Dissertations / Theses: 'Tango (Dance)'

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Guillen, Marissa E. "The Performance of Tango: Gender, Power and Role Playing." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1213208506.

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Utt, Melissa Gail. "Building the Tango." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/36203.

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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

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Merritt, Carolyn P. "Locating the Tango: Place and the Nuevo Social Dance Community." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/13758.

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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

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Werner, Juliana de Abreu. "O passado é indestrutível : história e memória em Tango de Carlos Saura." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/62093.

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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.

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Bradley, Damien. "Ends And Beginnings: A Cycle of Symphonic Tango Songs." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23189.

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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.

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Zeleike, Jesseka Zulke. "A tango with the camera: Sally Potter in the director's seat and on stage." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/290145.

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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.

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Holgate, Jane. "Transcultural tango : an ethnographic study of a dance community in the East Midlands." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/12260.

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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.

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López, Gallucci Natacha Muriel 1973. "Cinema, corpo e filosofia : contribuições para o estudo das performances no cinema argentino." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285222.

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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

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Moss, Merrilee Anne. "Tango Femme : placing the lesbian centre stage." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/32157/1/Merrilee_Moss_Thesis.pdf.

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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).

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Seyler, Elizabeth Marie. "The Tango Philadelphia Story: A Mixed-methods Study of Building Community, Enhancing Lives, and Exploring Spirituality through Argentine Tango." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/19599.

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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

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Siqueira, Leonardo Pádua. "O tango livre: considerações de um tangueiro (dançarino e professor) ao método de Rodolfo Dinzel." Universidade Federal de Uberlândia, 2017. https://repositorio.ufu.br/handle/123456789/19726.

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De que maneira a relação entre o contexto histórico, o imaginário do tango argentino e o método Dinzel de ensinamento é capaz de contribuir para o ensino e a aprendizagem do tango dança? Esta foi a pergunta que norteou este trabalho de dissertação. O presente texto apresenta informações históricas, contextualizadas socioculturalmente, e sintetiza o método de dança do professor e Tangueiro Rodolfo Dinzel e suas aplicações práticas. Entremeado com estes conteúdos, o autor revela suas descobertas como tangueiro e como professor de tango no decorrer deste estudo, e juntamente com suas descobertas traz contribuições contextuais da prática pessoal no tango. Esta dissertação se concentra na área de Práticas e processos em artes do Programa de Pós-Graduação em Artes da UFU e tem como objetivo oferecer aos interessados um texto funcional para o ensinoaprendizagem do tango em âmbito extra-acadêmico. Intenta-se com isso facilitar uma vivência significativa do processo de aprendizagem, uma vez que se propõe ser uma ferramenta para reinventar continuamente as formas de ensinar. Nesta perspectiva o aluno é convidado a descobrir o seu próprio bailar. E por fim, chegamos a conclusão de que o método Dinzel pode contribuir exponencialmente para a qualidade e consciência do bailado do tango.
In which way is the relation between the historical context, the imagination of the Argentine tango and the Dinzel teaching method able to contribute for the education and learning of the tango? This was the question that guided this dissertation project. This text presents historical socioculturally contextualized data; it summarizes the teacher and Tanguero Rodolfo Dinzel’s dance method and its practical applications. Interspersed with these contents, the author reveals his findings as a Tanguero and tango teacher throughout this study; and along with his findings, he makes contextual contributions considering his personal tango practice. The goal of this dissertation, which is focused on the area of artistic practices and processes of the Postgraduate Program in Arts of UFU, is to offer a functional text for the education and learning process of the tango, in an environment that can go beyond the university walls. Proposed as a tool to continuously reinvent the way of teaching tango, this dissertation aims to facilitate the creation of a meaningful experience of the learning process. In this perspective, students are invited to discover their own way of dancing. As a conclusion, one can say that the Dinzel method is able to contribute exponentially to the quality and awareness in the tango dance.
Dissertação (Mestrado)

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Silveira, Paola de Vasconcelos. "Sob os vestígios de um tango, a clave me convida a dançar : estudo de materialidades em movimento." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/122553.

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Este memorial crítico-reflexivo teve por objetivo refletir sobre os processos de elaboração do experimento artístico “Um tango em clave”, que foi desenvolvido a partir do encontro entre meu corpo e a clave (objeto de malabarismo), e apresentado em espaços de trânsito da cidade de Porto Alegre. Partindo da prática do tango, permeada pelo diálogo entre os pares, buscou-se uma relação na qual o objeto, a clave, torna-se materialidade pulsante que potencializa um diálogo a dois. Pretendia-se, assim, que a dança surgisse da relação entre esses dois corpos e não da manipulação de um corpo sobre o outro. Para tanto, o estudo encontra ressonância na possibilidade teórica de pensar em corpos não humanos como matérias vibrantes com potencial de provocar relações e movimentos. Dessa forma, esse encontro geraria a perda do eu, o qual seria construído através do movimento dançado. Ao longo dos ensaios e apresentações, realizaram-se registros escritos em caderno de notas, bem como registros fotográficas e videográficos. Eles tecem uma teia em conjunto com a escrita reflexiva e conceitual. Esse material possibilitou analisar a trajetória dessa proposta cênica. Essa pesquisa exploratória buscou contribuir para uma reflexão sobre as propostas de aprendizagem da dança, pois optou por um caminho de construção da relação dançada com o objeto, a partir das percepções cinestésicas do corpo em movimento. Tal procedimento sugere que outras metodologias de relação do corpo com o objeto possam ser desenvolvidas durante o processo de aprendizagem, e que elas podem ser tão eficientes quanto às práticas mais tradicionais de interação e manipulação do objeto.
This critical-reflexive memorial has the objective to reflect the process of elaboration of an artistic experiment “A tango in club” who was developed in the encounter of my body and the club (juggling key object) and has been showed in some places of transit in the city of Porto Alegre. The starting point has emerged from the experience of the artist in the practice of Tango from a dialogue bias between the peers, sought a relationship in which the object, becomes a pulsating materiality, a lively piece that will enhance a one-to-one conversation. It is thus intended that the dance results from the relationship between these two bodies and not from the manipulation of one body over another. Therefore, the study finds resonance on the theoretical possibility of thinking in non-human bodies as vibrant matters with capability to generate relationships and movements. In that way, this meeting would lead to a loss of the self, being constructed through the danced movement. Over the rehearsals and performances, there were written records in notebook, as well as photographic and videographic records. This information wove a web in conjunction with the reflective and conceptual writing. This exploratory research contribute to a reflection on the dance learning proposals because chose a path of building the relationship danced with the object, from the kinesthetic perception of the body in motion. This procedure suggests that other body regarding methodologies with the object can be developed during the learning process, and they can be as efficient as the more traditional practices of interaction and manipulation of the object.

