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This paper provides an autoethnographic exploration of the psychotherapeutic potential of Argentine tango dancing through a person-centered perspective. It delves into how tango facilitates personal growth, emotional awareness, and resilience by acting as a dynamic form of emotional and physical expression. The research examines the intricate communication dynamics inherent in the dance, highlighting tango’s unique ability to transcend verbal exchanges and create profound emotional connections. Tango demands mutual empathy, attunement, and responsiveness between dance partners, fostering therapeutic experiences akin to deep, trusting friendships. Additionally, it is argued that tango requires a level of emotional dedication comparable to spiritual practices, which makes it a powerful medium for continual personal and relational development. The findings suggest that the psychotherapeutic benefits of tango stem not only from its relational aspects but also from the individual’s willingness to engage deeply with the emotions it elicits. The research concludes that tango can be a profound conduit for personal transformation, provided that the dancer is open to its emotional and interpersonal challenges. [ABSTRACT FROM AUTHOR]

Intracellular infections as well as changes in the cell nutritional environment are main events that trigger cellular stress responses. One crucial cell response to stress conditions is autophagy. During the last 30 years, several scenarios involving autophagy induction or inhibition over the course of an intracellular invasion by pathogens have been uncovered. In this review, we will present how this knowledge was gained by studying different microorganisms. We intend to discuss how the cell, via autophagy, tries to repel these attacks with the objective of destroying the intruder, but also how some pathogens have developed strategies to subvert this. These two fates can be compared with a Tango, a dance originated in Buenos Aires, Argentina, in which the partner dancers are in close connection. One of them is the leader, embracing and involving the partner, but the follower may respond escaping from the leader. This joint dance is indeed highly synchronized and controlled, perfectly reflecting the interaction between autophagy and microorganism. [ABSTRACT FROM AUTHOR]

The traditional Colombian vallenato was declared Intangible Cultural Heritage of Humanity by UNESCO on 1 December 2015 with urgency for it to be safeguarded, which led the government of Colombia in the head of the Ministry of Culture and the vallenato music cluster to develop a safeguarding plan that contains different activities, among which stands out a platform for the management of vallenato through educational processes. In this sense, this document proposes an ontological model for the representation of vallenato as cultural heritage in a context-aware system called Vallenatic. The ontology was developed using the NeOn methodology, designed in the Protégé software, and has 15 concepts (Vallenata Songs, Artist, Devices, Persons, Environment, Cultural Managers, Interface, Location, MOOC, Learning Object, Profile, Preference, Net, Time Cultural, Event, Cultural_Sites). The model was evaluated by means of nine (9) situations described in natural language and SWRL; this language was used since it allows expressing OWL concepts in combination with RuleML. The proposed model can be used for other musical genres that have the recognition of cultural and intangible heritage, such as the Spanish flamenco, Argentine Tango, Mexican Mariachi music, Peruvian scissors dance, Brazilian capoeira, Dominican bachata, Jamaican reggae, among others. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of the Institute of Ethnography of the Serbian Academy of Sciences & Arts / Glasnik Etnografskog Instituta SANU is the property of Institute of Ethnography, SASA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cadernos de Arte e Antropologia is the property of Cadernos de Arte e Antropologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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 selfesteem, relaxation, social inclusion, improved learning skills; they also developed social skills, because they met a lot of people in different social contexts. [ABSTRACT FROM AUTHOR]

The renewed popularity of the Argentine tango has been spearheaded by Argentines' reterritorialization efforts through which they claim their symbolic ownership of the genre. Two related phenomena are addressed here. First, the article examines the blossoming of the tango industry in Buenos Aires (Argentina's capital), which is supported by both a foreign and local tango audience. Second, it explores the migratory careers of Argentine tango dancers and musicians who, particularly in New York City, have joined efforts to rebrand the tango as their authentic national product. In order to be successful in the worldwide tango field, Argentine artists must also accrue tango capital, defined as the combined effect of technical skills, social contacts and public recognition. Finally, this article reflects on the ongoing endeavours of Argentine émigrés to keep abreast of tango developments in Buenos Aires, as a key dimension for guaranteeing their success overseas. [ABSTRACT FROM AUTHOR]

The article focuses on the queer tango movement, an international alliance of tango practitioners who seek to denaturalize the link between gender and the division of labor in a tango partnership. Topics discussed include the stress faced by the sexual minority community, access to lesbian, gay, bisexual, transsexual and queer (LGBTQ) sexual potentiality, and experiments in gender utopia.

