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Journal articles on the topic 'Tango (Dance)'
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1
Kovács, Nóra. "Intangible heritage in global space: tradition and the quest for the authentic dance experience in the international world of tango." Tánc és Nevelés 1, no. 1 (August 17, 2020): 130–45. http://dx.doi.org/10.46819/tn.1.1.130-145.
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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.
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Emaus, Even. "Tango i kroppen; Hvordan danse- og bevegelsesterapeutiske metoder kan styrke selvfølelsen til tangodansere." Nordic Journal of Dance 13, no. 2 (December 1, 2022): 20–29. http://dx.doi.org/10.2478/njd-2022-0007.
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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.
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Chagina, Anastasia P. "Tango in M. Puig’s Novel “Heartbreak Tango”." World Literature in the Context of Culture, no. 16 (2023): 49–54. http://dx.doi.org/10.17072/2304-909x-2023-16-49-54.
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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.
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Barnstaple, Rebecca. "Trading in Imaginaries: Locating Authenticity in Argentine Tango." Phenomenology & Practice 11, no. 1 (July 11, 2017): 43–57. http://dx.doi.org/10.29173/pandpr29337.
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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.
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Gómez, Sofía Martínez, Lucía González Torres, and Mariana Fernández López. "Globalization of Argentine Tango and Its Cultural Adaptations in Dance Cultures Worldwide." Studies in Art and Architecture 3, no. 2 (June 2024): 107–12. http://dx.doi.org/10.56397/saa.2024.06.21.
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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.
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Wan, Yulin, Shanshan An, Yanchao Zhou, Man Tang, and Qiuyun Liu. "A Solo Dance or a Tango?" Biochemistry Insights 12 (January 2019): 117862641988628. http://dx.doi.org/10.1177/1178626419886280.
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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.
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Belvedere, Carlos. "Why I cannot dance the Tango." Schutzian Research 8 (2016): 179–200. http://dx.doi.org/10.5840/schutz2016810.
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de Hoz (h), J. M., T. Lanardonne, and A. Maculus. "Shale we dance an unconventional tango?" Journal of World Energy Law & Business 6, no. 3 (July 12, 2013): 179–209. http://dx.doi.org/10.1093/jwelb/jwt009.
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Erawati, Lina Mitsalina, Bayu Prastowo, Ali Multazam, and Riri Putri Ramadani. "BASIC TANGO DANCE PADA KESEIMBANGAN LANSIA DI UNIT PELAKSANA TEKNIS PELAYANAN SOSIAL TRESNA WERDHA PASURUAN." Majalah Ilmiah Fisioterapi Indonesia 11, no. 1 (April 25, 2023): 101. http://dx.doi.org/10.24843/mifi.2023.v11.i01.p19.
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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.
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Pinniger, Rosa, Rhonda F. Brown, Einar B. Thorsteinsson, and Patricia McKinley. "Tango programme for individuals with age-related macular degeneration." British Journal of Visual Impairment 31, no. 1 (January 2013): 47–59. http://dx.doi.org/10.1177/0264619612470651.
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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.
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Premelč, Jerneja. "TIME MOTION AND PERFORMANCE ANALYSIS IN TANGO DANCE." Kinesiologia Slovenica 28, no. 1 (May 26, 2022): 48–59. http://dx.doi.org/10.52165/kinsi.28.1.48-59.
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The aim of this study was to investigate the movement and choreography characteristics between four different quality groups in tango. Thirty-five dance couples competing in an international competition in the adult category were selected for analysis. The total time and average speed in each direction of movement and the number of changes of direction were compared between four different quality groups. The average speed of the movement and choreography path was 1.14 ± 5.1 m/s and 77.56 ± 11.1 m, respectively. Dancers mostly danced in line of dance (LOD) (M = 10.74 ± 5.2 s), diagonal to the center (DC) (M = 9.96 ± 4.5 s), and diagonal to the wall (DW) (M = 8 ± 3.1s). Although no significant differences were found, the time spent dancing in LOD decreased with the more successful quality group. Significant differences between the quality groups were found in the speed of movement in LOD direction (χ2 = 9.4, df = 3, p = 0.024), which decreased with the more successful quality group. Dancers made an average of 26.31 ± 3.4 changes in direction. Statistical differences were found between the quality groups (χ2 = 7.7, df = 3, p = 0.04). This is the first detailed study in tango analyzing the characteristics of movement and choreography. The quality groups differ in the speed of movement in some directions of movement and in the number of changes of direction. The results presented can help choreographers and coaches to adequately design the physical preparation of the dancers, the structure of the choreography and the technical and tactical requirements.
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McMains, Juliet. "Rebellious Wallflowers and QueerTangueras: The Rise of Female Leaders in Buenos Aires’ Tango Scene." Dance Research 36, no. 2 (November 2018): 173–97. http://dx.doi.org/10.3366/drs.2018.0237.
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This paper interrogates the history of same-sex dancing among women in Buenos Aires' tango scene, focusing on its increasing visibility since 2005. Two overlapping communities of women are invoked. Queer tangueras are queer-identified female tango dancers and their allies who dance tango in a way that attempts to de-link tango's two roles from gender. Rebellious wallflowers are women who practice, teach, perform, and dance with other women in predominantly straight environments. It is argued that the growing acceptance of same-sex dancing in Argentina is due to the confluence of four developments: 1) the rise of tango commerce, 2) innovations of tango nuevo, 3) changing laws and social norms around lesbian, gay, bisexual, and transgender rights, and 4) synergy between queer tango dancers and heterosexual women who are frustrated by the limits of tango's gender matrix. The author advocates for increased alliances between rebellious wallflowers and queer tangueras, who are often segregated from each other in Buenos Aires' commercial tango industry.
