Academic literature on the topic 'Tango (Dance)'

The ‘Tango of Argentina and Uruguay’ was inscribed in the List of Intangible Cultural Heritage of the UNESCO in 2009 to be safeguarded as one of humanity’s outstanding cultural achievements. Controversies and shortcomings related with the inscription have been pointed out by several scholars working on tango as a social phenomenon. Criticism about the nomination document and the decision about the inscription targeted two principal focus areas and were expressed from two different standpoints both of which miss the inclusion of living grassroots tango communities and what they stand for from the heritage definition of tango. This paper intends to connect academic and community reactions given to its heritagization with personal observations of recent trends in the international, and especially in the European world of tango; particularly with the increasing presence of two-three-day international tango dance occasions commonly referred to as tango marathons or encuentro milongueros. In the complex, multi-layered and multi-vocal global tango world these events have been associated with essential, authentic milonga experiences, a sense of prolonged intimacy and community through shared dances and shared dance space.

Abstract During the height of the COVID-19 pandemic, social mixing was generally restricted based on the Corona Pandemic Infection Control Provisions. As a result, those of us who dance Argentinian tango were not allowed to practise together. A survey carried out among members of the Oslo Tango Queer (OTQ) club in Oslo found that people missed tango, felt tango withering in their bodies, and believed that their dancing skills were about to disappear. The survey also documented a sense of despair and loss of self-esteem. Practising dance movement therapy (DMT) recalled the feeling of tango in my body, thus strengthening my self-understanding as a tango dancer and my self-esteem. Therefore, I put together a collection of practical DMT exercises and invited the members of OTQ to participate in a pilot group. In addition to recreating a sense of (tango) community, the purpose was to support individuals’ positive feelings of themselves as tango dancers and strengthen their self-esteem. Nine dancers participated. Four DMT sessions lasting one and a half hours were carried out; these included exercises performed individually, in couples and in groups. All the exercises were conducted following anti-COVID-19 regulations, that is, without physical contact and using face masks when necessary. The DMT exercises had an effect on the individuals’ subjective experiences. Feedback from the participants highlighted that exercises involving grounding, training of body movements and possibilities, mirroring, and playing out an imaginary dance embrace recreated the feeling of tango in their bodies.

The article discusses the role of tango in the novel «Heartbreak Tango» by the Argentinean writer M. Puig. The purpose of the study is to determine how tango manifests itself in the text of the novel and what role it plays in its plot and artistic system. It was revealed that all three elements of tango (music, dance and text) are present in the novel. The significance of the epigraphs is emphasized because the citation of well-known tangos and boleros allows not only to establish intratextual connections, but also brings the author's point of view into the work. It is concluded that the tango, penetrating the text of the work, reveals the inner world of the characters and the author's intention.

Argentine tango tends to be associated with highly gendered images of women and men locked in contorted embraces. These images constitute a tango imaginary that is removed from the lived experience of the dance. Remaining close to the experiential core of tango, this paper provides a Heideggerian-inspired phenomenological account that re-imagines tango as a mode of being-in-the-world. By situating us in direct and constant relationship with an attentive partner and furnishing a complex grammar of constraints, tango generates a frame for creating and sustaining worldhood. By examining the how of dance, the kind of experience it offers up, we approach the dynamic emergence of Being. In what follows, I draw on my years of dancing tango to elaborate an understanding of the experiential dimensions of the dance, and how these relate to the development of shared focal practices that disclose insights associated with embodied being-in-the-world.

This paper explores the globalization and cultural adaptations of Argentine Tango, a dance form that has transcended its origins to become a global phenomenon. The study delves into the historical spread of Tango from Buenos Aires to various parts of the world and examines how it has been adapted in different cultural contexts, including Europe, Asia, and North America. The paper discusses Tango’s role as a cultural bridge, fostering cross-cultural exchange and understanding through international festivals and collaborations. It also addresses the challenges faced in maintaining Tango’s authenticity while adapting to diverse cultures and highlights the resilience of Tango enthusiasts in preserving the essence of the dance. The impact of Tango on global dance culture is analyzed, emphasizing its influence on other dance forms and its contribution to the diversity of global artistic expression. The paper concludes with a reflection on the future directions of Tango’s globalization and its potential for further cultural exchange, underscoring the significance of Tango as a symbol of cultural interconnectedness and artistic innovation.

Previous studies have identified genetic factors and Epstein-Barr virus underlying nasopharyngeal carcinoma. A hypothesis postulated that the local buildup of HCl, mediated by hydrogen bond donors and acceptors and basic amino acids, causes cancer. Nasopharyngeal carcinoma incidences are high in the humid southern coastal China, Southeast Asia, and Mediterranean regions, but not in the noncoastal and nonhumid southern Yunnan Province, China, and nonhumid Central China. The nearly saturated humidity in the Huinan period in Guangdong can trigger the expression of proteins with extensive hydrogen bonding to protons, augmenting the formation of HCl that is mutagenic. Given that the Epstein-Barr virus carries high content of hydrogen bond donors and acceptors, the moist environment in the nasal cavity may enable the virus to colonize the site, compounding pertinent investigations as both virus and high humidity are likely to trigger carcinogenesis. Therefore, the phenomena of exceptionally high humidity in regions with high nasopharyngeal cancer rates warrant further investigations.