Copyright of Arte de America Latina / Sztuka Ameryki Lacinskiej is the property of Polish Institute of World Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article offers an examination of the aesthetics and philosophy of Argentine tango, arguing for tango's contradictory power of resistance to the tendency of cultural commodification in contemporary society. The dancing couple achieves a sense of sovereignty and improvisational freedom which is in tension with the increasing commodification and standardisation of art in the age of globalisation. Written partly from an auto-ethnographic, experience-based perspective, the article foregrounds tango's choreography of otherness, relationality, passion and playful improvisation in an attempt to elaborate on tango's significance as a dance of intimate resistance to political economy. What is produced in tango's 'space of touch' remains unproductive, unexplainable, and non-commodifiable. It is argued that Argentine tango might be able to resist total codification due to its improvisational nature and the politics of touch, passion and transgression that emerge from the ephemerality of the encounter, the ineffable 'tango moment'. Tango here is considered as a subversion of the social framing which it nevertheless needs in order to function; it performs the possibility of a transgression, intimately yet publicly. [ABSTRACT FROM AUTHOR]

Copyright of Medical Rehabilitation / Rehabilitacja Medyczna is the property of Medical Rehabilitation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Over half of the general population does not achieve recommended daily levels of physical activity, and activity levels in people with Parkinson disease (PD) are lower than in healthy older adults. Dance can serve as an adjunct to traditional treatments to improve gait, balance, and quality of life in people with PD. This study directly compares a tango dance intervention and a dance intervention based on the Dance for PD model, which integrates multiple dance styles. Eleven people with PD participated in a community-based mixed styles dance intervention called Dance for Parkinson's (D4PD). Participants in the D4PD group were matched to participants in an ongoing community-based exercise study who participated in tango dance. The groups received 12 weeks of intervention, attending 1-h group classes twice a week. Participants were evaluated off anti-PD medication before and after intervention. Measures of balance, repeated sit-to-stand performance and endurance (mini-balance evaluation systems test, four square step test, five times sit to stand, 6-min walk time) improved from pre to post similarly in both groups. Motor sign severity (movement disorders society unified Parkinson disease rating scale motor subsection) and functional mobility (timed up and go) improved in the tango group and worsened in the D4PD group. Gait velocity was not affected by either intervention. Direct comparisons of different interventions are critical for developing optimal exercise interventions designed to specifically target motor impairments in PD. Tango dance interventions may preferentially improve mobility and motor signs in people with PD, compared to D4PD. [ABSTRACT FROM AUTHOR]

Highlights: [•] We assess the effect of tDCS on trunk motion during tango dancing. [•] TDCS, not sham, increases trunk velocity during Tango in Parkinson's disease. [•] TDCS can be safely and effectively applied during dancing. [•] Walking time is decreased by anodal tDCS in Parkinson's disease. [Copyright &y& Elsevier]

The authors determined effects of community-based adapted tango on spatial cognition and disease severity in Parkinson's disease (PD) while controlling for the effects of social interaction. Thirty-three individuals with mild-to-moderate PD (stage I–III) were assigned to twenty 90-min tango (n = 24) or education (n = 9) lessons over 12 weeks. Disease severity, spatial cognition, balance, and fall incidence were evaluated pre-, post-, and 10–12 weeks postintervention. The authors evaluated differences using t tests and analyses of variance. Twenty-three tango and 8 education participants finished. Tango participants improved on disease severity (p =.008), and spatial cognition (p =.021) compared with education participants. Tango participants also improved in balance (p =.038), and executive function (p =.012). Gains were maintained 10–12 weeks postintervention. Multimodal exercise with structured syllabi may improve disease severity and spatial cognition in PD. [ABSTRACT FROM AUTHOR]

The article discusses the mystery and grotesqueness of the Argentine tango in the milieu of the milonga, or dances held in tango clubs in the Argentinian capital of Buenos Aires. The milongas and the grotesque theater are both expressions of the people's traumatic and violent experiences and feelings of pain, tension and longing for comfort and belonging. Argentina's history of terror and economic crises is presented. Tango and the customs of the milonga are described in detail.

