SEXY DANCERS

2010-11-21T14:03:00.001-08:00

The Cha-Cha-Cha is a rhythm and a sound that more than forty years.It was created by the Cuban violinist and conductor Enrique Jorrin in 1948, the result of his experimentation with form, the melody and rhythm of the danzón.The name by Enrique Jorrin originally called his experiments was neodanzón.We can say that is the dance that has more recently been incorporated in the form of Latin dance. Due to the introduction of the mambo, the dance moves were introduced in the ballrooms, gaining popularity recently.This rapid and widespread acceptance is due largely to being a dance intermediate, neither too slow nor too fast, making it a genre of dance for all audiences.
The name we all know today was born with the help of bailadores.El dance cha-cha-cha is characterized by a series of three quick steps that take place in two periods of time.Thus it was that, by onomatopoeia was given its present name, as it was found that the feet marked a peculiar sound when touching the ground, cha-cha-cha.Chachacha instrumentation was originally taken up the danzón, which in Cuba is played with a musical group called Charanga Francesa.
The basic instrumentation is also the rhythm section (usually consisting of percussion, piano and bass) in a string section that outlines a harmonic rhythm.

2010-11-21T13:59:00.000-08:00

Bellydance is one of the oldest dances in the world, combining elements from different countries in the Middle East and North Africa, although their precise origins are uncertain.
In Arab countries, this dance is called Raks Sharki Oriental Dance that means literally. The name Belly dance began to be used in the nineteenth century by Europeans who traveled to exotic lands in search of new cultures, customs and landscapes.They gave this term travelers surprised by the belly and hip movements that did not exist in European dances.
We have to distinguish between the Raks Sharki (Oriental Dance) and Raks Baladi (Dance of the People). The baladi raks dance is more elemental, almost no movement and hip movements predominate. The Raks Sharki is more refined and rich. Includes movements of Egyptian folklore, ballet and contemporary dance, with large movements, turns and moves to all parts of the body, although the hip are also the most important.

In some villages of the old thought that human fertility was directly connected to the earth.Women, who were the ones who created new lives, they are magical powers. For example:Anatoly In Central and Mediterranean (Turkey), for thousands of years, women were ritual dances in honor of these magical powers (ceremonies associated with fertility). The men were excluded from these rites.

In ancient Greece and Rome were performed different dances of fertility based on the rotation of the hips and belly. Some of them were held in honor of the goddesses. Many of these deities came from the East, particularly Syria and Turkey.In Cyprus, birthplace of Aphrodite, the Greek goddess of love and fertility, women performed ritual dances accompanied by songs erotic and percussion by which they put in a trance. This allowed them to contact the goddess and it will pass its power.Also, these rites or the like took place in Mesopotamia, Phoenicia, Egypt, Arabia and India.In these ceremonies involved large numbers of women. They danced, sang and even some women were offered to men in honor of the goddess. The purpose of these ceremonies was to bring the power of God to earth and promote fertility.
During S. IV D. C. Christianity and Islam came to dominate the Middle East. Although it took some festivals and pagan rituals and the proper adapter to your new religion, also destroyed the rituals to worship the gods and tried to remove the female dances related to sexuality and fertility. Centuries ago, dancers, musicians and singers were slaves.Although this status then changed the performers never fully escaped the stigma attached to their profession in Arab countries.
During S. XIX, in Egypt there were two types of dancers: the Ghawazee (gypsies) who danced outdoors or in the field, usually for low social class audiences. Acting with a small group of musicians that used to include mizmar, nay and table. The awalim were more respected and well danced, sang and recited poetry. Normally operating in rich houses. The musicians were: nay, oud, kanoon and table. In both cases, the dance was improvised.
Until 1930, the dancers acted mostly in people's homes or in cafes. That year, in Cairo, a Lebanese woman called Badia Mansabni opened a nightclub called Casino Badia. This room became very popular. Had a diverse program that was based in the east and provided dancers, singers, musicians, comedians and European numbers.Oriental dance is always danced in small spaces.In the Casino Badia had to be adapted to large scenarios. Badia Mansabny well as training its dancers and choreographers worked with European dancers to include elements of other dances (ballet). These dancers were acting normally in groups, although they were noted for their talents were sometimes a solo.
During this period it became fashionable two-piece suit with rhinestones and fringes that was inspired by American films.In those years there were a lot of films in Egypt and it was common to include some dance scene or have a dancer as the protagonist. Many scouts went to the Casino Badia looking for dancers for these scenes. The dancers were very successful actresses in the audience.
Many of these dancers discovered in the Casino Badia became very popular movie stars and acquired a status they never had before. As Tahia Carioca, Samia Gamal, Naima Akef and Nadia Gamal.
Currently, the Oriental dance in most Arab countries is part of the culture and a celebration without a belly dancing show is not complete. In Arab countries where it is most developed in recent times is in Egypt, Lebanon and Turkey, although it is noteworthy that also developed in some European countries and America with the Arab emigration, like Germany, France, Brazil andUSA.
Famous dancers tend to dance in clubs of five-star hotels, leading an orchestra of at least thirty musicians on traditional instruments and modern.The clothing is usually unique and the show is completely choreographed. The first number is usually a music specially composed for them followed by a variety of popular songs.Some famous dancers today are: Fifi Abdou, Nagwa Fouad, Amani, Mona Said, Dina, Laila Soraya Haddad and Hilal.
Virtually all Arab women dancing raks baladi, learn from girls at parties and family gatherings, but few who dare to be professional, because being a dancer is not well seen in a traditional Muslim society.