Pendahuluan: Proses penuaan mengakibatkan perubahan sistem muskuoskeletal pada lansia. Risiko tersebut berdampak pada kemampuan untuk mempertahankan keseimbangan statis ataupun dinamis. Penurunan keseimbangan meningkatkan terjadinya risiko jatuh. Pemusatan latihan pada keseimbangan tungkai bawah secara dinamis mampu meminimalisir kompleksitas risiko. Gerakan latihan secara ritmis dan berirama dari basic tango dance memiliki kesesuaian karakteristik fisiologis pada lansia. Metode: Desain penelitian pre-eksperimental dengan pendekatan the one group pre-test post-test pada 23 responden sesuai kriteria. Responden diberikan intervensi basic tango dance selama empat minggu dengan instrumen penilaian timed up and go test (TUGT). Hasil: Uji statistik menunjukkan perbedaan selisih rerata TUGT pretest dan posttest mencapai 2,6. Sedangkan uji wilcoxon menunjukkan p-value sebesar (0,000)<0.05. Nilai tersebut menginterpretasikan signifikansi atau kebenaran dari hipotesis yang diterima. Simpulan: Intervensi basic tango dance pada lansia selama empat minggu mampu memberikan pengaruh nyata terhadap keseimbangan. Kata Kunci: basic tango dance, keseimbangan, lansia, tari, tungkai bawah.

Recent research shows that tango dance is an absorbing and effective strategy to reduce levels of depression, while also increasing well-being. This study investigates the feasibility, acceptability, and adherence to a tango programme for individuals with age-related macular degeneration (ARMD). Depression is closely intertwined with the ARMD diagnosis, since the loss of central vision has a profoundly negative impact on the person’s quality of life. Seventeen participants were randomised to tango dance (1.5 h, 2 times/week for 4 weeks) or wait-list control condition. Demographic questions and Visual Function Questionnaire were taken at pre-test. Self-rated symptoms of depression, self-esteem, and satisfaction-with-life were assessed at pre-test and post-test. Tango group participants showed significant reductions in depression and significantly increased satisfaction-with-life and self-esteem at post-test relative to the controls, and reported physical improvement, including increased balance. Tango dance was demonstrated to be a feasible and positive activity for this population.

This is building the tango, a constructive investigation into the material consequences of dancing the tango. Building the tango is about the resurrection of passion and life, as well as passion for life, of which the reality is now. It also involves resurrecting passion and life on a site occuppied by ghosts and ruins: Belle Isle in Richmond, Virginia. The constructive investigation of dancing the tango on Belle Isle includes reclaiming the scandal, individual movements and individuals moving together, opposition of body to body, opposition of bodies to space, placement of feet, love of the dance, and feeling the heat of the tango. Studying the material consequences of the tango requires that the structure, itself, is a tango. It is symbolic of a manâ s struggle for the possession of a woman. The structure is one part man, one part woman, every part dance. The constructive realities of the tango create a dance of materials, a dance of space and a dance of bodies within.
Master of Architecture

Anthropology
Ph.D.
In this dissertation, I examine the impact of globalizing processes upon the contemporary Argentine tango scene in Buenos Aires. Focusing on a contested trend referred to as tango nuevo, I engage debates surrounding: authenticity and cultural ownership; the performance of gender and sexuality; generational conflict in human movement practice; the enduring significance of place in an era of heightened globalization; the role of place and global economics in shaping transnational cultural formations; community as a site of anxiety, hierarchy and conflict; the tension between preservation and evolution in the survival of cultural phenomena; and conflicting narratives of dance as drug, therapy and pain. The result of a five-year pursuit of Argentine tango, both as an anthropologist and a dancer, this dissertation is informed by two years of fieldwork in Buenos Aires, three years of preliminary research in Philadelphia, a preliminary fieldsite investigation in Buenos Aires, and participant observation in a handful of U.S. tango communities preceding fieldwork. This dissertation will add to the literature on Argentine tango by challenging popular and scholarly notions of what may be encompassed under this term. With community as the key concept underlying my study, I hope to expand upon the application of semiotic analysis in dance studies through an emphasis on practice and phenomenology, framing community through the performance of shared bodily vocabularies that are open to renewal and transformation. Building upon recent anthropological investigations of globalization and modernity, I suggest that human movement practices present a rich area for further research into the enduring significance of place. In approaching a fluid, global community via local-level fieldwork that is oriented towards the passage of media, ideas and dancers across borders, my project suggests a solution to the quandaries of doing ethnography and microanalysis in complex, transnational macro-contexts. With the growth of new sites, new codes, and a new community of practitioners, I argue that the study of tango in anthropological perspective offers a unique view into the ways in which individuals carve out notions of personhood, identity and culture in a globalized world.
Temple University--Theses

