Report on female dancers (Second part)
rom the first part:
La Mulata María Celeste
La Negra María
La Negra Rosa: She was the owner of a dancehall that was located in the neighborhood of Pompeya.
La Ñata Aurora: Mentioned by Daniel J. Cárdenas in his list of dancers of the early period.
La Ñata Haydée
La Ñata Rosaura: She used to dance at the house run by Concepción Amaya “Mamita”.
La Paisana: Female dancer of the early days.
La Parda Adelina
La Parda Corina
La Parda Deolinda
La Parda Esther: She danced with El Pardo Santillán.
La Parda Flora: In her later years she lived in Flores. Some anonymous popular lines of her time said: “Last night at Tancredi’s / I danced with the Parda Flora. / There she was the Voladora. / but when she saw me she got angry”. Fernando Assunção, in “El Tango y sus circunstancias”, tells us about a Uruguayan woman, with the same nickname and widely known, who run a brothel in Montevideo. She was a brunette, a criolla with guts so as to prevent the almost unavoidable riots in her popular house: the whorehouse owned by La Parda Flora who used to say “Let’s have fun but with order!”.
La Parda Loreto/a
La Parda Refucilo: She danced around 1913 in a dancehall located on Independencia and Pozos, famous for «the bronze people» that frequented it and for the prestige of the female dancers there.
La Paulina: «An Italian blonde with a special beauty who seemed to drive the noisy patrons of the heavy balls of the porteño venue known as Scudo d’Italia (Corrientes near Uruguay) crazy. She ended up being the partner of El Negro Casimiro and in her arms, they say, he died. No doubt she was one the most famous female dancers of the early tango». (F. O. Assuncao).
La Peti: She used to dance with El Negro Pavura.
La Petisa Margarita: She danced with La Lora.
La Porota: She danced at the María La Vasca’s.
La Portuguesa: Amelia Undarz. She danced with El Mocho.
La Rubia Mireya (The Blonde): «Perhaps Mireya never existed. Possibly her tall, slim and aristocratic figure never danced to the slow, undulating beat of a broken tango. But...! Who cares!. Tango –that needed her- invented her in a song damp with not refrained tears. And we, who are the generation that got her, this way, by accepting her we wipe out the boundaries of the imagination that brings her to us to hold her, so human through a lying pain, and we make her the tango lady of that period like a kind of legend.» (Julián Centeya).
La Tanita Luciana: Mentioned by Daniel J. Cárdenas.
La Tísica: (Catalina) She danced at the María La Vasca’s. She was the woman of El Pibe Rocatagliatta.
La Vasca: She was from Montserrat. She danced with Casimiro Aín.
La Vasca Ernestina: She was from Villa Crespo. She danced with El Cachafaz and with El Pendejo Echevarne.
La Vieja Eustaquia: At her house around 1895 the pianist Enrique Saborido made his debut.
La Voladora: Some anonymous lines remember her: «“Last night at Tancredi’s / I danced with the Parda Flora. / There she was the Voladora. / but when she saw me she got angry”.
Laura or Laurentina Montserrat: Her luxurious dancehall was located on Paraguay 2512. It was at “lo de Laura” in 1897 where Rosendo Mendizábal composed the tango “El entrerriano”. She was married to a man named Sosa. In her later years she lived on Uruguay and Corrientes. «Laura was a tall matron, rather stout, brunette, good-looking, with black hair, dark eyes and an honorable air. She possessed a true savoir fair and was energetic and soft at the same time. Her voice insinuated a discreet provincial accent, maybe from Mendoza, which was almost imperceptible but conferred her grace. She had a daughter —whom she looked after as if she were a gem— and several foster daughters whom she picked up kindly, educated and even made them marry with well-to-do men... She was learned and honourable. She never missed her season ticket for the Colón theater...»
Lola, La Petisa: Around 1913 she established her fame as good dancer at the renowned dancehall on Pozos and Independencia.