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Cara, Ana C. "Entangled Tangos: Passionate Displays, Intimate Dialogues." Journal of American Folklore 122, no. 486 (October 1, 2009): 438–65. http://dx.doi.org/10.2307/40390081.
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Abstract While tango is known internationally, it is not a universal dance. The home tango and export tango exemplify the coexistence of distinct but entangled tango traditions. Together these practices have been central in giving Argentines a cultural and political voice, as well as economic agency, both at home and globally.
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Njaradi, Dunja. "Rethinking participation through dance: A historical-theoretical intersection." Bulletin de l'Institut etnographique 70, no. 2 (2022): 199–215. http://dx.doi.org/10.2298/gei2202199n.
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The paper deals with the idea of participation or community in dance. The idea of community has become key in contemporary discussions about the globalization of contemporary societies, and dance has a large share in the reflections of these global processes. Dance also has a very long tradition of community thinking. From this long and rich tradition, this paper will point out the ways in which the idea of community is reflected in social and artistic dances, pointing out both concrete dance forms and theoretical concepts, ideas and practices. Of the dance forms, the paper will discuss the tango pair dance, the flash mob dance-gathering form as well as the contact improvisation developed within postmodern dance. Of the theoretical and philosophical settings that underpin discussions of community in dance studies, the paper will discuss the concept of kinesthesia or ?kinesthetic empathy?, ?mirror neurons? in neuroscience as well as philosophical reflections on affect.
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CRISAN, Raluca. "The effects of dancing on young people with down’s syndrome." SERIES VII - SOCIAL SCIENCES AND LAW 13(62), no. 1 Special Issue (January 2021): 41–48. http://dx.doi.org/10.31926/but.ssl.2020.13.62.3.5.
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Dance and movement therapy is about the creative use of movement and dancing in a therapeutic alliance. The present study analysis semi-structured interviews from people connected to young people with Down’s syndrome. Our subjects practiced dances like ballet, zumba, vals, tango and also therapeutic movement. Some of them proved their skills in events specially organized for people with disabilities, but also in inclusive events, where they danced together with professional dancers, in Romania, Republic of Moldavia and Italy. The effects of dancing include increased self- esteem, relaxation, social inclusion, improved learning skills; they also developed social skills, because they met a lot of people in different social contexts.
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Skinner, Jonathan. "Argentine Tango: social dance health ‘to’ you." Anthropology & Aging 34, no. 4 (April 1, 2014): 260–63. http://dx.doi.org/10.5195/aa.2014.5.
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Vila, Pablo, Simon Collier, Artemis Cooper, Maria Susana Azzi, Richard Martin, and Martha E. Savigliano. "!Tango! The Dance, the Song, the Story." Latin American Music Review / Revista de Música Latinoamericana 18, no. 1 (1997): 113. http://dx.doi.org/10.2307/780328.
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Rufo, Raffaele. "(Re-)engaging touch as a tango dancer: An experimental framework for kinaesthetic listening1." Journal of Dance & Somatic Practices 12, no. 2 (December 1, 2020): 207–28. http://dx.doi.org/10.1386/jdsp_00024_1.
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This article explores how the felt sense of touch, as engaged through the enabling constraints of the Argentine tango duet, can facilitate an experience of kinaesthetic listening in the spaces emerging between the dancer’s inside and outside worlds. The author’s habitual perception of giving and receiving touch as a tango dancer is destabilized by framing a series of somatic experiences in settings where customary tango conditions and assumptions do not apply. This involves experimenting with methods and tools of inquiry borrowed from contact and contemporary dance improvisation. The article argues that when practiced as a form of kinaesthetic listening, tango is conducive to a process of sensing and feeling together. In this process, it becomes possible to be touched both physically and affectively by the movement impulses negotiated between the partners. This possibility unsettles the reductive idea of one’s body as a separate entity preceding the encounter.
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Laguna, Alejandro Grosso. "BIOMECHANICAL ANALYSIS AND METRIC INTERPRETATION OF ‘WALKING’ IN TANGO DANCE." ERAS | European Review of Artistic Studies 11, no. 4 (December 30, 2020): 1–20. http://dx.doi.org/10.37334/eras.v11i4.15.
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Durante o século XX, os bailarinos de tango afirmaram que as suas figuras coreográficas eram uma extensão do ‘caminhar espontâneo da rua’, acrescentando que era necessário 'caminhar com cadência’ e saber manter o compasso’ da música'. Neste artigo tentaremos abordar o significado ‘material’ dessas valiosas afirmações populares que à data não têm merceido suficienteinvestigação fundamentada. Analisamos comparativamente o ciclo da marcha humana e do caminhar do tango desde uma perspectiva biomecânica e cinestésica. Mostramos que (i) o passo do tango tem um ritmo interno particular e um micro timing que pode ser caracterizado pela alternância periódica de uma série de categorias dicotômicas; (ii) há um fundamento biomecânicopara uma hierarquia forte-fraca na estrutura do passo e sua relação com a marcação isócrona da sua música. Estas descobertas têm implicações no ensino e na aprendizagem do tango, na medida em que contribuem para melhorar a forma como o fazemos, analisamos e situamos metricamente detalhes do ‘caminhar’ do tango. Finalmente, são apresentadas evidências que revelam que aestrutura deste caminhar foi um antecedente da marcação isócrona da música tango.
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Pattinson, Steven, Malgorzata Ciesielska, David Preece, John D. Nicholson, and Anna Alexandersson. "The “Tango Argentino”: A Metaphor for Understanding Effectuation Processes." Journal of Management Inquiry 29, no. 3 (June 4, 2018): 317–29. http://dx.doi.org/10.1177/1056492618776102.
