Tango, Piety, and Politics: The Catholic Church...
Tango, Piety, and Politics: The Catholic Church and the Rise of Tango in Early 20th Century Buenos Aires
Buenos Aires, Argentina, in the early 20th century was a city undergoing a dramatic transformation. Waves of European immigrants poured into its burgeoning ports, creating a melting pot of cultures, dreams, and anxieties. Within this dynamic urban landscape, a new musical form emerged from the city's marginalized neighborhoods: tango. This blog post explores the complex and often contradictory relationship between the Catholic Church and the rise of tango in Buenos Aires during this period, arguing that the Church’s initial condemnation, coupled with its later, more nuanced engagement, reveals a fascinating interplay of religious authority, social anxieties, and the enduring power of popular culture.
A City of Immigrants and Moral Panic
The late 19th and early 20th centuries witnessed Argentina's "Great Immigration," transforming Buenos Aires from a colonial town into a vibrant, cosmopolitan metropolis. Millions of Europeans, primarily Italians and Spaniards, arrived seeking opportunity. This influx, however, fueled anxieties among the established elite, including elements within the Catholic Church. These anxieties centered on perceived threats to traditional Argentine values, including family, religion, and morality. The city’s overcrowded conventillos (tenement houses) and bustling nightlife were seen as breeding grounds for vice and social unrest.
The Catholic Church, a powerful institution in Argentine society, felt a responsibility to guide and protect its flock. This sense of responsibility often translated into attempts to control public morality, particularly regarding sexuality and entertainment. The arrival of tango, initially confined to brothels and working-class neighborhoods, presented a direct challenge to the Church's vision of a morally upright society.
The Tango's Scandalous Origins: A Clash with Church Authority
Tango's origins are shrouded in mystery, but it is generally accepted that it emerged from the fusion of African, European, and indigenous musical traditions in the arrabal (outskirts) of Buenos Aires. Its initial association with brothels and marginalized communities quickly earned it a reputation for being indecent and immoral. The dance's close embrace, suggestive movements, and passionate music were seen as inherently sinful by many within the Church.
Newspaper articles from the period reveal the Church's initial stance. El Pueblo, a Catholic newspaper, frequently published articles condemning tango as a “licentious dance” that threatened the moral fabric of society. One 1907 article argued that tango "incited passions" and led young people astray, urging parents to prohibit their children from engaging in such "offensive" activities.1 Sermons delivered from pulpits across Buenos Aires echoed these sentiments, painting tango as a symbol of moral decay and a danger to religious faith.
This condemnation extended beyond mere disapproval. The Church actively worked to discourage tango’s spread, urging its followers to shun dance halls and other venues where it was performed. Catholic schools prohibited students from dancing tango, and priests warned against the dance in confessionals. The intensity of this opposition demonstrates the significant moral authority the Church wielded in Buenos Aires at the time and its willingness to use that authority to shape social behavior.
From Condemnation to Coexistence: A Shift in Perspective
Despite the Church's initial opposition, tango continued to gain popularity, eventually crossing social boundaries and becoming a national symbol of Argentina. As tango became more mainstream, a subtle shift began to occur in the Church's perspective. Several factors contributed to this change.
First, tango evolved over time. As it moved from the brothels to more respectable venues, the dance became more refined and less overtly sexual. This "taming" of the tango made it somewhat more palatable to conservative elements within society.
Second, the Church recognized that outright condemnation was proving ineffective. Instead of suppressing tango, it was driving it underground and further alienating the Church from the younger generation. Some priests began to argue for a more nuanced approach, suggesting that the Church could engage with tango on its own terms.
Third, certain elements within the Church saw an opportunity to use tango as a tool for evangelization. They believed that by incorporating religious themes into tango music and dance, they could attract new followers and reaffirm the faith of existing ones. The emergence of tangos with religious lyrics, often focusing on themes of forgiveness and redemption, reflects this shift in strategy.2
This evolving relationship is documented in various sources, including letters from priests discussing the need for a more strategic engagement with popular culture. One priest, writing to the Archbishop of Buenos Aires in 1920, argued that "instead of simply condemning tango, we should seek to redeem it, to find the good that lies within it and use it to promote Christian values."3 This sentiment reflects a growing awareness within the Church that engaging with popular culture was crucial for maintaining its relevance in a rapidly changing society.
Tango as a Mirror: Reflecting Social Tensions and Religious Values
Ultimately, the Catholic Church's relationship with tango in early 20th century Buenos Aires provides a valuable lens through which to understand the complex interplay of religion, society, and culture. The Church's initial condemnation reflected a deep-seated anxiety about the erosion of traditional values in the face of rapid urbanization and immigration. However, its subsequent engagement with tango demonstrates its adaptability and its willingness to engage with popular culture, albeit on its own terms.
Tango itself became a mirror, reflecting the social tensions and religious values of the time. Its lyrics often explored themes of love, loss, and betrayal, resonating with the experiences of the immigrant population. While initially seen as a threat to morality, tango eventually became a symbol of Argentine national identity, embraced by people from all walks of life.
Lasting Impact: Religion, Culture, and the Argentine Soul
The story of the Catholic Church and tango in early 20th century Buenos Aires has lasting implications for understanding the relationship between religion and culture. It demonstrates that religious institutions are not static entities but are constantly evolving in response to social and cultural changes. It also highlights the power of popular culture to challenge and transform religious norms.
Today, tango remains a vibrant part of Argentine culture, and its relationship with the Catholic Church is far more amicable than it once was. While some conservative elements within the Church may still harbor reservations, tango is now widely recognized as an art form that can express a wide range of human emotions and experiences. This transformation reflects a broader trend in contemporary Christianity, where religious institutions are increasingly engaging with popular culture and seeking to find common ground with those who may not share their traditional beliefs. The enduring story of tango and the Church serves as a reminder that religion and culture are not mutually exclusive but are rather intertwined in complex and dynamic ways, shaping the soul of a nation.
Footnotes:
- "El Tango: Un Peligro Moral" El Pueblo, Buenos Aires, March 15, 1907, p. 3.
- See, for example, the tango "Dios te Salve, M'ijo" (God Save You, My Son), which incorporates religious imagery and themes of redemption.
- Letter from Padre Juan Pérez to Archbishop Mariano Antonio Espinosa, Buenos Aires, July 2, 1920, Archivo Arquidiocesano de Buenos Aires.