—incredibly my vital and—to amazing. Vibrant, in a word, music was, The the for play I heard which Bajofondo, band the Argentine/Uruguayan by produced it was composer, and by their lead guitarist York. Fronted in New at the Highline Ballroom time first more but even yes, thrilling and electrifying, was music Bajofondo’s Santaolalla, Gustavo which I sensibility a cultural from it clearly proceeded that the fact was me) (to compelling It is no accident that there are more psychiatrists per capita in Argentina than in any other than in any per capita in Argentina psychiatrists more are there that It is no accident world. in the country Argentina, to connection my first history, and tumultuous to this intense connection My first music through It came first documentary. or a book, or a the newspapers, through came not A Tango with the Past (cont’d) Past the with A Tango Arrabal and the A.R.T. 7 , Pacific Overtures Pacific section for perspectives from from perspectives section for , published by the American Repertory Theater. American , published by the TOOLKIT Arrabal and the A.R.T. and the A.R.T. Arrabal . This article was first published in the A.R.T. Spring published in the A.R.T. first was article . This . His work for Broadway includes Broadway for . His work DISCUSSION A.R.T. Guide A.R.T. ARRABAL Arrabal Assassins , it was clear from the beginning that the most powerful way to tell tell to way powerful most the that the beginning clear from , it was , and . Arrabal Guide Anything Goes Anything , similar predator and pray metaphor used by composer Gustavo Santaolalla (page Gustavo composer metaphor used by and pray similar predator 13-15). “Dirty War” is a nickname assigned to the period of military rule beginning with to is a nickname assigned “Dirty War” this of or connotations the implications are What in Argentina. regime Videla’s term? Does this mean in this article? is predator” “the past does the phrase What with a this phrase Compare particular way? in any with you resonate phrase Does the historical context outlined by Weidman sound familiar? Had you Had you sound familiar? Weidman by outlined context Does the historical other examples any there Are before? history of this period of Argentine heard the similarities and can think of? are you What history of military rule from happened in Argentina? and what examples these between differences • • • director Sergio Trujillo and composer Gustavo Santaolalla. Gustavo composer and Trujillo Sergio director appeared in the This article originally We’re pleased with where we’ve come out. We hope you will be, too. too. will be, hope you out. We come we’ve pleased with where We’re of is the writer John Weidman Contact Season 2017 articles in the the other reading Continue delivering the story with maximum impact. Which tools you need and which ones you don’t. ones you need and which you tools Which impact. with maximum the story delivering case of And in the the tango driven and of Bajofondo the music to vocabulary our restrict be to would the story and Sergio. Julio by designed dances A Tango with the Past (cont’d) Past the with A Tango Arrabal and the A.R.T.

8 Image: Evgenia Eliseeva Evgenia Image: in Arrabal . In Arrabal rehearsals at the Harvard Dance Center. Performers from production the A.R.T. of ’. These two wins make wins make two ’. These ] was a fantastic opportunity to put put opportunity to a fantastic ] was Babel Arrabal and ‘ Arrabal TOOLKIT , not only as the composer but also as the artist who but also as the artist , not only as the composer ARRABAL achieved great success with both his band and composing with both his band and composing success great achieved in the theatre, to turns his attention now Gustavo scores, movie GUSTAVO SANTAOLALLA GUSTAVO Composer a for Original Score Best winner of the Oscar for Two-time and 2002, since awards Grammy earner of 15 various Movie, Santaolalla is the Gustavo of the band Bajofondo; co-founder in music behind the unique Tango force creative the movies Oscars for his two won Gustavo 2006 and 2007 Mountain Brokeback win an Oscar in to ever composer only the third Gustavo Gustavo these recognitions, In addition to years. consecutive Having in 2015. Hall of Fame the Songwriters to inducted was Arrabal . Gustavo comments, ‘I thought [ comments, . Gustavo Arrabal the very beginning I’d been thinking about, you know, we should do something with this, with we know, been thinking about, you I’d beginning the very its popularity in Argentina had proven music of Bajofondo The music and dance”. Bajofondo won a Latin went triple platinum, Tango Club, album, Bajofondo when the first 2002, by together a show, a spectacle, that would bring this music with this choreography together together bring this music with this choreography would that a spectacle, a show, together And indeed, Gustavo Argentina’. represented really and that had some weight that in a story on has been a critical force founded which was of Bajofondo, days the nascent Even together team the creative brought He Arrabal. become would that thinking about the project was in the early 2000s, Gustavo It had dance. to conductive very me, for was, a music that it was that “I noticed remembers, from So, know. you took, the music the shape that intrinsically in element already, the dance form of form Meet the Artists of Meet the Artists Arrabal and the A.R.T. 9 , . “He’s . “He’s Guys and Guys ), (as a ), France , ). In 2011, Sergio Sergio ). In 2011, Arrabal as soon as he also presented also presented Addams Family Addams , . Reflecting on the . Reflecting Saved Arrabal Arrabal Arrabal ), and Korea (choreography (choreography ), and Korea , and Arrabal , Julio Zurita, an Argentinian , Julio Zurita, an Argentinian Broadway Nights Broadway (with Gloria Estefan). Sergio Sergio (with Gloria Estefan). revival in 2005. Though he still he still in 2005. Though revival Next to Normal to Next , Cirtango Leap of Faith of Leap . A graduate from the Workshop of the Workshop from . A graduate , Ballet Argentino and five Drama Desk nominations for Desk nominations Drama and five On Your Feet! On Your TOOLKIT All Shook Up Arrabal Jersey Boys Jersey . His first-ever choreography for Broadway for Broadway choreography . His first-ever Memphis ). His well-rounded dance background has been a huge has been background dance ). His well-rounded Memphis ARRABAL Evita Hands on a Hardbody simultaneously running with his choreography shows had four on Broadway: and SERGIO TRUJILLO Director & Co-Choreographer and dancer-turned-director a Colombian Trujillo, Sergio best nominee for Tony a 2016 was Toronto, from choreographer for choreography the mid-2000s, since shows Broadway on many has worked Choreographer Theatre Best for earned an Olivier Award having for in 2015 including shows 2006 (for since Choreography Outstanding Choreographer of the unique the creation has overseen choreographer, of style dance Aires, in Buenos out of San Martin Theatre Dance Contemporary in both ballet and tango but has Julio not only has training including the world, around and choreographed also danced for (choreography in work for principle dancer for of and storytelling the choreography to asset JULIO ZURITA Winner of the 2003 Capezio A.C.E. award for his co-direction his co-direction for award A.C.E. Capezio of the 2003 Winner on and co-choreography were the only opportunities Sergio had to incorporate Latin styles styles Latin incorporate had to the only opportunities Sergio were On Your Feet! On Your . Sergio found another important aspect of his creative inspiration for the dance style style the dance for inspiration another important aspect of his creative found . Sergio and the only choreographer, in my view, that has really captured some of the deeper feelings that that some of the deeper feelings captured has really that view, in my the only choreographer, remembers, “coming on board as the director and choreographer, I was attracted to the music to attracted I was and choreographer, as the director on board “coming remembers, with this music.” stories wonderful really “I can tell like, and I felt asking them to be actors; the basis of the movement is very contemporary.” The goal was to to goal was The contemporary.” is very the basis of the movement be actors; asking them to exclusively such as ballet, as opposed to training, with classic dancers Argentinian native cast because he Argentina from dancers casting that feels Sergio dancers. or Ballroom Tango of of the storytelling importance the intricacies and who understand performers wanted Arrabal he of the project, the early days Speaking about in the music of Bajofondo. in the production that other countries in South America have also gone through.” Before Before also gone through.” in South America have other countries that Dolls Sergio, to Besides being personally relevant his work. into of dance working starting Sergio generic tango show,” in “a no interest Having challenge. a creative for vocabulary unique dance their own with Julio Zurita on creating “we’re says, Sergio with Julio and the dancers, Describing the process joined the project. we’re tango, traditional dance to them [the dancers] asking for not just and Sergio] [Julio was creating additional choreography for the for additional choreography creating was for focusing on directing is Sergio identifies as a choreographer, important for it was “I thought that he says, himself as an artist, for of the project importance to South America, and the desaparecídos specific are that stories tell to force me as a creative something And it’s and culture. political history of the Argentinian part of the tapestry are Grammy Award, and received an Argentine Gardel Prize. The band is often categorized as categorized is often band The Prize. Gardel an Argentine and received Award, Grammy Bajofondo than that. complex is more genre their that insists but Gustavo tango’, ‘electronic other with elements of and melds it , music, a traditional Tango takes Tango traditional takes as Arrabal just and electronic, jazz, rock, such as blues, genres musical storytelling. for vocabulary a new and creates steps dance Meet the Artists (cont’d) Artists the Meet Arrabal and the A.R.T. 10 ,

Assassins : “Ordinarily, : “Ordinarily, ), he was also ), he was . Sergio Trujillo, Trujillo, . Sergio writes about writes West Side Story West Assassins Contact Assassins , and , John started his career as an his career , John started , and The Toronto Sun Toronto The for many years, winning multiple winning years, many for Arrabal Contact , . The gems of his choreography, as his choreography, gems of . The Big: The Musical Big: The , published by the American Repertory the American Repertory , published by , Arrabal TOOLKIT ). While he was an intern, John was paid $500 to paid $500 to was John intern, an he was ). While Sesame Street Anything Goes Anything A.R.T. Guide A.R.T. , which was not originally a musical. It was working on working not originally a musical. It was , which was ARRABAL sparked debates after winning awards meant for musicals meant for winning awards after debates sparked Company Pacific Overtures Pacific their music and dance. Because the goal is to tell the story the story tell to Because the goal is their music and dance. JOHN WEIDMAN Book Writer has he has been not only large; is range artistic John Weidman’s times Book of a Musical three Best for a Tony for nominated ( for a writer in a Children’s Writing Outstanding for Awards Emmy Daytime musicals several for team Series. John has also been on creative Musical Revival Musical or Best Best for Tony the won have that including Gustavo helped composer and John, as the writer, as director, plot to Julio Zurita apply Santaolalla and co-choreographer , and which won, among other things, the Drama Desk Award for for Desk Award Drama among other things, the which won, Contact Cabaret Contact , this was a story told through dance and not words. and not words. dance through told a story , this was , Pacific Overtures Pacific Arrabal . Stephen Sondheim said about collaborating with John on Sondheim said about collaborating . Stephen with no dialogue, the role of book writer for this production was atypical. John atypical. was this production for writer of book the role with no dialogue, Bounce Arrabal because like because like in the article originally appeared This Theater. and but John never scenes, one or two he has written after work the librettist’s reading I start for John’s reason the reading, I knew of minutes Within five to me… them to show offered he what exactly he knew uncertainty, from writing: far he was me what showing in hesitation with Susan Stroman In 1999 John collaborated roll.” on a white-hot doing, and he was was on the controversial Musical. New Outstanding Spoken from the stage in English, they were translated into Spanish, then that was used as a was Spanish, then that into translated were in English, they the stage from Spoken on his work Before shape the scenes.” to how model for such as of classics (producer musical giant, Hal Prince the American to intern Fiddler on the Roof book for the write create on to Sondheim; with whom he went John met Stephen that this production of be performed. going to were as if they the scenes “I wrote in the process: describes his role of second-rate revues. This is ‘the thing itself’, sensual, brutal, tender and terrifying, all at the is ‘the thing itself’, at all This and terrifying, sensual, brutal, tender revues. of second-rate of with the music familiar already he was choreographing, Julio started When same time.” most some of their video projects, with the band on worked as he had already Bajofondo; Club.” Tango notably “Bajofondo what he was asking of his dancers because he has danced the principal role of Rodolfo in of Rodolfo the principal role because he has danced of his dancers asking he was what of productions and Canadian both Argentinian of the and the haunting dance of Rodolfo arrest the terrifying are reviews, in acknowledged who disappeared. the citizens mothers of the desaparecidos, Zurita is also unlike and Julio Trujillo [Sergio] by choreography “The choreography: Julio’s dozens up from picked the clichés of tango you’ve Forget experienced. ever you’ve anything tango has in its dance, and combined it with some contemporary elements,” says composer composer says elements,” some contemporary it with and combined in its dance, tango has expanded, team the artistic When on the production. work of Julio’s Santaolalla Gustavo Zurita “Julio with Julio, of working who says Trujillo, Sergio with collaboratively Julio worked And only the show. to specific is very that a vocabulary created mainly Julio, and I, and of knowledge an intimate Julio has of them.” asking we’re what understand these dancers Meet the Artists (cont’d) Artists the Meet Arrabal and the A.R.T.

