en el/at 1º encuentro internacional tango para músicos · tango. el encuentro prevé la rea- ......

34 B.A.TANGO Buenos Aires Tango Marzo a Junio 2014 35B.A.TANGO

Buenos Aires TangoMarzo a Junio 2014

Galería de Fotos / Photo Gallery

Más fotos en/More photographs on /Tito Palumbo - Fotos - Álbumes

1º Aniversario de La Milonga de Elsita, que organiza Elsa Amodio

En el/At Bar Los Laureles

En la/At the práctica Abrazando Tangos

Cumpleaños de/Birthday Party for Valerijs Jakovlevs

Doris Bennan (izq./Left), propietaria y directora/owner and director, y colaboradores/with assistants, Jean Pool, Elide Castelli, Soledad Nani y Marcelo Bottaro.

Los maestros Camila Fontán y Matías Díaz Camila Fontán (o) y Matías Díaz (x) con los alumnos

Los directores y alumnos de El Taller de Bucarelli festejaron el Fin de Curso/The directors and students of Bucarelli’s Workshop Year End of Classes Party

1º Encuentro Internacional Tango Para MúsicosSe realizará del 21 al 27 de Julio de 2014 en el Espacio para la Memoria (ex ESMA).

Está destinado a músicos de todas las latitudes que deseen acercarse, conocer, compartir y aprender todos los elementos técnicos fun-damentales de la música del tango.

El Encuentro prevé la rea-lización de diversas clases, prácticas grupales, charlas-debate, clases magistrales y conciertos públicos.

El equipo docente incluye a: Ramiro Gallo, Ignacio Varchausky, Diego Schissi, Julián Peralta, Exequiel Mantega, Paulina Fain, Federico Pereiro, Hernán Pos-setti, Gustavo Hunt, Patricia Andrade, Adrián Enríquez, Adrián Lacruz, Jorge Jews-bury, entre otros.

Organizan: Tango Sinfín y la Secretaría de Cultura de la Presidencia de la Nación.

Contactos para mayor información: Blog: http://tangoparamusicos.wordpress.com; e-mail: [email protected]; Web: www.tangoparamusicos.org; Face-book: TangoParaMusicos.

Educación

Translation on page 62 Translation on page 57

Espectáculo

Y ahora le toca al tango. Flavio Mendoza viene triunfado con sus espectáculos “Stravaganza” que presenta en Buenos Aires y en Villa Carlos Paz. Allí desplie-ga impactantes coreografías, delirantes escenografías, con abundancia de acro-bacias acuáticas y brillantes vestuarios.

El exitoso director y coreógrafo decidió apostar a nuestro género popular. A mediados de este año estrenará en el Teatro Broadway “Stravaganza Tango. Sin reglas para el amor”, junto con Ariel Diwan su habitual productor. Contará una his-toria enlazada con nuestra música ciudadana y el folklore, con acrobacias. Habrá bailarines, una orquesta en vivo -40 personas en escena-, un despliegue escenográfico imponente, una panta-lla gigante y el agua como elemento sorpresa.

Ya han sido contratados para encabezar el elenco el actor Nico Vázquez, quien tiene realizada una larga carrera en la televisión (Mis amigos de siempre, Solamente vos, Casi ángeles, Son amo-res, etc.). El actor se pondrá en la piel de un poeta tanguero que reivindicará el amor homosexual. Comparte la cartelera con la bailarina Melina Sol Greco -que ya viene actuando en los espectáculos Stravaganza-, profesora de danza clásica y contemporánea; volcada al tango se presentó con exhibiciones en varias milongas porteñas, donde tuvo como parejas a Junior Cervila, Lucas Molina Gazcón, Fernando Andrés Rodríguez y Cristian Bravo.

Stravaganza Tango

Flavio Mendoza



Verónica y Omar Escudero; Marisa Otero (cantante) en Padre Tango; Luis Migliori y su Orquesta Típica; Fernando Rezk (bandoneón), Marcela Pedretti (piano) y artistas invi-tados en Musamistonga; y un demo Tango Crash.

En materia de espectácu-los mencionamos ¡Volá, vení, volá!, una autobiografía de Horacio Ferrer, con Héctor Gióvine, Javier Di Ciriaco, Andrea García y Ana María Hlousek, con dirección de Héctor Gióvine, en el Teatro

de la Comedia; Argentina todo un show, una revista musical con Nito Artaza, Valeria Lynch, Raúl Lavié, Juan Carlos Copes, Johana Copes, Freddy Villarreal y María Eugenia Ritó, la dirección coreográfica de Eleonora Cassano y dirección general de Nito Artaza, en el Teatro Broadway; Animal Porteño con Marcela Paoli, Julio Zurita y Pablo Jaite, dirigidos por Marcela Paoli, en el Teatro del Nudo.

Los nuevos bailes fueron, entre otros, los de Héctor Valle y Alberto “Bachi” Valle los jueves en el Salón Señorial y los viernes en Villa Malcolm; Alejandro Peña en el Salón Reduci, Guillermo Scrinzi en una galería de Caballito; Irene Cataxinos y Raúl Da Silva en Altos de Ilusión; Adriana Torrez en el Club Ciudad de Buenos Aires, que luego continuó Julio Medrano; Adriana Jablonskis en el Club La Independencia; Marcela Alam y Román Alberio en el Club Inca; Silvia Dopacio en la Asociación Genovesa Argentina – Carboneros Unidos; Tito Gómez, Leandro Gómez y Javier Guiraldi en el Club Platense; Norma Bagnuolo en Afiche Pub; Irene Cataxinos en Sin Rumbo; Paula Ferrío, Victoria De Paolo y Sol Aguilar en el Club La Independencia; Alicia Sabatino y Antonio Barone en Delu; Ricardo Suárez, Luis Trapasso y Cito Pareja en Mi Club.

Las ilustraciones de tapa de las ediciones de esos meses pertenecían a los

artistas plásticos Juan Carlos Liberti, René Abate, Sigfredo Pastor y Chilo Tulissi.

Los artículos destacados fueron: El Tango nació en Inglaterra (Tito Palumbo) y El Tango ¿sana? (Jéssica Grum-berg). Carlos Medrano publi-caba su primera colaboración, Planeta Tango, caminatas espa-ciales antitiempo.

En las Galerías de Fotos aparecían, entre otros, Celia Blanco, Carlos Rossi, Mimí L. de Santapá, Carlos Rivarola y Héctor “Negro” Firpo, Stella Díaz y Las Del Abasto, Emilio López, Chiri Ortuño y Rubén Harymbat, Irma y Rodolfo Ruiz, Juan Vattuone con Carlos Avilano y Horacio Avilano, Eladia Blázquez, Elena Sakowski de López, Judy Mar-golis, Tati Caviglia, Delia Luisa Nasra y Luis Filipini, Néstor Valle, Nélida de Villarrazo y “Bachi” Valle, Lydia Elman de Pugliese, Lean-dro Porcellini, Rita Porto de Ruggiero y Maria-no Ávalo, Luis Trapasso, Adriana Jablonskis, Adriana Torrez, Myriam Garello, Mariana Avena, Chavela Vargas y Omar Viola, Silvia Ceriani y Tete Rusconi, Néstor Marconi, Bea Diez, Roberto Firpo y Lila Oliva, Gloria Gatti.

Entrevistamos a Silvina Scalisi y Mariano Galeano maestros de baile y directores de un espectáculo de tango. También, a Cristina “Cris Chimbela” Martínez quien le enseñaba a bailar a Miguel Gaspareti, ciego y sordomudo.

Publicamos los cuentos de Laura Nicastro La elegida, de Daniel Suárez ¡Basta de milon-gueros!, y de Juan Lencina Rubí.

Escuchamos los discos Tango por Tres con los cantantes Alberto Morales, Virginia

Hace 10 años

Translation on page 56

- He gets so possessed with tango that he fell from his chair several times.

FRASES LINDAS QUE DICEN LOS HOMBRES EN LA MILONGA

“Solamente te falta la coro-na y ya sos una reina”.

“You only need the crown and you’re a queen.”

(María Teresa Carrillo)

“Bailar con vos es como bailar con un ángel entre las nubes”.

“Dancing with you is like dancing with an angel in the clouds.”

(Jorge Ferrazzi)

“Desde lejos he venido galo-pando en un mancarrón, solo para pedirte que bailemos este milongón”.

“I’ve come from far away riding a horse, only to ask you to dance this milongón”.

(Alicia “Alis” Ramos)

“Tus movimientos son muy seductores”.

“Your moves are very seductive.”

(Paola Ligorassa)

Lie to me, I like it



Cumpleaños / Birthdays

MARZO/MARCHTOMÁS BARNA (87). El 11. Poeta, crítico, ensayista, dramaturgo, con-ferencista y guionista de cine/Poet, critic, essayist, playwright, lecturer and scriptwriter.ALFREDO SADI (76). El 14. Cantor, guitarrista y compositor/Singer, guitarist and composer.GABI SODA (n. Gabriel Sodini). El 15. Bailarín, organizador de bailes y empresario/Dancer, organizer of milongas and entrepreneur.JESICA MARCHETTI. El 17. Bailari-na y enseñante/Dancer and teacher.DANIEL JOSÉ BINELLI (68). El 20. Bandoneonista, compositor, arreglador y director/Bandonionist, composer, arranger and conductor.RODOLFO MEDEROS (74). El 25. Bandoneonista, compositor, arreglador y director/Bandonionist, composer, arranger and conductor.JUAN LENCINA. El 25. Milonguero, enseñante y organizador de bailes/Milonguero, teacher and organizer of milongas.SILVIO WILLIAMS SOLDÁN (79). El 26. Locutor, autor, presentador y animador/Radio and TV entertainer and author.HÉCTOR NEGRO (n. Héctor Varela) (80). El 27. Poeta y autor/Poet and author.

MARÍA BALBUENA “NINA”. El 28. Bailarina y profesora/Dancer and teacher.“EL GALLEGO MANOLO”

(n. Manuel María Salvador) (82). El 29. Bailarín y profesor/Dancer and teacher.JORGE SPESSOT (39). El 30. Bando-neonista/Bandonionist.ROBERTO BASCOY (64). El 31. Can-tante/Singer.

ABRIL/APRILEDUARDO PÉREZ (44). El 1º. Baila-rín, enseñante y organizador de los bailes La Baldosa/Dancer, teacher and organizer of the milonga La Baldosa (The Tile).MIGUEL ÁNGEL BARCOS (74). El 2. Pianista y compositor/Pianist and composer.ARCE, EDUARDO. El 3. Bailarín y

enseñante/Dancer and teacher.ARIEL ALBERTO RODRÍGUEZ (42). El 3. Pianista/Pianist.HÉCTOR MORANO (80). El 5. Can-tor/Singer.CÉSAR ROJAS (41). El 7. Bailarín y enseñante/Dancer and teacher.ANA MARÍA DI NARDO. El 7. Baila-rina y fisioterapeuta/Dancer and physiotherapist.JUAN PABLO NAVARRO (43). El 9. Contrabajista/Contrabassist.JUAN CARLOS MIÑO. El 10. Baila-rín y enseñante/Dancer and teacher. JANIS KENYON. El 11. Bailarina y escritora/Dancer and writer.ENRIQUE LANNOO “QUIQUE” (74). El 13. Cellista, compositor y director/Cellist, composer and conductor.FLORENCIO EZEQUIEL “LITO” PEREYRA. El 14. Locutor/Enter-tainer.MARTA FAMÁ. El 16. Baila-rina, enseñante y organizadora de bailes/Dancer, teacher and milonga organizer.SUSANA VARGAS. El 17. Bailarina y musicalizadora/Dancer and DJ.JORGE DANIEL RUTMAN (69). El 17. Pianista, bandoneonista y director/Pianist, bandonionist and conductor.CANÉ, SUSI (n. Mirta Susana Amalfi). El 19. Cantante e instruc-tora/Singer and teacher.EDUARDO CHORÉN (74). El 20. Bailarín y musicalizador/Dancer and DJ.FERNANDO SOLER (n. Carlos Alberto Taccari) (56). El 21. Cantor y empre-sario/Singer and entrepreneur.LINA AVELLANEDA (n. Liliana Pane). El 23. Cantante y autora/Singer and lyricist.ROBERTO AYALA (n. Agustín Félix Gutiérrez) (71). El 24. Cantor/Singer.

OSCAR HÉCTOR MALA-GRINO. El 24. Organi-zador de bailes y espectáculos. Productor radial/Milonga and show organizer. Radio program

producer.CRISTIAN ZÁRATE (39). El 26. Pianista y arreglador/Pianist and arranger.

“A PURO TANGO” SALÓN CANNING (14). El 29. El baile de los sába-dos que organizan Darío Rodríguez/Saturday milonga in Salón Canning organized by Darío Rodríguez.MARIO ORLANDO (55). El 29. Musi-calizador/DJ.CLAUDIO BERGÉ (n. Horacio Pala-cios). El 29. Cantor y productor radial/Singer and radio programs producer.SEXTETO MAYOR (40). El 29. Creado por José Libertella y Luis Stazo/Created by José Libertella and Luis Stazo.PABLO ANTONIO AGRI (46). El 29. Violinista/Violinist.ELENA SAKOWSKI DE LÓPEZ. El 30. Bailarina y organizadora de bailes/Dancer and milonga organizer.