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The authors use the analogy of the Argentine Tango to illuminate entrepreneurial effectuation as a process of becoming. Drawing on the metaphor of dance, the authors highlight seven areas for theory development that could further a performative theory of effectuation. These include the study of the micro-level movement and flow in the dance as “intimate steps,” and understanding the interplay between entrepreneur and ecosystem as “contextual rhythms.” They further propose that the study of changing leadership in the dance could illuminate how causal processes “become” effectual and suggest a concept of “attunement” to consider how inexperienced entrepreneurs learn contextual rhythms and, therefore, benefit for effectuation processes. Finally, they posit that the intimate steps leading to creativity in the dance relative to different levels of proximity and distance between the dancers should be understood alongside the movements and flows through which dancers maintain their individuality during such intimate movements and flows.
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Zafeiroudi, Aglaia, Athanasia Chatzipanteli, Anna Christina Athanasiou, Ioannis Tsartsapakis, Aikaterini Kopanou, and Charilaos Kouthouris. "Exploring Self-Compassion among Recreational Dancers: Differences Between Tango and Ballet - Dance Teaching Implications Through Somatic and Embodied Disciplines." Journal of Educational and Social Research 12, no. 6 (November 5, 2022): 1. http://dx.doi.org/10.36941/jesr-2022-0140.
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Self-compassion is considered a protective factor that promotes positive psychology, happiness, emotional regulation and embodiment. Self‐compassion offers an approach wherein individuals in dance can pursue optimal participation and performance without compromising health and well‐being. The present study aimed to explore self-compassion among recreational dancers and discover possible differences between tango and ballet. More specifically the study examined: i) the levels of self-compassion in recreational tango and ballet dancers; ii) differences in self-compassion according to demographic characteristics; and iii) differences between tango and ballet dancers. The research was based on several adults from various cities in Greece who participated in tango and ballet for recreational reasons during their leisure time. One hundred and ninety-one dancers (20 men and 171 women), between the ages of 17 and 62, completed the self-compassion scale of Mantzios, Wilson and Giannou (2015), which consists of twenty-six items. The answers were given on a five-point Likert scale, while the reliability of the scale was successfully tested. In addition, the questionnaire contained the collection of other data such as demographic characteristics. According to the first aim, the high scores on self-compassion among recreational dancers showed a relationship between self-compassion and dance, and a positive influence of ballet and tango practice. The second hypothesis was partially confirmed as statistically significant differences emerged only between the age groups with those over forty years of age to show higher levels of self-compassion. Regarding the third aim of the research, differences were found between types of dance. Tango participants showed higher levels of self-compassion than ballet participants. Specific dance teaching interventions are discussed based on somatic and embodiment theory, to create healthier mental, emotional and behavioral patterns for dancers, schools, academies or companies.
Received: 2 August 2022 / Accepted: 20 October 2022 / Published: 5 November 2022
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Verdecchia, Guillermo. "Tango’s Cross-Cultural Dance." Canadian Theatre Review 139 (July 2009): 17–24. http://dx.doi.org/10.3138/ctr.139.002.
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I caught two neo-tango concerts in Toronto in the summer of 2008: Otros Aires at the Lula Lounge, “Canada’s Premier Live Venue for Latin Music,” in Little Brazil, and Bajofondo at the Mod Club in Little Italy. These concerts and the “world music” radio shows that alerted me to them, together with the existence of Little Italy, Little Brazil and the Lula Lounge, are obvious signifiers of the intercultural reality of Toronto. This, it bears repeating, is not an uncomplicated reality. The diversity of cultural practice in the city is embedded in a matrix of political, economic and material realities. My aim here, however, is not an analysis of intercultural capitalism, of the reification of identities, or of civic discourses that celebrate (or capitalize on) immigrant communities and ethnic enclaves, but a consideration of tango as (varieties of) cross-cultural performance. My reflections are inspired by the performances I saw, in particular the Otros Aires concert.
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Taylor, Julie. "Death Dressed As a Dancer: The Grotesque, Violence, and the Argentine Tango." TDR/The Drama Review 57, no. 3 (September 2013): 117–31. http://dx.doi.org/10.1162/dram_a_00282.
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Tango dancers in Buenos Aires milongas (dance clubs) create a mise-en-scène where intimacy and anonymity clash. Their tango and the rules of etiquette they practice share dissonant experiences of violence, exclusion, and trauma with an Argentine grotesque, the grotesco criollo.
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de Groot, Rens, and David A. Lane. "Shear tango: dance of the ADAMTS13/VWF complex." Blood 112, no. 5 (September 1, 2008): 1548–49. http://dx.doi.org/10.1182/blood-2008-06-160556.
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Heller, Veronika. "Vom Geschlechterkampf des 17. Kapitels in Pina Bauschs Kontakthof." Paragrana 27, no. 1 (August 28, 2018): 327–37. http://dx.doi.org/10.1515/para-2018-0024.
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AbstractThis essay is about a short sequence of Pina Bausch’s Kontakthof with ladies and gentlemen over 65. It discusses the hypothetical question as to “how to dance tango without dancing a tango?” I argue that the principle movement topics and practices of the Argentine Tango such as leading and following or the cruz are transformed by choreographic modes. In this way they constitute the structure of the Pina Bausch stage sequence.
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Laguna, Alejandro Grosso. "GRACIELA GONZÁLEZ: BODILY EXPERIENCE AND GENERATIONAL CHANGE IN TRADITIONAL TANGO." ERAS | European Review of Artistic Studies 12, no. 1 (June 30, 2021): 1–17. http://dx.doi.org/10.37334/eras.v12i1.9.