Buenos Aires. Metade do século dezenove. Uma política de fomento à imigração européia traz às terras portenhas mais de seis milhões de imigrantes. Ao contrário do que o governo argentino esperava, as que compunham esse cenário não eram pessoas requintadas, conhecedoras de arte e ciência, muito menos mão de obra qualificada. Os imigrantes de pouca instrução e de poucos meios que passaram a fazer parte da população residente nos arrabais portenhos, assolados pela saudade de suas terras, buscando no ambiente prostibulário por uma “natural” comunhão, dão origem ao tango nas últimas décadas do século dezenove. Por volta da mesma época, os irmãos Lumière produzem o invento que chamariam de cinematógrafo, palavra de raiz grega que significa “registro do movimento”. Portanto, percebo o tango e o cinema como expressões contemporâneas, no sentido de que ambas tem sua gênese ao final do mesmo século. Alguns/algumas historiadores/as apontam ainda que o cinema é um dos responsáveis pela valorização do tango e por seu reconhecimento mundial no decorrer do século passado. O que de certa forma sublinha a relação entre o cinema e a história. Sendo assim, esta dissertação de mestrado propõe analisar como os aspectos históricos do tango argentino são representados na película Tango de Carlos Saura. Usando o aporte teórico dos Estudos Culturais e entendendo as produções cinematográficas como artefatos pedagógicos, busco perceber quais são os sentidos produzidos sobre a história do tango argentino na narrativa construída por Saura. Inicio meu exercício analítico com um olhar atento sobre os elementos técnicos de cenário, iluminação e figurino empregados na construção da obra. Somado a isso, a linguagem cinematográfica utilizada por Saura, perceptível por meio dos planos, ângulos e movimentação de câmera, também são aspectos importantes que compreendem a análise. São quatro os momentos históricos do tango representados na película escolhidos para compor esse estudo. O período imigratório, quanto a sua relevância e envolvimento na gênese do tango, os duelos criollos e o tango dançado entre homens, o ambiente prostibulário e o tango entre mulheres e, por fim, o período da ditadura militar argentina em sua relação com o tango. Ao considerar esse último aspecto tento perceber ainda como outras películas abordam a memória do período, em especial quanto a temática do exílio. Por fim, proponho uma análise da dramaturgia da dança executada em cada uma das cenas a fim de perceber o que a linguagem coreográfica nos diz sobre o período que representa.
Buenos Aires. Half of the nineteenth century. A policy to promote european immigration to Buenos Aires brings more than six million immigrants. Contrary to the Argentine government hoped, composing this scenario were not intellectual people, knowledgeable of art and science, much less skilled labor. Immigrants with little education and few resources that have become part of the resident population in arrabais, covered by nostalgia for their land, in the brothel environment looking for a “natural” communion, give rise to tango in the last decades of the nineteenth century. Around the same time, the Lumière brothers produce the invention that would call cinematographer, Greek root word meaning "record of the movement." Therefore, realize the tango and cinema as contemporary expressions, in the sense that both have their genesis at the end of the same century. Some historians the still point that cinema is one responsible for the valuation of tango and its worldwide recognition during the last century. Which I think that somehow emphasizes the relationship between cinema and history. Thus, this dissertation aims to analyze how the historical aspects of Argentine tango are represented in Tango by Carlos Saura. Using the theoretical framework of Cultural Studies and understanding cinema as pedagogical artifacts, I seek to understand what are the meanings produced from the Argentine tango in the narrative constructed by Saura. First of all, my analytical exercise began with a look on technical elements of scenery, lighting and costumes. Added to this, the cinematographic language used by Saura, noticeable through the planes, angles and camera movements are also important aspects that comprise the analysis. There are four historical moments of the tango represented in saura’s movie, chosen to make this study. The period of immigration, as their relevance and involvement in the genesis of the tango, tango-dance executed by men, the brothel environment and tango between women and finally the period of Argentine military dictatorship in its relationship with the tango. In considering this latter aspect still try to understand how other films deal with the memory of the period, especially as the theme of exile. Finally, I propose an analysis of the dramaturgy of dance performed in each of the scenes in order to realize what a choreographic language tells us about the period it represents.

This piece is an exploration of tango music. Having played, arranged, composed, and performed this music since 2011, I consider myself steeped and well-versed in the culture and musical language of tango, and this piece is an attempt to synthesize this rich body of music with my own personal style. This work is firmly grounded in the aesthetic of tango dance music from the “Golden Age” of tango in Argentina (1935-1955) and post-Golden Age music. The intent is to create music that is immediately accessible to a layperson, recognizable as tango to someone conversant in the genre, yet distinctively new and part of the evolution of this music. The instrumentation is a cross between a chamber orchestra and a tango ensemble. Strings, flutes, clarinets, F horns, and percussion are joined by a rhythm section of piano, classical guitar, and two bandoneons (tango concertina). The lone upright bass is considered part of the rhythm section as well, rather than as part of the strings. It comprises five movements and runs approximately 25 minutes.