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Hackney, Madeleine E., Courtney D. Hall, Katharina V. Echt, and Steven L. Wolf. "Application of Adapted Tango as Therapeutic Intervention for Patients With Chronic Stroke." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/553.

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Background and Purpose: Dance has demonstrated beneficial effects on mobility in older individuals with movement disorders; yet, effects of partnered dance remain unexamined in individuals with chronic stroke. The purpose of this study was to describe the effects of adapted tango classes on balance, mobility, gait, endurance, dual-task ability, quality of life (QOL), and enjoyment in an older individual with chronic stroke and visual impairment. Case Description: D.L. was a 73-year-old African American man, 13 years poststroke with spastic hemiplegia, visual impairment, and multiple comorbidities. Intervention: D.L. attended 20 1?-hour tango classes adapted for older individuals with sensory and motor impairments over 11 weeks. Outcomes: Measures of balance, mobility, gait, endurance, dual-task ability, and QOL were evaluated before and after the intervention and at 1-month follow-up. D.L. improved on the Berg Balance Scale, 30-s chair stand, Timed Up and Go (single, manual, and cognitive conditions), 6-Minute Walk Test, and backward gait speed. Not all measures improved: balance confidence decreased, and there was no change in forward and fast gait speed or QOL, as measured by the Short Form-12 and the Visual Function Questionnaire–25. Some gains were maintained at one-month follow-up. D.L. reported enjoying the classes, noted improvement in physical well-being, and wanted to continue the program. Discussion: Thirty hours of adapted tango lessons improved balance, mobility, endurance, and dual-task ability in a participant with chronic stroke. The participant enjoyed the classes, was adherent, and wished to continue. This is the first reported use of adapted tango dance as rehabilitation for an individual with chronic stroke and low vision.

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Holden, Patsy. "Civilized Dancing: The Evolution of Ballroom Dancing from African Trance and Folk Dance." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1173.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Philosophy

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Hopkin, Rachel Claire. "Argentine Tango in Cincinnati: An Ethnographic Study of Ethos, Affect, Gender, and Ageing in a Midwestern Dance Community." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574766653540698.

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Stillo, Michael Edward. "Tango Panopticon: Developing a Platform for Supporting Live Synchronous Art Events Based in Relational Aesthetics." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1781.

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The Tango Panopticon project merges art with technology to create a live and synchronous art experience which is just as much about the participants as it is about the observers. The goal of this project is to create a dialogue between observers of the event in the hopes of creating new social connections where there were none before. This goal is achieved by allowing observers to view the event from anywhere around the world on a computer via the internet and participate in a dialogue with other users on the website. The other objective of this project is to create a multimedia internet platform for other art projects to use. Other artists that are interested in hosting their own live synchronous event will be able to use the platform we have created and customize it to the specific needs of their project.

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Hernando, Abelardo. "Clase social y género sexual en la formación del sujeto pequeño burgués : Buenos Aires 1920-1940 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9917951.

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Rabinovich, Debora. "The use of Argentine Tango as a form of rehabilitation for Parkinson's disease: How the embodied experience of dance influences the healing process." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114206.

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In the last decade, dance has been used as an innovative form of rehabilitation for different medical conditions. However, there is not much documented research on rehabilitation programs based on partnered dancing. Studies on the use of Argentine tango have proved its feasibility as a form of rehabilitation for Parkinson's disease. The fact that dance is a pleasurable activity for participants enhances program adherence. The aim of this work is to understand the benefits and meanings that tango, a form of partnered dancing, has for people with Parkinson's disease in their healing processes. The thesis first reviews several theoretical frameworks helpful for understanding the benefits of using dance as a form of rehabilitation. I review the theoretical foundations of Dance Movement Therapy and Medical Dance Movement Therapy, philosophical perspectives on the body, and the motivational theory of flow. I also present research that has explored how dance can be used as an innovative tool in rehabilitation. Secondly, I present the results of fieldwork consisting of six in-depth interviews with Parkinson disease patients enrolled in an Argentine tango program offered by a public hospital Neurological Department in Buenos Aires, Argentina. Five themes illustrating the positive perceptions participants had of the program emerged: 1) the role of "others" in a process of curing and healing; particularly the group and the instructors; 2) the use of tango as a strategy to apply in daily life; 3) the sense of liberation, connected with embodied feelings of freedom and security; 4) the importance of recuperating something from the past and its impact on sense of self and; 5) the impact of offering an art-based intervention regarding perception as patients, the medical institution and the physical environment of care. The results of this study show that Argentine tango should be considered a feasible rehabilitation tool for Parkinson's disease, since as an art form and a non-medical activity it provides positive physical, emotional and spiritual outcomes to participants.
Dans la dernière décennie, la danse a été utilisée comme une forme de réhabilitation innovatrice pour différentes conditions médicales. Toutefois, il n'y a pas beaucoup de recherches documentées sur ces programmes de réhabilitation ayant comme objet la danse avec un partenaire. Les études portant sur l'utilisation du tango argentin prouvent cette faisabilité en tant que moyen de réhabilitation pour la maladie de Parkinson (MP). Le fait que la danse est une activité qui procure du plaisir aux participants renforce l'adhésion au programme. Le but de ce travail est de comprendre les avantages et la compréhension du tango argentin, une forme de danse avec un partenaire, qu'a sur les gens atteints de la MP dans leur processus de guérison. Premièrement, cette thèse revoie plusieurs travaux portant sur la théorie de l'aide de la danse. Ayant comme théorie, les avantages d'utiliser la danse comme forme de réhabilitation. Je révise les fondements de la théorie de la thérapie de la danse en mouvement, les perspectives philosophiques sur le corps et les flux de motivation de la théorie. Je présente également de la recherche ayant explorée comment la danse peut être utilisée comme un outil innovateur de réhabilitation. Je présente des résultats obtenus en ayant interrogés six patients atteints de la MP qui participent au programme de tango argentin offert par le département de neurologie d'un hôpital public de Buenos Aires, Argentine. Cinq thèmes illustrant la perception positive des participants ont émergés: 1) le rôle des « autres » dans le processus de cure et de recouvrement, particulièrement le groupe et les instructeurs; 2) l'utilisation du tango comme stratégie à appliquer dans la vie de tous les jours; 3) le sens de libération allié aux sentiments internes de liberté et de sécurité; 4) l'importance de la récupération de quelque chose du passé et son impact sur l'écoute de soi; 5) l'impact d'offrir une intervention artistique basé sur le tango argentin est probable pour la réhabilitation de la MP étant donné que c'est une forme d'art et non une activité médicale, elle procure une réaction physique, émotionnelle, et spirituelle positive chez les participants.