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The study of body gestures and the participatory construction of the movements of the ‘old’ argentine milongueros is hampered by the fact that their protagonists are no longer alive. This work investigates both themes in an indirect way, conducting a semi-directed interview with the relevant teacher and dancer Graciela González, who since the 80's had as master and was dance partner of Norberto 'Pupi' Castello, one of the myths of the milonga 'porteña'. González describes some of the lesser known gestural and intentional characteristics of these ‘old’ milongueros, and explains how some of these characteristics have been softened as a result of generational changes and the speed of communications brought about by social media.
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Adamiec, Ksawery, Dominik Trojanowski, Małgorzata Rodak, Joanna Smorońska-Rypel, Błażej Szymczuk, Magdalena Kajzar, Kamila Nitka, Magdalena Iwan, Natalia Piątkowska, and Jakub Milczarek. "Moving Beyond Medication: Harnessing the Power of Physical Therapy and Dance Therapy in Parkinson's Disease Management." Quality in Sport 15 (July 8, 2024): 52373. http://dx.doi.org/10.12775/qs.2024.15.52373.
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Introduction Parkinson's disease (PD) poses significant challenges due to its complex array of motor and non-motor symptoms, impacting patients' quality of life. While traditional pharmacological treatments focus on motor symptoms, non-pharmacological interventions, including physical and dance therapy, offer alternative approaches. Aim of the Study This study aims to evaluate the therapeutic potential of physical and dance therapy, including tango, in managing motor symptoms and improving overall well-being in individuals with PD. It seeks to compare these interventions with traditional treatments and explore their efficacy. State of Knowledge Parkinson's disease management involves a combination of pharmacological and non-pharmacological approaches. Traditional treatments target motor symptoms but have limitations. Non-pharmacological interventions, such as deep brain stimulation and physical therapy, complement traditional treatments. Dance therapy, including tango, shows promise in improving motor function and quality of life. Conclusions Physical and dance therapy, including tango, offer promising avenues for managing motor symptoms and enhancing quality of life in PD patients. While traditional treatments remain essential, non-pharmacological interventions provide valuable alternatives. Further research is needed to refine intervention parameters and compare their effectiveness comprehensively. Overall, these therapies present holistic approaches to PD management, addressing both motor and non-motor symptoms for improved patient outcomes.
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Alvarez Seara, Jose Manuel. "Tangos y sambas (in)apropiados: ocio de resistencia." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 2, no. 3 (December 23, 2018): 190–200. http://dx.doi.org/10.29181/2594-6463-2018-v2-n3-p190-200.
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Resumen Las danzas de salón tango y samba gafieira son expresiones en las que se manifiesta la hegemonía de la heteronormatividad en las cuales se legitiman ciertos estereotipos de género. El presente trabajo indaga sobre las resistencias, re-negociaciones y alternativas que existen en estas danzas a esa hegemonía heteronormativa. La metodología de este trabajo es cualitativa, configurándose como estudio de caso, en el que nos proponemos observar y analizar los diferentes discursos de personas que trabajan con las danzas de salón mencionadas, realizando entrevistas en profundidad, observaciones participantes y triangulando estas observaciones con la teoría de género y la teoría queer. Los resultados de este trabajo apuntan las diversas resistencias a ciertos estereotipos de género y en el análisis y observación de la danza como lenguaje en la cual pueden ser exhibidos discursos y performances de personas que desafían la heteronormatividad hegemónica.Palabras clave: Danza. Heteronormatividad. Ocio. Género. Queer. Tangos and sambas (in)adequates: resistance leisure Abstract The tango and samba gafieira dances are expressions in which the hegemony of heteronormativity is manifested in which certain gender stereotypes are legitimized. The present work inquiries about the resistances, re-negotiations and alternatives that exist in these dances to that heteronormative hegemony. The methodology of this work is qualitative, case study, in which we propose to observe and analyse the different discourses of people who work with the room dances mentioned above, conducting in-depth interviews, participant observations and triangulating these observations with gender theory and queer theory. The results appoint collect the different resistances to certain gender stereotypes, and in the analysis and observation of dance as a language, the inscriptions and speeches of people who question hegemonic heteronormativity can be visualized.Keywords: Dance. Heteronormativity. Leisure. Gender. Queer. Tangos e sambas (in)apropriados: ócio de resistência Resumo As danças de salão tango e samba gafieira são expressões em que se manifesta a hegemonia da heteronormatividade, em que os estereótipos de gênero são legitimados. O presente trabalho indaga sobre as resistências, renegociações e alternativas que existem nessas danças a essa hegemonia heteronormativa. A metodologia deste estudo é qualitativa, configurando-se como estudo de caso, em que nos propomos a observar e analisar os diferentes discursos das pessoas que trabalham com as danças de salão mencionadas, realizando entrevistas, observações participantes e triangulando essas observações com a teoria do gênero e a teoria queer. Os resultados apontaram várias resistências a certos estereótipos de gênero e a análise e observação da dança como uma linguagem na qual podem ser exibidos discursos e performances de pessoas que desafiam a heteronormatividade hegemônica.Palavras-chave: Dança. Heteronormatividade. Ócio. Gênero. Queer.
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Moţ, Raluca-Dana, and Bogdan Almăjan-Guţă. "Dance therapy for Parkinson’s disease: a systematic review." Timisoara Physical Education and Rehabilitation Journal 15, no. 28 (June 1, 2022): 55–65. http://dx.doi.org/10.2478/tperj-2022-0007.