MAYO/MAYALEJANDRO SAVERIO PREVIGNA-NO (74). El 2. Bandoneonista/Bandonionist.LISANDRO ADROVER (69). El 3. Bandoneonista, compositor, arreglador y director/Bandonion-ist, composer, arranger and con-ductor.JUAN “NITO” GARCÍA. El 5. Baila-rín y enseñante/Dancer and teacher.

AURORA LUBIZ. El 5. Bailarina, profesora y coreógrafa/Dancer, teacher and choreogra-pher.ROBERTO DANIEL

ÁLVAREZ (74). El 7. Bandoneo-nista, compositor, arreglador y director/Bandonionist, composer, arranger and conductor.“EL TANGO Y SUS ESTRELLAS” (57). El 8. Decano de los programas radiales; creado y dirigido por Jorge Serrano “Serranito”/Doyen of radio programs; created by Jorge Serrano “Serranito”.“FLOREAL MILONGA” (3). El 8. Milonga que organizan los domin-gos Marcelo Lavergata y Lucila Bar-dach/Milonga organized on Sundays by Marcelo Lavergata and Lucila Bardach.RAÚL CARDÁ (74). El 10. Cantor/Singer.SUZUKI AVELLANEDA. El 11.

er, teacher and actress.PABLO INZA. El 30. Bailarín y pro-fesor/Dancer and teacher.

JUAN CARLOS COPES (83). El 31. Bailarín, coreógrafo, director de escena y maestro/Dancer, choreographer, producer and Maestro.

MARTHA ANTÓN. El 31. Bailarina y profesora/Dancer and teacher.

JUNIO/JUNERAÚL ALBERTO VOLINIER (72). El 2. Pianista/Pianist.ARIADNA NAVEIRA (25). El 2. Bailarina y enseñante/Dancer and teacher.HORACIO ARTURO FERRER (81). El 3. Poeta, ensayista y productor/Poet, essayist and producer.SILVIO ACOSTA (76). El 4. Contra-bajista/Contrabassist.RUBÉN DARÍO LÓPEZ. El 7. Organi-zador de milongas y DJ/Milonga organizer and DJ.PATRICIO COTELLA (42). El 10. Contrabajista y compositor/Contra-bassist and composer.

“CACHO” CASTAÑA (n. Humberto Vicente Cas-tagna) (72). El 11. Can-tor, actor, pianista, gui-tarrista, compositor y autor/Singer, actor, pia-

nist, guitarist, composer and lyricist.MAURICIO MARCELLI (73). El 12. Violinista, compositor, arreglador y director/Violinist, composer, arrang-er and conductor.LUIS MIGLIORI (72). El 14. Bando-neonista, director y representante/Bandonionist, conductor and artists representative.JUEVES MUSICALES (9). El 14. Baile que organizan Horacio Lenardón y Elvira Roldán en Tía Lola, Lanús/Milonga organized by Horacio Lenardón and Elvira Roldán at Tía Lola, in Lanús.HORACIO ADOLFO SALGÁN (98). El 15. Pianista, compositor, arregla-dor y director/Pianist, composer, arranger and conductor.NÉSTOR EUDE MARCONI (72). El 16. Bandoneonista, compositor, arreglador y director/ Bandonionist,

composer, arranger and conductor.MARÍA CARMEN GRAÑA. El 16. Cantante/Singer.ALEJANDRO NORBERTO FILARDI (86). El 18. Bailarín y enseñante/Dancer and teacher.TANGO QUEER (11). El 20. Milon-ga amigable que organiza los martes Mariana Docampo en el Club Buenos Aires/Gay-friendly milonga organized on Tuesdays by Mariana Docampo at Club Buenos Aires.LUIS ANTONIO STAZO (84). El 21. Bandoneonista, compositor, arreglador, director y productor/Bandonionist, composer, arranger, conductor and producer.JORGE FIRPO. El 22. Bailarín, coreógrafo y profesor/Dancer, cho-reographer and teacher.GUILLERMO ALIO (64). El 25. Pin-tor y bailarín/Painter and dancer.OMAR VIOLA (60). El 26. Actor, mimo, autor y organizador de los bailes Parakultural/Actor, mime, author and organizer of the Parakul-tural milongas.ACADEMIA NACIONAL DEL TANGO (24). El 28. Institución oficial/Official institution.LEONARDO MARCONI (41). El 28. Pianista/Pianist.LA MILONGUITA (11). El 29. Baile que organiza Graciela López/Milon-ga organized by Graciela López.

JULIO/JULYATILIO ANTONIO STAMPONE (88). El 1º. Pianista, compositor, arreglador y director/Pianist, com-poser, arranger and conductor.GABRIEL SORIA (42). El 2. Colec-cionista, historiador y periodista/Collector, historian and journalist.DIEGO ALVARO. El 9. Actor, baila-rín, profesor y organizador de los bailes “El Abrazo Tango Club/Actor, dancer, teacher and organizer of the milongas “El Abrazo Tango Club”.MARINA OLIVERA. El 9. Bailarina/Dancer.CLUB BOHEMIOS (76). El 9. Donde funciona los sábados la milonga “Alma de Bohemio”/Where the milonga “Bohemian’s Soul” takes place on Saturdays.

Bailarina y enseñante/Dancer and teacher.CARLOS COSTES (58). El 11. Bailarín y enseñante/Dancer and teacher.MARIO ALLAN “ALITO” CANDAMIL (85). El 13. MilongueroOSVALDO RAMOS (81). El 13. Can-tor/Singer.RÁUL “TITO” SADI (69). El 15. Cantor, compositor, autor, guita-rrista y arreglador/Singer, compos-er, lyricist and arranger.ADRIANA TORREZ. El 15. Organi-zadora de los bailes “Círculo Trova-dor” /Organizer of milongas “Círculo Trovador”.ESTEBAN RIERA (34). El 16. Can-tor/Singer.CELIA BLANCO. El 17. Bailarina, profesora, coreógrafa y organiza-dora de milongas/Dancer, teacher, choreographer and milonga organ-izer.GIORGIA MARCHIORI DE GUAR-DIOLA. El. 17. Actriz, mimo, bailarina, enseñante, doctora en Filosofía. Codirectora de la Cía. TangoTeatro/Actress, mime, dancer, teacher, Ph. D., TangoTeatro Com-pany coproducer.JUAN ESTEBAN CUACCI (41). El 19. Pianista/Pianist.DOMINGOS “RITMOS, TANGO Y COLOR” (8). El 20. Baile que organizan Horacio Lenardón y Elvira Roldán en Tía Lola, Lanús/Milonga organized by Horacio Lenardón and Elvira Roldán at Tía Lola, in Lanús.DANIEL JOSÉ BINELLI (68). El 20. Bandoneonista, compositor y director/Bandonionist, composer and arranger.HUGO LOMAGNO. El 21. DJ y organizador de milongas/DJ and milonga organizer.CARLOS GALVÁN (74). El 22. Ban-doneonista y director/Bandonionist and conductor.MARGARITA GUILLÉ. El 25. Milonguera.FRANCISCO LLANOS (n. Francisco Goggeano) (61). El 25. Cantor, pia-nista, compositor y autor/Singer, pianist, composer and lyricist.NANCY ADRIANA LOUZÁN. El 29. Bailarina, enseñante y actriz/Danc-



EDUARDO MICHELI, escri-bió, “Estimado Sr. Palum-bo: Recibí sus envíos, como siempre muy interesantes y completos para nuestro ambiente tanguero.Asisto a las milongas desde el año 30, siendo niño y acompañando a una hermana que ganó el Campeonato de Tango del año 1937 en pareja con Juan Sarquis (el Turquito de Villa Crespo) en el Prín-cipe George Hall y que pos-teriormente en el año 1940 ganó con el mismo compa-ñero el concurso de vals y milonga en el Luna Park.Pude ver bailar al Cachafaz,

a los Méndez, a Tarila, a Petróleo y muchos más.Será por eso que me satisface plenamente toda su infor-mación, en especial la página de los recuerdos, por cuanto me permite evocar aquellos tiempos de bailarines que ya no están. Un cordial saludo Tanguero deseándole Feliz Año Nuevo, esperando continuar comu-nicándonos”.

CARLOS E. GIMENO, titular de El Folklore Argentino: “Excelente trabajo, Tito, ojalá pudiera llegar con esa calidad en lo relativo al

resto del folklore argentino. ¡Felicitaciones! Y gracias por todo este valioso material que compartes con nosotros. Abrazo folklórico”.

CLYDE TRUJILLO y MIGUEL HUANCÓ, de Córdoba, “Queri-do Tito. Es un placer saludarte por estas fiestas de Navidad y Año Nuevo. Te agradecemos la revista que cada día dis-frutamos más y distribuimos a nuestros alumnos. Hubo durante el año artículos muy interesantes que aprovechamos para comentar con la gente que tenemos en La Maleva de Cór-doba. Abrazos”.

JUAN CARLOS COPES, Maestro de Tango, escribió: “Gracias Tito, hermosas fotos! y estuve viendo tu revista y me gustó mucho el formato y en que forma la encaraste, cambiaste el perfil, el formato y es cómoda con una gran info, es como una guía. Un abrazo”.

CARLOS STUPAK, desde Alemania: “Querido Tito.....!!!!! viviendo a más de 10.000 km de distancia reci-bir información tanguera y de la calidad que vos ofreces es un placer inmenso... Aquí, en Alemania, soy uno de los que reparte tu B.A TANGO – Buenos Aires Tango entre tangueros conocidos. Muchas gracias. Un abrazo”.

OSVALDO VÁZQUEZ, “Tito... llega a conmover tanto servi-cio, tanta cordialidad....más que gracias mi reconocimien-to a su laburo, infatigable que me imagino hace con mucho amor sino no habría estos

resultados....salud y suerte”.

JOSÉ MA, “Estimado Tito: Recibí con el placer de siem-pre el envío del excelente su material. Muy agradecido y lo aliento a seguir bregando por esta pasión tanguera que nos convoca. Abrazo!”

EUGENIA VÁZQUEZ, envió

un mail: “Respetado Tito.!! Admiro su trabajo y compro-miso con el tango y también admiro y mucho su compro-miso social y total apoyo a la familia de Alan Tapia! Envío mi afectuoso saludo y hasta el próximo Boletín!!



Mensajes - Cartas - Facebook y Correo-e

Hijos del Trabajo. Templo masónico en San Antonio 814, barrio de Barracas/Sons of Labor. Masonic shrine at 814 San Antonio St.,

Barracas neighborhood (Foto B.A.Tango)

Nelly Omar (n. Nilda Elvira Vattuone). El 20 de diciembre de 2013 a los 102 años. Cantante, composi-tora y actriz. Desde muy niña manifestó su vocación por el canto. A los 13 años,

a poco de llegar de Guaminí (prov. de Buenos Aires) su ciudad natal, actuó en Buenos Aires. En la década del 30 formó dúo con su herma-na Nélida con quien hacía canciones nativas, mientras que los tangos los cantaba ella como solista. Se la llamó “La Gardel con polleras”. Participó durante años en programas radiales y realizó giras por el interior. Fue actriz en las películas Canto de amor (1940) y Melodías de América (1942), y participó en el documental Café de los Maestros (2008). Tuvo un sostenido y conflictivo romance con Homero Manzi, hasta su muerte en 1951. Después del golpe de estado contra el gobierno del general Perón en 1955 (Revolución Libertadora) fue proscripta de los medios radiales y televisivos por su

Nos dejaron y los recordamos

adhesión a la causa peronista; se exilió a Uru-guay y, luego, a Venezuela. Volvió a actuar en la década siguiente, y realizó presentaciones en escenarios y en televisión hasta muy reciente-mente –dio recitales en el Luna Park en 2009 y en 2011–. Le concedieron muchas distinciones y fue declarada Ciudadana Ilustre de la Ciudad de Buenos Aires en 1996.

“Pocho” Palmer. El 28 de febrero de 2014. Bandoneonis-ta. Acompañó a cantantes como Alberto Podestá, Juan Carlos Godoy, Roberto Guiet, Juan Darthés, Lidia Borda, María Graña, Alicia Pometti,

María José Mentana, Carolina Winograd y otros. Fue director musical de la tanguería “La Casa de Aníbal Troilo”, actuó en la compañía Tango x Dos de Miguel Ángel Zotto. Dirigió conjuntos, integró las orquestas de Omar Valen-te, Color Tango -dirigida por Amílcar Tolosa- y, en los últimos años, la de Fabián Bertero.

Metimos la pataEn Cumpleaños de la edición Nº 216, pág. 39, aclaramos que Luis Guevara cumplió 78 años.