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CARDINALE, SARA. "IL BALLO DI COPPIA IN STRADA A MILANO: SOCIEVOLEZZA E APPARTENENZA NELL'INTIMITA' DELLO SPAZIO PUBBLICO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/35575.

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Il ballo sociale di coppia è una forma di svago che è tornata ad essere praticata da giovani e adulti soprattutto dagli anni Novanta. Questa ricerca sociologica ha per oggetto gli eventi di ballo sociale di coppia che hanno luogo attualmente a Milano in spazi pubblici, soprattutto nel centro città, senza autorizzazioni formali e privi di finalità di lucro. L’ipotesi di base è che questi eventi, organizzati da gruppi di ballerini attraverso reti sociali online, siano parte di un fenomeno sociale unico. I tipi di ballo coinvolti sono il tango argentino, la mazurka francese neotrad, lo swing e i balli del sud Italia. Questo lavoro, attraverso l’osservazione partecipante in situazione e interviste in parte semistrutturate e in parte biografiche, mira ad individuare i significati specifici che distinguono tale pratica urbana dal ballo di coppia in luoghi istituzionali e quale sia il ruolo giocato dello spazio pubblico nel differenziare i due oggetti. Nell’analisi delle interviste, l’ambito di significato relativo alla socialità collettiva si è distinto rispetto agli altri per corposità e complessità, è stato perciò scelto come chiave interpretativa del fenomeno. Questa pratica si rivela, infine, una forma di socievolezza e un ambiente sociale in cui esperire un’intimità di gruppo generata da interazioni estemporanee tra conoscenti, e trova negli spazi pubblici della città il suo teatro di espressione privilegiato.
In Western culture, social partner dances have re-emerged as a leisure activity for young and adults since the 90’s. This sociological research concerns social partner dancing events taking place in public spaces in Milan nowadays, especially in the city centre. They are organized through online social networks by groups of dancers who occupy the public space without any formal license and any profit-mindedness; Argentinian tango, French mazurka, swing, and Southern Italian dances are the types of dances involved. The underlying assumption is that these street events are part of a unique social phenomenon. By means of an at home perspective to participant observation, semistructured, and in-depth interviews, this work aims, firstly, to find specific meanings to this practice by comparing it to partner dances performed in institutional places; and secondly, to identify the role of public space in this framework. The collective sociality dimension of meaning has been chosen as a key to interpretation, since it stood out for complexity and relevance. This urban practice turns out to be a kind of simmelian sociability and an environment to experience a group intimacy produced by extemporary interactions of acquaintances; of which urban public spaces, furthermore, prove to be a perfect theatre to its full expression.

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CARDINALE, SARA. "IL BALLO DI COPPIA IN STRADA A MILANO: SOCIEVOLEZZA E APPARTENENZA NELL'INTIMITA' DELLO SPAZIO PUBBLICO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/35575.

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Il ballo sociale di coppia è una forma di svago che è tornata ad essere praticata da giovani e adulti soprattutto dagli anni Novanta. Questa ricerca sociologica ha per oggetto gli eventi di ballo sociale di coppia che hanno luogo attualmente a Milano in spazi pubblici, soprattutto nel centro città, senza autorizzazioni formali e privi di finalità di lucro. L’ipotesi di base è che questi eventi, organizzati da gruppi di ballerini attraverso reti sociali online, siano parte di un fenomeno sociale unico. I tipi di ballo coinvolti sono il tango argentino, la mazurka francese neotrad, lo swing e i balli del sud Italia. Questo lavoro, attraverso l’osservazione partecipante in situazione e interviste in parte semistrutturate e in parte biografiche, mira ad individuare i significati specifici che distinguono tale pratica urbana dal ballo di coppia in luoghi istituzionali e quale sia il ruolo giocato dello spazio pubblico nel differenziare i due oggetti. Nell’analisi delle interviste, l’ambito di significato relativo alla socialità collettiva si è distinto rispetto agli altri per corposità e complessità, è stato perciò scelto come chiave interpretativa del fenomeno. Questa pratica si rivela, infine, una forma di socievolezza e un ambiente sociale in cui esperire un’intimità di gruppo generata da interazioni estemporanee tra conoscenti, e trova negli spazi pubblici della città il suo teatro di espressione privilegiato.
In Western culture, social partner dances have re-emerged as a leisure activity for young and adults since the 90’s. This sociological research concerns social partner dancing events taking place in public spaces in Milan nowadays, especially in the city centre. They are organized through online social networks by groups of dancers who occupy the public space without any formal license and any profit-mindedness; Argentinian tango, French mazurka, swing, and Southern Italian dances are the types of dances involved. The underlying assumption is that these street events are part of a unique social phenomenon. By means of an at home perspective to participant observation, semistructured, and in-depth interviews, this work aims, firstly, to find specific meanings to this practice by comparing it to partner dances performed in institutional places; and secondly, to identify the role of public space in this framework. The collective sociality dimension of meaning has been chosen as a key to interpretation, since it stood out for complexity and relevance. This urban practice turns out to be a kind of simmelian sociability and an environment to experience a group intimacy produced by extemporary interactions of acquaintances; of which urban public spaces, furthermore, prove to be a perfect theatre to its full expression.

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López, Sonia Alejandra. "Maria de Buenos Aires : eine Monographie der Tango-Operita von Astor Piazzolla und Horacio Ferrer /." Tutzing : H. Schneider, 2003. http://catalogue.bnf.fr/ark:/12148/cb39034017x.

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Balint, Urdangaray Jacqueline. "Le lunfardo à travers les paroles de tango : mythes et réalités de l'argot du Rio de la Plata : étude lexicale, fonctionnelle et culturelle du vocabulaire lunfardo et du "langage du tango"." Brest, 2002. http://www.theses.fr/2002BRES1007.