This dissertation looks at Sally Potter's career by focusing upon the ways in which her directorial style has been influenced by her performance and dance background. Chapter 1 provides the reader with an introduction to Potter's major film work, the motivation for undertaking this study, and ends with an overview of Potter's early film work through Combines (1972). Chapter 2 takes up the issues of auteurism, essentialism, and genre, in an attempt to create a strategy for writing a major study of an individual filmmaker at this critical juncture in film/feminist/cultural studies. This study of Potter draws out a discernible sense of style in relation to a corresponding body of social and artistic concerns that shape Potter's work from her early experimental films through her feature films in the 1990S. Chapter 3 covers the years between 1972-1979, during which Potter performed in a variety of situations and groups around Europe. These years also provided her formative experiences in feminist groups and with early feminist film theory. In 1979 Potter returned to filmmaking and made Thriller, a remaking of the opera, La Boheme. Thriller is both a reflection of 1970s feminist thought and the precursor to feminist film theory in the 1980s and 1990s. Chapter 4 and 5 are dedicated to Potter's most recent film, The Tango Lesson (1997). Chapter 4 focuses on The Tango Lesson as a musical and explores the genre from various angles, including women making musicals, and the theme of Jewishness in Potter's exploration of the tango. Chapter 5 elaborates on the history of tango and its marketability as the exotic, and compares Potter's film, in which Pablo Veron choreographs a menage-a-quatre to Piazzolla's "Libertango," and Matthew Diamond's documentary on Paul Taylor in which Taylor choreographs a performance to Piazzolla's "Caldera." This discussion ends with a look at The Tango Lesson and Jutta Bruckner's Ein Blick und die Liebe bricht aus (One Glance and Love Breaks Out, 1985). I also place Potter's work with the tango in history of women filmmakers like Leni Riefenstahl and Maya Deren, who were also dancers and explored the exotic on film.

This thesis examines the practice of an Argentine Tango dance community in the East Midlands, England. It is an ethnographic study whose objectives are to investigate this instance of a local transcultural dance practice in order to learn about participants’ motivations; their experience of and identification with Argentine Tango; and the meanings produced in the process of their participation. As a social dancer, teacher and insider researcher, I employ embodiment as a key methodological strategy in order to engage with and share the experience of dancing with participants; to gain sensory understanding and bodily knowledge of the practice; and in the process to gain access to further avenues of meaning-making amongst participants. The study considers questions arising directly from my teaching role to do with the transmission and reproduction of the dance, authenticity, the production of meaning, the construction and performance of identity and the imaginative construction of post-modern cultural practices. The nature of space and place is considered, as is Turner’s distinction between liminoid and liminal activity with regard to ritual and communitas in relation to Argentine Tango. Alongside participant discussions, I explore various perspectives on the cosmopolitan appropriation and exoticisation of Argentine Tango; the diffusion, re-territorialisation and globalisation of Argentine Tango since the late 1980s. Data was produced using ethnographic tools, including video recording, shared reviewing and feedback from participants. The thesis analyses findings to show how participants project narratives of the imagination into their dancing, thereby providing frameworks of meaning which crucially underpin and sustain this practice. These imagined narratives are compared to journeys, both literal and of the imagination, enabling the creative construction of new identities, the exploration of self in relation to others and an escape from everyday life in postmodernity.

Orientador: Francisco Elinaldo Teixeira
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T12:01:16Z (GMT). No. of bitstreams: 1 LopezGallucci_NatachaMuriel_D.pdf: 14025119 bytes, checksum: a406f32a4fbed8d6196a6b893086c00d (MD5) Previous issue date: 2014
Resumo: Neste trabalho pretende-se pesquisar e refletir sobre o corpo performático do tango interveniente na evolução estilística e nos modelos de representação da cinematografia argentina. Tomando como paradigma o processo de criação do corpo gestual codificado do tango dança dentro do espaço fílmico, o estudo propõe-se a investigar, em perspectiva histórica, as dimensões axiológica e estética a que serviram sas representações da dança nos períodos mudo, clássico, moderno e contemporâneo na Argentina. Essas criações fílmicas constituem um locus, âmbito do intercâmbio de saberes e práticas corporais ritualizadas e espetaculares do povo, e no contexto sociocultural o tango opera como uma categoria de análise estética e de transmissão de valores que constitui um verdadeiro sistema de representação social. Esta pesquisa revelou, nas análises fílmicas e nos estudos fotográficos e coreográficos realizados, de maneira participante, o papel do tango dança na consolidação de uma linguagem cinematográfica característica, cuja dimensão tem sido sistematicamente ignorada pela historiografia. O corpus fílmico organizado neste recorte permite fundar e fundamentar, do ponto de vista imagético, uma discussão estética, mostrando a presença de operações próprias da linguagem cinematográfica, inerente à concepção coreográfica e à filosofia do corpo presentes no tango dança
Abstract: On this study it is intended to research and reflect about tango¿s performance body intervenient in the stylistic evolution and in the representation models from Argentina¿s cinematography. Having as a paradigm the process of creation of the gestural body coded from the tango dance within the film space, the study has the proposal to investigate, in a historical perspective, the axiological and aesthetic dimensions to which served in the representations of the mute, classic, modern and contemporary periods in Argentina. The film representations of the dance constitute a locus, scope of the exchange of corporal knowing and practices ritualized and spectaculars from the people, and tango operates as a category of aesthetic analysis and transmission of sociocultural values which constitutes a truly system of social representation. This research has revealed that, in the film analysis and photo and choreographic studies performed, from a participant manner, the role of tango dance in the consolidation of a characteristic cinematographic language, in which its dimension has been systematically ignored by the historiography; the film corpus organized on this essay allows us to establish and fundament, form the magnetic point of view, an aesthetic discussion, showing the presence of proper operations of the cinematographic language, inherent to the choreographic conception and body¿s philosophy present in the tango dance
Doutorado
Multimeios
Doutora em Multimeios