ErrataIn issue Nº 216, page 39, “Birthdays”, we clarify that Luis Guevara became 78 years old.

MATEO DI LERNIA ERMOCIDA. El 17 de marzo de 2014. Hijo de Pablo Di Lernia y Lorena Ermocida. En Sanatorio de la Trinidad Palermo. Peso al nacer, 3,950 kg. ¡Congratu-laciones!

BirthMATEO DI LERNIA ERMOCIDA. On March 17, 2014. Son of Pablo Di Lernia and Lorena Ermocida. At the De la Trinidad Sanatorium. His birth weight was 8 lb 11.33 oz. Congratu-lations!

Nacimiento



Galería de Fotos / Photo Gallery

Más fotos en/More photographs on /Tito Palumbo - Fotos - Álbumes

1º Aniversario de La Milonga de Elsita, que organiza Elsa Amodio

Inauguración de/Opening of Soho Tango en/at Salón Canning

Cumpleaños de/Birthday Party for Norma Fonseca, organizadora de/organizer of La Milonga de Norma

Nilda Boragno y Alberto Olguin

Norma Fonseca (x) Norma Fonseca (x)

Vista del salón/View of the dance hall

Comisión directiva, organizadores y colaboradores en/Board of Directors, organizers and assistants at Saraza Tango



Nuevos Bailes y Nuevos Organizadores / New Milongas and New Organizers

ROBERTO MARCOBELLI y LILIANA NAPOLI trasladaron su milonga “Lilian” al Bar del Glorias. Los próximos bailes se realizarán en días domingo, de acuerdo al siguiente programa: Mayo 11 y 25 – Junio 8, 22 y 29 – Julio 13 y 27. De 20 a 1 hs., en Andalgalá 1982 (alt. Av. Juan B. Alberdi 6900). Infor-mes y reservas al tel. 15-45 50-30 25.

ROBERTO MARCOBELLI and LILIANA NAPOLI moved their milonga “Lilian” to “Bar del Glorias”. The next milongas are scheduled for the following Sundays: May 11 and 25, June 8, 22 and 29, and July 13 and 27; 8 p.m. - 1 a.m. The address: 1982 Andalgalá St. (@ 6900 Juan B. Alberdi Av.) For information and reservations phone 15-45 50-30 25.

EUGENIA MARTÍNEZ y GASTÓN RODRÍGUEZ BARA-BASCH, trasladaron su baile “Soho Tango” al tradicional Salón Canning. Los jueves de 22,30 a 4 hs., en la Av. Sca-labrini Ortiz 1331. Informes y reservas a los tels. 15-36 88-13 88/15-58 20-70 17.

EUGENIA MARTÍNEZ and GASTÓN RODRÍGUEZ BARABASCH, moved their milonga “Soho Tango” to the traditional Salón Canning. On Thursdays, 10:30 p.m. – 4:00 a.m. at 1331 Scalabrini Ortiz Av. For information and

reservations phone 15-36 88-13 88/15-58 20-70 17.

JUAN STEFANIDES y MARIE-LA CHAVES pasaron su “Milonga del Club Arquitec-tura” al segundo sábado de cada mes. De 20,30 a 2,30 hs. en la Av. Francisco Beiró 2116. Informes y reservas al tel. 15-66 63- 41 70.

JUAN STEFANIDES and MARIELA CHAVES organi-ze their “Milonga del Club Arquitectura” on the second Saturday of the month. 8:30 p.m. – 2:30 a.m., at 2116 Francisco Beiró Av. For information and reservations phone 15-66 63- 41 70.

ANA BOCUTTI y DANIEL BLANCO pasaron su baile “Yira Yira Milonga” de los viernes, de 23 a 4 hs., al Centro Región Leonesa, Humberto Iº 1462. Informes y reservas a los tels. 15-33 59-67 10/15-50 21-46 85.

ANA BOCUTTI and DANIEL BLANCO moved their Friday “Yira Yira Milonga”, 11:30 p.m. - 4 a.m., at Centro Región Leonesa, 1462 Hum-berto Iº St. For information and reservations phone 15-33 59-67 10/15-50 21-46 85.

LOLA VILAR inauguró su milonga “Alo Lola”. Los jueves de 21 a 2,30 hs. en el moderno salón Obelisco Tango, Av. Entre Ríos 1056.

Informes y reservas a los tels. 46 13-71 80/15-63 60-19 84.

LOLA VILAR inaugurated her milonga “Alo Lola”. On Thursdays, 9 p.m. – 2:30 a.m., at the modern Obelisco Tango dance hall, 1056 Entre Ríos Av. For information and reservations phone 46 13-71 80/15-63 60-19 84.

JORGE DI CAPUA y DANIEL GALIZIA, agregaron un nuevo día a sus bailes en el histórico Marabú. “Maracai-bo”, los jueves, con muchos tangos, valses y milongas, de 21 a 2 hs. En Maipú 359. Informes y reservas al tel. 43 93-01 07.

JORGE DI CAPUA and DANIEL GALIZIA added a new milonga “Maracaibo” at the historical Marabú dance hall. On Thursdays, with a lot of tangos, milongas and valses, 9 p.m. – 2 a.m., at 359 Maipú St. For informa-tion and reservations phone 43 93-01 07.

MARCELO LAVERGATA y LUCILA BARDACH, organizan “La Milonga del Morán” el tercer sábado de cada mes. De 21,30 a 3 hs. en el Club Pedro Morán, Pedro Morán 2446. Informes y reservas al tel. 15-59 62-31 95.

MARCELO LAVERGATA and LUCILA BARDACH organize “La Milonga del Morán” on the

third Saturday of the month. 9:30 p.m. - 3 a.m., at Club Pedro Morán, 2446 Pedro Morán St. For information and reservations phone 15-59 62-31 95.

LUCÍA RINALDI, DEVIN NG y GASTÓN RUIZ vienen organizando su “Milonga Sin Gomina” en el salón ubicado en Chile 1351. Los viernes de 21,30 a 2 hs. Informes y reservas a los tels. 15-68 63-47 79/15-58 88-68 29.

LUCÍA RINALDI, DEVIN NG and GASTÓN RUIZ have been organizing their “Milonga Sin Gomina”. Fridays, 9:30 p.m. – 2 a.m. at the dance hall at 1351 Chile St. For information and reservations phone 15-68 63-47 79/15-58 88-68 29.

LORENA BOUZAS “LA CHI-QUI”, inició su baile “Yunta de Oro”. Los viernes en el salón de la Asociación Nazio-nale Italiana (La Nacional), de 21 a 4 hs., en Alsina 1465. Informes y reservas al tel. 15-38 76-69 57.

LORENA BOUZAS “LA CHIQUI”, inaugurated her milonga “Yunta de Oro”. Fri-days at Asociación Nazionale Italiana (La Nacional) dance hall, 9 p.m. – 4 a.m., 1465 Alsina St. For information and reservations phone 15-38 76-69 57.

JUAN MANUEL RIERA y ANDRÉS LAZA MORENO

abrieron su baile “Royal Pigall”. Los miércoles de 22,30 a 3,30 hs., en El Beso, Riobamba 416. Informes y reservas a los tels. 15-54 59-31 05/15-63 54-12 68.

JUAN MANUEL RIERA and ANDRÉS LAZA MORENO organize their milonga “Royal Pigall” at El Beso dance hall. Wednesdays, 10:30 p.m. – 3:30 a.m., 416 Riobamba St. For information and reser-vations phone 15-54 59-31 05/15-63 54-12 68.

FLORENCIA GARESIO y SEBASTIÁN JULIEN iniciaron su propuesta bailable “La Milonga del Bichito”. Los martes de 22 a 2 hs., en el Club La Independencia, Av. Independencia 572. Infor-mes y reservas al tel. 15-61 77-58 13.

FLORENCIA GARESIO and SEBASTIÁN JULIEN inaugu-rated their “La Milonga del Bichito”. Tuesdays, 10 p.m. – 2 a.m., at Club La Inde-pendencia, 572 Independen-cia Av. For information and reservations phone 15-61 77-58 13.

ORLANDO SECO y EDUARDO FLORES organizan “Mala Junta”. Los sábados de 22 a 4 hs., en Dionisio Resto Bar, B. Rivadavia 164, Moreno (Gran Buenos Aires – Oeste). Informes y reservas a los tels. 15-30 88-71 34/15-59 97-84 39.

ORLANDO SECO and EDUAR-DO FLORES organize “Mala Junta”. Saturdays, 10 p.m. – 4 a.m., at Dionisio Resto Bar, 164 B. Rivadavia St, Moreno (Greater Buenos Aires – West.) For informa-tion and reservations phone 15-30 88-71 34/15-59 97-84 39.

EDUARDO FLORES abrió su baile “Milonga Real”. Los domingos de 20 a 1 hs., en el Salón Zinnia, Camino Real 144, Merlo Sur (Gran Buenos Aires – Oeste). Informes y reservas al tel. 15-30 88-71 34.

EDUARDO FLORES inaugu-rated his “Milonga Real”. Sundays, 8 p.m. – 1 a.m., at Salón Zinnia, 144 Camino Real St, Merlo South (Greater Buenos Aires – West.) For information and reservations phone 15-30 88-71 34.

MARTÍN AGUIRRE trasladará su “Milonga Bohemia” a la Sociedad de Fomento Villa Riachuelo. Desde el 13 de julio, los domingos de 18 a 22 hs., en Guaminí 5173. Informes y reservas al tel. 15-69 91-76 43.

MARTÍN AGUIRRE will move his “Milonga Bohemia” to the Sociedad de Fomento Villa Riachuelo. Sundays, 6 p.m. – 10 p.m., starting on July 13, at 5173 Guaminí St. For information and reserva-tions phone 15-69 91-76 43.



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Dear reader friend:Continued from page 6

Editor’s Letter

TITO PALUMBOEditor

Tito Palumbo and B.A. TANGO - Buenos Aires Tango Group are on

Why does the government of the city persist in applying procedures that have already been shown to be failures?

The implementation of the system of obligatory registration (and exclusively) On-line Public School Registration, for all public schools pupils began this year (2014) and was full of mistakes. So many that the City’s Minister of Education, Esteban Bullrich, himself, admitted initially that 11,000 children did not have their places guaranteed “because of a mis-take in the system”. He also said that the city’s educa-tional offer was enough to receive them all, but ended up having to install “container (trailer) classrooms” in the schools to accommodate all the students. I say, why are they trying to apply the same on-line regis-tration procedure for couples that want to compete in the 12º City Tango Dance Championship 2014 (The former Metropolitan Championship)?

In October 2013, when new system for on line registration of public school students, was announced, voices rose alerting the potential limi-tations and disadvantages of the proposed system. Those concerns were later confirmed by the facts.

A court appeal (an action of protection) was filed by the General Defender of the city pointing out that the arbitrary replacement of the traditional registration procedure was generating confusion and juridical insecurity. He requested that parents be able to choose between the on line registration process or the traditional face to face registration process, in their local schools. He was anticipating problems because the new registration procedure was being imposed in an untimely way and without a prior massive testing at least.

With this precedent, how will dancers be able to protest if their names will not appear on the regis-try of those qualified to compete? With such short time between registration, the qualifying rounds and the finals, even if a complaint is resolved favorably, the surest thing is that 12º Champion-ship of Dance will have finished already. Will the organizers of this Championship then open com-plementary rounds for the excluded competitors, as they had to immediately after a judicial order with the category “Milongueros of the World”, in this category competition’s first edition?

I ask for more transparency, which does not exist within this system. Also, I ask the authori-ties of the city to declare how many hundreds of thousands (or millions?) of pesos were paid to the consulting company that made the recommenda-tions that resulted in significant disturbances for so many pupils who had recently registered in the public schools.

* * * This magazine was born when I was looking for

places to learn how to dance in Buenos Aires and where the milongas were held. At that time there were no local publications offering this informa-tion, and I offered to write a section on tango for the editor of Vea Más magazine (1994). A year later, the tango “section” became independent from Vea Más and started publishing as B.A. TANGO - Bue-nos Aires Tango. The need generated the solution.

Now, I really fancy to sing and so began researching where could I perform my art. Again I was met with a lack of information.

So, from this issue on I am including in the Guide an item entitled “Tango Open Mic”, for those amateurs and professionals interested in finding a place to practice performing.

* * *With this issue B.A. TANGO – Buenos Aires

Tango is beginning its 20º year of continued and uninterrupted publication. It was the first and origi-nal publication dedicated to providing information regarding current tanguero events in Buenos Aires. IT IS A GREAT ACHIEVEMENT THAT I CAN-NOT DO LESS THAN CELEBRATE!

Until next issue and, if you are a subscriber, the next News Updates.

With a tanguero embrace

SALONES BAILABLESDANCE HALLS

CEN TRO SO CIAL CHI CA GO

Li san dro de la To rre 2319 – 4687-1693Vier/Fri y Sáb/Sat 22 hs. Dom/Sun 13 hs.