2010-11-21T13:52:00.001-08:00

first impulse would lead us to say that these songs have their roots in folk rhythm of the same name in Colombia, however, the cumbia in Argentina has evolved so has achieved its own identity, clearly distinguishable from homonyms rhythms from Colombia, Mexico and other Latin American countries.
In the first steps in this evolution was influenced by Argentinean folk rhythms as Chamamé the guarachas and the quartet, among others. Over the years, contributed their flavor Latin rhythms such as salsa and merengue. In the latest stage, incorporated elements of pop and rock.
For much of the nearly 60 years of evolution that has this rhythm was characterized by simple melodies and danceable as to make "love" as "loose." As for their lyrics, mostly, stories are about love or heartbreak and in many other cases of everyday life events taken with playfulness and joy.
Cumbia in Argentina, several styles clearly differ, among which we mention the northern, the Cordoba, Santa Fe, sonidero, etc., Up to the latest variants have been developed as the rap cumbia, cumbia neighborhood and (the most pathetic pop moment of social history, economic policy and Argentina) villera cumbia.
La cumbia-in all its forms-and-rhythm quartet characteristic of the province of Cordoba in general are known as La Movida Tropical.
Today, in the tropical groups are present instruments similar to those of any rock band (keyboards, electric guitar, bass and drums) with timbales, congas, congas, bongos, electronic drums, TIMBALES, accordion, gourds and even trumpets according to the final sound or style you want to achieve.
The singing, musical arrangements, the plain language and youth with which they communicate, the haircuts and overall physical appearance are all factors taken into account very groups and were often directly related to the name of the whole or in relation to the message they wanted to convey to your audience.
Another element that was able to characterize groups of La Movida Tropical is the wardrobe: original and very colorful, in general.
Finally, another detail that characterized many groups was the creation of "dance steps." Each group tried to impose their "dance steps", the "choreography", generating a healthy and fun dispute invent "small step" most original or most accepted.
Most groups are formed cumbia in Argentina after the completion of demanding casting made by producers or record labels to cover any unsatisfied market niche or start one. In these casting, musical experience and physical presence are taken into account. Anyway, has not missed the case of members who only cover appearance requirements, no idea how to play an instrument, and ended up becoming true simbols sex. In general, groups that form the basis of casting, do not make up their own repertoire of songs, but they touch on issues that professional composers.