Madame Fontanet: Her house was located on Talcahuano and Lavalle. It was frequented by wealthy and high society men.
Madame Jeanne: Her house was located on Viamonte Street between Maipú and Esmeralda.
Marcela (Marcela and Marcelo)
María La Meona (the one who often used to piss)
María La Tero: In an article about tango published in Crítica newspaper on September 22, 1913, “Viejo Tanguero” included her in a list of prestigious female dancers that went to the well-known dancehall on Independencia and Pozos. Julián Centeya, in his book “El misterio del tango”, describes her as tall and skinny line a cane.
María La Vasca: Her name was María Rangolla; she was from the neighborhood of Concepción. Her famous house was on 2721 Europa Street, now Carlos Calvo. She was the woman of Carlos Kern “El Inglés” (The Englishman). In an article published in the Noticias Gráficas newspaper, signed with the sobriquet Ernesto Segovia, Dr. Benarós tell us that she was beautiful, with a full face, a little bit fat but well shaped. At home she used to wear a simple silk dress and its buttons were made of Sterling pounds.
Matilde La Mondongo
Morán, Joaquina “La China Joaquina”: An attractive woman, she was in love with a young man that was quite popular then, Maco Milani. The Juan Bergamino’s tango “Joaquina” is dedicated to her. She danced at the “house” run by Concepción Amaya “Mamita”. Time later she even run her own venue. Domingo Greco says she was tall brunette, not pretty but very interesting and charming, with a nice way of talking. Benarós mentions her as Joaquina Marán.
O’Connor, Elsa: On one occasion in 1933 she danced with El Cachafaz as substitute for Carmen Calderón.
Orcaizaguirre, Elvira Santamaría de: Virulazo’s partner as wife and dancer. They were renowned in the United States, Japan and in several European cities. They performed the most sensational number of the Tango Argentino show.
Orlando, Alicia (Alica and Claudio)
Paulina: Roberto Selles mentions her in the chapter “Los primeros tangueros” of his book: “El tango y sus dos primeras décadas 1880-1900” (La Historia del Tango, tomo II – Editorial Corregidor): «El Negro Casimiro was married —or lived— with an Italian dancer named Paulina that he had met in his appearances at the Scudo d’Italia, a ballroom located on Corrientes near Uruguay Street. And in her arms, old and sick, he died».
Peggy, Edith: Partner of El Vasco Aín.
Peón, Lolita: She danced with Pablo Lento. “Los Lentos”.
Pepa La Chata: She frequented by 1913, along with other prestigious female dancers, the famous dancehall on Pozos and Independencia.
Rebenque, Juana: Juan Santa Cruz —brother of the composer of “Unión Cívica” said— (quotation by Dr. Benarós): «She lived in a little house made of tins, low like all the ones in the Pueblo de las Ranas (Frogs’ town). To enter you had to bend down. She did not even had a tariff. She collected whatever you paid her. She never came downtown. She was tall, slim, with a rather long nose but good-looking. She lived with a guy named Fernández. She was mentioned in some lines widely spread by then: “About a week ago when I was down and out / a poor pimp that coughed / invited me to a ball in quite a queer house / at the damp town of the frogs. / The main conspicuous ladies / of the frog population / dropped by to see the show at that peculiar house / so extremely nicely dressed, / because they had been invited / by means of cardboard cards.”»
Remeditos “La Chilena”
Romero, María Celia “La Parda María Celeste”: She was dancing partner of El Cachafaz between 1913 and 1914. She also danced with Yolando Reina.
San Miguel, Isabel: She danced with El Cachafaz from 1929 to 1933. She was also dancing partner of El Tarila. Carmen Calderón told us that she was very good-looking, a good dancer and that she also danced Spanish dances.
Sarita “Bicloruro”: According to Benarós, she twice tried to commit suicide with drugs.
Sofía “La Nueva”
Varela, Carmen: It was one of the first houses where tango was danced. It was located across the Plaza Lorea.
Velázquez, Consuelo: She danced with El Cachafaz.