CÍRCULOTROVADOR

Av. del Li ber ta dor 1031, V. Ló pez – 4838-0546

Vier /Fri y Sáb /Sat a las 22 hs. Dom /Sun a las 20,30 hs.

EL RODRÍGUEZManuel A. Rodríguez 1191– 3526-4191/15-5645-8027Miércoles/Wednesdays 21 hs.

Ra món L. Fal cón 2750 – 4601-7988 / 4574-159318/04 – Bailan: Elena Demo y Lucas

Gauto;25/04 – Despedida y bailan Stela Báez y

Ernesto Balmaceda;02/05 – Bailan: María Ibarra y Francesco

Scoppio;09/05 – Festejo de cumpleaños de Aurora

Lubiz y Nito García.Viernes/Fridays a las 22,30 hs.

LA MILONGA DEL MORÁN

Pedro Morán 2446 – (tel.) 15-5962-319519/04 – Toca: Carlos Galván con Carlos

Rossi (cantor). Bailan: Fernan-do Carrasco y Jimena Hoeffner;

17/05 – Tocan: Los Herederos del Com-pás con Pablo y Osvaldo Ramos (cantores). Bailan: Milena Plebs y Demián García;

19/07 – Tocan: Los Reyes del Tango con Néstor Rolan (cantor). Bailan: Rauli Choque y Julieta Questa.

3º sábado/Saturday del mes, a las 21,30 hs.

San José 224, p. 1º – 15-4428-0100Mar/Tue y Juev/Thu a las 16 hs.

PA RA KUL TU RALEN SA LÓN CAN NING

Av. Sca la bri ni Or tiz 1331 – 15-5738-3850Lun/Mon, Mar/Tue y Vier/Fri a las 23 hs.

Humberto Iº 1462 – 15-3359-6710/15-5021-4685Show con músicos y/o bailarines.Viernes/Friday 23 hs.

Porteño YBailarín

Rio bam ba 345 – 4866-1656/ 15-5153-8626Mar/Tue y Dom/Sun a las 22,30 hs.

TANGOQUEER

Perú 571 – 15-3252-6894Martes/Tuesday a las 22 hs.

CAFÉS CONCERTRESTAURANTES

Y PEÑASBETHANIA

Av. Corrientes 3500 – 4862-0888/4863-0404CLAUDIO DI PALMA (cantor) presenta temas de su 2º CD. Guitarras: ALBERTO BECERRA y LEANDRO DE ROSA. Cantor invitado: OSCAR ROJAS (folklore). Bailan: ANA y ALBERTO TONON. Cena-Show.Sábados/Saturdays 17 de mayo/May, 21 de junio/June, 19 de julio/July y 23 de agosto/August a las 21 hs.

LA AURORA TANGOAv. Corrientes 3600 – 4865-2873/2874 RICARDO MARÍN, RODOLFO LEMOS, GLORIA MONTES (cantantes) y más artistas. Bailan: MÓNICA y NÉSTOR CASTILLO. QUINTETO ABRIL TANGO. Producción: HORACIO BENEGAS. Cena-Show. Sáb/Sat de mayo/May a las 22 hs.

LA BIBLIOTECA CAFÉ Marcelo T. de Alvear 1155 – 4811-0673/4815-8156GUSTAVO HORTIGÜELA (voz). Músicos: Adrián Lacruz y Martín Heler (guitarras) y Betiana Posetti (piano).Juev/Thu 8 de mayo/May a las 21 hs. Der. espect. $ 60; consum. mín. $ 60; der. espect. y cena $ 180. LAURA MANZINI (voz) presenta su CD “Mujer de Tango”. Leandro Becker (piano).Juev/Thu 14 de mayo/May a las 21 hs. Der. espect. $ 80; consum. mín. $ 70; der. espect. y cena $ 200. FLORENCIA GARCÍA y GALO GARCÍA (cantan-tes). Tango y folklore.Sáb/Sat 31 de mayo/May a las 21 hs. Der. espect. $ 100; consum. mín. $ 90; der. espect. y cena $ 230.

Iriarte 2290, Barracas – 4303-3393MIÉRCOLES/Wednesday de 20 a 2 hs. OTRA MILONGA. Show de tango.JUEVES/Thursday de 20 a 2 hs. Milonga RUMBO AL SUR. Show de tango.VIERNES/Friday de 20 a 4 hs. PEÑA DE TANGO DE ARRABAL. Micrófono y Pista de Baile abiertos. 21,30 hs. PEÑA LOS AMIGOS DEL CHINO. Abel Frías (guitarra). Cantan; Inés Arce “La Calandria”, Julio César Fernán, y más amigos del Chino de Pompeya. 23 hs. PEÑA con Micrófono y Pista de Baile abiertos. Leandro Nikitoff (guitarra). Cantan: Omar Casas, Mirta Reynal “La Chavela”, Christian Gaume y artistas invitados. Presentaciones: Christian Gaume. Tandas Milongueras.SÁBADOS/Saturday de 20,30 a 4 hs. MILON-GUITAS EMPASTADAS con discos de pasta de colección. 22 hs. Show de tango.Entrada libre. Músicos a la gorra.Cocina de Bodegón abierta a partir de las 20 horas.Organización General: Doris Bennan.

BIEN BOHEMIOSánchez de Loria 745 – 4957-1895Ciclo “Impasse”. WALTER HIDALGO (bando-neón y voz), ANÍBAL CORNIGLIO (guitarra) y JERÓNIMO PEÑA (percusión). Artistas invitados.Primero sábado/First Saturday del mes a las 22 hs. Der. espect. $ 70.

Ciclo “Segundo Tiempo”. JACQUELINE SIGAUT y HUGO ARAUJO (cantantes) y LEONARDO ANDERSEN (guitarra). Artistas invitados.Segundo sábado/Second Saturday del mes a las 21,30 hs. Der. espect. $ 60.

PEÑA DE TANGO Y FOLCLORE. Acompa-ñamiento musical: OSCAR ALTAMIRANO (guitarra) y CHICHE CURIALE (bandoneón). Conducción: MARTA ROSSI.

Juev/Thu a las 22 hs. Vier/Fri y Dom/Sun consultar/consult.

LA CASA DEL TANGOGuardia Vieja 4049 – 4863-0463PEÑA DE CANTORES Y POETASMiér/Wed y Sáb. /Sat a las 21 hs. Bono donac. $ 40.

TEATROSCENTRO CULTURAL BORGES

Viamonte 517, 1º p. – 5555-5359“Bs As PASIÓN DE TANGO”. Musical. Dirección coreográfica: Agustín Camino. Dirección musi-cal: Adolfo Gómez. Dirección gral: Jorge Sergiani. Lun/Mon a las 20 hs. Entr. platea $ 170 y $ 150; pullman $ 130.

“CONCIERTOTANGO (NUEVA VERSIÓN)”. Bailarines: Alicia Orlando y Claudio Barneix. Diseño de luces, edición de video y musicali-zación: Claudio Barneix. Guión, coreografía y dirección: Alicia Orlando.Martes/Tuesdays a las 20 hs. Entr. platea $ 100.

“CON ALMA DE TANGO”. Musical. Dirección coreográfica: Agustín Camino. Dirección gral: Jorge Sergiani.Miér/Wed a las 20 hs. $ 170 y $ 150; pullman $ 110. COLONIZADOS TANGOSON”. Música y danza. Dirección musical: Roberto Amerise. Canta: Jorge Romero. Bailarines invitados: Lorena Fredes y Yasser Peralta; Martha Antón y “El Gallego Manolo”.Jueves/Thursdays a las 20 hs. Platea $ 160.

“BIEN DE TANGO II”. Musical. Dirección artís-tica y coreográfica: Federico Strumeio. Dirección musical: Gabriel Merlino.Vier/Fri y sáb/Sat. a las 20 hs. Entrada platea $ 190 y $ 170; pulman $ 140.

“TANGO BISTRÓ”. Elenco: Fabián Russo (cantante), Fernando Oscar Martínez (ban-doneón), Carlos Humberto Filipo (guitarra), Raúl Osvaldo Martínes (contrabajo). Baila-rines de la Cía. de Leonardo Cuello. Artistas invitados: Jacqueline Sigaut (cantante) y Bernardo Baraj (saxos). Dom/Sun a las 19,30 hs. Platea $ 150.

LA GALERA ENCANTADAHumboldt 1591 – 4771-9295“MUCHO TANGO Y POCAS NUECES”. Versión libre de la obra de W. Shakespeare. Dirección: Héctor Presa. Dom/Sun a las 20 hs. Entr. $ 80.

PRESIDENTE ALVEARAv. Corrientes 1659 – 4373-4245/4374-6076“MIREYA. UN MUSICAL DE TANGO”. Con: Graciela Bevacqua. Damián Iglesias, Leandro Giazzia, Martín Repetto y elenco. Coreografía: Esteban Domenichini. Música: Ángel Mahler. Libro y dirección general: Pepe Cibrián Campoy.Miér. a sáb./Wed. through Sat. a las 21 hs., dom./Sun a las 20 hs. Entradas: platea y palcos bajos $ 120; platea alta y palco balcón $ 100: Tertulia $ 80. Miér/Wed. día popular $ 80/$50.Más Salones Bailables en pág. 76 / More Dance Halls on page 76



Shooting

Two Glances of the Mitre NeighborhoodBy Tito Palumbo

Adela (78) is going home, the sunlight is fading. She has been shopping in Parque Saavedra and now is walking back home;

she faces the streets of the Barrio Mitre neigh-borhood. She is covered by a feeling of fear, she does not know which direction to take in order to avoid some fears that are stalking her. Some neighbors help her by giving her directions on how to avoid those threatening blocks. Done! She has avoided the danger. She crosses the railway tunnel on Arias Street and gets into a safer area –the Metropolitan Police Station is nearby. She has arrived home, safe and sound. It was all a feeling of threat; nothing real, concrete or present. The dangerous situation existed only in her imagination.

Raimundo Rosales, poet and tango lyricist, has been living in the Saavedra neighborhood for fifty years--seven blocks from the Barrio Mitre. He agreed to answer a questionnaire that we gave him.

Were you affected by a crime in your home or nearby, or did you know about a crime committed near your home? Do you think it was related to the Barrio Mitre residents? A: Not in my case, I heard about some cases in the area. I don’t remember how I learnt about them, maybe from comments by neighbors or in the media. I don’t relate them to the Barrio Mitre residents. In how many crimes were the perpetrators found? Do you think they may have been residents of the Barrio Saavedra neighbor-hood or the Barrio Mitre neighborhood or other areas?A: I don’t know in how many cases the perpe-trators were found, I don’t have any reasons to think that they may have been committed by neighbors of the Barrio Mitre or other neigh-borhoods. Are those who commit crimes young peo-ple, adults or seniors? What’s the propor-tion? A: Depends on the crime. The worst ones

(economic crimes, human trafficking, baby kidnapping or drug trafficking) are undoubt-edly committed mainly by adults. Maybe, on a lesser scale crimes against property (robberies, thefts, petty thefts) are committed by young people. What are the causes of crimes: drug consumption, unemployment, the wish to have consumer goods which otherwise they couldn’t have, lack of education, other causes?A: Economic crimes, which have deteriorated the country, are committed by an immeasur-able ambition for power and money. They aren’t committed by poor people. The crimes committed by the poorer sectors (against prop-erty) have their origin in the exclusion gener-ated by an unfair society. Studies indicate that fairer societies have fewer crimes. That is why, within Latin America, indices place Buenos Aires among the cities with the lowest number of crimes per resident. In countries with higher income distribution disparity (Mexico, Colom-bia, Brazil, Venezuela, U.S.A.), the rate of prop-erty crime is much higher. Do you see there has been any change in your habits and those of your neighbors in relation to crimes/insecurity, e.g., guard-rails over doors and windows; monitoring cameras; motion detecting lights that come on when a person walks near them; neigh-borhood watch groups; others?A: Not in my case personally. I have noticed that over the past years, there’s been an increas-ing tendency in general in taking these types of preventive measures. Do you take part in any neighborhood organization/association? Is it related to crime prevention? A: I participated many times in neighborhood organizations in Saavedra, but they never were on issues connected with crime prevention. Do you notice any changes in the presence of the police (federal and/or metropolitan)? A: Saavedra was one of the first neighborhoods where the Metropolitan Police started patrolling.

