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El barrio del tambor

El barrio del tambor is a Milonga written by Antonio Bonavena and recorded by Aníbal Troilo in 1943. The Milonga El barrio del tambor is written by Antonio Bonavena, Aníbal Troilo has recorded El barrio del tambor with the singer Alberto Marino.
“El barrio del tambor” translates to “The Drum’s Neighborhood” in English. This evocative name conjures a vivid tapestry of rhythmic life, where each street echoes with the pulse of drums, weaving tales of longing and celebration. Here, the air vibrates with the heartbeat of tradition and the soul dances to the timeless tango of communal harmony.

Milonga

Style

Aníbal Troilo

Orchestra

Alberto Marino

Singer

Antonio Bonavena

Author

Antonio Bonavena

Composer

1943/11/5

Date

Alberto Marino
Alberto Marino
Aníbal Troilo
Aníbal Troilo

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Recommended

These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.

1943/11/5 – A bailar – Anibal Troilo
1943/11/5 – La cumparsita – Anibal Troilo
1943/11/5 – Sosiego en la noche – Anibal Troilo
1943/11/4 – Los munequitos – Carlos di Sarli
1943/11/4 – A mi me llaman Juan Tango – Carlos di Sarli

Lyrics Translation of the Milonga El barrio del tambor

This is the translation of the Milonga “El barrio del tambor” from Spanish to English. The English lyrics of the Milonga “El barrio del tambor” have been done with AI.

Letra del Milonga El barrio del tambor

Calles viejas más mil motas
Vigiladas por un farol,
Voz de negro de alma tenebrosa
Voz del barrio del tambor.

Fiel candombe color de sombra
Y candombe en el corazón,
Canto oscuro que zumba y asombra
Con la angustia de su son.

Recuerdos de las morenas
Vistiendo batas color punzó,
Luciendo las azucenas
De sus sonrisas de corazón.

Barrio negro, barrio triste
Se ha apagado tu carbón,
Barrio negro ya no existes
Se ha callado tu tambor.

English lyrics of the Milonga "El barrio del tambor"

Old streets with countless specks
Watched over by a lamp’s glow,
Voice of a black soul’s dark depths
Voice from the drumbeat’s show.

Faithful candombe, shadow-toned
And candombe in the heart,
Dark song that hums and stuns,
With the anguish it’s imparted.

Memories of the brown-skinned girls
Wearing crimson-colored dresses,
Displaying the lilies
Of their heartfelt smiles.

Black neighborhood, sad quarter
Your coals have burned out,
Black neighborhood, you exist no more
Your drum has now gone silent.

El barrio del tambor by

El barrio del tambor is a Tango written by and composed by Antonio Bonavena.

Story behind the Tango El barrio del tambor

“El barrio del tambor” evokes a nostalgic reflection on a vibrant yet somber neighborhood in Buenos Aires, characterized by its Afro-Argentinian cultural heritage. The lyrics paint a portrait of a locale rich in candombe rhythms, infused with both the celebratory and melancholic aspects of life. The song tells the story of a disappearing community, deeply tied to its music and traditions, suggesting a longing for the past and mourning for its decline.

Symbolism of El barrio del tambor

The tambor, or drum, serves as a powerful symbol throughout the tango, representing the heartbeat of the community and its Afro-Argentinian identity. The “calles viejas” and “vigiladas por un farol” encapsulate the fading charm and eerie illumination of old streets, hinting at memories and stories steeped in history. The recurring motif of “candombe,” a traditional Afro-Uruguayan and Afro-Argentinian music and dance form, signifies both cultural resistance and celebration. The imagery of “morenas” wearing “batas color punzó” and their “sonrisas de corazón” further capture the vibrancy and beauty of this community.

El barrio del tambor in historic Context

Set against the backdrop of Buenos Aires in 1943, a time when the city’s cultural identity was rapidly evolving, “El barrio del tambor” reflects the diminishing Afro-Argentinian presence in an increasingly industrialized and European-influenced society. During this period, many Afro-Argentinian neighborhoods faced displacement and erasure, making the lament for a community whose “carbón” has burnt out and whose “tambor” has been silenced all the more poignant. The historical tensions of assimilation and loss experienced by marginalized communities are underscored, reflecting broader social changes occurring across Argentina in the mid-20th century.

The cooperation between a lyricist and Antonio Bonavena, the composer, is crucial for understanding the depth and texture of this tango.