2010-11-21T13:39:00.001-08:00

Although we know that Reggae originated in Jamaica in the 70's and that over time has been mixed with other rhythms, Reggaeton could say that stems from a cultural and musical exchange between Panama and Puerto Rico from the 80 .Panama, a country where they first sang reggae in Spanish in 1985, with the "Chicho Man." Puerto Rico, a country where the first rap song in Spanish for the same year with "Vico C".DJ Black makes a major contribution to the birth of this genre in his nightclub The Noise, between 1992 and 1993, where he made a singing contest for improvising lyrics to instrumental recognized U.S. and Reggae from Jamaica. This is where win-win "Baby Rasta" and "Gringo."By 1994, born the first productions to The Noise and Playero 37. Then he organized groups such as Tales from the Crypt and The Factory, which has been echoed here in Venezuela. But what made the Puerto Rican reggae stay in Panama was marked "The Noise Live" where Baby Rasta, Gringo and Ivy Queen were the main protagonists.Then the reggae of Panama no longer the same.Came a way of singing that Puerto Ricans had the double sense that already existed in the music around the world for a long time but in Latin reggae was released by Papacho with the song "Pa the fence" on the CD The Creation 1 wherein the only issue that was different from the production, which took another twist to the course of reggae in Panama. From that moment began the story of what we now call Reggaeton, rhythm that has become almost a culture in Puerto Rico and liked the Venezuelans. Not lacking in any club or any party. It has become a set of music "impel".
Here I offer some of the words that usually reggaeton artists use in their songs, although you can see many more in the reggaeton dictionary:
- Perreo: name given to dance Reggaeton, when the man touches a woman in a sensual back.Name given because of the similarity of the dog by animal sex. There are songs that are dedicated to and sensuous dance perreo reggaeton and not gangsta, dedicated to women.
- Malianteo: name given to the songs that are dedicated to living environment reflect a crook, either tiraera against other singers or their experiences. And more competition from both singers and DJs.
- Sandungueo: rhythm, music style pum-pum- Tiradera: War Music
- Not having banter, not daring
- Drops as drawer, that goes into all that makes whatever
- Guasa: a ridiculous