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Abstract Introduction: Dance therapy has rapidly gained popularity among patients with Parkinson’s disease because it is an enjoyable form of exercise and can provide multi-dimensional benefits. Clinical studies have shown that dance improves motor symptoms, particularly balance and mobility problems, as well as the overall physical condition of Parkinson’s patients. Purpose: The aim of this paper is to highlight the benefits of dance therapy in the clinical management of parkinsonian patients and also to find out which dance is the most advantageous for use in therapy and whether the type of dance used leads to significantly different results. Methods: This paper is a systematic and topical review. After a keyword search, 20 articles on dance therapy in Parkinson’s disease were selected according to the PRISMA model, using Google Scholar and Pubmed as search engines. Results: As a form of physical exercise, dance incorporates vigorous movement, social interaction and cognitive stimulation. Studies have shown that dance can reduce tremor, bradykinesia and stiffness, increasing forward speed and multi-tasking gait. At the same time, spontaneous balance disturbances improved and the risk of falls decreased. Argentine Tango is the most widely used dance in therapy. Although other forms of dance used in research led to significant changes, tango dance was found to produce changes of greater value. However, all types of dance achieved positive results in terms of physical, motor and psycho-emotional aspects of patients. Conclusion: Dance therapy is a feasible and safe method for the rehabilitation of parkinsonian patients, brings improvements in motor and non-motor signs of Parkinson’s disease and practiced for at least 12 months regularly, slows down the progression of the disease.
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Bosse, Joanna. "Salsa Dance and the Transformation of Style: An Ethnographic Study of Movement and Meaning in a Cross-Cultural Context." Dance Research Journal 40, no. 1 (2008): 45–64. http://dx.doi.org/10.1017/s0149767700001364.
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Over the last century perennial surges in the popularity of Latin American couple dance genres such as tango and rumba in the United States have served as lightning rods for debate on issues of morality, performance, and identity. These “crazes” have fueled the collective American imagination, reinforcing a type of Latin American exotica that prevailed throughout the twentieth century and into the next. Consequently, they have also fostered an entirely new style of performance as white Americans borrowed—or perhaps better stated, appropriated—these genres for their own. For instance, the two styles of tango performed by ballroom dancers today, some one hundred years after its introduction to American audiences in theaters and exhibition performances, is sufficiently distant from its Argentine roots to be considered an entirely different dance employing different movements, rhythms, and musical accompaniment.This article explores this particular brand of cross-cultural borrowing through an ethnographic accounting of a salsa dance formation team in central Illinois. Salsa is the latest of the Latin dance crazes, and since the earl. 1990. the genre has experienced increased attention from mainstream American audiences who have invested significant resources in order to learn to dance salsa. Formation teams are presentational performance ensembles, in this case combining salsa; ballroom; and staged, theatrical dance, and generally draw their enthusiasts from ballroom dance circles.
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DeLand, Lauren. "This Dance Which Is Not One: Carole McCurdy’s ((waver))." TDR/The Drama Review 62, no. 4 (December 2018): 154–60. http://dx.doi.org/10.1162/dram_a_00800.
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Carole McCurdy’s ((waver)) illuminates the cross-cultural histories of the butoh and tango dance forms that inspire it and approximates the sometimes harmonious, sometimes contradistinctive structuring rhythms of the two dance forms. In staging the impossible yet omnipresent desire to unite self and other, McCurdy and her cast perform the limitations of intimacy.
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Hall, Joshua M. "An Intimate Trespass of Peregrina Chorines." Philosophy in the Contemporary World 28, no. 2 (2022): 96–122. http://dx.doi.org/10.5840/pcw202228213.
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A recent (2020) special issue in Critical Philosophy of Race dedicated to Maria Lugones illustrates and thematizes the continuing challenge of (re)constructing coalitions among Latina and Black feminists and their allies. As one proposed solution to this challenge, in their guest editors’ introduction to that special issue, Emma Velez and Nancy Tuana suggest an interpretive “dancing with” Lugones. Drawing on my own “dancing-with” interpretive method (which significantly predates that special issue), in the present article I choreograph an interpretive duet between Lugones and Saidiya Hartman. My first section retraces Lugones’ essay on queering tango as a decolonizing practice, and how the latter echoes Marta Savigliano’s Tango and the Political Economy of Passion. My second section then utilizes Lugones’ queering of tango as a lens for interpreting her magnum opus, Pilgrimages/Peregrinajes, emphasizing the dance-resonance of its central concepts, including “playfulness” reinterpreted as a “dance-fulness” that empowers the peregrina’s “world-traveling.” My third section identifies this dancing peregrina’s world-traveling with the wayward young Black female chorus member, or “chorine,” at the center of Saidiya Hartman’s tour de force history, Wayward Lives, Beautiful Experiments. And my conclusion names chorines of color in Afro-Latin social dance communities today as exemplary agents for empowering coalitions among Latina and Black feminists and allies.
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Aghamaliyev, Ughur, Javad Karimbayli, Clemens Giessen-Jung, Ilmer Matthias, Kristian Unger, Dorian Andrade, Felix O. Hofmann, et al. "ChatGPT's Gastrointestinal Tumor Board Tango: A limping dance partner?" European Journal of Cancer 205 (July 2024): 114100. http://dx.doi.org/10.1016/j.ejca.2024.114100.
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Buffa, Ester. "Tango: atração e relutância." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 4, no. 2 (August 31, 2020): 190–98. http://dx.doi.org/10.29181/2594-6463-2020-v4-n2-p190-198.