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Aussi appelé argot de Buenos Aires ou caló porteño, le lunfardo naquit à Buenos Aires à la fin du XIXe siècle et se développa au XXe siècle parallèlement à une autre manifestation culturelle qui lui servit de support : la chanson de tango. Ce code secret qui fut celui des voleurs et des prostituées, se nourrit au fil du temps de lexies amenées par l'immigration européenne. Riche en consonances nouvelles et propice aux jeux de mots, les paroliers du tango s'emparèrent du vocabulaire lunfardo et l'utilisèrent à des fins stylistiques et expressives. C'est ainsi qu'il fut diffusé et enraciné dans le parler quotidien. Les rapports entre le lunfardo et les autres codes employés dans le tango (verbal, musical, chorégraphique, gestuel) montrent la manière dont la chanson a fixé les représentations symboliques des stéréotypes linguistiques qui jouent un rôle prépondérant dans l'édification du tango et du lunfardo en mythes, en véritables objets de culte rioplatenses.

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Damba, Nicole. "Education à la paix." Paris 8, 2000. http://www.theses.fr/2000PA081774.

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La montee de la delinquance juvenile en france souleve bien des questions : pourquoi la violence fait rage ?qu'est-ce que l'education a la paix ? ce sont la des questions prioritaires auxquelles je tente de repondre. Concernant le plan du memoire : la premiere partie est un reve eveille sur la paix. La seconde est une entree dans l'univers interculturel de la danse. La troisieme est une verification sur le terrain. Le but ici est de rappeler aux educateurs que leur mission premiere est de preserver l'humanite. Cette recherche a consiste a demontrer a travers des exemples, qu'on peut obtenir la paix par la mobilisation, la sensibilisation des gens et en faisant bouger les mentalites et les consciences. Pas d'education sans paix. Les resultats obtenus par les investigations permettent de constater que les gens commencent a bouger pour faire en sorte que la france conserve aux yeux du monde, son image tant convoitee de << pays des droits de l'homme >>.

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Quintas, Alicia. "Tango, Milonga, Vals : danse urbaine dans le Rio de la Plata, 1870-1924." Paris 8, 1995. http://www.theses.fr/1995PA081111.

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Autour de 1870, les habitants de la peripherie des villes qui entourent le rio de la plata - frontiere naturelle entre l'argentine et l'uruguay - creent une nouvelle maniere de danser les danses a la mode. En parfaite symbiose avec les musciciens, ils inventeront la milonga, appelee plus tard tango, qui, a partir de 1911 arrive a paris d'ou il rayonne dans le monde entier. Ces nouveaux "modes dansants" sont faits d'improvisation, en franche rupture avec la tradition occidentale des danses codifiees. Cette nouvelle culture des faubourgs est une contestation de la culture officielle. A partir de la premiere decennie du 20e siecle, la bourgeoisie industrielle naissante va se l'approprier, l'epurer, la codifier et l'institutionnaliser. Le tango celebre partout est un tango canonique, tres loin de clui qui fut une creation dansante revolutionnaire, meme s'il a conserve certains de ses traits originaux
Around 1870, inhabitants of suburbs of cities surrounding rio de la plata - natural border between argentina and uruguay - create a new way of dancing. They perfectly listen the musicians, so that invent milonga, later called tango, that came into paris en 1911 and spread in the whole world. These new "dancing modes" are made of improvisation, brading clearly with the western tradition where dances are codified. This new suburbian culture contests the official culture. At the beginning of the century, industrial bourgeoisie - just starting to grow at that time - appropiates tango, "purifies" it, codifies it and put it as an institution. The now everywhere celebrated tango is a "canonic" tango, very far of that one formerly a revolutionary dancing creation, even if it still keeps part of its original characteristics

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Rock, Christopher. "Wirksame Interventionen im organisationalen Wandel how to turn an elephant into a tango dancer." Stuttgart Ibidem-Verl, 2007. http://d-nb.info/986773867/04.

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Rock, Christopher. "Wirksame Intervention im organisationalen Wandel : how to turn an elephant into a tango dancer /." Stuttgart : Ibidem, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016524125&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Bezotte, Christine. "Le lunfardo dans les paroles de tango." Paris 8, 1994. http://www.theses.fr/1994PA080945.

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Cette etude retrace l'histoire du tango et le replace dans son contexte d'origine. Il met en evidence les situations politique, economique et sociale de l'argentine ou des millions d'immigres surtout des europeens se sont installes des la fin du 19eme siecle. Ils ont cree une musique et plus particulierement un langage appele lunfardo qui a trouve un refuge facile dans les paroles de tango en comparant ce lexique a l'argot francais, nous traduisons les chansons des paroliers les plus importants et analysons les personnages typiques, representatifs de certaines epoques qui hantaient les nuits de nuenos aires
This study retraces the history of the tango and replaces it in its original context. It shows the political, economical and social situations of argentina where millions of immigrants - especially europeans - settled since the end of the 19th century, they created a music and in particular a language called lunfardo that found an easy refuge in the tangoo's songs. On comparing this lexicon xith the french slang, we translate the songs of the most important creators and we analyse the typical characters, representative of those periods who haunted the buenos aires' nights

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De, Luca Valeria. "Les univers sémiotiques de la danse : Formes et parcours du sens dans le tango argentin." Thesis, Limoges, 2016. http://www.theses.fr/2016LIMO0063/document.

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Dans quelle mesure le geste dansé a-t-il du sens ? Et, lorsque celui-ci est indissociable de lapratique qui le fait exister, à quel niveau doit se situer l’analyse ? Quelle serait la contributionspécifique que la sémiotique peut apporter aux savoirs chorégraphiques ? Ce travail vise àrépondre à ces questions à travers le choix d’un objet d’étude complexe, tel que le tangoargentin. Ce phénomène multidimensionnel est abordé dans sa globalité, c’est-à-dire en tantqu’interaction corporelle, pratique, et moteur de constructions identitaires et imaginaires à lafois. Pour ce faire, ce travail interroge certains modèles théoriques et méthodologiquesexistants actuellement en sémiotique. En particulier, les spécificités d’un objet d’étude commele tango invoquent la mise en place d’un modèle capable de tenir ensemble une perspectivesémiogénétique et expressiviste avec une approche syntagmatique. Finalement, l’articulationentre différents niveaux de déploiement et de développement du tango que le modèle propose,pourrait contribuer à éclairer le débat autour des enjeux de la patrimonialisation d’unepratique fondée sur l’improvisation
To what extent does dancing gesture make sense ? If considered as inseparable from the wholepractice of dance, at which level should the analysis be placed? How could semiotics make asignificant contribution to dance studies ? This work aims to answer to these questionsfocussing on the Argentinian tango. It is approached as a complex object of analysis, a "wholeof sense", that is both as bodily interaction and practice, and as a fundamental driver inidentity and imaginary building processes. To this end, we examine and test some theoreticaland methodological models in current semiotics. The peculiar aspects of tango require a pointof view able to keep together a semiogenetic approach and a syntagmatic one. Therefore, wepropose a model which strengthens different levels of deployment and development of tango.Finally, we show how this framework could provide an original perspective about some issueson patrimonialization and improvisation, as a crucial topic in the current debate on tango

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Mandressi, Rafael. "Transculturation et spectacles vivants en Uruguay, 1870-1930 : approche ethnoscénologique." Paris 8, 1999. http://www.theses.fr/1999PA081588.