2010-11-21T13:32:00.001-08:00

History of DanceA touch of American twist, a dash of the Yungas tuntuna another k'usillo both Andean and ready.One of the most representative folk dances of the country, the overseers, was born well over 30 years of restless imagination of family members Estrada Pacheco.It was simple, "nothing complicated or deep anthropological historical research," he says with a hint of irony Victor Pacheco Estrada, who cherishes those early in a file in black and white photographs that hang on the walls of her room.Alongside these images, a nail protects the original suit corporal with three decades ago dazzled Estrada, together with the members of the fraternity Urus, viewers of the entrance of the Great Power.That dress is three years gathering dust in the folds, but not because time has mastered the skills Estrada dancer. Victim of kidney failure, the rhythmic steps of the dancer of 57 years are busy now going through the halls of General Hospital, with the sole purpose of staying alive.Proposal "made in" Chijini"Folklore is for Indians." This idea prevailed in much of Bolivian society in the early 60's. So folk expressions demonstrating almost clandestinely in the streets of the slopes of the city La Paz.It is precisely in those years that Victor walked through the streets of Chijini stocked with speakers and a hip record collection to entertain youth festivals.Of course, his passion for folk-infused expressions by their parents, known promoters of the Great Power-caused that from time to time the teen included in the occasional musical repertoire morenada illustrious."I do not like ... people began to whistle when they heard the first chords," he recalls, smiling.But more than music, Victor's obsession, his brothers and a group of neighborhood friends Chijini were folk dances, especially the indigenous, those years were very little known.With characteristic impetuosity of youth, young people formed a dance troupe that appeared in clubs and theaters with k'usillo dances, and kallawaya Kullawada.It was not until the presentation of the Blacks of Tocaña-to late 60's, in La Paz-Pacheco Estrada's family took a chance and invent a new dance-inspired dress and the music of the Afro-Bolivians.Recognized showman Alberto Pacheco was the first to be seduced to the lilting rhythms and dances of African descent. Determined, Pacheco managed the performance of the Yungas in La Paz."The villagers told him he should seek the consent of the boss, the foreman, a black old diver, blouse and wide-brimmed hat." Moreover, "had a machete and two bells on the boots with which he announced his presence," said Victor Estrada, nephew of Pacheco."'How far are we going to charge?", He questioned the foreman, and he said he did not want money, but Lombard sardine cans. And we gave. "Thus, in 1969 the city of La Paz for the first time witnessed the expressions of the Afro-Bolivians.And more than 35 community members of Tocaña caused a great sensation."Days later this performance, we gather to give birth to a new dance that was so bright and spectacular as that of the blacks," said Vicente Estrada, Victor's younger brother.That day was developed to design the costumes, then made the traditional way by Victor Estrada.His brother, Vicente, took the baton of the group and was responsible for collecting the ideas of its members.The dress was simple. Made with fabric charm, the costume consisted of a white diver and a wide-sleeved red blouse, both adorned with a few sequins. In addition, the designs included a black belt, a straw hat with wide brim and black boots with two bells. The final piece was a whip, machete instead of the original.The dance sequence of the foreman was even more difficult to devise. Skipped steps in the knee with feet, spins, volapiés, foot crosses ... In the end, "we created six figures in my father's house under the bridge Abaroa," said Vicente.Today, as in all history of this kind, Estrada Pacheco brothers show their differences in time to recreate those days. Thus, the creation of music, for example, divides its many memories.Victor states that were members of the clowns the first to write corporal rhythms with the sounds of tuntuna, rhythms that were later copied by a band.For his part, Vincent explains that the music was originally composed of a small band without much experience, called Ghost Shadows, the people of Tiwanaku. According to folklore, musicians foreman built the catchy rhythm with instruments imitating the humming and hissing of young dancers.The truth is that after long and exhausting days of practice, and some sporadic presentations, Pacheco Estrada brothers, along with more than 100 dancers, formed the fraternity Urus and took the decision to put their folk dances to the most important event in La Paz : the splendid entrance of the Lord of Great Power.The beginning of the legend"So dance, sing and dance is foreman. We are the Urus Urus are the boys at heart." With this opera, created by Santos Pacheco, Urus joined the fraternity in 1972 with its innovative creation, the Great Power."It was a sensation, some of us watched with my mouth open in surprise. The people rose from their seats and tried to imitate the steps," recalls René Quisbert, then 17 years. That year, the youth group won first prize, Carmen Rosita. And success was repeated in subsequent years."People are waiting for the whole avenue Buenos Aires and sang with us our letters. Many young people came and begged us to join the fraternity, but not many people could receive" sums Eddy Pacheco, who did not hesitate to give up work only to leave on tour with the Urus.The foreman newborn dance repercussions abroad and Urus fraternity received its first invitation to leave the country. It was in 1975, to celebrate the anniversary of the Peruvian city of Cusco.It was precisely on that trip where the fame of Walter Tataque Quisbert, then 17, began to be carved. "The first time I walked into the rehearsal room the girls screamed with fright," says Vicente Estrada, who admits that it was a chore "break the giant's lead foot."But Quisbert not collapsed and the stories began to accumulate. Years later, after completing the tour of the Great Power, armed civilians boxer waited more than two meters high."Scared was the Tataque and began to mourn thinking he would be killed. I demanded to accompany him on the van that took us with our costumes to the Government Palace." There, "President Hugo Banzer, who had seen from the Royal Box at the entrance, called the 'Tataque' happened to be his bodyguard, tells Estrada.More than just fashionSince 1977, the feast of the Great Power was to include new groups of foremen, comprised of former members of the fraternity Urus. Thus were born siblings groups Escalier, Production, and Bolivia Chuquiago Young 77, among others. Since then guarachas included in the sleeves of the blouses, the steps were increased and clothing began to be stylish every year.The final leap of the dance of the overseers, as well as presentation of dance in the Oruro carnival was in the 80's during the college entrance. Then a group of young Bolivian Catholic University set out to investigate and perform the dance.
"The rest is history," concluded Victor Estrada, who because of his serious illness can only watch from the sidelines to the new generation of Urus, twice a week for the eldest brother Estrada undergoes hemodialysis General Hospital.The folklorist, who in 2001 received a diploma from the municipality of La Paz "for his contribution to culture paceña with the creation of the dance of the foremen," has no state support or health insurance."We spend about 350 Bolivians in each session, including the material to do it," says Carmen, the wife of Estrada, and his face is drawn hopelessness to confirm that the costs forced the couple to put their house all Life for sale.Today announced several initiatives to support Victor Estrada, but the artist is the best contribution that the current foremen fraternities in the country not to forget the origin of the dance.That is just the objective of the Bolivian Defense Organization of Folklore, which is organizing the meeting 4 December 5000 foremen to include dance in the Guinness World Records.With a few extra kilos, these are the first dancer Caporal