The play Tango Femme places the lesbian centre stage by creating characters, narrative and drama in the world of same-sex dancing. The accompanying exegesis examines the problems and issues associated with creating lesbian characters in theatre, using a synthesized, practice led methodology. During the process of imagining, constructing and writing my case study play, I have investigated lesbian theatre productions and companies in order to make sense of my personal experiences in the theatre world. I have also reflected on the lesbian as represented in mainstream theatre and popular culture. Through journal writing and contemplation, I have sought to identify difficulties inherent in writing this type of play, using my own journey as a focus. My study illuminates the historical and sociological circumstances in the eighties and nineties in Australia and concludes that as a lesbian playwright I was caught between a rock and a hard place: the rock being lesbian theatre on a community level, as defined and attended primarily by separatist lesbians, and the hard place being mainstream theatre, located within the dominant, heteronormative discourse. The play Tango Femme has developed in conversation with my reflective practice and research and is written in the space outside the master narrative as "an instance of lesbian discourse" (Davy 1996, p.153).

Dance
Ph.D.
Tango invites communication and creativity, it offers growth and community, and, in Philadelphia, it draws a unique cohort of dancers. What forces have driven growth of the Philadelphia tango community, who exactly are its members, and why do they dance tango? This qualitative and quantitative study recounts the community's history, reveals the people at its core, and explores what the dance means to them. It is a mixed-method, multi-layered integration of dance history, community profile, and individual narrative. Twenty-six instructors and event organizers provided data on the community's history. More than 100 dancers participated in a survey that gathered descriptive and demographic data, and nine dancers gave interviews on their lived experiences of tango. The community grew steadily from 1991 through 2006. Early local entrepreneurs modeled an ethos that placed a premium on tango's community-building capacity. This ethos remained a central force in the community's growth, drawing a unique cohort of dancers. Compared to Philadelphia census data, tango survey respondents were fifteen years older on average, more likely to be divorced or to have been born outside of the continental United States, better educated with higher incomes, and more likely to work in the arts. Ethnographic, quantitative, and mixed methods analysis reveals how tango may serve these unique cohorts and how many dancers perceive that tango enhances their physical, mental, emotional, spiritual, and social lives. Phenomenological inquiry explores dancers' concepts of spirituality and how some made spiritual meaning from tango experiences. Four central themes that emerged--tango music, tango dance, interactive experience, and internal experience--can be theorized to intertwine in a cycle wherein tango invites human interaction that leads to internal growth, which improves one's capacity to dance tango, thus creating a more satisfying interactive and internal experience. This research represents the first comprehensive study of tango in Philadelphia. It documents the creation of a popular social dance community in a major U.S. city and offers new data and theories on community building. It is also the first study to explore intersections between spirituality and tango and offers new insights into how tango improves adults' health and well being.
Temple University--Theses

Review question / Objective: Parkinson's disease (PD) is a degenerative neurological disease caused by the loss of dopaminergic neurons in the pars compacta of the substantia nigra of the brain, resulting in lesions in the basal ganglia. The main motor symptoms of PD include resting tremor, rigidity, akinesia or bradykinesia and postural instability. As an exercise intervention based on musical accompaniment, tango dance has shown positive effects on the rehabilitation of motor symptoms in PD patients in recently. In this study, we systematically reviewed the efficacy of tango intervention in alleviating the motor symptoms of patients with PD. Condition being studied: Parkinson. Information sources: The following electronic databases will be searched: PubMed, Cochrane Central Register of Controlled Trials (CENTRAL), Web of Science Core collection, and China National Knowledge Infrastructure Database (CNKI) and WanFang Database.

