Robert Farris Thompson, the groundbreaking scholar of African art at Yale University, has recently published a splendid new book, "Tango: The Art History of Love" (Pantheon). On this very special episode of Afropop Worldwide's Hip Deep, Thompson talks to Afropop's own Ned Sublette, author of "Cuba and Its Music: From the First Drums to the Mambo," about the erotic Afro-Argentine dance whose Kikongo-derived name he renders as "moving in time to a beat." With musical examples galore.
http://www.afropop.org/radio/radio_program/ID/618/ [1]
Links:
[1] http://www.afropop.org/radio/radio_program/ID/618/
I've Been Reading the Book
I purchased the book and have just begun reading it. From the beginning, he clearly lays out the historical case for the African influence in Tango.
And, it makes sense. But, it seems so strange that the exact same comment he makes about the lack of Black faces in today's Milongas can be said about today's American Swing scene. And, while you may argue about whether Tango originated from African dance, there is no question about the Black American roots of Swing.
I don't know if this is because Black Americans have little sense of cultural history, or because they're so busy creating new cultural standards that they just don't have time to keep up with the old ones. (To be honest, I hardly see "Chicago Style Step" sweeping the dance floors of non-Black America any time soon. But, you never know...)
Anyway, it's a subject that fascinates me.