2010-11-21T12:49:00.001-08:00

The samba, long before it became one of the most recognized Latin American music genres around the world, was a fertility dance of Angolan origin. It owes its name to the choreography of this dance, which included the rubbing of the belly button (navel semba Bantu language means).
His syncopated rhythm is accompanied by percussion instruments and also songs in which alternating chorus and soloists. For its origin, is directly linked to the dance, which occurs usually in groups dancing in circles or double lines, evoking the meetings conducted runaway slaves in the jungle to worship their gods. In his version of ballroom dancing at the rhythm of 2 / 4, the samba is danced in pairs, which are often separated for individual steps.
History of SambaIn the late nineteenth century, the most popular rhythms in Brazil are the lundu, also of Bantu origin, and maxixe, gender influences from Havana. Also sings and dances the samba, which comes to hand River Bay black families moving to the then capital city. They make up this pace Candomblé religion born of the fusion of Catholicism and Yoruba religions and Congo. The priests and priestesses of Candomblé have parties where they go instrumentalists, singers and dancers, and gradually, the samba is losing its sacred character.Instead, his spirit remains popular and anonymous.
Only in the first decade of this century, composers began to appear, the songs are transformed into works of authorship and the letters no longer improvised. Like the tango, it took a while for this music was recognized by the wealthier classes. In some cases, police arrived to confiscate the guitars of the samba dancers. Finally, in the twenties, several factors combine to make the spread and popularity of samba reach all sectors: the consecration of musicians like Sinha (flautist and pianist) and Pixinguinha (saxophone and flute), who make up numerous issues. In the latter case is presented in Paris in 1921.
Finally, the samba rhythm is in the excellence of the increasingly impressive carnival in Rio. It becomes a mass phenomenon and a symbol of Brazil. Mario Reis known performers as Carmen Miranda and the samba are the United States. And in Rio de Janeiro, in 1927, establishing the School of Samba Deixa Eu Falar (Let me talk), thus fulfilling his dream Heitor Dos Prazeres and other black musicians, carnival associations organize and produce a show developed. By then, the original genre has branched out into samba-canção, samba-exaltaçâo, samba-versed and, more recently, samba-reggae.

2010-11-21T12:46:00.001-08:00

The Merengue is a Dominican folk dance that has been widely disseminated and considered by many as the Dominican national dance.Source
Is still discussed the origin of the merengue.Among the different opinions we find:
It was Alfonseca who invented the merengue (According Flérida Nolasco).Its origin and appearance are lost in the mists of the past (Julio Alberto Hernández).Was born as a Creole tune after the battle of Talanquera victory at Dominican (Rafael Vidal).It seems that merengue comes from a Cuban music called UPA, which had a part called merengue. The UPA came to Puerto Rico, where it arrived in Santo Domingo in the middle of last century (Fradique Lizardo).Apparently Lizardo is closer to the truth of the matter. In 1844 merengue was still not popular, but in 1850 it became fashionable, displacing the Tumba. From that moment he had many detractors.
In the early 1850's newspapers erupted in the Dominican capital, a campaign for the Tumba and attacking merengue boom reflected the merengue was taking at the expense of the latter.
Don Emilio Rodríguez Demorizi says: "Merengue origins still are in the mist. There seems to be originated in Haiti. Had had that dark source would not have enjoyed a vogue in 1855, when bloody battles against Haiti, nor those who rejected the rhythm that had it been overlooked as a reason for that. Nor Ulises Francisco Espaillat said in his papers against merengue in 1875. "
In reality, little is known specifically about the origin of merengue. By mid-century, from 1838 to 1849, a dance called the PACU or UPA Habanera, cruised the Caribbean coming to Puerto Rico where he was well received. This dance had a movement called merengue which apparently is the way selected to call the dance and came to our country where not even mentioned in the early years. Later he was well accepted and even the colonel Alfonseca wrote pieces of new music with very popular titles such as "Ay, Coco!", "The stew", "He who does not have two weights do not dance", and "Huye Marcos Rojas fucks you the ball. "
The musical structure of the meringue into the form which can be considered more representative, consisted of walking, body or merengue, and trouble. He attributed to Emilio Arté erroneously have added the trip to the meringue as it existed at the time. All music is written at a rate of 2 x 4 and there are discrepancies in the number of bars each part should therefore be abused at times to lengthen "ad infinitum."
Literary forms that conform the merengue are the most common within popularÑ the couplet, the streak, and the tenth, appearing occasionally paired.
From the beginning the merengue is played on instruments that had the people and that they were easier to obtain, Dominican mandolins, Tres and Cuatro. At the end of last century made his entrance from the Cibao the German diatonic accordion by its easy handling shifted the mandolin. By their limited melodic limitations it limited the music interpreted with it Merengue had been somehow altered in relation to the original.
With this variant merengue walked into Dominican society, fully integrated with certain social sectors and displacing other dances such as the Tomb, for example, required the performers (dancers) a mental and physical effort. The latter had eleven different shapes. It is easy to see why the meringue with his choreography reduced to the simplest expression could move all his rivals and monopolize the fervor of the people.
Choreography
The choreography of merengue is reduced to the following: The man and woman intertwined moving sideways in what is called "passing of the fence", then can turn right or left. This is the real "games merengue," in which couples were not separated ever. There is also what is known as the "merengue figure" in which couples were many changes and embellishments or "vase" as it was called, but always without letting go.Genuine and authentic Merengue only survives in rural areas. The traditional form of merengue has changed. The walk disappeared. The body of merengue has been lengthened a little more and instead of 8 to 12 bar is sometimes placed from 32 to 48. The mess has been the introduction of exotic rhythms that have denatured.

