The city of Buenos Aires is defined by a singular, pulsating rhythm that permeates every aspect of its existence. This rhythm is the tango. It is not merely a dance or a musical genre; it is the very soul of the Argentine capital, much like the enduring presence of the Mothers of the Plaza de Mayo or the fierce, eternal rivalry between the football clubs Boca Juniors and River Plate. The tango embodies life itself—a complex interplay of passion, melancholy, and resilience. Walking through the characteristic neighborhood of San Telmo, the sounds of the tango are never far away, serving as an auditory backdrop to the city's history and culture. Within this vibrant cultural landscape, a unique phenomenon has emerged: the integration of international dancers, specifically Dutch nationals, into the professional tango scene of Buenos Aires. This article explores the life and career of Willemijn van der Linden, a Dutch tango dancer who relocated to Buenos Aires, and situates her story within the broader context of Argentine cultural history, the evolution of the tango, and the rich literary tradition of Argentina that often mirrors the themes of displacement, identity, and passion found in the dance.
The Relocation and Professional Integration of Willemijn van der Linden
In 2015, Willemijn van der Linden made a life-altering decision to move to Buenos Aires for an indefinite period. Her motivation was rooted in a profound love for the tango, a passion that led her to leave her native Netherlands to immerse herself in the culture where the dance was born. This relocation was not a temporary visit but a permanent integration into the fabric of Buenos Aires. Over the years, she transformed from an enthusiast into a professional tango dancer, establishing herself as a key figure in the local performance scene.
Her professional life is centered around the famous street show located at the intersection of Florida and Lavalle streets. Here, she works daily alongside approximately 15 other professional dancers. This ensemble performs for tourists and locals alike, maintaining the tradition of street performance that is integral to the city's identity. Her primary dance partner is José Carlos. Together, they have become a regular feature in important tango cafes, known locally as milongas, and they also provide tango lessons specifically tailored for Dutch tourists, creating a bridge between the two cultures.
The reach of her work extended beyond the streets and cafes. In early February 2020, Willemijn appeared in the successful television program "De Bauers in Argentinië" (The Bauers in Argentina). In this appearance, she taught Frans and Mariska their very first tango steps, demonstrating her role as both a performer and an educator. This media exposure highlighted the cross-cultural exchange, where a Dutch woman teaches Dutch tourists the Argentine national dance, reinforcing the idea that the tango is a universal language of emotion and connection.
The Historical Origins and Evolution of the Tango
To fully appreciate the role of a dancer like Willemijn, one must understand the historical context of the tango itself. The dance originated in the late 19th and early 20th centuries, a period when Buenos Aires experienced explosive growth. This era was defined by a massive influx of European migrants who arrived in the city with the hope of a better life. During this time, Buenos Aires was considered one of the richest cities on Earth.
The tango was born in the poor, desolate outer neighborhoods of the city. These areas were predominantly populated by young men, creating a unique social environment where the dance emerged. Just as the culture of Buenos Aires was shaped by the customs, food, and language brought by immigrants from various corners of Europe, the tango was formed by the dance and music styles these immigrants carried from the Old World.
Initially, the dance was considered obscene by the conservative standards of the time. However, in the first decade of the 20th century, this perception shifted. The tango gradually evolved from a marginalized, underground dance into a global symbol of the Argentine capital. This transformation mirrors the journey of the city itself: from a collection of immigrant slums to a world-renowned cultural hub.
The Iconic Figure of Carlos Gardel
The Argentine tango is inextricably linked to the figure of Carlos Gardel. Often referred to as the "El Cantor de Tango" (The Tango Singer), Gardel is regarded as the very embodiment of the tango. His influence was so profound that the dance and his music became synonymous. The legacy of Gardel serves as a benchmark for the tango tradition that dancers like Willemijn uphold today. His work represents the golden age of the genre, providing the musical and emotional foundation upon which modern performances are built.
Literary Parallels: Argentine Writers and Themes of Identity
The cultural tapestry of Argentina is not woven solely by dance and music; it is also richly embroidered by its literature. The themes found in Argentine literature often resonate with the emotional depth of the tango. A review of prominent Argentine authors reveals a recurring focus on identity, displacement, and the complexities of human relationships, themes that are also central to the narrative of the tango dancer.
Prominent Argentine Authors and Their Works
The literary landscape of Argentina is populated by figures who have explored the human condition through their writing. Several of these authors have works translated into Dutch, creating a bridge for international readers to understand the Argentine psyche.