In your opinion, what role do the security forces play in your neighborhood? A: The same role as in the other neighbor-hoods. Is Barrio Mitre a “shanty town” or a “neigh-borhood”? A: Barrio Mitre is over 50 years old; its resi-dents are the children or grandchildren of its founders, they pay all utilities (electricity, etc.) like anywhere else in the city. It is a neighbor-hood that belongs to Saavedra.Do you need to go near the Barrio Mitre for any reason? Do you take any special pre-ventive measures that you don’t take when you go to other neighborhoods in the city? A: I’ve gone to the neighborhood frequently for many years with no problem. I know some of its neighbors. I went to my childhood school with some of them. Of course I have no problems or take any special measures when I go there. Do you know about welfare plans given to the Saavedra neighborhood and, particu-larly, in Barrio Mitre? A: I don’t know about that. What improvements have been made by the city and/or national authorities: in schools, hospitals, sidewalks and streets, place-ment of lights or improvement of existing ones?A: Improvements in the city, the schools or hospitals correspond to the city government, not to the national one. You can see improve-ments in general in the wealthier areas of the city, but not in the poor areas. Saavedra covers the entire income spectrum; in the wealthier areas, there have been improvements (change of sidewalks, railway tunnels, street renova-tion, etc.). In the poorest areas, like Barrio Mitre, nothing has been done. During the last big floods, Barrio Mitre was hit hard, and many residents died. However, nothing has been fixed yet. That is why neighbors (from the whole neighborhood, not just the Mitre) keep on protesting and asking for help. This is unpublicized, it’s not shown in the media, which is determined to continue stigmatizing Barrio Mitre. Can you distinguish a “feeling of insecuri-ty” from a “real and concrete threat on your person and/or your property,” and from a “media campaign to instill the topic of insecurity in society”? In your opinion, how would you explain these differences?A: Figures (not the ones issued by the Indec –National Institute of Statistics and Census) say

that Argentina is one of the countries with the lowest crime statistics in the region. It is impos-sible to think of a city with suburbs of around 12 million inhabitants, where there is no crime. There are, undoubtedly, but the media use this to create a desperate atmosphere among the population. This has been long studied; it is not something I’ve discovered right now. If there’s a theft in this neighborhood and some-body is hurt or killed, this news is kept on TV for many days, at an average of 30 showings a day. If we multiply that by all the media, the result is chilling. Let’s imagine there isn’t just one theft, but there are (because indeed there are) several thefts, like in every big city in the world. The effect is devastating. However, the number of thefts (which seem to be the only crimes we’re interested in) is much lower than in New York, Barcelona, Mexico City or Rio de Janeiro, though, paradoxically for the residents of those cities, the problem of insecurity is not as ingrained as in Buenos Aires.

Raimundo Rosales concludes with the follow-ing words: “It makes me very sad to see the residents of Barrio Mitre demonized. I say this because they are my neighbors, I grew up with them, I’ve known them for over 50 years. You just need to stand there at 5, 6 or 7 am. and watch hundreds of them going to work. They live lacking many things, forgotten by all. If there are criminals among the residents, there are not any more than in other neighborhoods like Belgrano, Palermo or Barrio Norte (1).”

Remembrance March A march proceeded from Barrio Mitre’s square to the Prosecutor’s Office in the Saavedra neighborhood to remember the second anni-versary of Alan Tapia’s murder committed by a GEOF (Federal Special Operations Group) officer. His parents, grandmother, his brother Milton, relatives, neighbors and members of the social movements Activist Collective and National Campaign Against the Institutional Violence, all participated. Prosecutor Cristina Caamaño –who is substituting for José María Campagnoli, who has been suspended– went out on the street to talk to the demonstrators, who requested, among other things, the stop-ping of discrimination against residents of the neighborhood. It took place on February 14, 2014.

(1) Wealthier neighborhoods.

Continued from page 30

How is it to walk along the zoneFeeling of insecurity or real threat

Its inhabitants are demonized




EDUARDO MICHELI, wrote, “Dear Sr. Palumbo: I’ve received what you sent me. As usual, very interesting and complete for our tanguero environment. I have been going to milongas since the 30s, when I was a child, accompanying my sister who won the 1937 World Tango Championship with Juan Sar-quis (“The Little Turk” from Villa Crespo) in the George Prince Hall and who, later in 1940 won, with the same part-ner, the waltz and milonga con-test in Luna Park Stadium.I saw Cachafaz, The Méndez, Tarila, Petróleo and many more dance. Would this be the reason why I’m totally satisfied with your information, especially, the page of memories, since it evokes in me those times when there were dancers that are now gone. A cordial Tanguero greeting and I wish you a Happy New Year. I look forward to getting back to you soon.”

CARLOS E. GIMENO, owner of El Folklore Argentino: “Excel-lent work, Tito, I wish I could deal with the rest of Argentine folklore with that same quality. Congratulations! And thanks for all this valuable material that you share with us. A folklore hug.”

CLYDE TRUJILLO and MIGUEL HUANCÓ, from Córdoba, “Dear Tito. Thank you for the magazine that we enjoy every day more and distribute to our students. During the year, there were very interesting articles that we took advantage of dis-cussing with the people that we have at La Maleva de Córdoba. Hugs.”

JUAN CARLOS COPES, Tango Master, wrote: “Thank you Tito, beautiful pictures! I was brows-ing your magazine and I liked the format very much and they way you are dealing with it. You changed the profile, the format and it’s comfortable, with a lot of info, it’s like a guide.

CARLOS STUPAK, from Ger-many: “Dear Tito.....!!!!! Living over 10,000 km away, receiving good quality tanguera informa-tion that you offer is a huge pleasure…Here I’m one of those who distribute your B.A TANGO – Buenos Aires Tango among tangueros I know. Thank you. A hug.”

OSVALDO VÁZQUEZ, “Tito... such a good service and such cordiality are moving…my grati-tude to your work means more than saying thank you. Your work is tireless, and I imagine you do it with great love. Other-wise, the results wouldn’t be so good… cheers and good luck.”

JOSÉ MA, “With the same pleas-ure as usual I received your excel-lent material. Thank you very much and I encourage you to go on fighting for this tanguera pas-sion which joins us. Hug!”

EUGENIA VÁZQUEZ, sent an e-mail with this message: “I admire your work and com-mitment to tango and also I admire very much your social commitment and total support to Alan Tapia’s family! My warm regards and until the next News Updates!!”

Messages – Letters – Facebook and E-mailsContinued from page 24

Bibliographics

The poet transports the reader to the por-teños neighborhoods, streets, characters, landscape. The poems have a traditional,

nostalgic lyricism with current topics.

He renews the city legends providing them with the rhythm of colloquial speech. In them, there is a moral tension based on Christian beliefs with an orientation towards the individual over the collective.

The love of María J. Ferraro de Gatell (“Pepi-ta”), the author’s widow, made it possible to publish this posthumous book.

In addition to a great number of poems –some of them written in an educated language and others, in lunfardo–, it contains short radio talks, tango lyrics –some of them with their scores– and two stories at the end.

There are new versions of the lyrics of the well-known songs “San José de Flores” and “Puente Alsina” for instance. It doesn’t lack of somewhat free metric combinations; the incorporation of a hendecasyllabic verse in a poem formed by octosyllabic ones. Or the inversion of impressions, “…and a thousand eyes in the distance / look like lights burn-ing…” (p. 37.) But, in any case, he harmo-niously combines accents and pauses.

With the Porteño Way of Speaking

“A NICKEL’S POEMS”. Author: Juan Carlos Gatell. Edition under the care of María J. Ferraro de Gatell. Publisher: Editorial Dunken. Postal address: Ayacucho 357 (C1025AAG), Buenos Aires, Argentina. Phones: (54 11) 49 54-77 00/49 54-73 00. E-mail: [email protected] Web: www.dunken.com.ar168 pages. Year 2009.

Here, there is an original topic which has never been dealt with in the tanguera literature. The experience of a milonga

organizer as told by her.

It is a succession of thanks, starting for her co-organizer, her family, the artists that have performed there, the personnel that assists attendees, and includes profiles of some of them.

The comments she received from dancers made her make improvements and introduce changes in her milonga. It is in constant renovation.

The characteristics that make it different are its tandas: for example the ones “of the Rose”, where men pick a rose and take it to the woman they want to ask to dance; or the “Chocolate” one, where women pick a chocolate candy and take it to the man they want to ask to dance. Other unique features include the mixed distribution of its tables, and the “Theme Milongas”, where goers are asked to wear certain clothes, costumes, or have a special look.

Julia Doynel is a demanding, hard-working, daring, brave woman. And she depicts the determination, dedication and effort she constantly makes for the people who cel-ebrate life by dancing.

A Milonga with Personality

“GO AND DANCE… GO AND DANCE… THAT LIFE GOES AWAY!!: THE STORY OF SUEÑO PORTEÑO, A LIVING MILONGA”. Author: Julia Doynel. Foreword: Raúl Mereñuk. Publisher: Imprex Ediciones. Postal address: Bolívar 653; Merlo, (1722) prov. de Buenos Aires, Argentina. E-mail: [email protected] Phone 0220-483 2153. 123 pages. Year 2013.

Nelly Omar (n. Nilda Elvira Vat-tuone). On December 20, 2013 at the age of 102. Singer, song-writer and actress. She revealed her vocation for singing since she was a child. She performed in Buenos Aires, shortly after arriving from her hometown Guaminí (province of Buenos Aires), at age 13. In the 1930s she performed singing native songs with her sister Nelida, while she sang tangos as a solo-ist. She was called “The Gardel with Skirts.” She participated in radio programs and toured the provinces for years. She was an actress in films Song of Love (1940) and Melodies of America (1942), and had a participation in the documentary Café de los Maestros (2008). She had a long lasting and controversial affair with Homero Manzi, until his death in 1951. After the coup d’etat against the government of General Perón in 1955 (Liberat-ing Revolution) she was banned from radio and television media because of her adherence to the Peronista cause. She went into exile to Uruguay and then to Ven-ezuela, and returned to Argentina the next decade. Since then she has been performing on stage and on television until very recently –Nelly Omar gave recitals at Luna Park Stadium in 2009 and in 2011. She received many tributes and was declared Illustrious Citi-zen of Buenos Aires City in 1996.

“Pocho” Palmer. On February 28, 2014. Bandonionist. He accom-panied singers such as Alberto Podestá, Juan Carlos Godoy, Ro-berto Guiet, Juan Darthés, Lidia Borda, Maria Graña, Alicia Pomet-ti, María José Mentana, Carolina Winograd and others. He was musical director of the tanguería “La Casa de Aníbal Troilo”, per-formed in Miguel Ángel Zotto’s Tango x 2 Company. He conduct-ed groups, and was a member of Omar Valente, Color Tango-con-ducted by Amilcar Tolosa- and, in recent years, Fabián Bertero’s orchestras, among others.

They Left Us and We Remember ThemContinued from page 40



Virginia Verónica and Omar Escudero; Marisa Otero (singer) in Padre Tango (Father Tango;) Luis Migliori and his Typi-cal Orchestra; Fernando Rezk (bandonion,) Marcela Pedretti (piano) and guest artists in Musamistonga; and a demo, Tango Crash.

Talking about shows we mentioned ¡Volá, vení, volá! (Fly, Come, Fly!,) an autobiography of Horacio Ferrer, with Héc-tor Gióvine, Javier Di Ciriaco, Andrea García and Ana María Hlousek, directed by Héctor

Gióvine, at the Teatro de la Comedia; Argentina todo un show (Argentina Quite Showy,) a musi-cal with Nito Artaza, Valeria Lynch, Raúl Lavié, Juan Carlos Copes, Johana Copes, Freddy Villar-real and María Eugenia Ritó, Dancers Directress Eleonora Cassano and General Director Nito Artaza, at the Teatro Broadway; Animal Por-teño with Marcela Paoli, Julio Zurita and Pablo Jaite, directed by Marcela Paoli, at the Teatro del Nudo.

New milongas openings were announced, among others, those organized by Héctor Valle and Alberto “Bachi” Valle on Thursdays at Salón Señorial and on Fridays at Villa Malcolm; Alejan-dro Peña at Salón Reduci, Guillermo Scrinzi in a Caballito’s neighborhood mall; Irene Cataxinos and Raúl Da Silva at Altos de Ilusión; Adriana Torrez at Club Ciudad de Buenos Aires, contin-ued after by Julio Medrano; Adriana Jablonskis at Club La Independencia; Marcela Alam and Román Alberio at Club Inca; Silvia Dopacio at Asociación Genovesa Argentina – Carboneros Unidos; Tito Gómez, Leandro Gómez and Javier Guiraldi at Club Platense; Norma Bagnuolo at Afiche Pub; Irene Cataxinos at Sin Rumbo; Paula Ferrío, Victoria De Paolo and Sol Aguilar at Club La Independencia; Alicia Sabatino and Antonio Barone at Delu; Ricardo Suárez, Luis Trapasso and Cito Pareja at Mi Club.

The covers of those month’s issues were illustrated by Juan Carlos Liberti, René

Abate, Sigfredo Pastor and Chilo Tulissi.

The featured articles were: Tango Was Born in England (Tito Palumbo) and Does Tango Cure? (Jessica Grumberg). Carlos Medrano’s first contribution, Planet Tango, Anti-Time Space Walks, was published.

