Since the Guaracha made a dance to Havanans who visited the theatre at the end of the XVIII century, tango congo  has not stopped creating musical genres.

A journey of 200 years through The Atlantic, Caribbean Sea, Gulf of México, La Plata, Mississippi, Hudson, Great Lakes.

The Spanish contradanza, after receiving the tango congo rhythmic cell at the end of the 18th century via anonymous composers, read free blacks, stopped being Spanish to become Creole. In Havana of 1801, the first cuban contradanza (anonymous) was published, 'San Pascual Bailón'.

Forty years later, in 1841, the first habanera was published, a musical variant of the contradanza. Equally anonymous 'El amor en el baile' became what later, in Spain, have been the round-trip songs. A little ambiguous concept that today is not taken into account by researchers, because those songs that for the Iberians came and went, really left America and arrived in Europe, not the other way as some think.

The danzón followed the habanera, as did the milonga, on the La Plata river, to make way for tango porteño, as well as ragtime in New Orleans. All in the second half of the nineteenth century.
In the 20th century, tango congo was the rhythmic base where genres such as blues, boogie-woogie, r&b, conga, mambo, rock & roll, rockabilly, cha-cha-chá, pop brill building and reggaetón settled.

Welcome to TANGO CONGO the project.
A future film, a concert, a documentary, a book, a tv serie and a videogame.


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