Fabrice Knecht Tango DJ
Fabrice Knecht Tango DJ
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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.
El porteñito is a Tango written by Ángel Villoldo and composed by Ángel Villoldo.
The lyrics of “El porteñito” reflect a strong sense of local pride and personal identity associated with Buenos Aires, often termed as being “Porteño.” The term “Porteñito” colloquially refers to a young man from Buenos Aires. Villoldo’s lyrics narrate the pride of being a native-born Porteño who excels in dancing the tango. The character represents the quintessential “compadrito,” a term used to describe a man from the lower classes of Buenos Aires who is confident, stylish, and somewhat of a street-smart show-off.
In “El porteñito,” the dance of tango itself emerges as a potent symbol of cultural identity. The lines “Y al bailar un tango criollo, no hay ninguno que me iguale” suggest an unparalleled skill in performing the traditional “tango criollo,” a type of tango rooted deeply in the local culture of Buenos Aires. Tango is portrayed not just as a dance but as a declaration of identity and local prowess. The expressions “cuando me pongo a bailar” and “bailarín de mucha meta” emphasize the tango dance as an act of personal expression and competition, representing how deeply embedded the art form is in Porteño culture. The mention of dancing with “corte y quebrada,” specific movements in tango, symbolizes the nuanced and skillful nature of the dancer’s identity.
“El porteñito” was recorded in 1928, a time when tango was evolving into a key element of Argentine national identity. This era in Argentina was marked by significant social changes and a growing sense of cultural nationalism. The emphasis on the “taura del noventa,” referring to the tough and revolutionary 1890s, links the song to a nostalgic view of Argentina’s past, combining a hint of romanticism about the rugged early days of tango with the polished, urban identity of the Porteño. Such historical references provide a layered understanding of the tango as both a dance form and a cultural artifact reflecting the spirit of resilience and pride of the Argentine people.
Ángel Villoldo, often hailed as one of the most important pioneers of tango, was instrumental in developing the genre at the turn of the 20th century. His works encapsulate the essence of Buenos Aires’ urban culture.