The Photo Gallery showed, among others, Celia Blanco, Carlos Rossi, Mimí L. de San-tapá, Carlos Rivarola and Héctor “Negro” Firpo, Stella Díaz and Las Del Abasto, Emilio López, Chiri Ortuño and Rubén Harymbat, Irma and Rodolfo Ruiz, Juan Vattuone with Carlos Avilano and Horacio Avilano, Eladia Blázquez, Elena Sakowski de López, Judy Margolis, Tati Caviglia, Delia Luisa Nasra and Luis Filipini, Néstor Valle, Nélida de Villarrazo and “Bachi” Valle, Lydia Elman de Pugliese, Leandro Porcel-lini, Rita Porto de Ruggiero and Mariano Ávalo, Luis Trapasso, Adriana Jablonskis, Adriana Tor-rez, Myriam Garello, Mariana Avena, Chavela Vargas and Omar Viola, Silvia Ceriani and Tete Rusconi, Néstor Marconi, Bea Diez, Roberto Firpo and Lila Oliva, Gloria Gatti.

During that four-month period we inter-viewed Silvina Scalisi and Mariano Galeano, teachers and directors of a tango show. Also, Cristina “Cris” Chimbela Martínez who taught Miguel Gasparete, who was blind, deaf and mute, to dance.

We published the following short stories The Chosen One by Laura Nicastro, Quit of milongueros! by Daniel Suárez, and Rubí by Juan Lencina.

We reviewed the records Tango por Tres (Tango by Three) with singers Alberto Morales,

Ten Years AgoContinued from page 36

I suddenly stopped dancing as a recognition to my partner. I didn’t do it just because or since I felt generous. She had earned it when I saw in her that

trace of audacity. I wanted her to make an impact – if she wanted to make an impact – so that she could con-tinue surprising me with her fancy. In the following tango, she made another trick. Imme-diately, an intimate tap, a kind of mini-audacity. Soon after the third song had started, she winked at me and gave me a little embellishment. And the attractive thing was that everything suited her well. I was happy, just for sharing the dance with someone who had an air of complicity and sovereignty. She went on that way, attentive, stalking me. She knew, she knew she was good. She knew she could (I think she had found out that her attitude generated loads of pleasure in me.)Then I told myself: Should I wait for her?... (I waited for her.)Will she dare?... (She dared.) Should we go on?... (We went on.)She looked at me with that playful face… and shrugged her shoulders like saying: It wasn’t me… if I’m this way, what can I do? A pinch of intention could be seen in her along with a kind of outskirt spirit (perhaps an outskirt that she sensed or that she knew in a previous life.)Like playing dumb, that first and surprising tanda passed by. Almost when the following was ending, I couldn’t restrain myself, I was overcome by emotion…no way, my muzzle released and I dared say: You’ve just

Short Story Continued from page 33


Compadrita(1)

By Carlos Medrano (2)

told me you were born in the Floresta neighborhood, you grew up in Almagro and now you live in Palermo; but I can see how intensely you dance and I can feel another origin... another DNA… another identity… I hope I’m not wrong but I think you must have made your first steps in the Three Corners Neighborhood (3) … I can feel that in your veins runs something more than an attractive subtlety… accompanied by certain doses of compadraje. I say this because I can see it in your aura. Tell me, to come here, did you come like in a tube through a yard with wisterias… a gate… a hallway… a threshold… a paving… an avenue… a red carpet… a ballroom? As if she hadn’t heard me, she said intensely: “Would you dance a tanda of waltzes with me going round and round?” I answered: “Absolutely!... Come on Compadrita. Let’s levitate each other! So we’ll continue enjoying one another here and now. Come on… whatever, life’s too short so we have to live. Make a flower of yourself, come on, excel, give it your all, like the best, come on, I’m waiting for you smacking my lips thinking about the moves I’ll give you.”When another pause, another chance, another silence came, her eyes shone eagerly like two bright lighthous-es, and then I whispered to her: “Che papusa, listen, tell me, for God’s sake, what did you do to me, that I am so changed, that I don’t know who I am?”Her eyes closed, she listened, sighed, smiled, didn’t say a word… What a night… Some night was that night! Extraordinary and ethereal… That was her… Besides dancing… she could fly!!!

(1) Compadrita: arrogant, showy, flashy woman.(2) E-mail: [email protected](3) Tres esquinas (Three Corners), tango. Lyrics: Enrique Cadícamo. Music: Ángel D´Agostino and Alfredo Attadia (1941).

Show

Stravaganza TangoAnd now it’s time for tango! Flavio Mendoza has made a hit out if his shows “Stravaganza” per-formed in Buenos Aires and in Villa Carlos Paz (province of Córdoba.) They exhibit striking cho-reographies, fantastic scenery, brilliant wardrobes, and an abundance of aquatic acrobatics.

The successful director and choreographer decided to bet on our popular genre and will stage -together with Ariel Diwan his habitual producer- “Stravaganza Tango: Without Rules for Love”, at the Broadway Theater, about the middle of this year. It tells a story about our porteña music with folklore, and acrobatics. There will be dancers, a live orchestra -40 artists on stage-, impressive staging and artistic production,

plus a giant screen and water as a surprise element.

Two important figures have already been engaged to head the cast. One is the actor Nico Vázquez, who has a long television career in My Friends of Always, Only You, Almost Angels, They Are Loves, etc. The actor will wear the skin of a tango poet who will claim for homosexual love. He shares the stage with dancer Melina Sol Greco –who is already performing in the Stravaganza shows–. She is a teacher of classical and contemporary dance; now converted to tango. She has given exhibitions in several milongas, along with Junior Cervila, Lucas Molina Gazcón, Fernando Andrés Rodríguez and Cristian Bravo as her partners.




Ástor Piazzolla used in his compositions a language with original tango elements but its referentiality transmuted to become city music.

Ernesto Acher adapted the original works by the great maestro; he kept the musical notation and obtained faultless and respectful sounds in each song.

He gathered outstanding musicians, amalgamated them in the performance, to achieve a little calmer versions than the fervent ones created by the composer. Everything happens in a simple, fluent, exact way, with no shrillness or weakness.

Recorded at the Astral Theatre, in November 2011.

A virtuosa guitar player, with excellent fingering. Seriousness, moderation, expressive stresses and a phrasing characterized by low sounds and transparency, her playing adjusts to the genre standard.

In these versions, tango achieves the high levels that put it at the same level as other genres performed in concert rooms. The artist’s total dedication can be noticed in the hard requirements of the aesthetic and expressive proposals claimed in the elaborated arrangements.

In relation to this, the ones she made with Alfredo Gobbi, Juan Carlos Cobián and Ástor Piazzolla’s compositions are admirable.

The songs in this record are a source of well known melodies with an enduring attraction. They show a correct inquiry into the most important creators of the popular music.

The trio performs with accurate features, which are perfectly synchronized, where the nostalgic brightness typical of the genre stands out, mingled with a range of contrasted effects and resources.

They play like a small chamber group, loyal to the tango essence. They prove to have compelling skill in each of the songs played.

Marco Bellini knows how to convey sorrow and pain caused by past loves; his singing is expressive and his voice gives dramatic depth to the verses in Remembrance, Coming Down and What you deserve.

Laura Ughetti has a clear, bright voice. With a light vibrato when she must sustain a note.

She has chosen a love-centered repertoire, addressed in very different situations. The happy little French girl who arrived in Buenos Aires only to have a sad ending; the teenagers’ idyll which did not come true; the girl who is loyal to her man; the one who does not accept her ex boyfriend’s compliments because she has a new love; and so on.

A good artistic future can be foreseen for this singer.

Accompaniment is made by a professional with a long career.

The work of a great maestro in new versions Suggestive composer and great singer

Young men cover standards Love Has Many Facets

“TRIBUTE TO PIAZZOLLA. ERNESTO ACHER & Cham-ber Orchestra”. Conductor, versions and transcriptions by: Ernesto Acher; First Vio-lins: Humberto Ridolfi, Alfija Gubaidulina, Grace Medina,

“TANGO, SIX ROADS TO LOVE. MIRTA ÁLVAREZ”. Mirta Ávarez (guitar and vocals). Contact and hiring: [email protected]; www.mirtaalvarez.com.ar. Dis-tributed by: EPSA Music S.A.

“VA DE NUEVO (IT GOES ONCE MORE)”. Martín Casal, Agustín López and Gastón

“SWALLOWS. LAURA UGHET-TI”. Laura Ughetti (vocals), Alfredo Sadi (guitar, guitar-rón and arrangements). Con-tact: [email protected]. Producer: Laura Ughetti.

Demir Lulja, Cecilia Barraque-ro; Second Violins: Alejan-dro Schaikis (soloist), Gabriel Pinette, Sebastián Masci, Silvio Murano, Nicolás Tab-bush; Violas: Gabriel Falconi (soloist), Claudio Medina,

Postal address: 1546 Lavalle St., 2º Floor, “A”; (C1048AAL) Buenos Aires. Phone 53 52-43 76. E-mail: [email protected]. Internet: www.epsa-music.com.ar. Catalog Nº 1228-02. Year 2011. Length 43’.

Ruiz (guitars), Marco Bellini (vocals). Contact: [email protected]

Year 2013. Length 36’.

1) Griseta (José González Castillo-Enrique Delfino), 2) Little Piece of Heaven (Home-ro Expósito-Héctor Stam-

Daniel Teitelbaum; Violoncel-los: Marcelo Bru (soloist), Edgardo Zollhofer, Matías Vi-llafañe; Double Basses: Daniel Falasca (soloist), Tomás Falasca; Oboe: Natalia Silipo; Clarinet: Mariano Rey; Coor-dinator: Gabriel Pinette. Pub-lisher: Acqua Records S.R.L. E-mail: [email protected]. Catalog Nº AQ 368. Year 2012. Length 68’.

1) Get Ready, 2) Things to Come, 3) Brown and Blue, 4) Bandó, 5) Bad Mood, 6) Oblivion, 7) Portrait of Alfredo Gobbi, 8) Farewell Nonino, 9) Fracanapa, 10) Introduction and Death of the Angel, 11) The Four Porteñas Seasons, 12) Libertango. All the songs by Ástor Piazzolla.

1) The Entrerrianean (Rosen-do Mendizábal), 2) Distant Land of Mine (Carlos Gardel-Alfredo Le Pera), 3) To Come Back (Carlos Gardel-Alfredo Le Pera), 4) Sunny Little Road (Carlos Gardel-Alfredo Le Pera), 5) The Wanderer (Alfredo Gobbi), 6) Black Flowers (Francisco De Caro-César Gomila), 7) Traces of Light (Mirta Álvarez), 8) Old House (Edmundo Zaldívar), 9) The Little House of my Parents (Juan Carlos Cobián-Enrique Cadícamo), 10) Sad Milonguero (Aníbal Troilo), 11) Porteño Autumn (Ástor Piazzolla), 12) Porteño Sum-mer (Ástor Piazzolla.)

Facebook: tangovadenuevo. Year 2013.

1) The Cachila (Eduardo Aro-las-Héctor Polito), 2) Remem-brance (Osvaldo Pugliese-Eduardo Moreno), 3) Dancer (Julián Plaza), 4) The Cheat-ing Woman (Aníbal Troilo), 5) Outskirts Moon (Julio César Sanders-Enrique Cadícamo), 6) Coming Down (Carlos Gardel-Alfredo Le Pera), 7) Black Eyes (Vicente Greco-Pedro Numa Córdoba), 8) Heel Tapping (Pedro Maffia-José Horacio Staffolani), 9) What you deserve (Carlos Olmedo-Abel Aznar).

poni), 3) Swallows (Carlos Gardel-Alfredo Le Pera), 4) From the Outskirts (Eduardo Calvo-Osvaldo Fresedo), 5) Loneliness (Carlos Gardel-Alfredo Le Pera), 6) For the Return (Enrique Cadícamo-José Tinelli), 7) I Fell in Love Once (Ivo Pelay-Fran-cisco Canaro), 8) Bitter Fruit (Homero Manzi- Hugo Gutiér-rez), 9) Flax Flower (Homero Expósito-Héctor Stamponi), 10) Julián (José Panizza-Edgardo Donato), 11) The Dizzy Ones (Enrique Cadíca-mo -Juan Carlos Cobián), 12) Sentimental Milonga (Homero Manzi-Sebastián Piana).

Selected Records Selected Records



Interview

It is surprising to see two women using hand tools that can be bought in any hardware store. The expertise acquired to get a useful, satisfac-

tory, tangible result fills them with pride. Learn-ing a trade has taken them many years. They have totally different skills from those needed to fix a car, computers or gadgets in a factory’s assembly line, where technology changes every few years, like the workers who operate them.

From one generation to the other, for eighty years, they have fixed bandonions. These musical instruments began to arrive in Buenos in 1900 and had been imported from Germany until World War II (1939-1945) began. Their continu-ous use and the passing of time caused them to become damaged and broken.

Jorge Weckesser also came from Germany in the early 30s with a trade learned in his home-land: bandonion and accordion tuning. When he was single and lived in Villa Domínico (Greater Buenos Aires – South) he had a typical orchestra that performed in neighborhood clubs and wed-dings. That is how he met his future wife. They got married in 1942, he gave up performances and totally devoted himself to repairing and tun-ing bandonions.