11

Cylla Von Tiedmann Von Cylla Image:

The many faces of Argentina’s Disappeared projected behind the ensemble portraying mothers, desperate to find their missing children.ensemble portraying mothers, desperate to find . I hadn’t known what to expect, but the expect, to what . I hadn’t known TOOLKIT ARRABAL Bajofondo Tango Club Tango Bajofondo Arrabal director and co-choreographer Sergio Trujillo discusses how he became interested in he became interested how discusses Trujillo Sergio and co-choreographer director and hip hop, house music and traditional sounds. It absolutely grabbed me and I learned grabbed sounds. It absolutely house music and traditional and hip hop, produced, one disc, he composed, behind it. Man, on that the major force was Gustavo that it meet him, but like I had to myself I told instruments. various and played sang, arranged and nothing piece dance that on working I didn’t continue happens in this business, often Award-winning playwright John Weidman and Oscar-winning composer Gustavo Santaolalla. Gustavo composer and Oscar-winning John Weidman playwright Award-winning together? Santaolalla wind up working and Gustavo did you How and I York in New Ballet Hispanico for piece on a dance working I was ago, About 15 years the came upon this album by and electric, tango of acoustic an amazing mixture It was me away. blew music positively Sergio Trujillo become one of the most successful and prolific choreographers in musical choreographers and prolific successful one of the most become Trujillo Sergio a is different: project His current Boys. hit Jersey the worldwide for known best today, theatre decades, starting and spans several is set in Argentina musical. Arrabal highly political dance Tony are collaborators Trujillo’s Colombian-born The 1970s. of the late with the “Dirty War” An Interview with RichardAn Interview Ouzounian Arrabal about thinks he how and the play, of process development the early Bajofondo, the music of story. with a coming-of-age history Argentinean integrating Sergio Trujillo Talks Sergio Trujillo Talks About Arrabal and the A.R.T. 12 , preceding an , preceding The Toronto Star Toronto The to read the full interview. read to ? TOOLKIT (cont’d) Arrabal Click here DISCUSSION Arrabal ARRABAL ? How does Sergio describe the early progress of his collaboration on of his collaboration describe the early progress does Sergio ? How . Do you hear the same electric, tango, hip hop, and house music hip hop, the same electric, tango, hear . Do you Arrabal Visit bajofondomusic.com and listen to some of the music that inspired Sergio Sergio inspired some of the music that to and listen bajofondomusic.com Visit with involved become and eventually Santaolalla with Gustavo collaborate to Arrabal tell? Is there does the music story type of What mentions? Sergio that influences the music dramatic? make that instrumentation and/or about the style anything of the story? set in Buenos Aires story idea of a Cinderella the original mentions that Sergio did role landed. What eventualy story the him than where to compelling less was in Buenos Aires and tango culture of the desaparecidos context the historical of in the early development play What are the historical, cultural, and storytelling influences on the development on the development influences and storytelling cultural, the historical, are What • • • for knowledge about what really happened to her father 18 years before. Her search is what is what Her search before. 18 years her father happened to really about what knowledge for sense of of the tango and the whole authentic with the energy and coupled the piece drives work. exciting be a very going to using, I think it’s we’re that culture Argentinian by originally published an interview from is an excerpt This in Toronto. the production early run of which began in the late 1970s, thousands of people just vanished for speaking out against the speaking out against for vanished thousands of people just 1970s, which began in the late regime. together? stories the two bring did you How the daughter was had invented girl Gustavo if the young be like it would what myself I asked but and fortune, fame not for Buenos Aires came to and she of one of the desaparecidos, What did you want the piece to talk about? to the piece want did you What and in the world countries and highly politicized outspoken is one of the most Argentina men, Latin As of Peron. the era since ever there So much has happened with good reason. of about the whole world especially say, and I could Gustavo I felt so much that was there war” the generals, against During the “dirty the ones who disappeared. the desaparecidos, project and wanted to make me a part of it. The idea was to create a dance musical about a musical about a dance create to idea was me a part of it. The make to and wanted project with the whole and got involved Buenos Aires to girl who went Argentine poor young very A real ladder. rich man and climb the social meet a very She would there. tango club scene the whole by however, fascinated, I was me. of it didn’t appeal to part That story. Cinderella I felt girl in Argentina. of a poor tango clubs, but the world the Buenos Aires milieu, not just say. could we so much more was there happened. situation? changed that So what appointed and recently Entertainment of BASE co-CEO (former Zeiger Scott ago, years A few on a with Gustavo had been working du Soleil) Cirque for projects of theatrical director Sergio Trujillo Talks About About Sergio Trujillo Talks Arrabal and the A.R.T.

13 Image: Evgenia Eliseeva Evgenia Image: ) is Babel and Orquesta Bajofonderos performing at OBERON.

Brokeback Mountain Brokeback TOOLKIT ARRABAL , the dance-musical he composed, John Weidman wrote and Sergio and Sergio wrote John Weidman he composed, , the dance-musical Music Arrabal composer and multi-instrumentalist Gustavo Santaolalla discusses his experiences experiences his Santaolalla discusses Gustavo and multi-instrumentalist composer Trujillo directed. [...] directed. Trujillo learns about her country’s woman young a contemporary how history, Its theme is Argentina’s directly. her life it touched and how past Then you look at his face and see those emotions mirrored there so strongly that you have to to have you that so strongly there and see those emotions mirrored his face look at you Then ask the reason. to who wanted a generation I belonged to felt I always That then? I thinking of just was “What I’m finally doing it.” now and maybe change the world talking about He’s The two-time, back-to-back Oscar-winning composer ( composer Oscar-winning back-to-back two-time, The the offspring of a looks like that instrument stringed a diminutive ronroco, his beloved playing in flight, the music a hummingbird strings like the across As his fingers move and a guitar. lute despair. hope and bottomless both incredible conveys creating he’s Arrabal his leaving his musical style, developing and discovering up in a turbulent Argentina, growing films. in feature and his involvement home country, Arrabal by Richard Ouzounian Gustavo Santaolalla Puts Puts Santaolalla Gustavo Argentina’s in History Arrabal and the A.R.T. 14 ,’ which means ‘Throwing means ‘Throwing which ,’ . You know, you have to walk walk to have you know, . You TOOLKIT Tirando manteca al techo manteca Tirando Being John Malkovich ARRABAL Music (cont’d) Music Arrabal “Rock music became the folk music of my generation and I wanted to make a contribution to it.” to a contribution make to and I wanted generation music of my music became the folk “Rock American folk only melded Latin which not Iris in 1967, called Arco a group He helped create vegetarianism celibacy, involving lifestyle, a whole communal but lived rock, with contemporary tried to make me start from the beginning. After five years, she gave up and quit. She told my told up and quit. She years, she gave five the beginning. After from me start make tried to music.’” than my ‘His ear is stronger parents, music. own writing my start to free “I felt the opposite. Santaolalla. Quite didn’t discourage That Then when I electric guitar. first I got my 12, songs. But when I was folk Kind of simple Argentine make. to I wanted kind of sound is what that and I knew came along Beatles 13, The was He laughs out loud as he plays it in a brisk foxtrot tempo, its melody instantly recognizable as recognizable its melody instantly tempo, foxtrot it in a brisk He laughs out loud as he plays “Makin’ Whoopee.” favourite Cantor the Eddie 5th my me a guitar for gave grandmother music, my much I loved how saw family my “When began. when the trouble That’s play. to me how teach to a woman found they Next, birthday. and none of that have but she would ear, by playing skillful at pretty and was “I taught myself was absolutely one of the Mad Men. They weren’t musical themselves, but they were great fans fans great were but they musical themselves, weren’t Men. They one of the Mad absolutely was of 78s. of music, with a huge collection I said parents it, my played time they Every strongly. very to one song I responded was “There called ‘ It was the room. around dance would the Ceiling.’” at Butter but the far sweeter familial ones. familial sweeter but the far called Garden A place in suburban Buenos Aires. suburban family a middle class “I came from of the same name. movement British urbanistic built on one of a series of communities City, and sand and insects. trees winding streets, Rotundas, he Oh yes, Thompson. Walter J. for in advertising worked father my home, at “My mom stayed But the result wasn’t so amusing. wasn’t But the result so dark. was everything Creatively, on the radio. blacklisted I was scared, I was threatened, “I felt the movie of it when I saw reminded I was in a tunnel.” you’re like head down with your political memories the bitter from cutting himself off not just Argentina, he left in 1978, And so, “I was very frustrated with what was happening in those days. I became afraid even to go out, to even I became afraid days. happening in those was what with frustrated very “I was Santaolalla says. back,” come might never you knew because you saw you When Falcons. Ford all drove plainclothes cops his lips. “The across An acid smile plays the prey.” were you that knew you a Falcon, “The first time I was arrested, my father came to pick me up. I remember him fuming at the remember him fuming I to pick me up. came father my was arrested, time I first “The of? accused is he has he committed?’” crime authorities, ‘What What indefinitely to be incarcerated excuse of an was enough be different To given. was No answer to never who vanished, the “disappeared,” one of the desaparecidos, become to worse, even or, return. That past is the horrors of the “Dirty War” of the late 1970s, waged against the people of the people against waged 1970s, of the late “Dirty War” of the the horrors is past That 1981. through 1966 from the country governed juntas that of the military worst the by Argentina and “I had been in teens. began in his with the military struggles but his is 62 now, Santaolalla an electric guitar. hair and played I had long 15, mainly because I was since out of jails Gustavo Santaolalla Puts Argentina’s Puts Santaolalla Gustavo in History Arrabal and the A.R.T. 15 ? in click , and . Arrabal Ronroco to read the full article. read to Brokeback Mountain Brokeback The Motorcycle Diaries Motorcycle The Click here evelopment? Can you hear Can you evelopment? and 21 Grams TOOLKIT on February 7, 2014. 2014. 7, on February DISCUSSION ARRABAL The Star The Music (cont’d) Music Arrabal Based on the experiences outlined in this article, what does Gustavo meant when he does Gustavo what outlined in this article, Based on the experiences and change the world to who wanted a generation I belonged to felt “I always says, music and developing to playing reference in I’m finally doing it,” now maybe What were the major influences on Gustavo’s musical d on Gustavo’s the major influences were What to his music or the music of Bajofondo? when listening these influences to listen to his spot on the podcast “On Being” with Krista Tippett. “On Being” with Krista on the podcast his spot to listen to • • For more in-depth insight into how Gustavo Santaolalla composes music for storytelling, storytelling, music for Santaolalla composes Gustavo how insight into in-depth more For here shaped the movie around it as he filmed it. around shaped the movie surprised person in the the most friend, I was music, my writing that the Oscar for I won “When am.” I still later, 10 years Almost world. published in first article was This then he got word that Ang Lee wanted him to provide the score for for the score provide him to wanted Ang Lee that then he got word I compose, When me. right for it was why it, I knew as I read “He sent me the script and, as soon much. Silence don’t talk that in this movie people The with big silences. use big spaces I often part in their lives. important very a plays with it and my music. He lived I sent him later, briefly and then, 20 days talked once, met “We where he showed him a scene from his movie The Insider, which he had edited to the to which he had edited Insider, The his movie from him a scene he showed where song “Iguazu.” composer’s movies to make wanted I had always reminded me that it fit. It beautifully how at amazed “I was me.” for a chance was and here films, experimental more two scored He successfully America, although he frequently worked as a mentor to groups back home. groups to as a mentor worked America, although he frequently an album called the 1990s and released through happily as a musician He worked little instrument.” on my songs I wrote him “playing 1998, which featured Eclectic, Becomes called Morning program radio a Santa Monica College on It got a lot of play with Santaolalla,for a meeting it. He asked Michael Mann heard film director which is where Fortunately, times were changing and the influence of the Ramones and the Sex Pistols opened Pistols the Sex of the Ramones and and the influence changing times were Fortunately, world. up a whole new Picnic.” Wet called a group I formed tie and skinny I got my hair, He grins. “I cut my in remain in the , Santaolalla chose to Argentina to returned Although democracy He broke away, briefly formed a hard rock group called Soluna but then packed his bags and packed called Soluna but then group rock hard formed a briefly away, He broke way. in another be let down only to California, to moved Boston, Styx, me. but the music disappointed wonderful, was that freedom, personal “The music I felt anything represent me musically or move didn’t groups Those Journey. Kansas, do.” could and Eastern religions. and Eastern than bit more “A admits that, he now years, seven for the group with he stayed Although the runs directed is so inner that group Any change. I had to I knew time, that through halfway be a part of that.” to want a cult. I didn’t into risk of turning Gustavo Santaolalla Puts Argentina’s Puts Santaolalla Gustavo in History Arrabal and the A.R.T. 16 . Arrabal TOOLKIT uses music and dance rather than language language than rather and dance uses music ARRABAL Arrabal Arrabal Synopsis