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Resumo Neste ensaio, a autora escreve sobre os prazeres que sente quando dança, especialmente, tango. Organizou o texto em duas partes. Na primeira, trata de algumas concepções divergentes de se encarar o corpo e a alma ou mente, considerando-os nos seus aspectos de conservação e transgressão. Para tanto, partiu das concepções gregas sobre corpo e alma, mencionou o filósofo R. Descartes, recorreu ao também filósofo B. Espinosa, principalmente quando trata das afecções, isto é, das ações e paixões da alma e do corpo. Comentou, ainda, N. Bonder que também se preocupou com estas questões, seguindo os traços de Espinosa. Na segunda parte, dá asas à sua subjetividade mostrando os prazeres que sente ao dançar tango.Palavras-chave: Corpo. Dança. Tango. Tango: attraction and reluctance Abstract In this essay, the author writes about the pleasures she feels when she dances, especially tango. She organized the text in two parts. In the first, it deals with some divergent conceptions of facing the body and the soul or mind, considering them in their aspects of conservation and transgression. For that, he started from the Greek conceptions about body and soul, mentioned the philosopher R. Descartes, he also resorted to the philosopher B. Espinosa, mainly when he deals with the affections, that is, the actions and passions of the soul and the body. The intellectual N. Bonder also commented that he was also concerned with these issues, following Espinosa's traits. In the second, she gives vent to his subjectivity, showing the pleasures she feels when dancing tango.Keywords: Body. Dance. Tango. Tango: atracción y reluctancia Resumen En este ensayo, la autora escribe sobre los placeres que siente cuando baila, especialmente el tango. Organizó el texto en dos partes. En el primero, trata con algunas concepciones divergentes de enfrentar el cuerpo y el alma o la mente, considerándolas en sus aspectos de conservación y transgresión. Para eso partió de las concepciones griegas sobre el cuerpo y el alma, mencionó el filósofo R. Descartes, también recurrió al filósofo B. Espinosa, principalmente cuando se trata de los afectos, es decir, las acciones y pasiones del alma y del cuerpo. El intelectual N. Bonder también comentó que a él también le preocupaban estos temas, siguiendo los rasgos de Espinosa. En el segundo, da alas a su subjetividad mostrando los placeres que siente al bailar tango.Palabras clave: Cuerpo. Danza. Tango.
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Buffa, Ester. "Tango: atração e relutância." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 4, no. 2 (August 31, 2020): 190. http://dx.doi.org/10.29181/2594-6463.2020.v4.n2.p190-198.
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ResumoNeste ensaio, a autora escreve sobre os prazeres que sente quando dança, especialmente, tango. Organizou o texto em duas partes. Na primeira, trata de algumas concepções divergentes de se encarar o corpo e a alma ou mente, considerando-os nos seus aspectos de conservação e transgressão. Para tanto, partiu das concepções gregas sobre corpo e alma, mencionou o filósofo R. Descartes, recorreu ao também filósofo B. Espinosa, principalmente quando trata das afecções, isto é, das ações e paixões da alma e do corpo. Comentou, ainda, N. Bonder que também se preocupou com estas questões, seguindo os traços de Espinosa. Na segunda parte, dá asas à sua subjetividade mostrando os prazeres que sente ao dançar tango.Palavras-chave: Corpo. Dança. Tango.Tango: attraction and reluctanceAbstractIn this essay, the author writes about the pleasures she feels when she dances, especially tango. She organized the text in two parts. In the first, it deals with some divergent conceptions of facing the body and the soul or mind, considering them in their aspects of conservation and transgression. For that, he started from the Greek conceptions about body and soul, mentioned the philosopher R. Descartes, he also resorted to the philosopher B. Espinosa, mainly when he deals with the affections, that is, the actions and passions of the soul and the body. The intellectual N. Bonder also commented that he was also concerned with these issues, following Espinosa's traits. In the second, she gives vent to his subjectivity, showing the pleasures she feels when dancing tango.Keywords: Body. Dance. Tango.Tango: atracción y reluctanciaResumenEn este ensayo, la autora escribe sobre los placeres que siente cuando baila, especialmente el tango. Organizó el texto en dos partes. En el primero, trata con algunas concepciones divergentes de enfrentar el cuerpo y el alma o la mente, considerándolas en sus aspectos de conservación y transgresión. Para eso partió de las concepciones griegas sobre el cuerpo y el alma, mencionó el filósofo R. Descartes, también recurrió al filósofo B. Espinosa, principalmente cuando se trata de los afectos, es decir, las acciones y pasiones del alma y del cuerpo. El intelectual N. Bonder también comentó que a él también le preocupaban estos temas, siguiendo los rasgos de Espinosa. En el segundo, da alas a su subjetividad mostrando los placeres que siente al bailar tango.Palabras clave: Cuerpo. Danza. Tango.
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Yuna, Melin Levent. "A Neoliberal Semi-Public Space in the Era of the JDP: Tango in Istanbul." Dance Research 39, no. 2 (November 2021): 158–81. http://dx.doi.org/10.3366/drs.2021.0341.
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How has Argentine tango dance, that appears to represent publicly an erotic relationship between the female and the male, found the space to expand in Turkey pioneered by urban Istanbul despite the conservative JDP regime? While the tango dance shifted to a global entertainment and culture industry in the 21st century providing global belongingness, it locally became one neoliberal semi-public space of secular upper and middle class Turkish Muslims to reflect and reproduce their self-identity by distinguishing themselves from new Islamic bourgeoisie as well as lower social classes. This character provided the grounds for its spread even under the conservative government of President Recep Tayyip Erdoğan, and it is still on practice despite such a conservative rule, even existing online during the Covid-19 Pandemic.
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KICSI, Csongor. "The impact of the Golden Age period on the world of the Argentine tango community." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 107–16. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.12.
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Music and dance have been throughout the time a symbiotic connection in their development, providing people with both a way of expression and a way of life, and not least, offering a beneficial therapeutic effect on the human body and psyche. Just as art therapy have always been a manifestation and a harmonious healing alternative, compared to the traditional treatments, regardless of their form. But why do people choose this particular style, and what are the reasons for practicing this Argentine dance for such a long time? Do only the dance and the ""Golden Age"" period they represent an attraction point, or are there other reasons why people become passionate about in this Argentine dance?"
