Festivals, seminars, new milongas, academies, tango stores… The tango trend is being experienced intensely and with expectations for its evolution in artistic performance and employment possibilities.

On 31 December 2006, when Daniel Barenboim gave a concert of symphonic tango, Leopoldo Federico played and the maestro Horacio Salgán was given an ovation by crowds on Avenida 9 de Julio, it seem to be heralding the coming year as more than auspicious for tango. And in many respects we believe that’s how it was. It was a prologue with seniority and an international flavor. And in spite of being an election year, there was a lot of mobilization in the artistic and employment fields, although with some months leveling out, with less work activity.

In January 2007, “Tanguera” returned to the Teatro Nacional with the great tango diva, the legendary María Nieves.

In February, performances flat out by the Sexteto Mayor de Buenos Aires, conducted by the young Horacio Romo and the wisdom of the historic Mario Abramovich and Eduardo Walczak won ovations at the upstairs venue of the Confitería Ideal.

March gave us the ninth edition of the C.I.T.A. (International Argentine Tango Congress), a festival organized by the talented Fabián Salas: a marathon of lessons, milongas and two shows at the Teatro Austral with performances by important teacher-dancers. There was also a female proposal: the “Ladies’ Tango Week”, an event “only suitable for women”, directed by Johana Copes and Carolina Bonaventura.

In April, Alberto Podestá was distinguished with the title of Illustrious Citizen of the City of Buenos Aires and insisted that: “we must struggle for tango”. The tango “La Cumparsita” was 90 years old. And Julio Iglesias filled the Luna Park stadium, accompanied by Osvaldo Zotto and Lorena Ermocida, while he sang “A media luz” and “La Cumparsita”.

On 3 May, the Legislature of the Autonomous City of Buenos Aires finally passed the so-called “Milonga Law”, defining, regulating and encouraging their activities. Live performances by orchestras return to milongas. In addition, the electronic trend continues to grow: Ultratango presented its CD “Trashnoche”, and Narcotango undertook a successful tour round Europe. The maestro Emilio Balcarce retired as director of the Tango School Orchestra and Raúl Garello succeeded him.

In June, Susana Rinaldi presented her CD “En el Underground” at the Teatro Avenida, and the Spanish language version of the book by the Italian Monica Fumagalli, “Carlos Gavito, su vida, su tango” arrived in Argentina.

The month of July saw the reopening of the legendary “Café de los Angelitos”, on Rivadavia and Rincón streets; Rubén Juárez was declared Illustrious Citizen of the city of Buenos Aires, and the 24th National Tango Festival  was held at La Falda.

August was the month of the 5th World Championship in Buenos Aires, which produced as winners of Salon Tango, Dante Sánchez and Inés Muzzopappa, and in Stage Tango Fernando Gracia and Natalia tonelli Attori; as Metropolitan Champions Javier Díaz and Cecilia Favoro were chosen (sadly now separated), and in the Milonga category Alejandro Hermida and Silvana Anfossi.

In September, the 2nd La Plata International Festival was held in that city, under the direction of Martín Gutierrez and Carolina Pizzo, while Esteban Morgado launched his excellent CD “Milongueros”, at La Viruta; La Trastienda Tango Club was opened with lessons, show and milonga; and Mariano Mores returned to the Teatro Nacional after his last performance in 1962.

In October, Leopoldo Federico presented a special show at the Esquina Homero Manzi, with Juan Carlos Copes and Johana Copes dancing, and applauding in the audience a deluxe San Lorenzo football club fan and member of the Centenary Sub-committee of the San Lorenzo club, the TV idol Marcelo Tinelli.

November, a month of festivals: that of Norberto “Pulpo” Esbrez (see separate story) and that of Johana Copes, “Bailemos Tango” (in the next edition). And now as this edition is closing, the “Festival Tango Queer” and the “Festival Cambalache”.

December will be, according to the announcements, a month of openings and first nights: “Tango Porteño” opposite the obelisk (see separate story), and “Tango Palace” at La Rural. Two mega projects looking towards foreign tourism to affirm Buenos Aires as the most important artistic center of tango at world level.

This year which is drawing to a close, has been one of grant events, lots of hard work, new milonga venues – some that have managed to endure, like “Los Mareados”, “Mano a Mano” – and others that went under – like “Bien Pulenta” or “Salón Mallorca” in the Boedo district. New studios opened – “Mariposita”, that of Julio and Corina, and Roberto Canelo – and the practice sessions and seminars increased – La Viruta and Villa Malcolm. Sadly, too, we must remember dearly-loved performing artists who were lost to us, like Juancito Díaz, Pedro Vujovich and Pupy Castelo. They have already entered the annals of tango hearts…

The future now depends on the youngsters who are establishing themselves more and more by strength of talent and perseverance, among them it is worth mentioning the “kids” of the Orquesta Cerda Negra, Quinteto Vice Versa, Otros Aires, Fervor de Buenos Aires, Alfredo Piro and many more.

Tango and milonga, with their poetry, music and dance, continue giving us sufficient motives to give thanks for what has been lived and look forward enthusiastically to tomorrow.

Silvia Rojas