Copyright of Resonancias is the property of Pontificia Universidad Catolica de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the role of the violin in the Argentine Tango. It offers biographical sketches of the most seminal Argentine tango violinists. It also offers a guide to the most important performance practice issues. The Argentine milonga is still part of the tango orchestra repertory. Variants of early tango, milonga and habanera could be heard in the growing outskirts of Buenos Aires, Argentina.

Recent research shows that tango dance may be an effective strategy for influencing symptoms that contribute to mood disorders. In this study, we examined the efficacy of a short-duration intensive tango program (ie, 2 weeks). Forty-one participants were randomized to tango dance (1½ hours, 4 times/week for 2 weeks) or to a wait-list control condition. Self-rated symptoms of depression, anxiety, stress, insomnia, self-efficacy, satisfaction with life and mindfulness were assessed at pretest, posttest, and 1 month later. Tango group participants showed significant reductions in depression, anxiety, stress, and insomnia at posttest relative to the controls, whereas satisfaction with life and self-efficacy were significantly increased. At 1-month follow-up, depression, anxiety, and stress levels remained reduced relative to the wait-list controls. Thus, this brief but intensive program of tango dance was shown to be an effective strategy in alleviating mood disorders in people who self-report these symptoms. [ABSTRACT FROM AUTHOR]

The article explores the representations of blacks in Argentina in the 1920s and 1930s prior to the rise of Argentine political and military leader Juan Perón and the displacement of the concept of blackness onto social class. The author argues that representations of Argentine blackness appeared widely in motion pictures and on the radio, and that those representations were based upon cultural traditions that evolved from dialogue with foreigners. The author discusses the influence of jazz music and tango dancing in Argentina during the 1920s and 1930s and the transnational cultural marketplace of the era.

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on Tango, especially on the dance aspect of it, and explores how Japanese and Latin Americans perceive the dance regarding gender and cultural differences. Tango has been popular in Japan for a long time but, the author concludes, there are wide differences between Latin Americans and Japanese in their perception of the dance. Tango is part of the musical tradition of Uruguay and Argentina, but the article refers to the latter. In 2009, the dance was recognized by the United Nations as part of the world's heritage.

The article presents an examination of the development of Argentine national identity around the turn of the 20th-century and explores how the song and dance known as the tango and the image of the gaucho became influential pieces of Argentine culture. It examines how the image of the gaucho became a symbol for the country's working-class while the tango became associated with the country's urban centers and the desire to modernize Argentina. It discusses larger themes associated with transatlantic social change during this period and explores the role of popular songs during periods of social change.

Several studies have recently been published regarding the physical and emotional benefits of Argentine tango dance for individuals with Parkinson disease (PD). These papers focused on the effects of tango interventions rather than methods used to implement and deliver the interventions. The focus of the present paper is on methods for implementing PD-specific tango programs, to facilitate safe and appropriate implementation of community-based partnered dance programs for this population. We report successful methods for an Argentine Tango-based class, but these recommendations could be applicable to other partnered dances. [ABSTRACT FROM AUTHOR]

The tango was born just before the turn of the twentieth century in Buenos Aires as the resulting blend of the cultures of Italian, Spanish, French and Eastern European Jewish immigrants and Afro-Argentine rhythms. In the 1910s the tango took Western Europe by storm, soon reaching Eastern Europe. Ballrooms and cabarets featured this Latin American import; composers, Jews amongst them, started to write new tangos. Inevitably, during the Holocaust tango became part of the life of ghettos and concentration camps, where it, now in Yiddish, was once again adopted as a vehicle to express the experience of inmates and their hopes for freedom. Not only did the Nazis allow this music, they forced Lagerkapellen, the camp orchestras, to play the Tango of Death to accompany prisoners as they were marched to the gas chambers. In different and happier circumstances, Jewish musicians living in Buenos Aires and New York – many of whom were émigrés – wrote Yiddish tangos for the Yiddish theatre, musicals and Jewish revues. The mixed nature of tango probably explains why it has been continuously embraced and transformed during its extraordinary voyage around the world. Yiddish tangos are only an episode in this chronicle, an example of the Jews' tendency to adapt to the ethos of their adoptive countries and also, more generally, the mutual acceptance and fruitful interaction between peoples. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract: Drawing from interactive design theories and the authors’ personal tango experiences in the Twin Cities and Buenos Aires, this paper critically examines tango dancing as a complex social world capable of revealing rich metadata about its physicality, spatiality, constituents, and underlying interactive processes that can be used to inform and invigorate designers’ approach to digital interactivity. By exploring tango’s physical and conceptual elements, parallels and connections with interactive design are identified, demonstrating how such explorations can inspire new perspectives on enhancing digital interactivity, while simultaneously refocusing our understanding of the dynamic, reciprocal relationship between digital worlds and the physical world we inhabit. [Copyright &y& Elsevier]