her father, Arrabal receives closure. receives Arrabal her father, in John Weidman by developed treatment the rehearsal from is adapted synopsis This of team and the creative Trujillo with Sergio collaboration is left alone in the bathroom with a box. Before she can open it, El Duende appears and takes she can open it, El Duende appears and takes Before with a box. is left alone in the bathroom But something has been left behind. She picks it up and, with a jolt, finds herself away. the box the into She gets drawn and herself as an infant. her mother, of her father, a photo at staring dance. El Puma and Berta. by something. She is greeted the club as if looking for to returns Arrabal happened to what knowing of not years shirt in it. After with her father’s her the box give They except for El Puma, who remains preoccupied, on edge. Arrabal enters carrying her letter. El carrying her letter. enters Arrabal on edge. preoccupied, El Puma, who remains for except and Arrabal El Puma. El Puma towards and gestures the letter, takes her, Duende welcomes aside and emotions, steps with intense struggling but El Puma, clearly each other, approach a table. Berta, who helps her to partner, his hostess to Arrabal directs Puma and Berta El watches she where the floor, out onto is drawn and Arrabal Juan enters she multiple men and women, dancing with After itself. the dance into and then is drawn, dance reads it. As Arrabal considers what she has just read and El Duende steps back out of the and El Duende steps read she has just what considers it. As Arrabal reads He dress. a beautiful, shimmering then gestures—revealing the letter, He indicates shadows. will you “Put this on and the man who summoned His message: the two. smiles, connecting journey.” of your step on the next you take All excitement. are full of fill the floor and Dancers in the milonga is electric. atmosphere The 18 years later, Arrabal, Rodolfo’s daughter, dreams of him, clutching her fathers red scarf. A scarf. red her fathers of him, clutching dreams daughter, Rodolfo’s Arrabal, later, 18 years her scarf tied around has a white She enters. her up and her grandmother wakes voice woman’s go with to wishes Arrabal of the . Madres with the march head and is going to put the laundry begins to Arrabal dangerous. it is too because refuses her grandmother but her, El assistants. El Duende appears with his two she turns back, When on the laundry line. away El Puma’s El Encuentro, him into follows She runs off. scarf and red Arrabal’s Duende snatches El Puma… Arrabal from a letter El Duende hands Arrabal she gets her scarf back. milonga where Peronist T-shirt and much to his mothers dismay, leaves the house to go dancing. Once at the at go dancing. Once the house to leaves dismay, his mothers and much to T-shirt Peronist wife El Puma, and his club, of the as the owner as well meets up with El Duende, Rodolfo club, off club lights goes The the club. be working to is revealed A General Berta. Dancing ensues. him out of the and drag him, beat They Rodolfo. in and surround Men break scatter. and dancers on the floor. bloody shirt is left behind Rodolfo’s being a “left- wing militant.” club for to tell a coming-of-age story rich in emotion, artistry, historical and cultural and cultural historical artistry, in emotion, rich story a coming-of-age tell to in understanding tool a helpful be is meant to synopsis following The power. and a primer be used as a refresher and may plot the play’s of the intricacies conversation. for He puts on his sleep. to and he puts her back daughter infant his young by is awakened Rodolfo Arrabal piece, As a dance-theater Arrabal and the A.R.T. 17 is Bajofondo’s. The The is Bajofondo’s. Arrabal TOOLKIT , released in 2002, won a Latin Grammy Award and Award Grammy a Latin won in 2002, , released . All of the music featured in . All of the music featured , there are a number of terms, concepts, and historical and historical concepts, terms, a number of are , there ARRABAL ”). The Abuelas hold demonstrations wearing headscarves, headscarves, wearing hold demonstrations Abuelas ”). The

?,” which means “Who am I?” which means “Who ?,” Arrabal Arrabal or Mothers of the Plaza de Mayo), were a group of women who of women a group were Plaza de Mayo), or Mothers of the Glossary

Bajofondo Tango Club Bajofondo Tango Quien soy yo Quien soy

Los Desaparecidos Los killed during Argentina’s miliary rule. These people often were brutally tortured, raped, and raped, brutally tortured, were people often These miliary rule. killed during Argentina’s An estimated had their babies stolen. generally birth while in captivity who gave women due to released eventually were killed and another 10-12,000 were Argentines 30,000 pressure. international increasing individual was disappeared, it meant that the government had imprisoned them and any had imprisoned them and any the government it meant that disappeared, individual was etc). social security cards, (birth and marriage certificates, erased was of their lives evidence being killed. also meant eventually being disappeared Typically, DESAPARECIDOS LOS those kidnapped and often use for Argentines this is the term Meaning “the disappeared,” One of the most common ways that disappeared citizens were killed was being pushed off of killed was were citizens disappeared that ways common One of the most a typically drugged into were Victims or the Rio de la Plata. ocean the Atlantic over an aircraft their deaths. and pushed to the aircraft being loaded into before stupor heavy DESAPARECER in Argentina, and 80’s During the military rule of the 1970’s “disappear.” for Spanish verb The If an resistors. Argentine of ‘disappearing’ practice mean the government came to this verb political associations, etc.). Within these groups, individuals work on collective efforts. When When efforts. on collective individuals work these groups, Within etc.). political associations, is in some way the government means that often corporatism in government, implemented government This and workers. employers between agreements with brokering involved has when the employer as is the case in Argentine, problematic, can become involvement groups. workers’ the than government to the influence) (money, offer to more FLIGHTS DEATH Argentina’s military repression of the previous two decades. Most of his pardons were deemed were of his pardons decades. Most two of the previous military repression Argentina’s Court. Supreme and the Argentinean presidents later by unconstitutional CORPORATISM based on their groups in corporate are in which citizens is a social system Corporatism particular those with ethnic groups, workers, health-care (e.g. social functions and interests Santaolalla, the composer of Santaolalla, the composer album, first band’s triple-platinum. went MENEM CARLOS help his to attempt In an 1989-1999. from of Argentina President was Menem, a Peronist, of perpetrators to pardons presidential many he granted the atrocities, past move country began meeting publicly in 1977. They were the mothers and grandmothers of the disappeared the disappeared of the mothers and grandmothers were They publicly in 1977. began meeting “ people (see commonly most they phrase The relatives. the images of their lost carrying signs holding “ and was chanted BAJOFONDO Gustavo in 2000 by is a band founded Bajofondo tango,” Sometimes described as “electronic alphabetically. Read more below for an introduction to some of these concepts. Bolded terms Bolded terms these concepts. some of to an introduction for below Read more alphabetically. information. entry with more an expanded to entry refer in each referenced DE PLAZA DE MAYO ABUELAS as to referred are they (sometimes de Mayo of the Plaza called Grandmothers group, This de Plaza de Mayo Madres Arrabal in is no dialogue there While organized of the play, background cultural and the historical to understanding essential figures Arrabal and the A.R.T. 18 by Falklands ’s dictatorship. dictatorship. ’s pardoned him and many him and many pardoned magazine. Macri has improved Macri has improved magazine. Roberto Viola Roberto Time Time TOOLKIT . In 1985, Videla stood trial for the first time, when he when he time, the first trial for stood . In 1985, Videla ARRABAL pardoned him in 1989, but new charges were brought against against brought were charges new but him in 1989, pardoned , needed a cause that would unite and distract Argentines. Argentines. and distract unite would that , needed a cause Roberto Viola Roberto

Carlos Menem

Leopoldo Galtieri Leopoldo

The current , elected in 2015, Macri is the first elected president president elected Macri is the first in 2015, elected of Argentina, president current The Macri was or the . In 2016, with not be associated 1916 to since by America in Latin influential president named the most the human rights crisis in Venezuela. and publicly denounced image, international Argentina’s . In 1983, Galtieri was arrested and in 1986, he was sentenced to 12 years in 12 years to sentenced was and in 1986, he arrested In 1983, Galtieri was Bignone. Reynaldo prison. President home under house stay to allowed he was poor health, his incredibly Due to him in 2002. in July of 2002. cancer Galtieri died of pancreatic arrest. MACRI MAURICIO LEOPOLDO GALTIERI over which took the leader of the military coup Galtieri was the in 1981. In April 1982, he initiated as president then installed Galtieri was Great that falsely, Islands/Islas Malvinas. He believed, Falkland the British-occupied invading the Falklands lost Argentina with military force. the invasion to not respond Britain would by replaced and was power from removed and in July of 1981 Galtieri was quickly, very war released five years later when newly-elected President President when newly-elected years later five released on justice exact pushed again to Kirchner Néstor President the military rule. in others involved Presidental ruled Videla’s Court Supreme In 2006, the Argentine leaders in 2003. the regime’s than more put on trial for was Videla In 2010, Menem unconstitutional. President from Pardon in prison. He died from 50 years to sentenced was he and in 2012 30 human rights violations Prison. Paz Marcus at in the shower falling after hemorrhaging in 2013 internal JORGE RAFAEL deposing and majority of the military rule after the for of Argentina the dictator was Videla of speech freedom power, Under Videla’s of 1976. March in de Perón killing Isabel Martínez He also opened of local governments. put in charge and the military was collapsed, was when 1976-1981, from lasted power His with dissidents. he filled that camps detention secretive to power he relinquished in prison. He was life to and sentenced human rights violations of numerous convicted was in congress, and he brokered constitutional changes to gain increased power. A coup led A coup power. gain increased changes to constitutional and he brokered in congress, and Paraguay to fled Perón 1955. in pushed him out of office armed forces Argentine by to bowed in 1973, of Argentina the President Cámpora, Spain. Héctor to moved eventually of transition peaceful A relatively his presidency. and resigned enormous political pressure Perón’s of 1974. as he died in July lived, short was 1973 September in Perón back to power upon his death. the presidency over Isabel, took President, and Vice wife third The conflict lasted only 74 days, and in June of 1982, Galtieri surrendered an embarrassing an embarrassing and in June of 1982, Galtieri surrendered 74 days, only lasted conflict The military rule. of Argentina’s collapse the lead to eventually would that defeat PERÓN JUAN times. Initially three of Argentina President elected was Perón in 1895, Born in Buenos Aires party held a majority and hours, Perón’s wages better workers because he promised elected some prefer to refer to these years as a period of genocide. a period of genocide. as these years to refer to some prefer WAR THE FALKLANDS Islands/Islas Malvinas. Falkland British the barely-defended invaded Argentina In April of 1982, ruler and the current Argentine, rightfully the islands were that had long maintained Argentina of Argentina, Islands. the Falkland to forces Britain deployed negotiations, of unsuccessful days a few After DIRTY WAR military Argentina’s 1983 by to 1976 from campaign waged infamous an nickname for The the time when was This political opponents. left-wing suspected against dictatorship essentially was press free their government, by disappeared were Argentines dissenting and is controversial, “Dirty War” term The ruled the government. and the military abolished, Arrabal Glossary (cont’d) Glossary Arrabal Arrabal and the A.R.T. 19 Juan failed in failed Engaging with Leopoldo Galtieri Leopoldo for only 8 months in 1981. A for

