From The Art and Popular Culture Encyclopedia
- The capital of Argentina.
Tango music was born in the suburbs of Buenos Aires, notably in the brothels of the Junín y Lavalle district and in the arrabales (poorer suburbs). Its sensual dance moves were not seen as respectable until adopted by the Parisian high society in the 1920s, and then all over the world. In Buenos Aires, tango-dancing schools (known as academias) were usually men-only establishments.
Tango consists of a variety of styles that developed in different regions and eras of Argentina and Uruguay as well as in other locations around the world. The dance developed in response to many cultural elements, such as the crowding of the venue and even the fashions in clothing. The styles are mostly danced in either open embrace, where lead and follow connect at arms length, or close embrace, where the lead and follow connect chest-to-chest.
Early tango was known as tango criollo, or simply tango. Today, there are many tango dance styles, including Argentine Tango, Uruguayan Tango, Ballroom tango (American and International styles), Finnish tango and vintage tangos.
Attempts at renovation took place during the second half of the 19th century and the beginning of the 20th, when European influences penetrated into the country, reflected by several buildings of Buenos Aires such as the Iglesia Santa Felicitam by Ernesto Bunge; the Palace of Justice, the National Congress, and the Teatro Colón, all of them by Vittorio Meano.
The simplicity of the Rioplatense baroque style can be clearly seen in Buenos Aires through the works of Italian architects such as André Blanqui and Antonio Masella, in the churches of San Ignacio, Nuestra Señora del Pilar, the Cathedral and the Cabildo.
The architecture of the second half of the 20th century continued to reproduce French neoclassic models, such as the headquarters of the Banco de la Nacion Argentina built by Alejandro Bustillo, and the Museo Hispanoamericano de Buenos Aires|Museo Hispanoamericano of Martín Noel. However, since the 1930s the influence of Le Corbusier and European rationalism consolidated in a group of young architects from the University of Tucumán, among whom Amancio Williams stands out. The construction of skyscrapers proliferated in Buenos Aires until the 1950s. Newer modern high-technology buildings by Argentine architects in the last years of the 20th century and the beginning of the 21st include the Le Parc Tower by Mario Álvarez, the Torre Fortabat by Sánchez Elía and the Repsol-YPF Tower by César Pelli.
It has a world-famous zoo and Botanical Garden, a large number of landscaped parks and squares, as well as churches and places of worship of many denominations, many of which are architecturally noteworthy. === Cinema === The cinema first appeared in Buenos Aires in 1896. The city has been the centre of the Argentine cinema industry in Argentina for over 100 years since French camera operator Eugene Py directed the pioneering film La Bandera Argentina in 1897. Since then, over 2000 films have been directed and produced within the city, many of them referring to the city in their titles, such as Buenos Aires Plateada, and Buenos Aires a la vista. The culture of tango music has been incorporated into many films produced in the city, especially since the 1930s. Many films have starred tango performers such as Hugo del Carril, Tita Merello, Carlos Gardel and Edmundo Rivero.
Known as Rioplatense Spanish, Buenos Aires' Spanish (and also in other cities like Rosario and Montevideo, Uruguay) is characterised by voseo, yeísmo and aspiration of s in various contexts. It is heavily influenced by the dialects of Spanish spoken in Andalusia and Murcia. A phonetic study conducted by the Laboratory for Sensory Investigations of CONICET and the University of Toronto showed that the porteño accent is closer to the Neapolitan dialect of Italian than any other spoken language.
In the early 20th century, Argentina absorbed millions of immigrants, many of them Italians, who spoke mostly in their local dialects (mainly Neapolitan, Sicilian and Genoan). Their adoption of Spanish was gradual, creating a pidgin of Italian dialects and Spanish that was called cocoliche. Its usage declined around the 1950s.
Many Spanish immigrants were from Galicia, to the extent that Spaniards are still generically referred to in Argentina as gallegos (Galicians). Galician language, cuisine and culture had a major presence in the city for most of the 20th century. In recent years, descendants of Galician immigrants have led a mini-boom in Celtic music (which also highlighted the Welsh traditions of Patagonia).
Yiddish was commonly heard in Buenos Aires, especially in the Balvanera garment district and in Villa Crespo until the 1960s. Korean and Chinese have become significant since the 1970s. Most of the newer immigrants learn Spanish quickly and assimilate into city life.
The Lunfardo argot originated within the prison population, and in time spread to all porteños. Lunfardo uses words from Italian dialects, from Brazilian Portuguese, from African and Caribbean languages and even from English. Lunfardo employs humorous tricks such as inverting the syllables within a word (vesre). Today, Lunfardo is mostly heard in tango lyrics; the slang of the younger generations has been evolving away from it.
See also: Belgranodeutsch.