The article discusses the social implications of bolero music. It states that bolero is a music of seduction and that this music accompanied Maggie Cheung and Tony Leung in their movie "In the Mood of Love." Wong Kar-wai also explored the beauty of this music in his film "Happy Together" which starred Leslie Cheung and Leung as two gay male Hong Kong expatriates in Buenos, Aires, Argentina. The author also mentions that the tango, in its many erotic and sentimental ways, is the Buenos Airean equivalent of the Mexican-Caribbean bolero.

The article presents an analysis on the kinetic and social function of Argentinian tango. The popularity of tango, a dance which originates from Argentina, is a product of the unique kinetic connection the dance fosters between the partnering dancers. Details related to the kinetic relationship between leader and follower, musicality, and the link dancers have with the history and culture of the tango are presented. It is argued that tango defines an authentic Argentinian culture, although it is open to Emile Durkheim's notion of culture reproduction.

Long celebrated as a "national" genre in Argentina, tango has not been massively popular there since the late 1950s. Beginning in the late 1990s, however, a renewed interest in the genre began to develop among many Argentines, and tango has since risen to again occupy a prominent position within the wider domain of the country's cultural life. The reemergence of tango was punctuated by the devastating Argentine economic crisis of December 2001, which generated severe economic hardship and raised fundamental questions about self and society in Argentina. In this context, the collective work of a growing milieu of contemporary Argentine tango artists, audiences, and critics has amounted to what has been called a "renovación" ("renovation" or "renewal") of tango. As a musical practice, renovation consists of drawing upon genre conventions, stylistic details, and musical repertoires from previous periods of tango history and incorporating that material into current practices. It is a complex domain of music making in which the past is sonically brought to bear on the present, which, in turn, is heard as a commentary on the past. The paper is arranged in a series of three case studies, each of which is focused on a particular strategy of renovation corresponding to the work of several contemporary tango artists and groups. By contextualizing these cases, I show how similar musical strategies and aesthetic concerns underlie what might sound like radically divergent musical styles and artistic projects. The ultimate goal is to develop a sense of how, in this particular context, musical style and history are used as a means of negotiating political-economic ruptures and demonstrate how these musical practices are connected to larger transformations in the cultural and political topography of contemporary Latin America. [ABSTRACT FROM AUTHOR]

The article discusses the filmmaker Sally Potter's film "The Tango Lesson." The author highlights the issues of translation in terms of language and cultural identity. The film features Jewish exiles from Argentia and is filmed in Spanish, French, and English. The dance called the tango plays a prominent role in this process of translation.

The article focuses on developing a creative culture through the arts. It is stated that creative arts propose to older adults not only avenues for learning, but also a way to discover the myriads of possibilities in later years of life. The arts can play an important aspect in developing new skills and make meaning of experiences in elders. It is also a manner in which adults can have imaginative discovery of themselves and how they relate to the world. A study conducted at McGill University identified that the sultry moves of tango dancing can aid the aging brain. Researchers stated that tango dancing is better than walking.

The recent global renaissance of tango dancing has been accompanied by the emergence of a thriving tango economy in New York City (NYC) that has encouraged the arrival of Argentine tango dancers and amateurs artists (tango immigrants) in recent years. This article builds on social capital theory to examine the importance of the Manhattan tango world as a reservoir for social resources (e.g., health information, contact for jobs, referrals) to satisfy their members' social and health needs. Tango immigrants seek informal access to health care through the assistance of health practitioners belonging to their tango networks (tango brokers), a relevant issue given the fact that many artists are uninsured and depend on their physical labor to perform. This article's ultimate goal is aimed at providing a theoretical contribution to our understanding of contemporary entertainment forms as ethnic social niches for immigrants' informal access to valued resources via interpersonal relationships. [ABSTRACT FROM AUTHOR]

Explores the role of blacks in the origin of the tango in Argentina. Meaning given to the expression of black slaves through music, song and dance; Argument that the tango was a cultural construct that caught the fancy of white rulers; Positions of black men in 19th-century Argentina; Dancing of the tango to express the black man's existence and momentary freedom.