Jorge Videla Jorge TOOLKIT removed Viola from power in December, 1981. In 1985, in December, power from Viola removed ARRABAL , a political viewpoint receiving criticism from liberals and liberals criticism from receiving , a political viewpoint still exploited the most vulnerable citizens. Peronism has gone has gone Peronism citizens. vulnerable the most exploited still , who won the presidential election in 1983. election the presidential , who won . Viola died in 1994. died in 1994. . Viola take place in a Milonga. in a Milonga. place take

Leopoldo Galtieri Leopoldo corporatism . Under Bignone’s rule, more typical government functions were allowed allowed functions were typical government more rule, . Under Bignone’s

corporatism Arrabal Raúl Alfonsín

Carlos Menem section of this Toolkit (pages 20-31). this Toolkit section of

to gather foreign and domestic intelligence for the federal government. During the government. the federal for intelligence and domestic foreign gather to Falklands War Falklands dance floor are both considered bad form. bad considered both floor are dance the articles in the reading further by the play of context the historical Explore History TANGO on more tango relies Argentinean is one of the capitals of tango. Argentina, Buenos Aires, on the relationship more is reliant and generally tango, ballroom than formal improvisation tango typically Argentinean steps. partners than on preordained dance the two between is floor of the dance music. he center four-beat to direction in a counter-clockwise moves are Dancers space. up more take that flashier moves performing couples for usually reserved the cutting across and/or as impeding other dancers awareness, spatial have to expected The Secretariat of Intelligence of the State is the main intelligence agency in Argentina and is in Argentina agency is the main intelligence of the State of Intelligence Secretariat The in 1946 under President founded SIDE was System. Intelligence of the National in charge Perón has since and the agency the ones disappearing citizens, often SIDE agents were military rule, reforms. drastic undergone ROBERTO VIOLA ROBERTO from dictatorship the Argentine over took Viola led by military coup by in 1990 pardon his crimes before his war in prison for 17 years to sentenced was Viola President (SIDE) DE INTELIGENCIA DE ESTADO SECRETARÍA Bignone took over leadership of Argentina in July of 1982 after after in July of 1982 leadership of Argentina over Bignone took the the government However, decreased. drastically was and the military presence resume, to Bignone decade. up the crimes of the past cover to working also frantically this time was at was Bignone the atrocities. in those involved to amnesty granted that legislation also passed by replaced RAÚL ALFONSÍN RAÚL a member of the Radical Civic was Raúl Alfonsín election, winner of the 1983 Presidential The had time that Bignone’s from legislation reversed Alfonsín political party. Union, a leftist personnel. leaders and military regime to amnesty granted REYNALDO BIGNONE conservatives alike. Conservatives claim that Peronist ideologies are too liberal and called for called for and liberal too are ideologies Peronist that claim Conservatives alike. conservatives social security, projects, such as housing citizens poorer for in services increases drastic too quashing of political dissidents oppose the Liberals impoverished. the for education and free that and argued and under Isabel Perón anti-communism phases, including periods of vicious several through in 2003. attention who gained national Peronists of socialst a wave PERONISM tenets three The of Juan Perón. is based on the policies that is a political viewpoint Peronism Perón and political sovereignty. independence, economic include social justice, of Peronism of his actoins many since contradictory, can seem and Peronism President, a controversial was to example—seem for newspapers, and shutting down dissidents as president—imprisoning communism, and reject both capitalism Peronists Peronism. by held up values with the conflict on instead relying MILONGA of style specific to a tango, often for dancing, most specifically both a place to refers Milonga a waltz. like somewhat beat, fourth with a weak rhythm a four-beat music is music. Milonga in scenes Many Arrabal Glossary (cont’d) Glossary Arrabal Engaging with History 20 article reporting article reporting New York Times York New Palace of the Argentine National Congress in Buenos Aires. section of this Toolkit (pages 20-31) to to (pages 20-31) section of this Toolkit TOOLKIT ARRABAL Engaging wtih History Engaging wtih History Engaging Engaging with History with engages deeply with a 40-year-old historical truth in Argentina that still resonates resonates still that truth in Argentina historical engages deeply with a 40-year-old Abeulas de Plaza de Mayo. is a timeline outlining (pages 29-31) Day” the Present 1946 to from in Argentina Events “Key 2017. through the rise of Juan Perón from events major historical “Final Countdown for a Coup d’Etat” (pages 21-22) is a 1975 21-22) is a 1975 (pages d’Etat” a Coup for “Final Countdown in Argentina. on the imminent military coup phenomenon of dictatorship recent (pages 23-25) outlines a more “Blaming the Victims” denialism in Argentina. and challenges of the development, the mission, Later” (pages 26-28) tracks “40 Years Arrabal tore that violence included unspeakable of 1976-1983 violent military dictatorship The today. of and similar patterns today, felt still are these events of reverberations apart. The families the world. around day and the present history throughout can be found violence dictatorial the in the materials Explore today. continue its effects and how history about this period of Argentinean learn more Engaging with History 21 TOOLKIT ARRABAL In 1976, Argentine President Isabel Peron was deposed by a military junta led by Jorge Rafael Videla. New New article from article from The probability is that the first move will be creation of a military government. The officers The officers military government. of a will be creation move the first is that probability The them to urging and Parliament, party leaders to ultimatum a possible been discussing have many preoccupies that question The but this seems unlikely. regime, “national” a united form dictatorship. or fascist an extremist avoid to is how Argentinians the country. Nevertheless, he left many toadies in key positions. in key toadies he left many Nevertheless, the country. is over. of Peronism era the 35-year is that situation in the prevailing one basic fact The that cycle A historical his wife, by dissipated left has been legend Juan Peron Whatever change because the for ready majority of people are vast has ended. The Argentina engulfed support. has no coherent Government existing force support the army view. All services agree that Peron’s widow has only one strong has only one strong widow Peron’s that agree All services view. support the army force has slipped into that a country is not capable of administering characteristic—ambition—and her husband died. months since decline during the sixteen and economic quasi-anarchy his he designated that his country disdain for megalomaniacal a sign of Juan Peron’s It was months she relied For the responsibilities. by him. She has been overwhelmed succeed to wife flee him to forced of corruption but charges eminence as a gray upon a righting astrologer believes the widely discussed action will take place before then. According to the present the present to then. According before place action will take discussed the widely believes by assisted of the army, commander Videla, Gen. Jorge by be led it would listing, hierarchical Viola. Roberto Gen. his politically minded chief of staff, stage would other generals it is anticipated should be put off, unexpectedly But if the coup and air the navy On this point necessity. as an “institutional” because it is regarded it later BUENOS AIRES—At this moment it seems inevitable that the Argentine armed forces will forces armed the Argentine that this moment it seems inevitable AIRES—At BUENOS the feckless, oust to in order weeks, a few within probably d’etat, a military coup stage The widow. President’s the late de Peron, of Mrs. Isabel Martinez Government incompetent has started. countdown everyone Almost is due. retirements promotions and commands, of a reshuffle In December hesitations around greater greater around hesitations military involvement. 1975 22nd, Nov. 1975 reports on the reports 1975 in coup imminent military the Consider Argentina. outlined circumstances including in this article, change of the necessity the and within the country for a Coup d’État for a By C.L. Sulzberger following The Times York Final Countdown Countdown Final Engaging with History 22 to read the full article. the full article. read to Click here in 1975. in 1975. TOOLKIT DISCUSSION ARRABAL The New York Times York New The What do you make of the statement made by Pope Pius XII to General Lanusse: “I Lanusse: General to Pius XII Pope made by of the statement make do you What as I am anti-clerical”? just anti-militarist an are can see you Based on this article from 1975, a military coup in Argentina was expected and expected was in Argentina a military coup 1975, Based on this article from a why some of the reasons are shift. What as a necessary many by anticipated in this expressed about military rule are hesitations Which necessray? shift was of loss violence, extreme involving of similar events examples there Are article? do the events How shifts? governmental and drastic of change, necessity control, events? current or to history from events to compare in Argentina Why does General Lanusse emphasize government institutions? Based on the institutions? government emphasize Lanusse does General Why the specific dangers of are What important in this context? they are why article, military rule? • • • it now has done. it now about is has been laid. Argentina of the old order high but the ghost has been terribly price The and sense. intelligence restraint, guided by hopefully a good one, chapter, a new open to published in first article was This In May 1972 he said (as President) that the armed forces are necessary as “an instrument of instrument as “an necessary are the armed forces that he said (as President) 1972 In May this. believes He still state.” that “govern to but not the state” permanently in returned and the latter exile from Peron back himself brought Lanusse General and then elections the presidential won Campore, Hector his stooge, months; after two 1973 all—which and for itself once destroy let Peronism to idea was Lanusse’s General handed over. survive the death or disgrace of individuals, as happened in the after President President after States as happened in the United of individuals, or disgrace the death survive Watergate. and after assassination Kennedy’s dangers: (1) three avoid sees he need to he apparently this concept shape, give To (3) the alone; to govern (2) a military effort chaotic situation; present of the continuation of tranquillity. restoration elections before national holding of premature wild in Argentina—but not “the order of the cemetery.” He doesn’t think any government can government think any He doesn’t of the cemetery.” order not “the wild in Argentina—but participation see increasing to and hopes the armed forces support from depend solely on whom de Gaulle, of General political concept a favorite was “Participation” other groups. by admired. much Lanusse on the exist still These re-enforced. institutions democratic Argentina’s all he wants Above enough to powerful institutions He wants disuse. by been weakened books but have statute The obvious man for the position of strong leader is General Lanusse himself, although he is himself, Lanusse is General leader the position of strong man for obvious The of other branches superior to but holds it is not his army thought. He respects the hate said to Pope when he met ago, Years rightward. deeply about a military lurch society and he worries as I am anti-clerical.” just an anti-militarist you are said: “I can see Pius XII, the Pontiff running terrorism widespread the replace to of order re-establishment wants Lanusse General Chief among this group is Gen. Alejandro Augustin-Lanusse, a highly respected retired retired respected a highly Augustin-Lanusse, is Gen. Alejandro this group Chief among who Lanusse, General coup. another following 1973, to 1971 from President was who officer little jail, harbors astonishingly Patagonian tough in a years for Peron by imprisoned was a produce would that coup any after stage see a second to is dream great His bitterness. as a military regime. had started what civilians into prominent leader and bring national strong Final Countdown for a Coup d’État (cont’d) d’État a Coup for Countdown Final Engaging with History

