The popular Argentine music has a surprising variety. Its extremes go from the “Baguala” that uses only three sounds sung without harmonic accompaniment, until the sublime complexities of the music of Astor Piazzolla and Lisandro Adrover. The same happens in the field of the dance. Within that great variety, a clear contrast between the rural and urban characteristics of one and other exists. It already appears therefore the classic division between the Tango and the Folklore. Although is very important to remember that one would not be able to exist without the other one.
The Folklore -art of the rural Argentina- is diurnal, more ancient and is born forming part of the daily activities of small human communities intimately fused with the landscape, where the nature contributes its fundamental base. The Tango -art of the great city- is nocturnal, very professional and its genealogy links it since always with the concept of spectacle. Both are natives, that is to say, been born of the union of the preexisting American culture and the colonizing and immigrant European culture. But the Folklore conserves alive the most American component and the memory of the first racial clash between colonizer and colonized. The feelings of strangeness fear to the unknown, uprooting, abuse, submission and resentment of the native against the invasion, born in the first collision, reappear when Buenos Aires -recent Capital of the Republic- grows in extraordinary form with the contribution of the migratory European flow. The Tango is born, at the end of the IXX century, as product of this new racial incorporation and confrontation.
For these and more reasons, Tango and Folklore have become - in spite of being both faces of the same coin - in antithetic and controversial.
Luis Bravo -an artist who belongs to both slopes - puts in scene this subjacent controversy, choosing as neutral area for the clash the music of Dimitri Shostakovich, product of his erudite and academic education, third pillar in which his talent is based.
He projects, with bodies that dance, very deep and rooted collective feelings. He introduces -as innovation- the confrontation, incorporating now to his successful work, the Folklore and the Spanish forms derived from the Flamenco of extensive and notorious influence in the music and dance of Hispano America.
He suggests to us that the placid cosmos of the Tango has entered in conflict. From his hand, full of mastery, the conflict never comes to turn into chaos.
The plasticity, the diversity and humor are the characteristics that excel in this new spectacle of Luis Bravo, so Argentine in origin, yet universal in appeal.