Little before his first daughter, Ana María, was born, they moved to the house where the workshop is still located, in the Barracas neigh-borhood, next to where the very well known tan-gueria Señor Tango is now situated.

“I was raised here, when I was very young, I would crawl upstairs to the workshop. When I argued with my sister, my father called us and had us do some task. Over time, as he didn’t have any sons, I started working with him. When I was young, I didn’t like that work very much. I did it

as an obligation. Later, I got to like it and now I do it willingly,” says Ana María Weckesser.

After her father’s death, she had some talks with her two sisters about what they would do with the workshop. They didn’t want to continue with the trade, but Ana María, who lived in San Luis province then, said “I DO want to try, I’m going to continue.” She called three or four ban-donion players to tell them. Rumor had it that “the German’s daughter” would continue working, and that’s how she succeeded.

Currently, she makes the repairs with the help of her daughter Julia Orroño Weckesser.

Bandonions have around 4,000 different pieces. “When World War II started, bandonion factories closed in Germany and spare parts were difficult to get, so my father had molds made to manufac-ture them here. In addition to using them in our work, we sell these spare parts to tuners in Argen-tina and other countries. Today, we can dare say we are almost the only ones who manufacture them. We receive purchase orders from Germany, Spain, Japan, Turkey, Uruguay, Chile, and Mexico, among other countries. Besides, we manufacture the bellows, which are very appreciated by musi-cians,” said Ana María Weckesser.

When can an instrument be repaired and when not? “Those coming here are over eighty years old. If they have been treated well, the mechanical pieces are not worn out. They can be fixed and the result is very good. It is an instrument that, when treat-ed well, it remains in a very good state. They can’t be fixed when they have been touched by inexpert hands or have been treated badly, because the result will be bad. They have been fixed badly when inadequate glue or materials have been

Bandonion repair in good hands


“I was raised here, when I was very young, I would crawl upstairs to the workshop.”“When bandonion factories closed in Germany and spare parts were difficult to get,

my father had molds made to manufacture them here.”“We respect the instrument very much. We give everything inside ourselves so that

the musician will be satisfied.”

used. Filing a steel reed too much. Or not knowing how to rivet a reed.“

A CHALLENGENot all the bandonions that they receive have been well treated. Now they have one that when they received it, Ana said to her daughter, “This is going to be a challenge.” Julia answered, “In this condi-tion, we’re going to have it around a year.” “We told the owner that we’d do the work, but not in a hurry. Putting each piece in its place takes a very long time.” When this interview took place, they’d already made the bellows and they were making the frame where the reeds are placed –one at a time.

Many different materials are used to manufacture the pieces of a bandonion. The reed plates are made of aluminum or zinc; the reeds, of steel; the buttons, of Bakelite and plastic (galalith) – a part is made of wood and another of plastic with a nacre eye. Today, they are made of plastic with a celluloid eye. The bellows are made of cardboard; and it has other materials: faux leather, paper, leather; the boxes are made of wood (silver fir).

What are the pieces that are most frequently changed? “The reeds and the bellows (today, there are still original bellows over 80 years old.) The springs and the joints. Sometimes the carved covers have to be changed.”

What spare parts do you manufacture? “We manufacture complete bellows, corner pieces, ribs, buttons, new wooden carved covers. We also do the polishing. We make springs, valve leverages, straps for the handle and lyres (these are an orna-ment.)”

Bandonion players who have other professions “With great enthusiasm about bandonion, tango music and dance, many people come from abroad. Some highly educated people come for a spare part or for a repair. It is very weird to meet a physicist or math teacher who is so interested in this instru-ment. They had learned how to play music. One of these is the case of Dr. Roberto Rabinovich, a physi-cian who has an orchestra in Edinburgh –Orquesta Atipica of Edinburgh– and there are more teachers in Europe.”

How do you see the situation of young ban-donion players? Do they have instruments for learning on and for their professional work? Ana María Weckesser said, “I see there are many young people who are studying bandonion and they study a lot. And they are very good players. Depending on their economic facilities, some have two or more bandonions, but some have only one. From the economic point of view, it’s always been difficult to live by art alone. There are bandonions for studying, but mature adults don’t study with those instruments. It is better to buy a bandonion like the ones used by profession-als, even if they’re not in a very good condition.” INVITED TO THE GERMAN EMIGRANT MUSEUM “We were invited to Germany thanks to the ban-donion. The story began with scenes of a movie being shot in our workshop. The movie was “The Last Bandonion,” with Rodolfo Mederos and Marina Gayotto; the director was Alejandro Saderman. Then, Ciro Capellari, an Argentine film director who lives in Berlin, came to Buenos Aires and told the people who made the movie that he wanted to meet somebody from Germany who was related to bandonions. And he was sent here. I told him the story of my family that had arrived from Hamburg. He was interested in what my father had developed since the bandonion is a German instrument. Soon after that, Ciro Capel-lari told us that we had been invited to Germany by the German Emigrant Museum, that was in Bremerhaven. My husband, my daughter Julia, other relatives, and I, went in November 2007. We had an opportunity to get to know Germany; and were received wonderfully. We were invited for a week, but we took advantage of the invita-tion and, on our own, we extended the trip stay-ing for a total of twenty days. What defines the repairs that you make? “We do our job with much affection; we respect the instrument very much. We give everything inside ourselves so that the musician will be satis-fied. We have a name whose prestige has to be maintained. We make all the necessary efforts. We’re not as interested in the money we’re going to get paid for the repair as we are in the final result; that the instrument is being well repaired so that in the end the musician will be pleased.”

63B.A.TANGO Buenos Aires TangoMarzo a Junio 201462 B.A.TANGO

Buenos Aires Tango Marzo a Junio 2014

ENSEÑANZA Y PRÁCTICA • TEACHING & PRACTICE • UNTERRICHT UND ÜBUNGSTREFFEN • ENSEIGNEMENT ET ENTRAINEMENT • ENSINO E PRÁTICA

REFERENCIAS • REFERENCES • BEZÜGE • RÉFÉRENCES • REFERÊNCIASE = Enseñanza todo nivel; Teaching all levels; Unterricht für alle Stufen; Enseignement pour tous niveaux; Ensino todos os níveis.EP = Enseñanza principiantes; Teaching beginners; Unterricht für Anfänger; Enseignement niveau debutant; Ensino iniciantes.EI = Enseñanza intermedios; Teaching intermediates; Unterricht für Mittelstufe; Enseignement niveau moyen; Ensino intermédios.EA = Enseñanza avanzados; Teaching advanced; Unterricht für Fortgeschrittene; Enseignement niveau avancé; Ensino adiantados.Prá = Práctica; Practice; Übungstreffen; Entrainement; Prática.

HORA DE INICIO TIPO DE NOMBRE DIRECCIÓN TELÉFONO/FINALIZACIÓN ACTIVIDADBEGINNING HOUR TYPE OF NAME ADDRESS TELEPHONE/ENDING HOUR ACTIVITYANFANGSZEIT ART DER NAME ADRESSE TELEPHON/SCHLUSS AKTIVITÄTHEURE DU DEBÚT GENRE NOM ADRESSE TELÉPHONEDU COURS/HEURE D´ACTIVITÉSDE FIN DU COURSHORA DO COMEÇO TIPO DE NOME ENDEREÇO TELEFONE/FINALIZAÇÃO ATIVIDADE

LUNES - MONDAY - MONTAG - LUNDI - 2ª FEIRA11 a 12,30 E Patricia Gómez (técnica p/mujer) Viamonte 517, 2º nivel 4312-4990/15-5726-757013 a 14,30 E Maju Marini Sarmiento 4006 15-5325-163014 a 15,30 E Lic. Claudia Bozzo San José 364, p. 3º, “A” 4383-046618 a 19,30 E Néstor Figueroa Ramón L. Falcón 2750 4612-4257/4611-721118 a 20 E+Prá Ricardo Dupláa Perú 272, e.p. 4795-289418,30 a 20 EP Lic. Claudia Bozzo San José 364, p. 3º, “A” 4383-046619 a 20 EI Rodrigo Verón Ecuador 682 4964-0324/15-5424-284719 a 21 EP Alberto Catalá y Belén Montel Av. Scalabrini Ortiz 1331 15-5738-385019 a 20 EP +EI Néstor Pellicciaro Junín 143, p. 1º, “A” 4953-121219 a 20,30 E Jonathan Villanueva Sarmiento 3989 15-2540-074019,30 a 21 EA Roberto Canelo y Valeria Eguía Ecuador 682 4964-0324/15-5424-2847 19,30 a 21 E Valeriana Perelsztein y Federico Prado Sarmiento 4006 15-5325-163020 a 21,30 EP Marta Famá Manuel A. Rodríguez 1191 3526-4191/15-5645-802720 a 22 Prá Martha Antón y “Gallego” Manolo Junín 143, p. 1º, “A” 4953-121220 a 21,30 EP Carlos Roberto y Marcela Salgado Barzana 2088 15-6845-4526/15-5959-530220 a 22 Prá Carlos Pérez y Rosa Forte Lugones 3161 4541-9776/4605-823420 a 22 E+Prá V. Batiuk, Dina Martínez y L. Valle Av. Córdoba 5064 20,30 a 22 E Sandra Gatti y Eduardo Arce Sanabria 1378 4567-9394/15-5124-476820,30 a 22 E Roberto Canelo y Valeria Eguía (milonga) Ecuador 682 4964-0324/15-5424-284720,30 a 22 E Patricia Antelo y Alberto Sancia Kawamichi Av. Ángel Gallardo 102 15-5404-7060/15-5410-837620,30 a 22 EI+EA Lic. Claudia Bozzo San José 364, p. 3º, “A” 4383-046620,30 a 22 E Marcela y Jorge Colombo Av. Juan B. Justo 9200 4652-5805/15-5804-329921 a 23 EA Gabriel Angió y Natalia Games Av. Scalabrini Ortiz 1331 15-5738-385021,30 a 23 EI+EA Marta Famá Manuel A. Rodríguez 1191 3526-4191/15-5645-802722 a 2 Prá El Motivo Tango. Batiuk, Martínez y Valle Av. Córdoba 5064

MARTES - TUESDAY - DIENSTAG - MARDI - TERÇA FEIRA12,30 a 14 E+Prá Zoraida Fontclara y Diego Alvaro Suipacha 384, 1º p 4306-5800/4328-775014 a 16 EP+EI Paula Franciotti y Orlando Scarpelli San José 224, p. 1º 15-5919-9339/15-6854-454617 a 18,30 E Estela Bernal Sanabria 3333 6380-3572/15-6221-307417,30 a 19 EP Néstor Pellicciaro y Y. Ardila (niños) Junín 143, p. 1º, “A” 4953-121218 a 19,30 EP+EI Pina Rados Ramón L. Falcón 2750 4611-7211/4502-733118,30 a 20 E+Prá Mónica Paz Riobamba 30, p. 1ª, “A” 4953-0702/15-5706-124119 a 20,30 EP+EI Néstor Pellicciaro Junín 143, p. 1º, “A” 4953-1212

ENSEÑANZA Y PRÁCTICA

One Saturday, I went to a milonga with friends. A man, and four women. We made an authentic socialist table. We shared the man and took turns dancing with him. That night, I asked Alicia to dance; it was the first time that she went to that milonga and she wouldn’t be asked to dance. She gently accepted my invitation to dance. After dancing with me to Francisco Canaro’s music, coming back to the table, she told me: “You lead very well! I won’t dance with men again!”

A great dancer! A milonguera since ever, we danced a second tanda.

Another Saturday, a friend accepted my invitation to dance a set of tangos sung by Ada Falcón. Dancing with a woman tangos sung by another woman, it’s something you can’t tell: you have to dare and do it. Or refrain from doing it and criticize.

A couple of times, I danced exchanging roles with a colleague (Magali Saikin, based in Germany with her husband, who’s a musician, with whom she teaches tango), author of the book Tango and Gender. She reflected about tango between men, machismo, the codes, the roles and stereotypes like girlfriend or mother. Her style is more modern (in leading and fol-lowing). I like the milonguero style more. But the most important thing is that we had a lot of fun and we had the chance to learn a bit more about human nature.

I think that the new generation of milongueros is not formed by people in their twenties who repeat the old codes, but by those who, no matter how old they are, dare to break old customs.

Maybe, many don’t like dancing between women, but times are changing. Women are not okay anymore with having to wait sitting. If men ask us to dance, better! But if they don’t, we’re going to dance among ourselves.

By Claudia Sanese

Two years ago, I went to a center for retired people (pensioners) where my aunt used to go, because I wanted to learn how to “lead” or, as they say, “be

the man.” I prefer the former because it’s not my inten-tion to be a man or look like a man, but to know both roles to dance tango. I’ve always had that whim.

On a Tuesday, I took a “queer tango” class with Mariana Docampo Excellent teacher. Interesting expe-rience. I led and followed. I danced with women and men, almost all of them foreigners. It was very funny.