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Pieldner, Judit. "From Paragone to Symbiosis. Sensations of In-Betweenness in Sally Potter’s The Tango Lesson." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 23–44. http://dx.doi.org/10.2478/ausfm-2019-0013.
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Abstract Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art and life, the corporeal and the spiritual, emotional involvement and professional detachment. The romance story of filmmaker Sally Potter and dancer Pablo Verón is also readable as an allegory of interart relations, a dialogue of the gaze and the image, a process evolving from paragone to symbiosis. Relying on the strategies of dancefilm elaborated by Erin Brannigan (2011), the paper examines the intermedial relationship between film and dance in their cine-choreographic entanglement. Across scenes overflowing with passion, the film’s haptic imagery is reinforced by the black-and-white photographic image and culminates in a tableau moment that foregrounds the manifold sensations of in-betweenness and feeling of “otherness” that the protagonists experience, caught in-between languages, cultures, and arts.1
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Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack." Dance Research 36, no. 1 (May 2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.
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This two-part article examines the contested transition in London's fashionable ballrooms from the established Victorian rotary waltz to the modern English waltz of the early 1920s. Existing scholarship on the dance culture of this period and locale has tended to focus on issues of national identity, gender, race, class and the institutionalisation of popular dance practices. Although these are of profound significance and are here integrated into the analysis, this fresh study focuses on the waltz's choreological aspects and relationship to its ballroom companions; on the dance backgrounds and agency of the waltz's most influential practitioners and advocates, and on the fruitful nexus between theatre, clubs, pedagogy, the press and competitions in transforming style and practice towards modern English ballroom dancing as both a social and artistic form. Part One discusses the kinetic problems that waltzing couples encountered in the face of ragtime dances and tango, the impact of World War One on social dance practices in fashionable London and the response of the press and the dance pedagogic profession to the post-war dance craze. Improvisational strategies are considered as contributory factors in the waltz's muted persistence throughout the war while throwing light on how certain social choreomusical practices might lead to the transmutation of dances into newly recognised forms. The persuasive role of London-based leaders such as Philip Richardson, Madame Vandyck and Belle Harding in these early years of modern ballroom dancing is brought to fresh attention. Part One concludes with the dance teachers’ inconclusive attempts during 1920–21 to define and recommend a waltz form compatible with both a discrete choreomusical identity and the stylistic dictates of modern ballroom dancing
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Chinita, Fátima. "A Tale of Sound and Fury Signifying Everything: Argentine Tango Dance Films as Complex Self-Reflexive Creation." Acta Universitatis Sapientiae, Film and Media Studies 20, no. 1 (November 1, 2021): 68–85. http://dx.doi.org/10.2478/ausfm-2021-0015.
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Abstract This article equates the multidimensional artistic form of Argentine tango (dance, music and song) with the innately hybrid form of film. It compares Argentine tango culture to the height of French cinephilia in the 1950s Paris, France, arguing that they are both passionate, erotic and nostalgic ways of life. In Carlos Saura’s Tango (1998) and Sally Potter’s The Tango Lesson (1997), the intertwining of the related skills of tango practice and filmmaking are an audio-visual treat for the senses and a cognitive challenge for the mind. Their self-reflexivity promotes excess and the result is a highly expressive and complex form. They evince a cross-fertilization of reality and fiction, of art and life, typical of a perfect mise en abyme as described by Christian Metz. These films are also art musicals, although they depart from the Hollywood musical conventions. Yet, one cannot speak in their case of intermedia reflexivity, according to Petr Szczepanik’s definition, because both of them retain their qualities in a symbiotic relationship of likeness that highlights their mutual aura.
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McKinley, Patricia, Allison Jacobson, Alain Leroux, Victoria Bednarczyk, Michel Rossignol, and Joyce Fung. "Effect of a Community-Based Argentine Tango Dance Program on Functional Balance and Confidence in Older Adults." Journal of Aging and Physical Activity 16, no. 4 (October 2008): 435–53. http://dx.doi.org/10.1123/japa.16.4.435.
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Tango-dancing and walking programs are compared in nondemented seniors at risk for falls. Fallers (N= 30) age 62–91 were randomly assigned to a 10-wk (40 hr, 2 hr 2×/wk) tango class or walk group. The Activities-specific Balance Confidence (ABC) scale, sit-to-stand scores, and normal and fast walk were measured pre-, post-, and 1 month postintervention. Two-way repeated-measures ANOVAs indicated a significant main effect (p< .01) for time on all measures. Group and interaction effects for ABC led to improvement only in tango because of high baseline mean for the walk group. Clinical improvements measured using Established Populations for Epidemiologic Studies of the Elderly scoring were greater for the tango group. From these preliminary results it is suggested that although both interventions are effective activities for increasing strength and walk speed, tango might result in greater improvements than walking in balance skills and in walking speed in the 10-wk intervention. The study needs to be repeated with a greater sample size to determine the effectiveness of walking on fear of falling.
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Samochowiec, Agnieszka, Gruszewska Sławomira, and Sompolińska Magdalena. "Communication in close relationships of persons who dance Argentine tango." Archives of Psychiatry and Psychotherapy 24, no. 1 (November 13, 2021): 73–88. http://dx.doi.org/10.12740/app/143743.
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Kreutz, Gunter. "Does partnered dance promote health? The case of tango Argentino." Journal of the Royal Society for the Promotion of Health 128, no. 2 (March 2008): 79–84. http://dx.doi.org/10.1177/1466424007087805.
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Schuller, Björn, Florian Eyben, and Gerhard Rigoll. "Tango or Waltz?: Putting Ballroom Dance Style into Tempo Detection." EURASIP Journal on Audio, Speech, and Music Processing 2008 (2008): 1–12. http://dx.doi.org/10.1155/2008/846135.
