Haidé Daiban

Real name: Arditte de Daiban, Ilda Haidé
Poet, lyricist and writer
(14 April 1941 - )
Place of birth:
Buenos Aires Argentina
Ricardo García Blaya

his interesting tango wordsmith slides her pen among simple stories, though sometimes legendary ones, which enquire about the human condition and the destiny of the characters. As well, she turns to daily life tales mixed with memories of her youth.

Her tango “La polaquita” denotes a certain fatalism that can mislead us and make us think of resignation but, in fact, is the way of describing in depth a life drama, a tragedy already approached with different results in the vast variety of lyrics in the genre. Two good examples are “Madame Ivonne” and “Galleguita”, two classics that coexist with others of inferior quality.

Llegó en un barco un crudo invierno,
ciudad brillante la recibió
y fue masilla entre los dedos
de un lapidario y cruel macró.

(In a very cold winter she arrived on a ship, a shining city welcomed her and she became putty among the fingers of a lapidary cruel pimp)
(“La polaquita”, music by Tito Ferrari)

Also within these stories we have the ones which describe watercolors of Buenos Aires in which the café and its frequenter –with their inseparable bonds- streets, shops, yards, neighbors, a carrousel- are images that lead us to a today far distant Buenos Aires; as it is expressed in her tangos “Platea” and “Lugares”. The mood in these lyrics is less dramatic and more nostalgic.

Las calles en el barrio silencioso
reclaman la presencia de un Don Juan,
que en simple camiseta se instalaba
el paso de la vida a contemplar.

(The streets in the quiet neighborhood call for the presence of a Don Juan that wearing a simple T-shirt was ready to watch how life was passing by)
(“Lugares”, music by Pascual Mamone)

Siempre el bar, un café, mesa y vidriera,
compañía de un pobre soñador,
agarrado al asa de una taza,
como en brazos del amor.

(Always the barroom, a café, table and shop-window, company for a poor dreamer that holds a cup handle as if it were a love embrace)
(“Platea”, music by Mamone)

In “Estamos” the poet walks along the winding paths of human passions in an encounter between two apparent lovers in which the difficulties of an old relationship are dodged. But it is not that way, according to what she told me, it is plainly a chat between two very close friends. Furthermore, she told me she had written it precisely on the Friend's Day.

Estamos vos y yo, amigo mío,
estamos frente a frente, cara a cara,
hablando de cosas muy sutiles,
hablando pequeñeces, casi nada.

(We are you and I, my friend, we are face to face talking about very subtle things, talking about trifles, nearly nothing)
(“Estamos”, music by Liliana Vinelli)

But we would be unfair if we did not comment her song of measured hope in “Hay lugar” in which even though she admits an arid point of departure she enjoys the luck of living and taking a chance on love.

Hay lugar para todos, che pebete.
Hay lugar si es que quieren divagar.
Hay lugar, te digo, pa’ la bronca,
el ensueño y el amor.

(There is room for everybody, you kid. There is room if they want to wander. There is room, I tell you, for anger, daydreaming and love)
And further on she suggests:

Nos perdemos la ocasión de estar en paz,
estaqueados, al acecho, al devenir.
No sabemos vos y yo, nuestro destino,
que es un juego esta suerte de vivir.

(We miss the occasion of being at peace, tied to a stake, stalking what is yet to come. You and I do not know about our fate, for it is a game this kind of life)
(“Hay lugar”, music by Pascual Mamone)

She wrote books and was included in several anthologies. She was alumnus of the writer Syria Poletti with whom she published Cuentos desde el taller. From her literary oeuvre the following works stand out: El rabdomante y otros cuentos —which was supervised before its release by Isidoro Blaisten—, Historias de muchos and Cuentos con sabores. Furthermore, she published poetry: Plegarias del siglo XX, Con el tiempo a cuestas and Los indicios.

Together with Lucila Févola she was co-founder of the Revista Literaria Tamaño oficio to which she has been contributor for 25 years.

She appeared at two Tango Festivals in Buenos Aires, invited to read at the Cafés Notables of the city, among them: the Confitería Ideal, Café Tortoni, Los 36 Billares, El Gato Negro and the Café de García.

It is natural to see her at roundtables or introducing books of her peers, as member of the board in literary contests or giving lectures or contributing to journals or literary magazines.

She released two compact discs, both along with maestro Pascual Mamone and his orchestra: Vos y yo with Luis Linares and Choly Cordero on vocals, and Noche con duendes, with the singers María Viviana and Reynaldo Martín.

Her tangos are in the songbooks of many vocalists: Mabel Marcel, Gabriela Novaro, Silvana Gregori, Luis Linares, Choly Cordero, Reynaldo Martín, María Viviana and Roberto Chalean, among others.

She was member of the Board of Directors of Letrango (Asociación de nuevos Letristas de Tango) (New Tango Lyricists’ Association). She was also in the board of culture of the Colegio Farmacéutico de Capital and of the La Sociedad Hebraica Argentina. Furthermore, Haidé is pharmacist and educator.

This tango poet, awarded with the Orden del Abanico as outstanding woman of the neighborhood of Boedo, was also awarded prizes in different contests for her essays, poems and tales.

Her long and rich career, but especially her tango oeuvre, forced us write this short but sincere recognition in Todo Tango.