Canyengue

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Pronunciation of “Canyengue” in Argentine Spanish
Tango Canyengue dance pose

Canyengue , pronunciation [kanˈdʒɛnge], denotes:

  • a very original, clumsy, mischievous and macho style of dancing the tango rioplatense (originated around 1900 - back to the African roots of tango). The relaxed, informal Canyengue dance style is in contrast to the elegant style of Tango de salón , and the typical Canyengue tango music, like the music of the milonga, is more cheerful than the classic, serious, melancholy tango. In the evolution of the Canyengue style in the 21st century, the grounded steps, the complicity of the dance partner, and the joyful playfulness of dancing become the main features of today's Tango Canyengue.
  • the musical technique of producing percussion effects on other instruments without drums: efecto canyengue or also called golpe canyengue .

etymology

Linguists agree that the Lunfardo word canyengue is of African origin. It is probably the fusion of the Bantu ( Kimbundu ) words Candombe and yongo to canyongo > canyengue . However, the etymologists disagree about the original meaning of this linguistic Africanism. Often offered explanations are: caminar cadencioso (rhythmic walking), andar desgarbado (lanky walking), caminar arrabalero ( boastful gait of the suburbs) or also danza canalla (dance of the mob, dance of the lower classes).

Dance style

The Tango Canyengue developed from the Candombe uruguayo . His burlesque style contrasts with the elegant Tango de salón style. In the original, now somewhat clumsy and coarse-looking manner, the tango was originally danced at the end of the 19th century in the metropolises of the Río de la Plata , Buenos Aires and Montevideo: in the closest embrace, with extremely bent knees. The woman is practically at right angles to the man on his right side, the axis is slightly bent to the side. The man's left arm and woman's right arm are held at hip height and moved in all directions. At times even close pelvic contact is established. Sometimes the man's hand touches the woman's buttocks. The character of the Canyengue appears cheerful, rough, playful. Tango Canyengue is danced with small steps, in contrast to the long-step Tango de salón. Since the beginning of the 21st century, the Tango Canyengue has undergone an evolution, promoted by the Argentine Canyengue movement (Movimiento Cultural Canyuenge Argentino - MOCCA) founded in 2002, in which the original, grounded steps are combined with elegance, aesthetics and solidarity between the dance partners become.

So how do you know whether a tango is suitable to be danced in canyengue style? A famous tango dancer, El Pibe Palermo, once said, jokingly, that you just have to listen carefully to the music, and if your knees start to bend, then it's the right one. Since Tango Canyengue is the original tango dance style, the oldest traditional tango pieces are best suited. So z. For example : Zorro gris , composed in 1921 by Rafael Tuegols , El Apache argentino , composed in 1913 by Manuel Aróztegui, Roberto Firpos El Amanecer from 1928 and El Acomodo by Edgardo Donato , 1933. The Argentine Canyengue Movement (Movimiento Cultural Canyuenge Argentino - MOCCA ) also recommends tangos from the period 1927 to 1937, especially by Francisco Canaro .

Armarse canyengue , caminar canyengue - nowadays people dance in Tango Canyengue style to these oldest tango pieces with a humorous, distant, ironic and satirical awareness, for example to make fun of the exaggeratedly elegant style of Tango de salón or simply to To have fun, "just for fun".

Instrumental canyoning effects

The double bass player Leopoldo Thompson, a member of the tango orchestras Roberto Firpos and Francisco Canaros, invented techniques to produce percussion effects on the double bass in order to emphasize certain notes. Be it by hitting the strings of the stringed instrument with the wooden side of the bow or by hitting the wooden body with the palm of your hand. He called these techniques canyengue effect , bandoneonists also create canyengue effects by hitting the bandoneon's body with their fingers or the palm of their hand .

The violinists canyengue techniques include drumming with their fingers or striking the bow against the body of their string instrument, as well as scratching with the bow in front of the bridge.

All of these methods are called "canyengue effects" or "golpe canyengue".

Web links

Canyengue dance shows

Classroom examples Canyengue style

Canyoning effects on instruments

literature

  • Carlos Bevilacqua: La Tubatango or the rediscovery of serenity. In: Tangodanza. 4/2008, p. 4/6.

Individual evidence

  1. ↑ Carlos Bevilacqua: La Tubatango or rediscovering the joy. In: Tangodanza 4/2008, p. 4/6.
  2. ↑ Jean-Louis Mingalon: Dictionnaire du passionné tango . Seuil, Paris 2015, ISBN 2-02-109968-7 , pp. 146 .
  3. ↑ Sylvie Delisle y Boguslaw Dygasiewicz: Canyengue - Danza canalla
  4. ↑ Mingalon, Jean-Louis .: Dictionnaire du passionné tango . Éditions du Seuil, Paris 2015, ISBN 978-2-02-109968-3 ( seuil.com [accessed September 29, 2019]).
  5. ↑ El Pibe Palermo, famous tango dancer
  6. ↑ What does it take to learn to dance Canyengue? ( Memento of the original from March 31, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.tangoinfo.ch
  7. ↑ Los Tubatango - Zorro gris
  8. ↑ Los Tubatango - "El Apache argentino"
  9. ↑ Score and audio sample for Roberto Firpo "El Amanecer", with Canyengue effects
  10. ^ Edgardo Donato - "El Acomodo", 1933
  11. ↑ just for fun ( Wiktionary )
  12. ↑ Leopoldo Thompson, inventor of the Canyengue effect : "A sound that is produced by hitting the strings with the bow or with the palm of the right hand."
  13. ↑ Tango Effects - Golpe de Caja on YouTube - The violinist Caroline Pearsall explains the golpe de caja , the hitting of the wooden body of the violin with the palm of the hand.
  14. ↑ Chicharra Video on YouTube - Violinist Caroline Pearsall explains how to scratch with the bow in front of the bridge, what she calls the cicada effect.
  15. ^ Quartet Al Tango plays "Zorro gris". - On the video you can see - from 1:17 to 1:20 - how the instrumentalists hit the body of their instruments with the palm of their hands.