23 Image: David Fernández/EPA David Image: organized by Plaza de Mayo Mothers Foundation, in downtown Buenos Aires. TOOLKIT People participate in the ‘Marcha de la Resistencia’ (March of the Resistance), which was ARRABAL article from 2016 analyzes a recent phenomenon of denying the acts of the acts of denying of phenomenon a recent analyzes 2016 article from Guardian ensure a smooth democratic transition. a smooth democratic ensure under crimes has suddenly shattered of dictatorship-era on the gravity consensus But Argentina’s . President centre-right lower-intensity Nazi-style genocide that lacked any moral justification. moral any lacked genocide that Nazi-style lower-intensity of democracy, the return after years two tried barely was Videla Jorge dictator country’s The making the country been sentenced, have officers other former than 1,000 then more and since a similar number of Chile has attained South American . among former a standout In Brazil in court. a day facing died without ever Pinochet Augusto but its dictator convictions, to torturers to given was pass a free in place, remain amnesties wide-ranging where and , Almost uniquely among nations that have suffered mass killings under brutal dictatorships, killings under mass suffered have that uniquely among nations Almost behind bars, but to torturers number of its former put a large able not only to was Argentina a had executed military regime its 1976-83 that all political sectors across a consensus establish The following following The some government by supported movement, This 1976-83. from violence military government with and heroism sympathy less associate to the events reframe calls to groups, and private the including movement, this problematic outlines the rise of article Goñi’s the desaparecidos. in Argentina. perspectives denialist shaping major influences the Rise in Argentinathe Rise By Uki Goñi Blaming the Victims: the Victims: Blaming is on Denialism Dictatorship Engaging with History 24 TOOLKIT ARRABAL to murder thousands of other young people unconnected to any violent activity. “Few who have who have “Few violent activity. any to people unconnected thousands of other young murder to a reads or security threats,” terrorists be considered could about mid-1977 since disappeared in Argentina his visit to Obama after Barack by declassified cable recently department US state March. Possibly emboldened by recent meetings with Macri’s justice minister, Germán Garavano, Pando Germán Garavano, minister, justice Macri’s meetings with recent emboldened by Possibly those none—or few—of that sympathisers held among regime a belief fervently to giving vent was victims. innocent the military were by murdered military quickly otherwise: Argentina’s knew the time at in Buenos Aires But the US embassy began they in lethal action, before been involved guerrillas who had hundred the few eliminated 85-year-old head of Abuelas de Plaza de Mayo, a group of heroic grandmothers who over almost who over grandmothers of heroic a group head of Abuelas de Plaza de Mayo, 85-year-old by to given were they the families from 120 of their grandchildren recovered decades have four giving birth. after murdered their mothers were the military once the ageing grandmother, at yelled Pando terrorists,” were they idealists, not young were “They and thousands of other mothers. of Carlotto children the “disappeared” to referring framework of [a] genocide”. of [a] framework in the central Thursday abuse last verbal into exploded crimes dictatorship-era over fracture The guilty of 365 found officers former to sentences 28 life judges handed down after city of Córdoba, camp. death La Perla the city’s killings at the de Carlotto, Estela hurled abuse at Pando Cecilia activist pro-military Outside the courtroom, president. no was war” thinking, which holds there also chimed with denialist “dirty use of the term Macri’s and terrorists. the dictatorship between battle genocide – only an internal the ruled in 2009 that court supreme denialism, Argentina’s such creeping stop to Partly humanity within the against “crimes and 1983 constituted 1976 killings between dictatorship’s Work still continues today on the identification of human remains in clandestine unmarked graves. graves. unmarked in clandestine of human remains on the identification today continues still Work to returned victims whose bodies were did not include non-disappeared list And the Conadep victims. number of unreported vast – or the undoubtedly their families a reasonable human rights groups by estimate 30,000 the make such factors together, Taken an acting by before questioned perhaps, but never academic research by perfectible assumption; overhears Argentinians who argue that “they should have killed them all.” should have “they that who argue Argentinians overhears the by of democracy years in the first compiled of names a list to refers number 9,000 Macri’s as denialists by touted Long (Conadep). of Persons on the Disappearance Commission National reported military themselves be final. The meant to never was the list accounting, the only valid the informed the dictatorship months later, Five in mid-1978. Chilean intelligence killings to 22,000 US documents show. declassified people, it had killed 15,000 that papal nuncio in Buenos Aires Some sympathisers with the former regime have long raised doubts over the number of the number doubts over long raised have regime with the former Some sympathisers gained rhetoric such denialist time that first the marked words but Macri’s desaparecidos, political discourse. mainstream to admittance in the mindset has specialized university, de Febrero Tres at of history Mario Ranaletti, professor a good and morally was repression military consider “They groups. denialist of Argentinian Ranaletti today Even war.” a religious was war the cold them “To he says. act,” unquestionable Earlier this month, Macri rattled nerves in the human rights community when he appeared to he appeared when rights community in the human nerves rattled month, Macri Earlier this under the dictatorship. people died 30,000 that understanding historical long-accepted doubt the “I replied: he testily murdered, people had been many how with Buzzfeed an interview in Asked or 30,000.” 9,000 were whether they enter, to I’m not going debate a idea. That’s no have Blaming the Victims (cont’d) the Victims Blaming Engaging with History 25 to read the full article. read to Click here TOOLKIT in 2016. in 2016. DISCUSSION ARRABAL The Guardian The of weighty terms currently in the country’s discourse: “terrorists,” “dirty war,” war,” “dirty “terrorists,” discourse: in the country’s currently terms of weighty within used each of these terms are How and “repression.” “denialism,” “genocide,” beliefs? fuelling denialist some of the beliefs currently are and what the discourse, This article begins to analyze current events in Argentina, featuring a number a featuring in Argentina, events current analyze article begins to This • This article was first published in first article was This grandchildren remain still to be found. to still remain grandchildren Carlotto human rights?” for invented they’ve language with this new pretend do they “What are murderers convicted who claim that of groups meet with representatives do they asks. “Why genocidal killers, abominable assassins are not political prisoners, they They’re political prisoners? to.” our grandchildren gave who they confess to who refuse the past,” he said. the past,” me or the to not the past “It’s Carlotto. grandmother painful sighs from low, draw Such words she said. people,” of missing children and other mothers, grandmothers murdered the military after 36 years ago, years only two with her grandson united was Carlotto 280 missing camps. She estimates birth in one of their death she gave after her daughter Those opinions appear to have found a sympathetic hearing from Macri’s administration. “What administration. Macri’s hearing from a sympathetic found have opinions appear to Those Avruj, said Claudio groups,” terrorist killed by of civilians the recognition valid, seek is very they who has met with Villarruel. the human rights secretary the president. and a longtime personal friend of speechwriter is Macri’s Rozitchner Alejandro long has dwelt Argentina he feels about his marijuana use, A philosopher who speaks openly further into increasingly recedes that open a past keeping do with “It has to enough on the 1970s. was the guerrillas, not the military, who committed crimes against humanity. crimes against who committed the military, the guerrillas, not was a group and its Victims), on Terrorism Studies Legal for (Centre CELTYV She represents has court though the supreme guerrillas even former trials against reopen to pressuring under long fallen have crimes that ordinary constituted guerrilla actions ruled that conclusively of limitations. the statute To do that, thousands of young people with ideas borrowed from America’s hippie culture, the hippie culture, America’s from people with ideas borrowed thousands of young do that, To in danger,” identity was “Our Christian die. had to revolution 1968 and the Cuban of May Paris the before rosary his white his trial, kissing during testified commander police judges. the pro- say “political prisoners” who should be amnestied, are Etchecolatz But men like it believes Villarruel Victoria government. Macri’s the ear of have who now activists dictatorship by the dictatorship. But only one Esma officer, Lieutenant Jorge Mayol, perished in a skirmish with perished in a skirmish Mayol, Jorge Lieutenant one Esma officer, But only the dictatorship. by guerrillas in 1976. already were 1976 which by guerrilla groups, the than just had a much wider target military The turning by civilization” Christian and “western defend to openly vowed regime The in disarray. world.” of the western reserve “the moral into Argentina The killing numbers also refute any notion of a war. In a 1980 report titled “Terrorism in Argentina”, in Argentina”, “Terrorism titled report In a 1980 notion of a war. any refute killing numbers also The compared 1970s, during the entire people killed only 687 guerrillas that estimated the dictatorship alone. 1978 had killed by it intelligence Chilean told dictatorship people the 22,000 with the murdered were civilians 3,000 least at Aires city of Buenos camp in the capital Esma death the At Engaging with History

26 Image: Eitan Abramovich/AFP/Getty Images Abramovich/AFP/Getty Eitan Image: The Mothers of Plaza de Mayo march the military against commanders who had planned the systematic murder of thousands. TOOLKIT ARRABAL article from 2017 tracks 40-year legacy of the Abuelas de Plaza de of legacy 40-year tracks 2017 article from Guardian the dictatorship’s torturers and killers had been tried and 700 sentenced. sentenced. 700 and killers had been tried and torturers the dictatorship’s of alternative era the current that 80s – warn in their late of them now But the mothers – most the country. for kind of threat poses a new history and revisionist facts the military commanders who had planned the systematic murder of thousands. murder who had planned the systematic the military commanders though some of marching, still the mothers are later, marches decades on and 2,037 Four use wheelchairs. now them must for battle and the relentless of courage became a symbol headscarves mothers’ white The of than 1,000 more in their original aims: as of 2016, succeeded largely have – and they justice Haydée Gastelú was among the first to arrive. “We were absolutely terrified,” she recalls. terrified,” absolutely were “We arrive. to among the first was Gastelú Haydée and their families’ – set aside fear women 14 courageous of 30 April 1977, On the afternoon their children. had stolen that the dictatorship confront – and left their homes to warnings against “disappeared” the mothers of Argentina’s by march weekly the first marked day That Mayo as well as the historical and contemporary challenges and threats to the group’s mission mission the group’s to challenges and threats and contemporary as the historical as well Mayo under Argentines against committed the violence of awareness raising and for searching of and 1980’s. in the 1970’s the military dictatorship Refuse to be Silent to be Silent Refuse By Uki Goñi following The 40 Years Later, the Mothers the Mothers Later, Years 40 of Argentina’s ‘Disappeared’ Engaging with History 27 TOOLKIT ARRABAL “Among us there are mothers who escaped from the Nazi Holocaust, only to lose their only to the Nazi Holocaust, mothers who escaped from are us there “Among these tragedies that a fact for know – so we another dictatorship to children Argentinian-born says. Gastelú themselves,” can repeat His government suggests that the number of victims may have only been around 9,000, citing 9,000, only been around have the number of victims may that suggests His government in 1983. of democracy the return after a special commission up by drawn figure a provisional Chilean to communication people in a 1978 killing 22,000 reported But the military themselves intelligence. deeply a close – are to is drawing their watch that – aware Mothers of Plaza de Mayo The the world. and around – in Argentina history whitewash to efforts by concerned After staging a coup in 1976, the military rapidly put into action a plan to crush any potential potential crush any action a plan to put into the military rapidly in 1976, a coup staging After all of them unarmed non- people – almost some 30,000 murdering opposition, eventually combatants. has been dictatorship the 1976-1983 over consensus months the historical But in recent Mauricio Macri. president, centre-right current challenged under Argentina’s It took another 24 years before forensic anthropologists confirmed that he was one of 30 one he was that confirmed anthropologists forensic before years another 24 It took leftwing by of a general the assassination for in revenge the army by murdered youths guerrillas. us.’ nobody believed if even know, to needed everyone quiet. We keep ‘But I couldn’t Press Di Baia/Associated Eduardo Photograph: to avoid arrest. Instead, they marched two by two, around the Plaza de Mayo in front of the in front the Plaza de Mayo around two, by two marched they Instead, arrest. avoid to 3.30pm. at Thursday every palace presidential during the “disappeared” forcibly people who were thousands of other young Like in politics involved not actively – was – a biology student son Horacio Gastelú’s dictatorship, without trace. and disappeared 1976 armed men in August of a group by seized when he was “But I couldn’t keep quiet. We needed everyone to know, even if nobody believed us. That’s us. That’s nobody believed if even know, to needed everyone quiet. We keep “But I couldn’t she says. first,” called us the Mad Mothers at they why probably a took They impotence. with “Mad with grief, Almeida says. mad,” were we “Of course gift, her child.” precious most woman’s wished if they or four than three of more in groups gather couldn’t the women the time, At Forty years ago, however, they couldn’t even get their neighbours to hear their plight. The hear their plight. The get their neighbours to even couldn’t they however, ago, years Forty with the sympathized of the country segment and a large silent, was press mainstream dictatorship. the son at kidnapped about my I talked 88. “If now Gastelú, recalls scared,” were “People dangerous. was listening Even run away. would they or supermarket hairdresser “This struggle began when we were in our 40s. Now, 40 years later, we have to start all over over all start to have we later, 40 years Now, in our 40s. were began when we struggle “This again.” by and feted the world around hailed as human rights champions are the mothers days, These Ban Ki-moon. secretary-general Nations United and the former Francis of Pope the likes “Argentina’s new government wants to erase the memory of those terrible years and is years of those terrible the memory erase to wants government new “Argentina’s 86, whose 20-year-old Almeida, Taty says of trials,” on the continuation the brakes putting in 1975. disappeared son, Alejandro, marching. still are the mothers later, marches on and 2,037 decades Four 40 Years Later... (cont’d) Later... Years 40 Engaging with History 28 to read the full read to Click here TOOLKIT on April 28, 2017. on April 28, 2017. DISCUSSION ARRABAL The Guardian The with other dictatorial regimes that you could draw, either from history or present or present history either from draw, could you that regimes with other dictatorial day? How was the Madres’ mission initially received? Is this surprising, considering what what Is this surprising, considering initially received? mission the Madres’ was How “new shift marks a cultural not? Which or why Why regime? Videla’s about know you is it a threat? and how mission, the Madres’ to threat” paralells there Are and Germany? Argentina between drawn the parellels are What • • This article was first published in first article was This article. victim – the 40-year-old son of two desaparecidos – Enrique Bustamante and Iris Nélida – Enrique Bustamante desaparecidos son of two victim – the 40-year-old 122. to grandchildren” “recovered Soler – bringing the number of García single culprit see every to not live will probably because of our age we that know “We canes need wheelchairs and walking may Almeida. “But though we Taty says condemned,” around.” still being the Mad Mothers are the time for today, have also had success tracking down the children of women who were abducted by the by abducted who were of women the children down tracking also had success have while pregnant. dictatorship to giving birth and their babies handed over shortly after murdered were women young The as their own. raise to military couples the identity of another DNA had confirmed that announced the Grandmothers On Tuesday scandal during the government of former president Cristina Fernández de Kirchner that that de Kirchner Fernández Cristina president of former scandal during the government of many. her cause in the eyes discredited the at can look back with some satisfaction the split, the Mothers of Plaza de Mayo Despite accomplished. work up alongside the Mothers, and – grew of Plaza de Mayo – the Grandmothers group A sister Robbed of their original leaders, the mothers fell under the sway of Hebe de Bonafini, an of Hebe the sway under fell their original leaders, the mothers of Robbed and who the dictatorship sons to two lost who had woman and highly politicized energetic split into mothers eventually The truth and justice. for search the political aims over prioritized groups. two in a corruption embroiled became important today, and active while still group, Bonafini’s speaks Spanish with an accent. speaks Spanish who speak out against those face can of the risk that painfully aware are And the mothers nuns and French two leaders – along with group’s of the three 1977, In December tyranny. drugged and were All 12 raids. in a series of coordinated abducted – were helpers young seven of the waters the freezing into alive but still unconscious thrown – then aircraft loaded on to South Atlantic. “The Argentine military took lessons from the Nazis,” says Sara Rus, a 90-year-old Auschwitz Auschwitz a 90-year-old Rus, Sara says Nazis,” the from lessons military took Argentine “The was whose son, Daniel, – and war world the second after settled in Argentina who survivor in 1977. the military killed by still who Lodz from Jew a Polish Rus, originally says bury,” to his bones have even “I don’t 40 Years Later... (cont’d) Later... Years 40 Engaging with History 29