So I jumped out onto the dance floor in the senior center, but when my female friends started to dance with me, I dared more. I really enjoyed it!

It’s widely known that in the milongas, there are always more women than men. And also that men can choose among an assortment of attendees, while women can only accept or decline the invitation (that’s what we’ve been taught to do.)

Besides, many women go just for the pleasure of dancing, not to find a partner. So, if a woman dances well, why not dance with her?

Now, when a female friend accepts, I ask her to dance. First, I wait to see if she’s asked by a man. I can’t compete with them, and I don’t expect to do it.

I know that I have a long way to go, but I’m con-vinced of my reasons. On the one hand, I cooperate with the female beings who are less coveted and get bored with not dancing. On the other hand, dancing makes me happy, either following or leading. And if I can make somebody else happy, much better!



Gender

Among Women

This meeting will be held from 21th to 27th July, 2014, at the Space for Memory (former ESMA.)

It is for musicians of all latitudes who wish to approach, meet, share and learn the basic technical elements of tango music.

The meeting envisages the realization of various classes, ensemble practices, lectures, discussions, master classes and public concerts.

The teaching staff includes: Ramiro Gallo, Ignacio

1st. International Tango Symposium for MusiciansVarchausky Schissi Diego, Julián Peralta, Exequiel Mantega, Paulina Fain, Federico Pereiro, Hernán Pos-setti, Gustavo Hunt, Patricia Andrade, Adrián Enríquez, Adrián Lacruz and Jorge Jewsbury, among others.

The organizers are: Tango Sinfin and the Nation`s Presidency Secretary of Culture.

For further information contact: Blog: http://tan-goparamusicos.wordpress.com; e-mail: [email protected]; Web: www.tangoparamusicos.org; Facebook: TangoParaMusicos.

Education



ENSEÑANZA Y PRÁCTICA ENSEÑANZA Y PRÁCTICA19 a 21 EP+EI Javier Maldonado y Mónica Parra Av. Scalabrini Ortiz 1331 15-5738-3850/15-5709-534419 a 20,30 EA Lic. Claudia Bozzo (técnicas integradas) San José 364, p. 3º, “A” 4383-046619 a 20,30 E Jonathan Villanueva Guardia Vieja 4049 4863-0463/15-2540-074019 a 20,30 E Iván Inera Av. Pavón 3918 15-4173-232319,30 a 21 EP Fernando Carrasco y Karen Alcaraz Ecuador 682 4964-0324/15-5424-284720 a 22 E+Prá Ricardo Viqueira Av. Ricardo Balbín 4699 4382-7719/15-3359-774920,15 a 22,30 E Marcela y Jorge Colombo Av. Figueroa Alcorta 7597 4652-5805/15-5804-329920,30 a 22,30 E Celia Blanco Humberto Iº 1783 4304-2438/15-4184-424420,30 a 22 EI Sandra Gatti y Eduardo Arce Sanabria 1378 4567-9394/15-5124-476820,30 a 22 EA Lic. Claudia Bozzo San José 364, p. 3º, “A” 4383-046620,30 a 22 E Olga Besio Junín 143, p. 1º, “A” 4953-121220,30 a 22 E Mariana Docampo Perú 571 15-3252-689420,30 a 22,30 E Jorge Kero (gira mayo a 15 de junio) Tte. Gral. J. D. Perón 2057, “A” 4207-4570/15-4972-209920,30 a 22 E Estela Bernal Castro Barros 236 6380-3572/15-6221-307420,30 a 23,30 Prá Iván Inera Av. Pavón 3918 15-4173-232321 a 22,30 EI Roberto Canelo y Valeria Eguía Ecuador 682 4964-0324/15-5424-284721 a 22,30 E Paula Franciotti y Orlando Scarpelli (mayo) Riobamba 345 4866-1656/15-5153-862621 a 22,30 E Jorge Firpo (seminario – junio) Riobamba 345 4866-1656/15-5153-862621 a 22,30 EI+EA Guillermina Quiroga (seminario) Riobamba 345 4866-1656/15-5153-862621 a 23 EI+EA Corina De La Rosa y Julio Balmaceda Av. Scalabrini Ortiz 1331 15-5738-385021 a 23,30 E Mimí Santapá y Leandro Santapá Av. J. B. Alberdi 436 4639-0385/15-5055-682621 a 22,30 E Valeriana Perelsztein y Federico Prado Sarmiento 4006 15-5325-163021,30 a 22,30 EP+EI Elizabeth Guerrero Av. Independencia 2890, p. 2º 4931-3644

MIÉRCOLES - WEDNESDAY - MITTWOCH - MERCREDI - 4ª FEIRA15 a 16,30 E Maju Marini Sarmiento 4006 15-5325-163016,30 a 19 Prá Maju Marini Sarmiento 4006 15-5325-163018 a 20 EP Marcelo Tévez Jean Jaurés 735 4964-2015/207118,30 a 20 EP Lic. Claudia Bozzo San José 364, p. 3º “A” 4383-046618,30 a 20 EP+EI Camila Fontán y Matías Díaz Estado de Israel 4116 15-5423-6280/15-4430-732918,30 a 20 E Alfredo Maldonado Guardia Vieja 4049 4863-0463/15-4033-024218,30 a 20,30 EP+EI Tato Ferreyra Av. San Juan 3330 15-5768-392419 a 20,30 EI Guido Zárate y Florencia Palacios Ecuador 682 4964-0324/15-5424-284719 a 20,30 E María Edith Bernatene Piedras 936 4941-9314/15-5422-504719 a 20,30 EP+EI Edgardo Pérez Sesma Iriarte 2290 4303-339319 a 20,30 EI+EA Blas Catrenau y Luciana Guido Junín 143, p. 1º, “A” 4953-121219,30 a 21 EP Fernando Carrasco y Karen Alcaraz Ecuador 682 4964-0324/15-5424-284719,30 a 21 E Ariel Kalejman y María Palazón Sarmiento 4006 15-5325-163020 a 22,30 E María Telma Polcan Cabello 3958 4863-018520 a 21 E Marta Famá Manuel A. Rodríguez 1191 3526-4191/15-5645-802720 a 21,30 EI Lic. Claudia Bozzo San José 364, p. 3º “A” 4383-046620 a 22 Prá Carlos Pérez y Rosa Forte Lugones 3161 4541-9776/4605-823420 a 21,30 E+Prá Graciela Fileni Av. San Juan 3330 15-3003-992620 a 22 E Delfín Gavilán Guardia Vieja 4049 4863-046320 a 22 EP+EI Elina Ruiz y Loli Oviedo Ramírez de Velasco 55 15-5455-3550/15-4177-3530 20,30 a 22 E Sandra Gatti y Eduardo Arce Sanabria 1378 4567-9394/15-5124-476820,30 a 22 Prá María Edith Bernatene Piedras 936 4941-9314/15-5422-504720,30 a 21,30 E Edith Páez (técnica p/mujeres) Sarmiento 1411, p. 1º, “2” 15-5524-839620,30 a 22 EP+EI Juan Stefanides y Eugenia Martínez Benjamín Matienzo 2696 15-6663-417020,30 a 22 EI+EA Pedro Ochoa y Cecile Boucris Junín 143, p. 1º, “A” 4953-121221 a 22,30 EA Roberto Canelo y Valeria Eguía Ecuador 682 4964-0324/15-5424-2847



ENSEÑANZA Y PRÁCTICA ENSEÑANZA Y PRÁCTICA21 a 22,30 E Virginia Ravena y Sandro Nunziata Sarmiento 4006 15-5325-163022 a 1 Prá Elina Ruiz, Loli Oviedo, G. Benítez y M Pérez D. Ramírez de Velasco 55 15-5455-3550/15-4177-353022 a 2 Prá Ana Monteagudo y Pablo Retamar Maza 177 15-5045-6019/15-5601-828022 a 2 Prá Olga Nieves Garay Carlos Calvo 3778 15-3565-2879

JUEVES - THURSDAY - DONNERSTAG - JEUDI - 5ª FEIRA12,30 a 14 E Lic. Claudia Bozzo San José 364, p. 3º “A” 4383-046614 a 16 E+Prá Sonia Peralta San José 224, p. 1º 4383-7283/15-5137-906114,15 a 15,45 EI+EA Lic. Claudia Bozzo (técnicas integradas) San José 364, p. 3º, “A” 4383-046617,30 a 19 EP+EI Néstor Pellicciaro y Yohana Ardila Junín 143, p. 1º, “A” 4953-121218 a 20 E+Prá Ricardo Dupláa Perú 272, e. p. 4795-289418,45 a 20 E+Prá Oscar Del Barba y Alejandra Roldán La Rioja 1180 15-6122-8211/15-5729-953219 a 20,30 EP Fernando Carrasco y Karen Alcaraz Ecuador 682 4964-0324/15-5424-284719 a 20,30 EP+EI Jean Pool Iriarte 2290 4303-339319 a 20 EP Violeta Viola Sánchez de Loria 745 4629-3085/15-3246-848219 a 20 E Amadeo Avilés y Mónica Daniel Gral. Hornos 238 4361-8681/15-6899-210119,30 a 21 EI Roberto Canelo y Valeria Eguía (milonga) Ecuador 682 4964-0324/15-5424-284719,30 a 21,30 EI+EA Carlos Roberto y Marcela Salgado Barzana 2088 15-59595302/15-5959-528019,30 a 21 E Jonathan Villanueva Guardia Vieja 4049 4863-0463/15-2540-074020 a 21 EI+EA Sandra Gatti y Eduardo Arce Sanabria 1378 4567-9394/15-5124-476820 a 21 EI+EA Violeta Viola Sánchez de Loria 745 4629-3085/15-3246-848220 a 22 E+Prá Ricardo Dupláa Sarmiento 1551 4795-289420 a 22,30 Prá Amadeo Avilés y Mónica Daniel Gral. Hornos 238 4361-8681/15-6899-210120,15 a 22,30 E Marcela y Jorge Colombo Av. Figueroa Alcorta 7597 4652-5805/15-5804-329920,30 a 22 E Patricia Antelo y Alberto Sancia Kawamichi Av. Ángel Gallardo 102 15-5404-7060/15-5410-837620,30 a 22 EP+EI Yohana Ardila Junín 143, p. 1º, “A” 4953-121220,30 a 22 EP+EI Martín Aguirre Lisandro de la Torre 2319 4601-8859/15-6991-764321 a 22 EI+EA Sandra Gatti y Eduardo Arce Sanabria 1378 4567-9394/15-5124-476821 a 22,30 EI Roberto Canelo y Valeria Eguía Ecuador 682 4964-0324/15-5424-284721 a 22,30 E Juan Stefanides y Eugenia Martínez Av. Scalabrini Ortiz 1331 15-3688-1388/15-5820-701721 a 21,45 Prá Violeta Viola Sánchez de Loria 745 4629-3085/15-3246-848221 a 22,30 E Gustavo Ameri y Jorgelina Contreras Sarmiento 4006 15-5325-163021 a 23,30 E Mimí Santapá y Leandro Santapá Av. J. B. Alberdi 436 4639-0385/15-5055-682621,30 a 24 E+Prá Nico Fernández Larrosa Cochabamba 444 15-5721-0108

VIERNES - FRIDAY - FREITAG - VENDREDI - 6ª FEIRA12,30 a 14 E+Prá Zoraida Fontclara y Diego Alvaro Suipacha 384, 1º p 4306-5800/4328-775018 a 20 EI+EA Marcelo Tévez Jean Jaurés 735 4964-2015/207118 a 19,30 E Marta Etcheverry Blanco Encalada 2848 15-4084-033218,30 a 20 EP Lic. Claudia Bozzo San José 364, p. 3º “A” 4383-046618,30 a 20 E Pablo Cabrejos Sarmiento 4006 15-5325-163018,30 a 20 E V. Batiuk, Dina Martínez y L. Valle Av. Córdoba 4030 2063-967119 a 20,30 EI Rodrigo Verón Ecuador 682 4964-0324/15-5424-284719 a 21 E profesores invitados Av. Scalabrini Ortiz 1331 15-5738-385019 a 20,30 EI+EA Paula Franciotti Junín 143, p. 1º, “A” 4953-121219 a 20,30 E Alfredo Maldonado Guardia Vieja 4049 4863-0463/15-4033-024219 a 20,30 E Violeta Viola Pje. E. Santos Discépolo 1830 4629-3085/15-3246-848219,30 a 21 E+Prá Nina Balbuena y Néstor Paladino Av. Juan B. Alberdi 436 4581-7290/15-3638-825619,30 a 21 E Patricia Segovia y Faustino Blanco Sarmiento 4006 15-5325-163020 a 21,30 EI Lic. Claudia Bozzo San José 364, p. 3º “A” 4383-046620 a 22,30 E María Telma Polcan Cabello 3958 4863-018520,30 a 22 E Natacha Iglesias Sarmiento 4006 15-5325-1630

en el/at 1º encuentro internacional tango para músicos · tango. el encuentro prevé la rea- ......

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