2010-11-21T12:43:00.000-08:00

What we now call Salsa music is a blend of Afro-Caribbean rhythms like Son Montuno, Mambo, Bomba and Plena. The movement that led to this new music began in New York - in El Barrio and the South Bronx, the "Caldera del Diablo" - when a group of young musicians began to mix sounds and rhythms to create a new rhythm trying to preserve " SABOR "who had other Afro-Caribbean rhythms.

La Salsa debuts at Hotel Saint-George of Brooklyn, where the Lebron Brothers, Puerto Rican, excite the public. The Chetah, 52 Club Street and Broadway in Manhattan, replaces the Saint-George as a meeting of the New York salsa.

Some of these musicians were Ray Barretto, Bobby Valentin, Hector Lavoe, Willie Colon, Richie Ray, Bobby Cruz, Ismael Miranda, Adalberto Santiago and many others, including greats like Cortijo and Ismael Rivera.

On August 21, 1971 is presented in Chetah the Fania All Stars, formed by the Dominican flutist Johnny Pacheco and Jerry Massuci Jewish lawyer, the official birth of Salsa, meeting immortalized in the movie "Our Latin Thing."

Johnny Pacheco promoted the word "salsa" when the Fania began traveling through Europe: "As the word 'salsa'-like 'taste', or 'sugar', for example, has always been linked to this music, I did not call it bad. "

The record label Fania and popularized this rate ranged from 1975 throughout the world, while salsa became a big business in Latin that caused frustration in many artists.

The music created during this period is considered as classic or Salsa Salsa Gold

2010-11-21T12:36:00.001-08:00

The Lambada is a sensual and provocative dance in some parts of northern Brazil. Known as "La Lambada" in Portuguese ("whiplash") and "coup de fouet" in French. Carimbó is a mixture of, and meringue (but there are some influences from other genres). The lambada is the song "Crying it was" the Bolivian group Los Kjarkas, sung in Portuguese, and that the Brazilian version was a musical success led to the top of the international measurement, in the late 80's, by the group "Kaoma. Ulises Hermosa, the real author of the song, sued in 1989, with various international authorities, the group Kaoma, receiving, by decision of the jury, all repairs and other legal provisions concerning the damage caused by the Brazilian version, which was a version without the permission of the author. "Crying it was" belongs to the genus "Caporal" of music floclorica of Bolivia.

Video of the Lambada, which popularized the dance around the world, was shot in a bar Tagomago Island, northeast of the island Ibiza.

2010-11-21T12:35:00.001-08:00

Tango is prior to the ball and that by the year 1803 contained in the dictionary of the Spanish Royal Academy as a variant of Tanganyika, a bone or stone was used for the game of the name. But in 1889 the rules of the language institution included a second meaning of tango "dance party and people from black and town in America." However, had to spend almost 100 years for which the dictionary defines the tango as "intertwined couple Argentine dance, musical form binary and quadruple time, broadcast internationally."
Other popular music scholars argue that the term is typical of African languages that slaves came with the Rio de la Plata, whose meaning would be "enclosed."
Tango is very likely to be a voice of Portuguese origin introduced in the new continent through the African-Portuguese Creole dialect. Comparing tango and dairy, Blas Matamoro says both are onomatopoeia of the tam-tam or candombe used in black dances. Moreover, in dialect muzzle the expression was "Touch tango" or "play tambo" (drumming) to start dancing. The meeting place of slaves in Africa and America, was called tango.And so named Buenos Aires to the homes of the suburbs where, in the early nineteenth century, blacks were dancing and temporarily forget their condition.