Perón Former Argentine President Juan TOOLKIT ARRABAL Levingston is overthrown in March and replaced by General Alejandro Agustín Lanusse, Lanusse, Agustín Alejandro General by and replaced in March is overthrown Levingston In May, disturbances and riots in the cities of Corrientes, Rosario, and particularly Rosario, and riots in the cities of Corrientes, disturbances In May, Marcelo Roberto General in June. the Onganía government overthrow armed forces The Perón is re-elected president with an overwhelming with an overwhelming president is re-elected Perón A new constitution strengthens the power of the the power strengthens constitution A new Juan Perón wins election for the presidency. He had presidency. the wins election for Juan Perón Inflation rises to more than 300% in Argentina. to more rises Inflation was deposed, a military Perón Isabel President Argentine after days five 29, On March Juan Perón dies in July. His third wife, Isabel, succeeds him to the presidency. Violence Violence the presidency. him to Isabel, succeeds wife, His third dies in July. Juan Perón The Peronist party wins elections in March. Héctor Cámpora is inaugurated president. president. is inaugurated Cámpora Héctor in March. party wins elections Peronist The Military rule is imposed by a coup led by General Juan General led by a coup Military rule is imposed by In September, a coup to overthrow Perón, staged by all by staged Perón, overthrow to a coup In September, 1975: 1976: Junta closes the National The president. Videla Rafaél junta appoints Lieut. Gen. Jorge Cámpora resigns and Perón is elected president for a third time in a landslide September time in a landslide September a third for president is elected and Perón resigns Cámpora election. 1974: and demonstrations strikes, are dead. There hundreds leaving right and left escalates, from high inflation. Levingston replaces Onganía, but inflation returns and terrorist acts increases. terrorist returns and Onganía, but inflation replaces Levingston 1971: the end of 1973. elections by democratic re-establish to who promised 1973: in June. Buenos Aires to returns Juan Perón acts of violence. by is wracked Argentina Carlos Ongania. 1969: and labour conflicts. rise out of student Córdoba 1970: of fighting, during which thousands are killed. Perón is ousted is ousted Perón killed. are of fighting, during which thousands He subsequently gunboat. on a Paraguayan refuge and takes federal in Spain. The and later in Paraguay, exile goes into is States, United of the based on that of 1853, constitution restored. 1966: government. government. 1951: majority. 1955: days three after succeeds of the armed forces branches three promised workers higher wages and social security. His and social security. wages higher workers promised of labour relations. is put in charge Perón, Eva wife, second 1949: Congress, be re-elected. including the ability to president, legislation passes supporters, Perón’s by dominated the for disrespect showing anyone for terms jail providing The following timeline outlines and describes major events in Argentine history beginning with beginning history in Argentine events outlines and describes major timeline following The day. the present through Perón Juan the rise of 1946: Key Events in Argentina in Events Key from to the Present1946 Day Engaging with History 30 The Madres de Plaza de Mayo As the repression continues, the military continues, As the repression TOOLKIT A group of mothers begins to meet each Thursday meet each Thursday of mothers begins to A group the bodies of their children or reclaim their grandchildren grandchildren their or reclaim the bodies of their children babies born to steals Regime kidnapped. The who were prisoners. pregnant 1977: in walk they where in Buenos Aires, in the Plaza de Mayo known become women The demonstrations. non-violent march They de Plaza de Mayo. as Las Madres/Abuelas of their grandchildren the pictures holding each Thursday represent their heads to on scarves white and wearing today, march still Some of these women and hope. peace later. 40 years 1977-1981: and kills left-wing abducts, , government “subversives,” claim are they militants, and anyone of Many opponents of the regime. including all political and other youth students people, young are the targeted with the regime. their dissatisfactions express trying to a resistance to connections also had no political Many as to referred kidnapped people become The group. government The (the disappeared). Desaparecidos” “Los find help the families would that records any obliterates ARRABAL Jorge Rafaél Videla Under increased pressure pressure Under increased In the trial of nine former junta In the trial of nine former In April, Argentine forces occupy the British-held , known to Argentines Argentines to Islands, known the British-held Falkland occupy forces In April, Argentine of the Radical Civic Union, a when Raúl Alfonsín in Argentina is restored Democracy Videla is succeeded in March 1981 by General Roverto Viola, who, with the regime near near with the regime who, Viola, Roverto General 1981 by in March is succeeded Videla from the military, President Alfonsín Alfonsín President the military, from through laws amnesty pushes two the full stop Congress: the National The law. and the due obedience law 1985: including convicted, are members, five Galtieri is acquitted and Viola. Videla and but is re-tried the time, at this year. later convicted 1986-1987: Alfonsín reverses legislation passed under Bignone by announcing plans to prosecute several several prosecute plans to announcing under Bignone by passed legislation reverses Alfonsín and Viola, Videla, presidents including former members of the defunct military government, rights of crimes and human those accused to amnesty granting a law Galtieri. He also repeals of military hundreds and violations, prosecuted. personnel are 1982: a UK dispatches The had long claimed sovereignty. which Argentina as Islas Malvinas, over killed in the are Argentines than 700 More in June. the islands, which it does re-take to force Bignone. Reynaldo by General replaced fighting. Galtieri is 1983: his inauguration, election. Shortly after wins the presidential political party, major centre-left 1981: by aside he is shouldered In December, his military allies. controlling its end, has difficulty Galtieri. Leopoldo General Lieutenant Congress, imposes censorship, bans trade unions, and brings state and municipal government government and municipal state unions, and brings trade bans imposes censorship, Congress, dissidents. suspected against a campaign initiates Videla Meanwhile, control. under military camps, where detention of clandestine up hundreds sets the regime the country, Throughout persecuted. jailed and of people were thousands Timeline (cont’d) Engaging with History 31 , a ¿Quién soy yo? soy ¿Quién to watch click here TOOLKIT ARRABAL Argentine judges order arrests in connection with the abduction of with the abduction in connection arrests judges order Argentine The Argentine Supreme Court rules to reduce a sentence for one prisoner for a sentence reduce rules to Court Supreme Argentine The Alfonsín resigns and is resigns Alfonsín Videla dies at the age of 87 in a prison outside of Buenos Aires. the age of 87 dies at Videla Full diplomatic relations with the UK are restored. Argentina maintains its claim to the its claim to maintains Argentina restored. with the UK are relations Full diplomatic on military officers Argentine of former the arrest for orders A judge in Spain issues To learn more about the events detailed below, detailed below, about the events learn more To documentary about the disappeared. 2014: May 2017: half a million people in Buenos In response, regime. militaristic of crimes during the convicted any reducing prevent to intends a bill that pass to works Congress in protest. march Aires humanity. crimes against for prison sentences future placed under house arrest in 1998 and sent to prison in 2008 after a judge revokes his house his judge revokes a prison in 2008 after sent to in 1998 and under house arrest placed Court Supreme Argentina’s that 2005, the year Galtieri and before die Viola status. arrest are tried, of military officers Hundreds Alfonsín. by passed laws the amnesty repeal to votes human rights abuses and taken with charged Bignone is In 2007, convicted. are and several Bignone, Videla, In 2012, sentence. a 25-year and receives in 2010 he is convicted custody; into political abduction of babies born to guilty of the systematic found are others and seven 15 years. while Bignone receives sentence, a 50-year is given prisoners; Videla charges of participating in the kidnapping and killing of Spanish citizens during military rule. during military rule. and killing of Spanish citizens in the kidnapping participating of charges the accused. protect laws amnesty Argentine 1998 and through 2012: with is charged Videla during the military rule. detained women of babies from hundreds He is during his regime. couples military childless to kidnapping babies and giving them pardons Videla and other top officers officers other top and Videla pardons rights violations. of human convicted 1990: Falklands. 1997: orders. Exceptions to this amnesty are are this amnesty to Exceptions orders. or abducting cases of rape made for out breaks rebellion babies. Nevertheless, in the spring. within the military 1989-1990: Carlos Menem, who by succeeded former sets a deadline for introducing introducing for sets a deadline former the latter while prosecutions, new of military hundreds to immunity grants who colonel rank of the below officers following been have to determined are Timeline (cont’d) Tango Dance & Music

A unique fusion of present and past characterizes the dance and music style of Arrabal. The Tango Dance and Music section of this Toolkit introduces the essential elements of traditional Argentine tango and elaborates on the materials from the Arrabal and the A.R.T. section of this Toolkit (pages 32-40), giving a vivid picture of the important cultural implications of the dance and music style inspiring the play.

In “There is No Audience” (pages 33-34), members of the Arrabal band Orquesta Bajofonderos talk about the traditions and experimental evolution of Argentinean tango.

In “A Brief History of Argentine Tango” (pages 35-36), learn more about how the tango form Tango Dance & Music developed in Argentina.

“Argentine Tango Styles” (pages 37-38) outlines the development of dominant tango dance styles in Argentina.

“10 Principles of Impeccable Tango Floor Craft” (page 39) introduces concepts of dance etiquette typical of Argentine tango.

“Bandoneon” (page 40) introduces the unique instrument, it’s development, and what sets it apart from other accordion instruments.

ARRABAL TOOLKIT 32 There Is No Audience: An Interview with Orquesta Bajofonderos Image: Evgenia Eliseeva Image: Evgenia

Orquesta Bajofonderos performing at a Milonga night at A.R.T.’s second stage OBERON. Image: Johnathan Carr Image: Johnathan

Music is at the heart of Arrabal. The show’s propulsive, electro-tango score (drawn from the music of Gustavo Santaolalla and his band Bajofondo) is played live by a five-piece ensemble. “Orquesta Bajofonderos,” as the band is called, is at the center of the action, playing for virtually all of Arrabal’s 90

minutes. Patricio “Tripa” Bonfiglio (Bandoneon) and Pablo Martín (Double Tango Dance & Music Bass/Ronroco)—both professional musicians active at the center of Buenos Aires’ tango scene—took a few minutes out of rehearsal to talk with A.R.T. Publications & Artistic Programs Fellow Robert Duffley about tango’s rich history and experimental, evolving present.