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L'etude des contacts culturels en uruguay dans la periode comprise entre 1870 et 1930 environ, permet d'approcher la mise en place historique d'une nouvelle configuration de l'ensemble des spectacles vivants, ainsi que de chacune des pratiques qui le composent: diverses formes theatrales, le cirque dit criollo, les activites spectaculaires afrouruguayennes, les multiples expressions du carnaval de montevideo. Le dernier tiers du xixe siecle et les premieres decennies du xxe sont en uruguay une epoque de profonds bouleversements demographiques, qui concernent en particulier une forte urbanisation, le phenomene connu comme exode rural et, surtout, l'immigration europeenne massive. Ce contexte marque par l'heterogeneite culturelle donne lieu a des processus de transculturation au cours desquels de nouvelles formes spectaculaires apparaissent. L'idee de l'emergence de phenomenes culturels nouveaux comme consequence des situations de contact est precisement la proposition principale contenue dans la notion de transculturation, avancee par l'ethnologue cubain fernande ortiz en 1940. Cette notion, enrichie par les contributions des theories de l'auto-organisation et celles de l'apprentissage, fournit a l'etude des spectacles vivants en uruguay des outils conceptuels nettement plus appropries, par exemple, que la theorie de l'acculturation, forgee au sein de l'anthropologie culturelle nord-americaine. La transculturation situe, en effet, les processus de contact culturel au centre de la specificite des formes spectaculaires en uruguay, issues de la circulation intense de materiauxculturels extremement divers a partir de la fin du xixe siecle. La dynamique des transformations de cet ensemble de pratiques amene des questions sur leur plasticite, leur morphogenese, leur historicite, posees et encadrees dans la perspective de l'ethnoscenologie.

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Glenat, Jean-Marc. "Des hétérotopies incluantes : exploration des usages du tango argentin dans le champ du handicap." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100151.

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L'objectif de cette thèse est d’explorer des lieux où se rencontrent le monde du handicap et celui du tango argentin. Dans ces espaces, qui relèvent d'institution spécialisées ou d'initiatives associatives, des personnes en situation de handicap font, à travers la pratique du tango argentin, l'expérience d'une relation singulière à leur propre corps, au corps de l'autre et à des modes de sociabilité distincts du monde ordinaire. Ces activités permettent également à des personnes « valides », de se confronter à l'altérité à travers des modalités corporelles et sensorielles particulières. En questionnant, ces usages du corps dans une danse où l’esthétique, les formes et les modes de sociabilité sont les marqueurs d’une identité forte, ce travail vient interroger la corporéité contemporaine et questionner les enjeux d’assignation ou d’inclusion qui traversent les pratiques de médiation. M'appuyant sur un concept développé par Michel Foucault (Foucault, 2009), je qualifie ces espaces d'hétérotopies incluantes. L'analyse et l'interprétation du processus de production de ces territoires hétérotopiques, qui prennent la forme d’ateliers, de bals ou d’évènements sont ainsi mises en perspective des discours sur l'inclusion qui traversent nos sociétés. Cette exploration fait appel à une démarche inductive qui a nécessité le recueil de données issues de différentes sources : entretiens, images, observation participante. L'étude de terrain s'est déroulée sur des territoires diversifiés, en France, en Autriche et en Uruguay, sur une période de 4 années. S'appuyant sur une approche sociologique compréhensive, il est étayé, au plan théorique, par des approches multidimensionnelles (sociologie de corps et de l'individu contemporain, sociologie du handicap, généalogie et esthétique du tango argentin, médiations corporelles)
The aim of this thesis is to explore places where the world of disability meets that of Argentine tango. In these spaces, which belong to specialized institutions or associative initiatives, people with disabilities, through the practice of Argentine tango, experience a unique relationship with their own body, the body of the other and modes of social skills different from the ordinary world. These activities also allow people without disabilities" to face others by the way of particular body and sensory modalities. By questioning these uses of the body through dance where aesthetics, forms and modes of sociability are the markers of a strong identity, this work questions the contemporary corporeality as well as the issues of assignment or inclusion which go through mediation practices. Based on a concept developed by Michel Foucault (Foucault, 2009), I qualify these spaces as inclusive heterotopia. The analysis and interpretation of the process of production of these heterotopic spaces, which take the form of workshops, balls or events are thus put into perspective of the discourses of inclusion that cross our societies. This exploration uses an inductive approach that required the collection of data from different sources: interviews, images, participant observation. The field study took place in diversified territories, in France, Austria and Uruguay, over a period of 4 years. Based on a comprehensive sociological approach, it is theoretically supported by multidimensional approaches (sociology of the body and the contemporary individual, sociology of disability, genealogy and aesthetics of Argentine tango, bodily mediations)

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Cañardo, Marina Berta. "Fabricas de Tango : industria discografica temprana y musica popular argentina (1919-1930)." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0062.

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Cette thèse analyse plusieurs aspects de la relation entre l'industrie discographique et le tango dans les années 1920. Si la question de l'identité est étudiée à partir des discours de l'époque tels que publicités, catalogues et articles de presse, la dimension interprétative du tango est également analysée et placée par rapport à cette nouvelle forme de production, circulation et consommation de la musique qu'est le disque. On considère d'une part que l'industrie discographique contribua à la construction conflictuelle de l'identité nationale de l'Argentine ce qui rend évidente la dimension politique de l'activité. En même temps, la commercialisation des disques de tango en France anticipa un modèle de circulation de biens culturelles hors leur contexte originaire que le dispositif de disque favorisa et dont l'expression ultime est la world music. On analyse l'impact des changements technologiques dans l'exécution musicale en étudiant la relation entre l'apparition du microphone et la pratique de l' «estribillista » dans l'orchestre typique. Aussi les interprétations de tango sont placées dans le contexte du monde de la mode de la danse qui permet de comprendre l'influence que pourrait avoir l'impératif d'enregistrer des versions plus facilement dansantes pour la consommation promue à cet effet. On enquête sur les nouvelles conditions de travail des musiciens de tango émergés avec la massification du disque, à la fois par la concurrence entre la musique live et celle mécaniquement reproduite comme pour les nouvelles liens de travail et la logique du star-system qui commença avec l'industrie du disque et qui eut dans Carlos Gardel un des principaux représentants
This thesis analyzes several aspects of the relationship between the recording industry and the tango in the 1920s. If the question of identity is studied from the discourses of that time such as advertising, catalogs and newspaper articles, the interpretive dimension of tango is also analyzed and placed in relation to this new form of production, circulation and consumption of music that involve the record. We consider that the music industry contributed to the construction of national identity in conflict in Argentina which makes clear the political dimension of the activity. At the same time, the marketing of tango's record in France anticipates a circulation's model of cultural goods outside their original context that the record device favored and whose ultimate expression is the world music. We analyze the impact of technological changes in music performance by studying the relationship between the appearance of the microphone and the practice of "estribillista" in the typical orchestra. Also the tango's interpretations are placed in the context of the fashion world of dance for understanding the influence that may have the need to record versions more easily to dance for consumption promoted for this purpose. We investigate the new working conditions of tango musicians emerged with the mass of the records, both by the competition between live music and the mechanically reproduced as for new working relationships and the logic of the star system that began with the recording industry and has in Carlos Gardel one of the main representatives

