2024-05-10 03:01:00
A “more” is sometimes a sum of things. Others, the sign of an enthusiast who wants to get new experiences between his chest and back. In the case of Tango+Tango Festival, that starts this Friday the 10th at 6pm in Hasta Trilce (Maza 177). The meeting brings together avant-garde tango artists and the novelty is that this happens both in the music like in the danzatwo lanes in which the new creators of the genre They don’t always match.
The meetings will happen until Sunday in three sections with the intention of “building a network of contemporary gender identification with the new generations.” “Black Box” It’s the dance section, “Chromatic music concerts” and, in addition, there will be another: “Vermouth Section”, that will move the exchange to the Hasta Trilce bar to put the debates of the tango present on the table.
The Festival’s programming includes groups as diverse as the La Púa Quartet with Victoria di Raimondo, the Pasquale Typical Orchestra (with Mica Sánchez and Juan Iriarte as guests) or Shipyard. And among the dance companies the number of one-person proposals speaks of an extensive search to find him new edges to the choreographic language of the discipline.
“The Festival was defined as a space of meeting of new creators, of sharing work and reflection, of getting to know each other,” he says. Andrea Bouhier, organizer of the meeting and producer of Hasta Trilce. Bouhier remembers an initial conversation with violinist Pétalo Selser (from the Cuerdas del Plata orchestra) in which they proposed a new tango festival to “give visibility to the number of creators who are making their own repertoire or repertoire of colleagues who are in the public.” In a short time there were more than forty groups eager to participate. And in dance, he points out, they were “interested in reflecting on “where the disciplines intersected.” Thus, she joined Selser as coordinator of the music area, with the premise “to highlight new compositions.”
The musician is more than satisfied with the result: “it is the most varied for what the circuit we have been driving is,” he evaluates. Regarding the Tango+Tango dance area, they called Ignacio González Cano, of the Tempotango company and artistic director of the UNA Tango Company. “He presented works with live music in Hasta Trilce, a crossing that is not the usual one, so with Nacho “questions were added.”
“In the long term the idea is to spread new tango, connect and accompany this process that is taking place, between dance and new tango, as a joint proposal,” says the violinist. For Selser, it is a look to develop over time. “They are constructions, and constructions have to be supported, and we have to also resist social and political attacks and, anyway, do things,” he reflects. “In the short term, have a good time and strengthen the ties within the movement, which also seems fundamental to me.”
For the dancer and choreographer, the search for the Festival must be open and inclusive. “We understand that precisely the communication between the new creators of music and the new creators of dance are bridges that we have to build, that we have to continue strengthening, so in this first edition what we do is put the focus specifically and more than nothing in it creative impulse.”
In the area he coordinates, that of dance, González Cano points out the interest in supporting the three great currents that run through tango, which range from the independent to the commercial, passing through the institutional experiences, like the one he himself coordinates in the National University of the Arts (UNA). “Tango in general, and tango-dance in particular, is a very wide universe which is aimed at different audiences, but is unified by a genre that is tango,” he points out. That is why his proposal to see the Festival as “inclusive” and his effort to highlight that “the nature of the festival is that open your eyes, that does not deny any of the aesthetics that you present.”
“The ultimate objective is to collaborate in the confluence of the popular tradition with the uses of the avant-garde, seeking consolidate epochal, local and American expressions while also working together between different generations of artists and different spaces,” Bouhier proposes.
The three organizers are aware that Sometimes it is difficult to combine new proposals of music and dancers (they are “atomized”, defines the choreographer), especially in more commercial areas (what is called “tango for export”) and they hope that the meeting will help build bridges. “We are precisely putting together this festival so that the new creators of tango, whether it is dance, music or words, let’s work more in communion”, he assures. Bouhier, meanwhile, considers that “being able to talk about this is a great first step: that musicians meeting, just by coinciding in space, watching tango dance shows, and vice versa, can make new questions, answers, concerns.” And he anticipates “I don’t think anyone will leave Hasta Trilce the way they entered.”