Audiences of Arrabal enter the theater to find themselves in a milonga, with dancers and musicians all around them. For audiences who might not have visited a tango club before, what is a “milonga”?

TRIPA: Milonga is a lot of things. It’s a subgenre of tango, and it’s also a place where people go to dance tango. The word comes from African languages—along with other words like , and tango, because the tango has roots, partly, in Africa, and also parts in Europe, the south of Italy, Spain, Poland. In Buenos Aires, at the end of the 19th century, there were a lot of immigrants—French, Italian, Russian, and Jewish people all living together. And tango comes out of that mixture, of all those peoples and cultures in one place, in Buenos Aires.

ARRABAL TOOLKIT 33 PABLO: The tango is a particular mix of all those pieces of things that people brought from their countries to Buenos Aires. The Bandoneon is a German instrument…

TRIPA: The strings come from Jewish and Eastern European music, the melancholy and lyric mood from Italy; there are elements of Spanish and African music. But it’s not a fusion. It’s a totally new thing, made by the people, not for the market.

PABLO: Tango comes from the music all those immigrant communities played in the big tenement houses. All those poor people, living together, invented it from scratch, and it’s greater than the sum of its parts.

Bajofondo, which created the music in Arrabal, is beloved in part for incorporating electronic elements into . How does the addition of electronic music interact with tango’s history?

TRIPA: It’s similar to what we were talking about earlier—the mixture between different styles of music that formed tango in the first place. And Orquesta Bajofonderos is a mixture, too. Each of us has his past. I play traditional tango, and with my group, Rascasuelos, I also play new music. We have a milonga of our own.

In a milonga, what is the relationship between the band, the dancers, and the audience?

PABLO: There is no audience. In a milonga, everyone dances. You can go to watch, but that’s rare—it’s a place to dance. Music, theater—I don’t know, thousands of years ago, there was no separation between audience and artists. When it was your turn, you danced; when it was your turn, you played; when it was your turn, you sang. And when it was your turn, you listened. Milonga is that. Something like 400, 500 years ago, theaters separated the stage and the people, but it wasn’t always that way.

TRIPA: The whole place is a show, which everybody together is part of. Some of them can be a little more orthodox, less open to change. But as a musician, for me, a milonga is place that I can try out new arrangements, new aesthetics, new music—I can see whether they work with the dancers. It feels like a laboratory—like you’re trying things all the time. It’s an investigation.

How does this concept of mixture—between peoples, cultures, and histories—influence the structure of Arrabal?

PABLO: Arrabal is a new thing. Again, created from scratch. The show starts with a tango lesson, and the dancers come offstage and interact with people. The idea is that you experience everything—I remember when they called me to ask me to be a part of the show, Tango Dance & Music they said, “You go through every state of emotion—through sexual arousal, through fear, crying, everything.” It’s really sensitive for us. Especially, in one sense, because we’re living our recent history onstage. We all have someone we knew who suffered , who’s still missing. And we are professionals—we come here and do our job, but as soon as you pinch the nerve, we can start crying in a second. So it’s challenging, and also thrilling.

TRIPA: It’s a bit of a catharsis for us. And on the other side, it’s also interesting to present this in the US—it’s important that people here know this history.

It’s a history that isn’t over, for you and so many others.

PABLO: It’s interesting for us, because we are the generation that is carrying the flag. We say, “Ni olvido, ni pardon,” like, “We don’t forget, and we don’t forgive,” and that’s the theme; never again. We don’t want this anywhere. Anywhere in the world.

ARRABAL TOOLKIT 34 A Brief History of Argentine Tango

Tango dancers at a Milonga, a dance style where there are no performers or audiences, but everyone participates together.

When talking about the history of the Tango, the reader should consider that although there were many ‘influences’ in the creation and life of the Tango, it is very important not to assume that it was some form of linear development. Whilst dances and music from around the world have had some influence, this rather detracts from the people who really created and evolved the Tango into its current form. These are the people of Buenos Aires, who in the bars, cafes and dance halls made the Tango, danced the Tango, lived, loved and occasionally died for the Tango. Tango Dance & Music It is the voice of the streets of Buenos Aires. Any suggestion that they may be dancing some sort of second hand steps or regurgitating music taken from Europe or Africa must be rejected as some what insulting to all the great milongueros who have danced and innovated down though years. It is equally insulting to the great Tango maestros who have drawn on their own life experiences when composing music. Almost certainly, the most important factor in the evolution of the Tango was the influence brought in by the Habanera, created in Havana, , and also known as the Andalusian Tango. Unfortunately there is now insufficient information to assess exactly how this was originally danced. The Habanera was based on the concept of a ’walk’, the same as the Tango. At some point the Milonga and The Habanera were fused to form the embryonic version of the Tango. At this point you have a dance which has influences from around the world. From about 1880, large scale immigration, most of whom were men, increased the

ARRABAL TOOLKIT 35 A Brief History of Argentine Tango (cont’d)

population Buenos Aires. One figure suggests that at one point the ratio may have been about 50 men for every woman. Men tempted by the idea of a better life and streets paved with gold, instead found a lonely squalid place with muddy streets and poor accommodation. Often they were stranded on the outskirts of the city and everyday became a struggle to survive. It is here in the brothels and bordellos on the back streets of Buenos Aires, that the Tango really came to life. These illegal brothels, most became known as Academies de Dance, were the massage parlors of their day. The dance had to be simple, so if the police raided the joint there would appear to be “dancing instruction” going on. The dance probably started out as some form of acting out of the relationship between the prostitute and pimp. This was often reflected in the titles of the first which referred to characters in the world of prostitution. It must also be noted that when written lyrics began to appear, women were often portrayed as evil temptresses, there to lead men into sin and degradation. At this time the dance was totally rejected by the upper class elite of Buenos Aires society as a dirty street dance, although many of the young well-to-do gentlemen would allegedly visit the ‘Dance Academies’ for instruction. Around 1880, a new instrument arrived from Germany, the Bandoneon. A difficult instrument to master but its wailing sound caught the very feeling of the Tango. It became inextricably linked to the music of the Tango, from then to now. From the early 1900’s, however, a new type of lyric began to appear: one recalling bygone times, often with a sad melancholia, recalling wasted lives, lost loves, unrequited love, the missing of a mother, the missing of your barrios [district] or street but most all, the love of the Tango itself. The lyrics were written in the language of the streets of Buenos Aires: Lunfardo, a mixture of Spanish, Italian, Native Creole and words strangely twisted. The change in the Tango lyrics may also have occurred at this time because it is thought that Tango was first demonstrated by the Argentinean playboy Ricardo Guiraldes in 1910/1911 in Paris. It was so different from the dances of the time and considered somewhat obscene. It challenged the conventions of acceptable public behavior of the time. The Comtesse Melainie de Pourtalis stated, upon seeing a demonstration of the dance in 1912, “Is one supposed to dance it standing up”. The dance was banned by the Pope after a private viewing, and Kaiser Wilhelm I forbade his officers to dance it whilst wearing their uniforms, effectively banning it from all state balls.

Yet the Tango survived, and evolved, thanks to the people of Buenos Aires. But it is not the Tango Dance & Music end of the story. In a way, the Tango is even more threatened today than in its early years. Why? Because of the creeping Europeanization of the dance. The Europeans and the North Americans see the dance in terms of “steps” and “I want more steps, and more steps”. More than anything else, the Tango is about a connection, an empathy between two people, the need to embrace, and be in the arms of another, to escape, albeit for just a brief moment of time, and in that moment, to live a lifetime… Tango must be simply danced, with immense feeling, with a sense of energy flowing between the dancers. This energy grows or decreases as the music ebbs and flows. It is a seduction, or a private conversation, something to be quietly shared, not publicly displayed.

This article was first published by the Tango Club of Albuquerque.Click here to read the full article.

Click here to watch a video about Argentine Tango.

ARRABAL TOOLKIT 36 Argentine Tango Styles

Argentine Tango is separated into two main types; social tango and stage tango. The formal name for all styles of social tango is Salon Tango (a salon is what a dance hall is called in Buenos Aires). Salon Tango places emphasis on connecting with your partner and the music, dancing in harmony with others in the salon (requiring good navigation skills), and good etiquette (called Códigos, or Codes). Stage Tango is danced for the entertainment of people watching, with emphasis on big, flashy movements. These two main groups of tango are further broken down into more specific ways of dancing (often referred to as a style). Tango Dance & Music Most people dance their own personal mix of several styles, and may even change how they dance based on conditions in the salon. In Buenos Aires they say if you watch ten couples dance Tango you will see ten different styles. Orillero-Style, Villa Urquiza-Style Tango Orillero style is a social style that originated in the late 1800’s. It is danced with a more upright body posture. The embrace can open and close, and is offset (with the follower slightly to the right side of the leader) and in a V (the embrace is close on leader’s right and open on the leader’s left). Villa Urquiza style has influences from Orillero style, but is danced in a smoother more refined way than the bouncy, rhythmic Orillero style. Both styles were more common in the suburbs of Buenos Aires where the dance floors were less crowded, allowing for more embellishments and use of more floor space. Milonguero-Style, Almagro-Style, Apilado, Estilo del Centro, Club-Style Milonguero-style tango is a social style danced with a slightly leaning posture that joins the couple at the chest. The couple maintains upper body contact, taking a minimum of

ARRABAL TOOLKIT 37 Elements of Argentine Tango (cont’d)

space on the dance floor. This style of dance was developed for the crowded dance floors in downtown Buenos Aires. It is also referred to as Apilado (“piled-up,” describing the look of the embrace), or Estilo del Centro (“Style of Downtown”). Although this style developed in the 1940’s, it was not called Milonguero-Style until the 1990’s by Susana Miller. The term created controversy, but at the time the term Salon Tango (which Milonguero Style is classified as) had been in wide-spread misuse by dance instructors who were actually teaching something closer to show tango with no emphasis on navigation or the códigos. Susana Miller taught this style with Oscar “Cacho” Dante in barrio Almagro in Buenos Aires, which is why it is sometimes called Almagro-Style. Tango Nuevo Tango Nuevo originally referred to the style of music pioneered by Astor Piazzola’s orquestra, decades before the dance style emerged. Tango Nuevo in reference to dance orginally did not refer to a particular style, but rather to tango’s evolution since it’s resurgence in Buenos Aires in the 1990’s. At that time Argentines new to tango, but experienced in modern dance, took an analytic approach to understanding tango. This method of analyzing and teaching tango has affected virtually all other styles of tango. Since the 1990’s, usage of the term Nuevo Tango has evolved and is now used to describe tango danced in an flexible embrace, upright posture, and emphasis placed on each dancer maintaining their own separate axis. It is characterized by large, showy moves, placing this style on the boundary of social and show tango. Fantasia, Escenario, Stage Tango, Show Tango Show Tango is usually choreographed and danced by professionals in stage shows and movies. It is frequently the first style of Tango seen by people outside Argentina. This style of Tango incorporates many steps from other styles of Tango and includes many elements from ballet and modern dance. It is danced very large and flamboyantly which is why it is a beautiful dance to watch. However, its lack of emphasis on navigation and the need for large spaces makes it unsuitable for social dancing.

This resource and more can be found in the Tango Club of Albuquerque’s collection of Argentine Tango resources here.

Click here to watch a video about Argentine Tango. Tango Dance & Music

ARRABAL TOOLKIT 38 10 Principles of Impeccable Tango Floor Craft By Daniel Boardman

1. Maintain a lane. When danced socially, tango is danced in strict circular lanes with couples advancing around the room in a counterclockwise direction (called “line-of- dance”). There may be one or more concentric lanes moving simultaneously. Once in a lane, avoid changing lanes during the dance.

2. Look before backing up. Never step backwards against traffic blindly. Likewise, avoid other movements that cause you or your partner to suddenly occupy space behind you in line-of-dance because the dancer behind you may have already begun advancing into that space.

3. Avoid passing. Tango is not a race. If the dancer in front of you is advancing more slowly than you would like, alter your dance so that it is more circular and less linear. Learn to dance well and happily without much forward advancement.

4. No parking. Standing and chatting with your partner between songs is fine, but keep an awareness of when the couples around you start dancing again and move accordingly. If the other dancers have begun to dance and you wish to continue your conversation, simply step off the floor so you don’t obstruct them.