La inclusión financiera es el proceso de integración de los servicios financieros a las actividades económicas cotidianas de la población, lo cual puede contribuir al crecimiento económico en la medida en que permita reducir los costos de financiación y transacción, y ofrezca un manejo seguro y eficiente de los recursos, tanto para los hogares como para las empresas. La medición de la inclusión financiera abarca diferentes dimensiones del acceso y uso de productos financieros por parte de hogares y empresas, dentro de las cuales se encuentran cobertura, transaccionalidad, ahorro, crédito, seguros, calidad y bienestar. En este informe se presenta un diagnóstico de la inclusión financiera en Colombia diferenciado entre hombres y mujeres. Para esto, se analizan algunas variables relacionadas con inclusión financiera reportadas por el Global Findex para Colombia y otras reportadas en la encuesta de micronegocios del DANE. Adicionalmente, se realiza una comparación entre las características de los créditos otorgados por establecimientos de crédito a mujeres y los otorgados a hombres entre 2017 y 2021 haciendo uso del Formato 341 de la Superintendencia Financiera (SFC). Este documento es el primero en hacer una aproximación a la inclusión financiera con enfoque de género teniendo en cuenta dichos datos administrativos.

A febrero de 2022 el mercado laboral mostró señales de recuperación, con un crecimiento sostenido en el empleo, observado tanto en las encuestas de hogares, como en los distintos registros administrativos. Las diferentes fuentes de información sugieren que el nivel de empleo se encuentra ligeramente por encima del registrado antes de la pandemia. El buen desempeño de la ocupación se observa en las ciudades y el área rural. Asimismo, la mayoría de los sectores económicos registraron aumentos en empleo. Los índices de vacantes, que reflejan la demanda de nuevos puestos de trabajo en el sector formal, reafirman el diagnóstico de un entorno favorable para el empleo. Los mayores crecimientos en las vacantes se presentan en ocupaciones de alto nivel de calificación, entre las cuales se destacan profesionales, científicos e intelectuales, y técnicos. Por el lado de la oferta laboral, también se observa una importante recuperación. Este comportamiento, junto con el mayor dinamismo en el empleo, se refleja en una reducción de la tasa de desempleo (TD) durante los últimos meses. Al desagregar las cifras de desempleo, se observa que la mayor reducción se ha registrado en el dominio urbano. Aunque todavía no se observan cambios importantes en los salarios, tanto los indicadores de holgura, como los de cuellos de botella y la curva de Beveridge muestran un mercado laboral que se va estrechando. Dadas las previsiones en materia de crecimiento económico del equipo técnico del Banco de la República para 2022, consignadas en el Informe de Política Monetaria de abril de 2022, los pronósticos ubican la TD nacional entre el 10 % y 11,9 % en promedio para dicho año. Por su parte, las estimaciones de la tasa de desempleo no inflacionaria (Nairu) sugieren una brecha de desempleo urbana cercanas a cero para 2022. Estas estimaciones indicarían que la menor holgura del mercado laboral ya no estaría generando presiones a la baja en la inflación. Este reporte se divide en dos secciones. En la primera se profundiza en los hechos coyunturales del mercado laboral anteriormente descritos. En la segunda se estudia la actualización de la Gran encuesta integrada de hogares (GEIH) realizada por el DANE, y los principales cambios que se generan en los indicadores del mercado laboral. Además de la actualización del marco geoestadístico y las proyecciones poblacionales construidas a partir del Censo nacional de población de 2018. La actualización de la encuesta sirvió para incorporar recomendaciones de organismos multilat erales, como la Organización Internacional del Trabajo (OIT) y la Organización para la Cooperación y el Desarrollo Económicos (OCDE), con el fin de mejorar la clasificación y caracterización de la población en edad de trabajar (PET), visibilizar estadísticamente a grupos poblacionales y llevar los indicadores del mercado laboral a nuevos estándares internacionales. Los principales cambios encontrados en los indicadores del mercado laboral obedecen a varios factores. En primer lugar, se actualizó el umbral de la PET, disminuyendo el nivel de la población fuera de la fuerza laboral (inactiva), al sustraer a cerca de 2,9 millones de menores entre 10 y 14 años. En segundo lugar, se modificó la forma de clasificar y caracterizar la población ocupada. No obstante, este cambio no parece tener impactos sustanciales en esta población. Así, lo más probable es que los cambios en el nivel de los ocupados que se observan obedezcan a la actualización del marco geoestadístico. Finalmente, la población desempleada es la que menos sufre cambios por la actualización de la encuesta. Adicionalmente, este reporte especial presenta una propuesta provisional de empalme y desestacionalización de los principales agregados del mercado laboral para el estudio de las dinámicas del mismo, que será empleada en este y en reportes futuros, hasta el momento en que el DANE publique series empalmadas y desestacionalizadas oficiales definitivas.