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Petersen, Diego. "Les textes de tango dans la production littéraire argentine (1960-1980) : retrouver la voix de l'autre." Montpellier 3, 2003. http://www.theses.fr/2003MON30042.

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Retrouver la voix de l'autre à travers l'emprunt, la citation, les références aux textes de tango a été la volonté de nombreux auteurs argentins pendant la période 1960-1980. Utilisant des vers et des extraits des chansons les plus emblématiques de Gardel, Discépolo, Manzi. . . (Mi Buenos Aires querido, Anclao en París, Cambalache, Volver. . . ), les romanciers comme Julio Cortázar, dans Libro de Manuel, Manuel Puig dans Boquitas pintadas et Daniel Moyano dans Libro de navíos y borrascas ainsi que les poètes, Juan Gelman par exemple, ont réussi —par une intertextualité prouvant une filiation solidaire avec le tango— une littérature qui réconcilie le savant et le populaire, le local et l'universel, afin de rendre " commune " une parole que les événements politiques, sociaux et économiques tendaient à séparer
Finding the voice of the others through borrowings, quotations of and references to the tango was what many among Argentine writers wanted to do from 1960 to 1980. Making use of lines and excerpts from the most emblematic songs of Gardel, Discépolo, Manzi. (" Mi Buenos Aires querido ", " Anclao en París ", " Cambalache ", " Volver "), novelists like Julio Cortázar, in " Libro de Manuel ", Manuel Puig in " Boquitas pintadas ", and Daniel Moyano in " Libro de navíos y borrascas " together with poets such as Juan Gerlman for instance, managed through an intertextuality that establishes a lineage revealing like-mindedness with the tango, to achieve a literature which reconciles the erudite with the popular, the local with the universal and makes familiar words that political, economic and social events seemed to have driven apart

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Rangel-Alvarado, Alvin Joel. "Tango Vesre [Inverted Tango]." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5108.

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The Argentine tango, a beautiful and sexually-charged partnered dance form, is most often characterized as a passionate drama between a man and a woman, where the masculinity of the male dancer as the leader contrasts with the femininity of the female follower. Its origins are deeply rooted in earliest twentieth-century Argentine life, particularly in the barrios of Buenos Aires, where tensions of culture, race, class, sexuality and privilege clashed head on. Because tango is historically and popularly accepted as a heterosexual dance, little attention has focused on its very earliest development and practices, when men often partnered with other men to learn it. This practice was so common that in 1903 the Argentine magazine Caras y Caretas [Faces and Masks] published a series of photographs portraying two men dancing tango to illustrate its basic steps and maneuvers. Inside this early practice lie uninterrogated questions on issues of sexual preference, identity and homosexuality. As a professional dancer and dance scholar, I have explored this aspect of tango’s history from two perspectives: through traditional historiography that investigates the documentation of its iv early practice, and through choreography and performance of an original dance work that affirms that continued practice today. Tango Vesre is a dance performance, that through live performance and video projection, spotlights a 100-year evolution of male tango dance in the Buenos Aires of 1910 and 2010. This work analyzes male/male tango partnerships from historic, performative and choreographic perspectives, examining issues of homosexual bonding and sexual identity through tango dance practice. The choreographic creative process for the dance performance intertwines deep archival research in Argentina and the United States, ethnographic research in Buenos Aires, and studio/movement explorations. In 2009, tango was designated an “Intangible Cultural Heritage” by the United Nations Educational, Scientific and Cultural Organizations (UNESCO); Tango Vesre investigates this art form's unacknowledged history and brings forward a new perspective.
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"Interactive Tango Milonga: An Interactive Dance System for Argentine Tango Social Dance." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44206.

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abstract: When dancers are granted agency over music, as in interactive dance systems, the actors are most often concerned with the problem of creating a staged performance for an audience. However, as is reflected by the above quote, the practice of Argentine tango social dance is most concerned with participants internal experience and their relationship to the broader tango community. In this dissertation I explore creative approaches to enrich the sense of connection, that is, the experience of oneness with a partner and complete immersion in music and dance for Argentine tango dancers by providing agency over musical activities through the use of interactive technology. Specifically, I create an interactive dance system that allows tango dancers to affect and create music via their movements in the context of social dance. The motivations for this work are multifold: 1) to intensify embodied experience of the interplay between dance and music, individual and partner, couple and community, 2) to create shared experience of the conventions of tango dance, and 3) to innovate Argentine tango social dance practice for the purposes of education and increasing musicality in dancers.
Dissertation/Thesis
Doctoral Dissertation Music 2017

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Mateo, Alizah Mae. "The effect of tango dance on sleep in Parkinson's disease." Thesis, 2018. https://hdl.handle.net/2144/33038.