5. Never zigzag. Cutting in and out of line-of-dance is very poor form and disturbing to the dancers you are cutting in front of. If you choose to dance in the center of the room, remain there throughout the song. If you dance in a given lane, finish the dance in that same lane.

6. Don’t monopolize the space. There are many styles of tango. Some require a relatively large amount of floor space; some require a minimal amount of floor space. All styles are fine under the right conditions. If a floor is crowded, dance small, not taking up any more space than any of your fellow dancers. If the floor is not crowded, and you are so inclined, dance large.

7. Avoid dangerous moves. Certain moves, such as high in-line boleos, can be dangerous on a crowded floor. Save them for less crowded conditions. Tango Dance & Music 8. Don’t talk, dance! Talking while dancing is bad form, reveals the dancer’s lack of presence in the moment, and is distracting to other dancers. Save the conversation for when the music stops. Teaching or correcting your partner is particularly inappropriate at a milonga. Save it for a practica.

9. Dance with the room. Endeavor to dance with an awareness of all of the dancers around you. Do not allow gaps in the line-of-dance in front of you to form as this will cause a pileup of dancers behind you. When the music begins, start dancing when the majority of other dancers do.

10. Ask before merging. Before stepping onto a crowded dance floor, if you are a leader, make eye contact with the leader whom you wish to enter the floor in front of. The leader should understand your request and indicate his assent with a nod or wink, and you may then enter line-of-dance. This resource and more can be found in the Tango Club of Albuquerque’s collection of Argentine Tango resources here. Click here to watch a video about Argentine Tango.

ARRABAL TOOLKIT 39 Bandoneon

The bandoneon was developed by Heinrich Band in the 1840’s. Although invented in Germany, it quickly made its way to Argentina and became synonymous with the Argentine tango. The first instruments were constantly being changed and most of the early versions of the instrument have different number of buttons in different positions on the face plates. In 1924, the number and positions of the buttons were standardized to include 72 buttons that cover a five octave range. Both the accordion and concertina were being developed around the same time as the bandoneon.

With the appearance of a square accordion, the bandoneon is actually closer to the

concertina (using all buttons rather than a traditional piano keyboard as the mechanism to Tango Dance & Music sound the notes). Each end of the bandoneon is a square wooden box containing a small reed organ operated by several rows of buttons. These boxes are connected by a folding bellows. Expanding and contracting the bellows provides air to the reed organs producing the sounds, and depressing the buttons directs air to the appropriate reed. The right side is a descant reed organ with 37 buttons for playing the melody notes. The left side is a bass reed organ with 35 buttons for playing bass notes. Unlike the accordion, the bandoneon buttons are not arranged like a normal keyboard and the bass buttons do not sound full chords. Each button can sound up to two notes, one note with the air flowing out (blowing as the bellows are compressed) and a second note with the air flowing in (sucking as the bellows are expanded). This means with 72 buttons there are 144 possible notes. This is arranged with 37 buttons (74 possible notes) on the descant side for the right hand and 35 buttons (70 possible notes) on the bass side for the left hand. The descant side also has a thumb lever that disengages the reed organ, so the bellows can expand or contract without sounding any notes.

This article was first published byArgentine Tango. Click here to read the full article online.

ARRABAL TOOLKIT 40 Lesson Plan: Movement Storytelling

OBJECTIVES

Through this exercise, featuring the music of Bajofondo in Arrabal, students will practice making connections between abstract concepts, music, movement, and storytelling. Through this exercise, students will work on the following skills: metaphorical thinking, social-emotional connection, musicality, communicating through body language, spatial awareness, critical thinking, and drawing thematic and emotional connections between diverse artistic media..

This activity is designed as a pre- or post-show activity before or after seeing Arrabal.

MATERIALS Sticky notes Paper Writing utensils Bajofondo music (see below) Speakers

SETUP The room should have enough open space for all students to walk around at the same without running into each other.

PROCEDURE

A. “CONNECTION”

1. Provide students with one piece of paper and one sticky note each.

2. Write the word “Connection” on the board.

3. Students brainstorm for 1-2 minutes about the word “Connection” and what that word means to them, recording their thoughts on their piece of paper.

4. Students choose one item from their brainstorm list to write on their sticky note.

5. One at a time, students read their sticky note out loud, and stick it on the board.

B. MOVEMENT: SPATIAL AWARENESS

1. Inform your students that this exercise will encourage them to tell a story through their bodies. This is not something to get anxious about. 2. Instruct students to walk around the room at what they consider to be their normal speed. On a scale of 1-10, their normal speed is a 5. Encourage the whole group to find a “5” they agree on. Lesson Plans 3. Guide students through different speeds, focusing first on larger shifts (i.e. from level 5 to level 1), and allow them to find different speeds from 1-10. • Students should not interact or speak with each other. Instead, they should focus on their own movement and try to fill all of the empty space in the room. • If students start to create a predictable pattern (usually a circle), encourage them to try different pathways. 4. Tell them to stop, sit, and sit down.

ARRABAL TOOLKIT 41 Lesson Plan: Movement Storytelling (cont.)

5. Check-in with the class about what they are feeling about the activity: • What was fun? What were the challenges? • What were you focusing on while you were moving? • Did you have a sense of being a part of a group? • What did the song make you feel? • How did it impact the way you moved? • Were you able to make any connections with anybody? Did you choose to do so? • How do you think what we just did relates to dance? C. MUSIC & MOVEMENT 1. Students find their own place to sit in the room with their paper, and a writing utensil. 2. Play a song by Bajofondo for the students. While listening, students write down descriptive words (adjectives) the music makes them think of. Music can be found here: • “Pide Piso”: https://www.youtube.com/watch?v=GnekEPW4Okg • “Cuesta Arriba”: https://www.youtube.com/watch?v=RuOWJVNlLzs • “Pa’ Bailar”: https://www.youtube.com/watch?v=riuF_Ur3unc 3. Students get up and walk around the space as before, this time while listening to the Bajofondo song. • Students move however they would like to the music. This exercise is for them to respond to the music they are hearing with their movement. They can continue to walk, they can dance, etc. • Students may also interact with one another, without words. • The group’s goal is to tell one collective story inspired by the music. 4. When the song has finished, have students break into groups of 4 or 5. 5. Each group chooses three of the descriptive words from their Bajofondo music brainstorm (3 words per group). 6. Each group has 10 minutes to create a 20-second movement piece telling a story of “connection” inspired by the three words they have chosen. 7. Once each group has finished working, each group shares their music piece with the whole group. 8. Discussion of each movement piece should include: What did you see? What words would you use to describe this scene? How would you summarize the story of this scene?

Starting Points for Reflection • What is something new you thought about during this activity? • What was challenging? Lesson Plans • How did the song influence your movements? • How does the activity we just did relate to dance or storytelling?

ARRABAL TOOLKIT 42 Lesson Plan: Arrabal History Tableau OBJECTIVES

Through movement and making personal connections, this exercise guides students to understand the historical background of Arrabal and the dictatorial military rule in Argentina more deeply.

MATERIALS Copies of articles “Final Countdown” (pages 21-22), “Blaming the Victims” (pages 23-25) and “40 Years Later” (pages 26-28) Copy of the timeline on pages 29-31 Scissors Paper and writing utensils Sticky notes

SETUP Have enough room for the students to move. Each student receives paper, sticky notes, and a writing utensil. Cut the timeline into slips (one slip per entry). Select a number (1 for every 3 or 4 students) of events to be the focus of the students’ analysis.

PROCEDURE 1. Write the word “Lost” on the board. 2. Give the students 1-3 minutes to write down words and phrases they relate to the theme “lost.” This is private and should be stream-of-consciousness. 3. Invite students to write anything they feel comfortable sharing on a sticky note. Give them 1-2 minutes to add their sticky notes to the board. Let them know that these will be read out loud. 4. Once all of the sticky notes are collected, read them out loud. 5. Pose a question for 1-2 minutes of silent reflection: “When you think of ‘losing someone’ what does that make you think of?’” 5. Explain that very recently (40 years ago), a military dictatorship kidnapped, harmed, and killed almost an entire generation of students, teachers, families, and more. 6. Explain that the students will learn about these events and they will respond to the events creatively. 7. Divide the class into groups of three or four. 8. Extension Option: Provide one of the three articles to each group. Allow them 10 minutes to read and summarize the article in 2-3 sentences. Each group may present their article to the full class. These articles may also be assigned as homework or in-class reading before this exercise. 9. Hand out slips of paper with events from the timeline, one per group. Lesson Plans 10. Each group brainstorms words that describe the event on their slip of paper. Each group should select 3 words from their brainstorm. 11. Give the students 5 minutes to create a tableau (a still picture pose involving everyone in the group) based on the the three words they have chosen, inspired by the timeline event and the idea of loss. • Encourage students to use gestures and movements that are not literal depictions of their event. • Encourage students to think about how each person can have a different role in the tableau.

ARRABAL TOOLKIT 43 Lesson Plan: Arrabal History

12. Extension Option: Give each group an additional slip of paper from the timeline for them to create a second tableau. After each group has two tableaux, they must find a creative way to move from the first tableau to the second, creating a short movement piece. 13. Each group presents their tableau to the whole class. Make sure to build-in time for reflection with each group, starting with audience reactions before allowing the presenting students to comment: • What kind of story is being told in this tablaeu? What is happening? What is each person doing? • How does this relate to the idea of loss? What other words would you use to describe this tableau?

Starting Points for Reflection Use the following questions to prompt discussion

• What did people lose during the years of the military regime in Argentina? • What parallels do you see in today’s world? • Why does something like this happen? • How do you think events like these affected arts and culture? Lesson Plans

ARRABAL TOOLKIT 44 Resources “Bandoneon.” Bandonen - Argentina Tango. Web. 08 May 2017. http://www.argentina-tango. com/bandoneon.htm

Goñi, Uki. “Blaming the victims: dictatorship denialism is on the rise in Argentina.” The Guardian. Guardian News and Media, 29 Aug. 2016. Web. 08 May 2017. https://www. theguardian.com/world/2016/aug/29/argentina-denial-dirty-war-genocide-mauricio-macri

Goñi, Uki. “40 years later, the mothers of Argentina’s ‘disappeared’ refuse to be silent.” The Guardian. Guardian News and Media, 28 Apr. 2017. Web. 08 May 2017. https://www. theguardian.com/world/2017/apr/28/mothers-plaza-de-mayo-argentina-anniversary

“Gustavo Santaolalla - How Movie Music Moves Us.” On Being. Web. 08 May 2017. https://www. onbeing.org/programs/gustavo-santaolalla-how-movie-music-moves-us/

Higgins, Mike. “Elements of Tango.” Tango Club of Albuquerque. Web. 08 May 2017. http:// www.abqtango.org/Documents/ElementsOfTango.pdf

“History of Argentine Tango.” Dance of the Heart. Web. 08 May 2017. http://danceoftheheart. com/wordpress/history-of-argentine-tango/

Ouzounian, Richard. “Sergio Trujillo talks about Arrabal.” Thestar.com. 23 Jan. 2014. Web. 08 May 2017. https://www.thestar.com/entertainment/stage/2014/01/23/sergio_trujillo_talks_ about_arrabal.html

“Quien Soy Yo?” Bravo, Estela. Las Abuelas de Plaza de Mayo. 2007. Film. https://www.youtube.com/watch?v=l5wGaHxt0zo

“The South American .” Street Musician – Guitar Blog. Web. 08 May 2017. http:// www.streetmusician.co.uk/charango/

Sulzberger, C. L. “Final Countdown for a Coup d’Etat.” The New York Times. The New York Times, 22 Nov. 1975. Web. 08 May 2017. http://www.nytimes.com/1975/11/22/archives/final- countdown-for-a-coup-detat-foreign-affairs.html

“Timeline: Argentina.” BBC News. BBC, 10 July 2012. Web. 20 Mar. 2017. Web. http://news.bbc. co.uk/2/hi/americas/country_profiles/1196005.stm

To view the full A.R.T. Toolkit Library, visit americanrepertorytheater.org/toolkits Resources

ARRABAL TOOLKIT 45