In addition to being a referent of the chamamé and one of the most representative artists of Argentine folklore, Antonio Tarragó Ros has always shown other concerns, such as care for the environment and conducting cultural television programmes.
Now, the accordionist who also flirted with politics in 2017 brings all these facets together Creole art saveda cultural cycle that tackles music, history and the exploration of our flora and fauna.
The author of sweetness Y Maria goes is the host of this program issued by different signals of I’mthe federal network of channels – with representation in each province – which can be streamed via Flow.
“Me always I liked making television programs for the Interior. I like reporting and doing things with a camera,” says Tarragó, who dusts off bits of cultural cycles from his personal archive.
“When I wanted to remember, I’ve had 200 hours of incunabula: The five Ábalos brothers alive; Ernesto Sabato with Falú doing Novel of the death of Juan Lavalle and other things that allowed me to film them and have them in my video library,” he explains.
The 75-year-old singer-songwriter, who has hosted several folk programs on ATC, Argentinísima Satelital and Sólo Tango, among others, curated part of that material to collect it and share it with everyone.
“There are some who have spent their money on things like timba. Well my vice is culture: I conserve Argentine Creole art,” he explains.
Then he adds: “I have several friends who have the same thought, the same attachment to things done with depthlike the people of I’m. I had a very nice meeting with the directors of the channel, because they called me and said: “Che, you have very valuable cultural things. Why don’t we do something?’“, invoice.
“I’m so happy… Anyone who knows how to work in television, how to edit and edit, knows that now the measure of quality is different. When we start dusting off and improving all that stuff, so that technically it’s up to par with the great tech it has I’m, We work hard and with a lot of love,” he reveals.
Native culture and trees
In the first shipments of the cycle, the native of Curuzú Cuatiá shows the work Novel of the death of Juan Lavalleon text by Ernesto Sábato with music by Eduardo Falu.
And we continue with a part of the twenty chapters of Naturea work I wrote that relates endangered music to endangered flora and fauna, of which 40 figures participate who sang my work with great generosity”, he details.
under the motto “Let’s save the art, let’s save the life”in the first episode of the Tarragó cycle he chose the huayno the tree is a pathwith Jaime Torres, Peteco Carabajal and Cuti Carabajal as guests.
The trees are protagonists of Creole art saved. Its driver intends to encourage the proliferation of native specimens and has a very ambitious environmental goal: to plant a million of them.
“When I walk through cities, I meet people of I’m Y we do the ritual of planting native trees and I go out to sponsor them. The idea is to use the platform for this initiative, to make it contagious. Even if it’s in the studio or wherever the channel is broadcasting, we plant two or three native trees of that place“, To explain.
Also, every cycle delivery includes a microphone with Cristina Hun, a graduate in landscaping, who describes the native trees of each region, of each area. “The idea is that, as much as possible, we repopulate those trees,” says Tarragó.
Creole art for the new generations
“He said Macedonian Fernández that he liked to re-read more than read. One day I told Maestro Ernesto Sábato and he said something beautiful to me: ‘Great writers always leave some hidden gift in the book for great readers. So great readers are those who re-read the book’“, invoice.
“It happened to me with all this material. Gestures that I see on the faces of the artists who are there. I had two hours with Piero, with Raúl Porchetto, with Rodolfo Bebán telling how Leonardo Favio directs him in Juan Moreira… Imagine, there are more than 100 hours”, he enthuses.
Ros’ goal is that those old remnants of programs with artists “that constitute the essence of being Argentine” reach new generations through streaming.
“I’m editing here at home all day, excited to be able to share who we are and what has made us into such an in-demand country for art. There is a certain scarcity of Creole art in the media, and with a very good sense of smell and skill, they blew my mind and I am very honored to do so,” he reflects.
“I like it a lot television as a tool to perpetuate hidden treasures. We are happy to feel so useful for culture, for the great Argentine artists,” concludes Tarragó.
Source: Clarin