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Among all symptoms of Parkinson’s Disease (PD), depression and sleep dysfunction have the highest impact on quality of life, yet sleep disturbances and depression symptoms are often left unrecognized and untreated. With the rising annual cost of pharmacologic treatments for PD and the increasing prevalence of PD in the United States, there is a need to implement effective non-pharmacologic regimens, such as physical exercise. Adherence to exercise regimens can often be challenging, especially for elderly patients with progressive neurological impairment. However, enjoyable exercises, such as dancing, involve socialization and musical stimuli that are associated with increased motivation in patients. Dance exercise has been shown to have significant improvement in motor symptoms, functional mobility, mood, and quality of life in PD patients compared to no intervention or traditional exercises. Previous studies have shown that Tango style dancing has additional benefits for PD patients as it may selectively activate areas of the brain associated with motor and non-motor symptoms (the basal ganglia and anterior putamen, respectively) during backward walking and metered rhythmic movement. However, no studies have yet investigated the effect of dance intervention on sleep quality in patients with PD. The proposed study is a randomized control trial that will compare the sleep quality improvement of 90 elderly PD patients in two treatment arms, a Tango dance intervention with walking and walking alone (control group). The Tango group will participate in a 6-month Adapted Tango class designed for PD patients. Sleep quality will be measured as the primary outcome using the Parkinson’s Disease Sleep Scale (PDSS-2). Depression will be measured as a secondary outcome using the BDI-II. This will be the first study to investigate the effects of dance intervention on sleep quality in patients with PD, applying an adapted Tango program similar to those used in previous studies. If the results of this study reveal positive effects of Tango on sleep quality, clinicians may be able to recommend Tango-style dance exercise as a therapeutic intervention to target sleep disturbances and improve quality of life for patients with PD.

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Da, Cunha Adriana Miranda. "Challenging performances of hegemony in Tango: liberation through pedagogy." Thesis, 2015. http://hdl.handle.net/10539/19893.

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Research Report required for the completion of Master of Arts – Applied Drama (MAAD) Drama for Life - Wits School of Arts - Wits University March 2015
This study aims to explore ideas of liberation in relation to the present tendencies of gender representation in Tango. I argue that the traditional pedagogic model, observed in Johannesburg, tends to perpetuate hegemonic discourses mainly through terminology in which gender binaries, codes and subjectivities are normalized. Such representations reduce, or even reject, plurality and diversity by sustaining specific power dynamics, necessarily related to the role of men and women. Tango is characterized by certain aesthetic elements described in this thesis, and here I prioritize the analysis of its role as a social dance, in the category of couples’ dances. I argue that couples’ dances are embedded in historically and socially constructed stereotypes; thus, the dynamics observed in balls are not capable of reflecting present gender complexities and identities. To do so, I first present a critical reflection of the history of couples’ dances and Tango, along with my own lived experience as a movement facilitator. Then, I present descriptions of the first phase of the research, the Performance as Research (PAR) project in which I aimed to deconstruct hegemony by challenging gender fixities. The PAR included creative processes, interviews, performance, media and textual production, and the main outcome was related to the pedagogy of dance, presenting the DE-GENDERED MODEL of teaching-learning. In the second phase of research, or what I call the fieldwork, I engaged with different methods, such as dance meetings based on investigative approaches, body mapping, micro-performance, group discussions and questionnaires to collect data together with a group of 9 participants. I made sense of all the information collected during PAR, and, given by participants during fieldwork, by correlating theories of performance, critical pedagogy, gender and queer studies, with the purpose of including collaborative pathways of embodiment.

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Cobbett, Elizabeth. "It takes two to tango : can Brazil and the U.S. dance to the same regional beat?" Thesis, 2006. http://spectrum.library.concordia.ca/8867/1/MR14208.pdf.

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The proposed Free Trade Area of the Americas has come to a standstill. Reasons for this reside in three aspects in which the FTAA differs from other regional integration schemes. First, it would combine existing preferential trading arrangements of which NAFTA and MERCOSUR are the two most significant ones. Second, each of the schemes has an undisputed regional leader: the U.S. and Brazil. However, two hegemons do not agree on a common vision for the hemispheric project. Third, the small membership of the two schemes is to be elevated to an area encompassing 34 states, i.e. to a situation of large n . The literature maintains that the provision of a collective good becomes more difficult the larger the number of members party to the scheme. The solution offered for this problem of large n is the existence of either a hegemon or a group of likeminded states to overcome collective action problems. In the case of the Americas, the solution offered by the literature is the very problem for efforts to integrate the hemisphere. The FTAA negotiations are stalled because the attempt to forge collective action among 34 member states is sought by two countries simultaneously. This thesis suggests that the large n problem of hemispheric integration will be resolved by the hegemon more successful in subdividing the group size and imposing its vision. The research of this study therefore compares the procedural strategies of the U.S. and Brazil in their quest to shape the substance of the regional scheme

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Chou, Shu-Ju, and 周淑茹. "Dance and the Writing of Dance Performance in Tang Poetry." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/08481555211117869464.

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碩士
國立臺灣大學
中國文學研究所
101
The study object of this thesis is the Tang poetry that describes dance performance, and the purpose is to illustrate the writing world of the dance of Tang in poetry. The thesis was divided into two parts, first, the dance in Tang poetry. To begin with, it is necessary to give a short introduction of the culture and writing of dance in previous dynasties. In comparison with the former work, the uniqueness of the Tang poetry of dance is highlighted. Due to the particular conditions and environment of Tang, the culture of dance not only flourished, but also evoked the poets to pay attention to and depict dance. Focusing on the poetry that describes dance performance offers the basic knowledge of dance for the second part of the thesis, which is, the writing of dance performance in Tang poetry. In this part, the elements of dance performance and the theme and skill of writing it were discussed. Before Tang, the poetry that describes dance, the yong wu poetry, was general, uniplanar, and static. In contrast to this, Tang poetry is more concrete, three-dimensional and dynamic. It constructs dancer, audience, time and space as the elements of performance. Thus, it is closer to the real scenario. Thematically, some poems include erotic meanings caused by the half-naked dancers; others use dance as a means of sarcasm about current affair, or reminiscence that involves the emotions for self and nation. Therefore, dance is not just about sensory pleasure. As for the writing skills, some of the elements for modern dance criticism were used here to see how they function in Tang poetry. Besides, the writing of self-dance is exemplified in the last chapter as a comparison to writing from the standpoint of audience that sees dance, which was the theme of this thesis. Through reading the writing of dance performance in Tang poetry, we could almost see the performance of Tang on-the-scene. It is the poetry that makes the ephemeral dance across time and space, and presents itself between lines.

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Tung, Ching-li, and 童謹利. "The Beauty of Dance in Tang Dynasty Literature--Examples of Ni Shang Yu I Dance, Willow branch, Zhe Chi Dance." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/58859574445858153747.

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Hsu, Hui-Chen, and 許慧貞. "Han and Tang Dynasties of Dance Art History Research." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/59088010672363366420.