The following table outlines key Argentine authors, their biographical details, and their contributions to literature, many of which have been translated into Dutch:
| Author | Birth/Death | Key Works (Original) | Dutch Translation | Genre |
|---|---|---|---|---|
| Jorge Luis Borges | Born 1899, Died 1986 | Ficciones, El Aleph | Yes (Various) | Novels, Short Stories, Essays, Poetry |
| Samanta Schweblin | Born 1978 | Pájaros de en la boca y otros cuentos (2009) | Mond vol vogels (2023) | Short Stories |
| Tomás Eloy Martínez | Died 2010 | El cantor de tango (1995) | De tangozanger (2006) | Novels |
| Elsa Osorio | Born 1952 | Cielo de Tango (2006) | Ana (2006) | Novels, Essays |
| Ricardo Piglia | Born 1941, Died 2017 | Various works | Yes | Novels, Essays |
| César Aira | Born 1949 | Como me hice monja (1993) | Hoe ik een non werd (2016) | Novels, Essays |
| Claudia Piñeiro | Born 1978 | Una suerte pequeña (2015) | Een klein geluk (2024) | Novel |
| Mariana Enriquez | Born 1978 | Un lugar soleado para gente sombría (2024) | Een zonnige plek voor sombere mensen (2024) | Short Stories |
Thematic Resonance: Identity and Transformation
The stories of Argentine authors often deal with the fluidity of identity, a theme that parallels the life of a dancer like Willemijn who has adopted a new cultural identity in Buenos Aires. For instance, Claudia Piñeiro's novel Una suerte pequeña (A Little Luck), translated as Een klein geluk in 2024, tells the story of a woman who returns to her homeland after twenty years following a traumatic event. The protagonist has changed physically and vocally; she does not look the same, her voice is different, and she no longer bears the same name. This narrative of transformation and the struggle to reclaim or redefine identity mirrors the experience of an expatriate dancer who must adapt to a new life and culture.
Similarly, Samanta Schweblin's collection Pájaros de en la boca y otros cuentos (Birds in the Mouth and Other Stories), translated as Mond vol vogels in 2023, explores women on the edge, men on their heads, and nature in tension with reality. Schweblin's work suggests that life does not always follow expected paths; expectations regarding how people behave, love, and fear can be upended. This unpredictability is a core element of the tango, which is often described as a dialogue of improvisation and surprise between partners.
The literary tradition of Argentina, from the surrealism of Jorge Luis Borges to the contemporary realism of authors like Elsa Osorio and Mariana Enriquez, provides a rich context for understanding the cultural environment in which the tango thrives. The tango is not just a dance; it is a narrative form, much like the short stories of Schweblin or the novels of Osorio, capturing the melancholy and passion that define the Argentine experience.
The Performance Landscape: Street Shows and Milongas
The professional life of a tango dancer in Buenos Aires involves a dual existence between the public spectacle of street shows and the intimate, traditional setting of the milonga.
The Florida Lavalle Street Show
The intersection of Florida and Lavalle streets is a hub for tango performance. Willemijn van der Linden is a key member of the troupe that performs daily at this location. This street show is a vital part of the city's tourism and cultural preservation. It serves as a gateway for tourists to experience the authentic sound and movement of the tango. The presence of a Dutch dancer in this specific location highlights the internationalization of the art form, where foreign nationals not only learn the dance but become professional exponents of it.
The Milonga Tradition
Beyond the street shows, professional dancers like Willemijn and her partner José Carlos perform in milongas, which are traditional tango cafes. These venues are the heart of the tango community. In a milonga, the dance is performed in a social, communal setting, often accompanied by live music. The milonga is where the tango is not just a performance for an audience but a living social ritual. The ability to teach tango to Dutch tourists indicates that these dancers act as cultural ambassadors, facilitating a deeper understanding of the dance for international visitors.
The Intersection of Dance, Literature, and Identity
The story of Willemijn van der Linden serves as a microcosm of the broader Argentine cultural identity. Just as the tango was born from the convergence of diverse immigrant cultures, her presence in Buenos Aires represents a modern iteration of this historical pattern. The dance is a language that transcends borders, much like the literature of authors like Borges and Schweblin, which has been translated into Dutch, allowing for a cross-cultural exchange of ideas.
The themes of displacement, found in the works of Claudia Piñeiro and the life of the dancer, suggest that the tango is a vehicle for exploring the human condition. The "obscene" origins of the tango in the poor neighborhoods, its evolution into a global symbol, and the personal transformation of the dancer all point to a culture that embraces change and the blending of identities.
Conclusion
The narrative of the Dutch tango dancer in Buenos Aires is a testament to the enduring power of the tango as a cultural force. From its humble beginnings in the immigrant slums of the late 19th century to its current status as a global art form, the tango has served as a mirror for the Argentine soul. Willemijn van der Linden's journey from a Dutch enthusiast to a professional performer in the streets and milongas of Buenos Aires illustrates the universality of the dance. Her work, alongside partners like José Carlos and her participation in media events like "De Bauers in Argentinië," demonstrates how the tango continues to bridge cultures.
This cultural exchange is further enriched by the rich literary tradition of Argentina, where authors like Samanta Schweblin, Jorge Luis Borges, and Claudia Piñeiro explore themes of identity, transformation, and the unpredictability of life. The tango and Argentine literature are two sides of the same coin, both rooted in the complex history of migration, passion, and the human experience. The presence of international dancers and the translation of Argentine literature into Dutch create a dialogue that extends beyond borders, ensuring that the "soul of the city" continues to resonate globally.