En el transcurso del primer semestre de 2023 la economía colombiana continuó avanzando en el proceso de ajuste requerido para corregir los desequilibrios macroeconómicos y controlar las presiones inflacionarias acumuladas tras los diversos choques de oferta y la rápida expansión de la demanda durante 2021 y 2022, la cual superó el crecimiento potencial de la economía. El ajuste económico en curso ha sido posible gracias a la moderación del crecimiento de la demanda interna y a la progresiva disolución de los choques de oferta que elevaron los costos de producción. La demanda interna comenzó a desacelerase en los últimos meses de 2022 y se contrajo un -0,2 % en el primer trimestre de este año, debido al menor crecimiento del consumo de los hogares y a la caída de la formación bruta de capital. Por su parte, los menores precios internacionales de las materias primas, la paulatina normalización de las cadenas de suministro y la apreciación de la tasa de cambio han contribuido a disipar los choques de oferta, lo cual se ha reflejado en una disminución de la inflación anual de precios al productor desde un nivel del 19,2 % a finales de 2022 al 4,7 % en junio de 2023 1. El menor dinamismo de la demanda interna se ha venido reflejando en una desaceleración progresiva de la actividad económica. Es así como en el primer trimestre de 2023 el PIB registró un crecimiento anual del 3,0 %, ritmo equivalente a una tercera parte del crecimiento promedio anual que se observó durante los tres primeros trimestres de 2022 (9,1 %). Según el indicador de seguimiento de la economía (ISE) que elabora el DANE, esta pérdida de dinamismo continuó en abril y mayo, al registrarse variaciones de ese indicador del -0,8 % y 0,6 %, respectivamente, frente a los mismos meses de 2022. Estos resultados fueron inferiores a lo observado en marzo (1,4 %), en la serie del ISE ajustada por efecto estacional y calendario. Ello apunta a que el crecimiento del PIB seguirá declinando en el segundo trimestre, lo cual es coherente con el pronóstico de crecimiento del PIB ligeramente inferior al 1,0 % para 2023 elaborado por el equipo técnico. A pesar de la desaceleración económica en curso, el mercado laboral sigue mostrando fortaleza, como se deduce del continuo descenso de la tasa de desempleo en el agregado nacional hasta el trimestre móvil terminado en mayo (10,4 %), su valor más bajo desde el inicio de la pandemia del covid-19 2. La desaceleración de la actividad económica es un fenómeno que se anticipaba, en parte, como resultado de la política monetaria restrictiva que adoptó el Banco de la República para controlar las presiones inflacionarias. A la menor actividad económica también estaría contribuyendo una política fiscal menos expansionista que en 2022, según se contempla en los pronósticos presentados en el Marco Fiscal de Mediano Plazo de 2023 (MFMP-23). A esto se añadió una desaceleración de la demanda externa relevante para el país debido al menor crecimiento de los socios comerciales, en un contexto internacional de altas tasas de interés de política monetaria, tasas de inflación por encima de sus metas y elevada incertidumbre generada por la prolongación de la invasión de Rusia a Ucrania. La Junta Directiva del Banco de la República (JDBR) ha sido reiterativa en sus diversas comunicaciones sobre la necesidad de adelantar este proceso de ajuste, para lograr el retorno gradual de la inflación a la meta del 3 %, corregir los desequilibrios macroeconómicos y asegurar la sostenibilidad del crecimiento económico en el largo plazo. La responsabilidad constitucional que recae sobre el Banco de la República, sobre la cual se hizo énfasis en el pasado Informe al Congreso, exige mantener una inflación baja y estable en consonancia con la política económica en general, de manera que permita apoyar un crecimiento económico sostenible y un balance externo financiable. Las decisiones de política monetaria se han adoptado con el respaldo de la sólida base institucional y técnica que soporta el esquema de inflación objetivo, cimentada en la experiencia acumulada durante más de dos décadas por el banco central. Los motivos específicos que ha tenido la JDBR para emprender un proceso de ajuste monetario, el más fuerte desde que el Banco de la República adoptó la estrategia de inflación objetivo, han sido complejos y de diversa índole. Las presiones inflacionarias provinieron inicialmente de choques de oferta de origen externo e interno que presionaron al alza los costos y precios de los alimentos y otros productos de consumo, a las cuales se agregaron presiones de origen cambiario. Estos choques llevaron a un incremento de las expectativas de inflación, lo cual desató un proceso de indexación de precios, que se exacerbó debido a los excesos de demanda que surgieron en 2022. La respuesta de la política monetaria mediante el incremento de las tasas de interés buscaba reducir los excesos de demanda, contener el aumento de las expectativas y limitar los efectos de la indexación de precios. Todo ello crea las condiciones propicias para permitir que, a medida que los choques de oferta cedan y se alivien, y con ello las presiones de costos, la inflación empiece a reducirse. Este es un proceso que se cumple con cierto rezago, pero que, dado el tiempo que la política monetaria lleva actuando, ya se ha empezado a producir, como lo mostró la reciente disminución de la tasa de