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Reppert, Steven M., and Ivo Sauman. "period and timeless Tango: A dance of two clock genes." Neuron 15, no. 5 (November 1995): 983–86. http://dx.doi.org/10.1016/0896-6273(95)90086-1.
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Kaback, H. Ronald, and Lan Guan. "It takes two to tango: The dance of the permease." Journal of General Physiology 151, no. 7 (May 30, 2019): 878–86. http://dx.doi.org/10.1085/jgp.201912377.
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The lactose permease (LacY) of Escherichia coli is the prototype of the major facilitator superfamily, one of the largest families of membrane transport proteins. Structurally, two pseudo-symmetrical six-helix bundles surround a large internal aqueous cavity. Single binding sites for galactoside and H+ are positioned at the approximate center of LacY halfway through the membrane at the apex of the internal cavity. These features enable LacY to function by an alternating-access mechanism that can catalyze galactoside/H+ symport in either direction across the cytoplasmic membrane. The H+-binding site is fully protonated under physiological conditions, and subsequent sugar binding causes transition of the ternary complex to an occluded intermediate that can open to either side of the membrane. We review the structural and functional evidence that has provided new insight into the mechanism by which LacY achieves active transport against a concentration gradient.
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Hackney, Madeleine E., Courtney D. Hall, Katharina V. Echt, and Steven L. Wolf. "Multimodal Exercise Benefits Mobility in Older Adults With Visual Impairment: A Preliminary Study." Journal of Aging and Physical Activity 23, no. 4 (October 2015): 630–39. http://dx.doi.org/10.1123/japa.2014-0008.
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Evidence-based recommendations for interventions to reduce fall risk in older adults with visual impairment are lacking. Adapted tango dance (Tango) and a balance and mobility program (FallProof) have improved mobility, balance, and quality of life (QOL) in individuals with movement impairment. This study compared the efficacy of Tango and FallProof for 32 individuals with visual impairment (age: M = 79.3, SD =11 [51–95 years]). Participants were assigned to Tango or FallProof to complete twenty, 90-min lessons within 12 weeks. Participants underwent assessment of balance, dual-tasking, endurance, gait, and vision-related QOL. The balance reactions of participants in both groups improved (p < .001). Endurance, cognitive dual-tasking, and vision-related QOL may have improved more for Tango than FallProof. Group differences and gains were maintained across time. Both programs could be effective options for motor rehabilitation for older adults with visual impairment because they may improve mobility and QOL while reducing fall risk.
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Vukadinović, Maja. ""Attention please!": The dark side of dancers’ personality." Primenjena psihologija 15, no. 1 (March 10, 2022): 51–84. http://dx.doi.org/10.19090/pp.v15i1.2357.
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The present study aims to investigate the dark side of dancers’ personality. In recent literature, dark personality traits were conceptualized as the Dark Tetrad which includes Machiavellianism, narcissism, psychopathy and sadism. The participants in this study were 98 dancers, aged between 18 and 57 (M = 34.71, SD = 11.21; 86.7% women), who practiced different dance types (classical ballet, modern dance, flamenco, oriental dance, hip-hop, salsa, tango, merengue, bachata and Latin dances-samba, rumba) both professionally and non-professionally. They answered 13 questions from the pilot version of the list of Indicators of the meaning of dance for dancers, the Short Dark Triad (SD3) and the Assessment of Sadistic Personality (ASP). The results have shown that dancers had higher scores narcissism and lower scores on Machiavellianism and sadism compared to participants from the reference community sample from previous study (Dinić et al., 2018, 2020). Professional dancers had higher scores on narcissism, compared to those who practice dance as recreation meaning that they tend to seek prestige or status and have a need for admiration and attention from other people more than recreationists. Furthermore, a series of regression analyses showed that psychopathy is negatively related to dancers’ evaluation of the dance as an enjoyable and pleasant activity. It is concluded that dark personality traits are a component of dancers’ personality and one of the factors that affect dancers’ evaluation of the meaning of dance. Moreover, practical implications of the obtained results related to the pedagogical dance practice are discussed, as well as the dark traits of creative personality.
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Gotlib, Matvei. "Obrození tanga: nostalgie, naslouchání, experiment." Lidé města 25, no. 3 (December 1, 2023): 325–45. http://dx.doi.org/10.14712/12128112.3962.
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This article examines the history and culture of Argentinian tango as a translocal social dance and emphasizes its revivalist component along with other characteristic features: nostalgia, listening, and experimentation. It represents the partial and the preliminary result of the author’s anthropological research that they are currently conducting as part of the doctoral programme at the Faculty of Humanities of Charles University in Prague. The author concludes that both nostalgic beliefs and the desire to create something new contribute to the process of tango revival.
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Granec, Jozef, and Hermína Mareková. "INDICATIONS FOR DANCE THERAPY IN SOCIAL WORK." Proceedings of CBU in Social Sciences 3 (December 1, 2022): 28–34. http://dx.doi.org/10.12955/pss.v3.301.
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The present study analyses the therapeutic use of dance in social work, particularly the possibilities of using Argentine tango. Through dance, contacts are made, communication happens, and feelings are shared. It is wrong to perceive dancing as fun rather than one of the vital human needs. Dance is one of the binding forces holding people together that, despite all the differences, can prevent society from falling apart. Dance has the power of overcoming what otherwise is difficult; even without using drugs, it can reduce anxiety. The rediscovery of dance, the use of dance movements, and music in social work brings new possibilities. However, these possibilities depend upon certain skills and the broader perspective of a dance therapist. The research aims to summarise and synthesise information from various sources, especially from the medical field. The study focuses on the possible indication of dance therapy, and it’s elements that could draw more attention to this hitherto unexplored therapy. It is also the pioneering research in this area.