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Lloica Czackis and her article

"Tangele: The History of Yiddish Tango" in the Jewish Quarterly (Vol. 50 No. 1 (189) Spring 2003; pp. 45-52). Photo: Malcolm Crowthers.

I am interested in this music not only for its poignancy and beauty but also because of the way it works as a metaphore of immigration and cultural merging, something close to many of us, travellers of the world.

Here's a brief history of how it came to happen: the tango was born just before the turn of the 20th Century in Buenos Aires as the resulting blend of the cultures of Italian, Spanish, French and Eastern European Jewish immigrants, and Afro-Argentine rhythms. In the 1910s the tango took Western Europe by storm, soon reaching Eastern Europe. Ballrooms and cabarets featured this Latin American import, and composers, Jews amongst them, started to write new tangos.

Inevitably, during the Holocaust it became part of the life of ghettos and concentration camps, where tango, now in Yiddish, was once again adopted as a vehicle to express the experience of inmates and their hopes for freedom. Not only did the Nazis allow this music, they forced Lagerkapellen, the camp orchestras, to play the Tango of Death to accompany prisoners as they were marched to the gas chambers. In different and happier circumstances, Jewish musicians living in Buenos Aires and New York – many of whom were émigrés – wrote Yiddish Tangos for the Yiddish Theatre, musicals and Jewish revues.

The mixed nature of tango probably explains why it has been continuously embraced and transformed during its extraordinary voyage around the world. Yiddish Tangos are only an episode in this chronicle, an example of the Jews' tendency to adapt to the ethos of their adoptive countries and also, more generally, the mutual acceptance and fruitful interaction between peoples.