inflación y la revisión a la baja de sus expectativas a diferentes plazos. Acorde con el mandato constitucional de asegurar una coordinación de la política monetaria con la política económica general, además de mitigar las presiones inflacionarias, el ajuste monetario viene cumpliendo el propósito de corregir los desequilibrios macroeconómicos que ponen en riesgo la estabilidad de la economía colombiana. Al respecto, no cabe duda de que el crecimiento del PIB del 7,3 % en 2022 fue sobresaliente, al haber más que duplicado el crecimiento mundial (3,5 %) y superado ampliamente la expansión de América Latina y el Caribe (3,9 %), según cifras del FMI. Un dinamismo económico tan elevado trae importantes ganancias de bienestar, en particular cuando permite reducir las tasas de desempleo, como ha venido ocurriendo en Colombia; sin embargo, es un crecimiento insostenible en tanto se fundamenta en una situación fiscal ampliamente deficitaria y en un preocupante incremento en el endeudamiento de los hogares. Ello generó un exceso de demanda agregada que no solo presionó al alza la inflación y sus expectativas, sino que también amplió el déficit de la cuenta corriente de la balanza de pagos a niveles históricamente altos durante varios años. El déficit de la cuenta corriente aumentó desde un nivel del 5,6 % del PIB en 2021, que ya era elevado, a uno del 6,2 % del PIB en 2022, uno de los más altos observados en Colombia. La ampliación del desbalance externo en 2022 se produjo en un año en el que los precios internacionales del petróleo, el carbón y el café se mantuvieron en niveles favorables, lo que contribuyó al buen desempeño de las exportaciones. No obstante, para cubrir los faltantes de oferta, la economía incrementó de manera importante su demanda de importaciones, impidiendo una reducción del desbalance externo. Como consecuencia, la economía colombiana recurrió a un mayor endeudamiento externo, bien sea como flujo de inversión de portafolio o como endeudamiento directo. Todo esto muestra la vulnerabilidad que significa para la economía mantener un nivel de gasto que supera significativamente sus ingresos. La política monetaria restrictiva, junto con el aumento en la carga tributaria, han venido induciendo un ajuste progresivo de estos desequilibrios. La desaceleración de la demanda interna iniciada a partir del cuarto trimestre de 2022 ocurrió de la mano de una moderación del consumo de los hogares, cuyo crecimiento en el primer trimestre de 2023 fue del 3,0 %, comparado con un incremento del 9,5 % en 2022. Esto último se ha reflejado en una desaceleración del crédito de consumo, que pasó de crecer desde un ritmo cercano al 23 % anual a finales del tercer trimestre del año anterior, a algo menos del 7,0 % anual a mediados de junio de 2023. De haberse continuado con una expansión tan rápida del crédito de consumo, se habría podido generar una situación insostenible sobre la capacidad de pago de los hogares. Asimismo, la formación bruta de capital, que tuvo un desempeño sobresaliente en 2022, empezó a mostrar ajustes en sus principales componentes. La principal fuente de dicha corrección ha sido la inversión en maquinaria y equipo, que en el primer trimestre del año presentó caídas tanto en términos trimestrales como anuales, principalmente en el rubro de equipo de transporte. A la par con el avance en la corrección de los desequilibrios macroeconómicos, la inflación total interrumpió la tendencia creciente que mantuvo hasta marzo de 2023. En efecto, luego de alcanzar un nivel del 13,1 % al cierre del año anterior, la inflación total se mantuvo estable alrededor del 13,3 % durante los primeros tres meses de 2023, y a partir de abril empezó a descender, para ubicarse en 12,1 % en junio. Los alimentos han sido el rubro que más ha contribuido a este cambio de tendencia, al haber reducido su variación anual del 27,8 % en diciembre pasado al 14,3 % en junio. Esta variación ha sido compensada en alguna medida por el incremento de la inflación de regulados, debido a los sucesivos aumentos en los precios de la gasolina. Por su parte, la inflación básica (sin alimentos ni regulados) continúa mostrando rigidez, al ubicarse en el 10,5 % en junio, lo que refleja procesos de indexación de precios. La subcanasta de servicios ha sido especialmente afectada por el fenómeno de indexación, a lo cual se han agregado las presiones de costos laborales, el aumento en los precios de los alimentos que han presionado al alza las comidas fuera del hogar y la elevada demanda por servicios de entretenimiento. Este comportamiento debería ir cediendo a medida que los efectos de la política monetaria terminen por transmitirse a la economía, y la tendencia decreciente de la inflación se refleje en una revisión a la baja de las expectativas de variación de precios por parte del público. Así lo prevén los pronósticos del equipo técnico y las expectativas del mercado que anticipan una inflación decreciente durante los próximos dos años. ____________________________________________________________ 1 Corresponde a la variación anual del IPP de oferta interna. 2 Al cierre de este Informe se conocieron los datos de la Gran Encuesta Integrada de Hogares de junio, con los cuales la tasa de desempleo se mantuvo estable en su medición desestacionalizada del agregado nacional para el trimestre móvil (10,3 %), aunque con una reducción para el dato puntual de junio