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碩士
國立臺灣藝術大學
舞蹈學系
98
The purpose of this paper is to study the development of Han-Tang dynasty dance in ancient China. It was regarded Religion, court, folk, academic and internationalization as theory. Through data analysis and collating of history for Han-Tang dynasty dance revealing substance meaning of developing process in Han-Tang dynasty dance. Besides, this paper indicated that there are seven factors for Han-Tang dynasty dance development. First, the dance disclosed virtue and self style through interact with country policy. Second, operator took dance seriously and enhanced social status of dance that was formed the climax of popularity between court and folk. Third, established academic accelerated professional skills enhancing and created elaborate works. Forth, ruling party and scholars participated in the show, so accelerated dance advantage of image. Fifth, the social for needs performing of art caused a great volunteer to participate in dance art. Sixth, magnanimity leaded to fantastic dance. Seventh, through exchange knowledge on cultural art, dance could expend to neighbor country. On the whole, researcher considers that why Han-Tang dynasty dance, soft dance and vigorous dance, can take root in our community, because it keeps enough of nobility of character and integrity of country on a fine consciousness and acculturation of dance, it has been opened up a path of splendid dance of profound implications in worshipping, having gratitude for god and good interpersonal relationship. Additionally although it can tolerate renewal of external culture, the dance is not diverged from court by captivate under restrictions. Nowadays, the promotion of terpsichorean art is accepted for identification and is gradually influenced for acceptance. In addition to embody consciousness, an artistic creation of dance had to contain the audience’s feeling and degree of acceptance so that it can establish foundation and develop the highest value in advantageous circulation.

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Tseng, Li-Ju, and 曾麗儒. "The Exploration of Foreign Music and Dance in Tang Dynasty." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/71439200011440072705.

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碩士
中興大學
歷史學系所
99
The artistic and cultural achievements of the Tang Dynasty gorgeous impressive, which created flourishing Tang Dynasty Music and Dance, and the bright page in the history of dance brilliance. Tang Dance brilliant artistic achievements, and the frontier peoples and neighboring Asian countries continued high throughout the Central Plains of foreign music and dance incoming dance art are closely related, not only the Tang Dynasty Hu Yue dance music popular, and even some scholars believe that music is nothing more than the Tang Dynasty Music is the Hu of the world. Showsing the foreign music and dance in Tang dance world has far-reaching impact on the artistic achievements of the Tang Dynasty Music and Dance has its importance. This paper aims to explore the Forign Music Dance Spirit Dance popular in the Tang Dynasty, the evolution of the situation, and Han fusion between art music and dance development context, reflecting Tang Dynasty tolerance, absorption of the process of integration to the forign dance music popular and complete discussion of impact. Firstly, according to historical period of development, an overview of dance from pre-Qin forign dance music introduced to the evolution of the Sui and Tang. Tang forign dance music that popular music-related social background system and the contemporary famous forign dancers or musician . Then generalized to the Tang Court, "Yan Music" in scope, contains "more than music", "sit two Kabuki" , "pear and Song" and so on.Respectively, from dance to explore the evolution of forign music and dance, as well as the original Han context of mutual integration track dance. Furthermore, the forign music and dance works penetration of all levels of social life "teaching Square".There are forign music in Daqu, health, soft dance music and other miscellaneous dance music classes of works.This study make use of historical records of Tang music and dance activities, lack of records, from Tang Dynasty poem explores the widespread situation, and customs with the evolution of the Central Plains. Finally,forign music and dance popular in the spirit of social diversity reflects the culture of the Tang Dynasty, Tang Dynasty dance and cultural value with meaning for this study concluded.

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王廣生. "The representation of Chinese classical dance in Tang Dynasty : a study of "Yanyue"." Thesis, 2012. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22101CHU00045002%22.&searchmode=basic.

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SHIH﹐HUI—FANG and 施惠芳. "A Study of Taiwan Lion－Dance Art，Take the Golden Lion－Dance Group of Hsieh Yuan Tang in Hsiushui Township，Changhua County as an Example." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/an48r5.

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碩士
大葉大學
休閒事業管理學系碩士在職專班
105
This study aims to explore martial art, lion dance art and performance contents inherited and developed by the Golden Lion-Dance Group of Hsieh Yuan Tang in Hsiushui Township, Changhua County for over a century. According to field research based on document analysis, in-depth interview and on-site participation in observation record, it shows that: The Golden Lion-Dance Group of Hsien Yuan Tang (martial arts gym) in Hsiushui Township, hanghua County was founded by Su Hu, the 5th generation clansman in 1907. It has been 110 years followed by Liang, Wang-Chi, the 2nd gym director and Su, Der-Ren, the 3rd gym director (the current director). Hsien Yun Tang has mainly imparted southern Taizu boxing and closed mouth lion dance, and completely preserved the martial art combined with lion dance to realize the unique and original style in Taiwan’s traditional martial arts gym for over a century. Keywords: lion dance; martial art; southern Taizu boxing

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CHUO, CHUEH, and 卓玨. "Revived from Historical Relics and Contemporary Interpretation: The Han-Tang Chinese Classical Dance “Tongque Platform” and “Spring Excursion”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/b3t9t9.

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碩士
國立臺灣體育運動大學
舞蹈學系碩士班
105
Ying Sun created the Han-Tang Chinese Classical Dance through his investigations on historical materials, such as masonry painting from Han dynasty and pottery figurines, to reconstruct ancient culture and art. Ying Sun’s most famous dance drama“Tongque Platform” was choreographed in 1986. His dance work“Spring Excursion”, which Ying Sun created in 1993 and formally staged in 1999, was regarded as a classical dance work of Han-Tang Chinese Classical Dance. This research penetrates from viewpoints of historical interpretation and globalization. Conducting in-depth interviews, historical analysis of Sun’s two dance works, this research investigates historical remains and literatures and analyzes the development of dance movements which “Tongque Platform”and“Spring Excursion” use in order to explore how Ying Sun converted historical information and images into body performance in his contemporary creations of Han-Tang Chinese Classical Dance. This research also intends to understand how Sun constructed the distinct dance style and characteristics of Han-Tang Chinese Classical Dance that are different from previous Chinese Classical Dance. In conclusion, Sun’s dance drama“Tongque Platform”and dance work“Spring Excursion”highly relied on his collections and research on the relative historical materials and relics to remodel and construct the dancing bodies, characteristics of characters and scripts in his dance works. Furthermore, through his individual thoughts and choreographic talent, he interpreted and imagined these historical materials to make historical dances and events alive. His choreographic approaches established the unique style of Han-Tang Chinese Classical Dance and promoted it as one of Chinese cultural representatives on global stages.

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Dissertations / Theses on the topic 'Tango (Dance)'

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