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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]

In 2021, a 4K-restored rendition of Wong Kar-wai's iconic film Happy Together (1997) returned to theatres across Hong Kong, Taiwan, and Argentina, marking the film's enduring transnational appeal two decades after its Cannes premiere. This article investigates the film's intricate cultural ties to Argentina. I argue that Happy Together not only enhances the cultural connections between Hong Kong and Argentina but also showcases Wong's translingual and multimodal approaches to film adaptation. 'Translingual' refers to the film's literary source: I demonstrate how Wong skilfully wove elements from Manuel Puig's 1973 novel The Buenos Aires Affair into his film through a threefold Spanish-English-Chinese process of rewriting. Subsequently, I contend that various cultural facets of Argentina—the literature of Puig, the soundscape of Piazzolla's tango, and the landscapes of the Iguazú Falls and Tierra del Fuego—contributed significantly to the Hong Kong auteur's multimodal adaptation. In short, this article proposes a dialogic perspective on Hong Kong cinema by considering Argentina as a reflective mirror brimming with aesthetic and geopolitical implications. Through the lens of Happy Together , this study moves beyond Western-centric reception paradigms by spotlighting the cultural and socio-political affinities between Latin America and Asia, thus bringing to the forefront the often-overlooked transpacific connections within the Global South. [ABSTRACT FROM AUTHOR]

Purpose: The lesbian, gay, bisexual, transgender/transsexual, and queer/questioning students normally occupy a marginalized and at-risk position in classes and especially in physical education. In this paper, the authors explore the ways in which queer tango can contribute to counteracting heteronormativity and opening up students to new interactions and identifications through the performance of different gender performances in Physical Education and Sport Tertiary Education. Method: A queer tango session was carried out with 111 university students (91 men and 19 women aged 19–22 years). Data were obtained from interviews, video records, and open questionnaires about the practice. Results: The findings reveal that the performance of dance roles that are contrary to the heteronormative order reinforced both heteronormativity and queer embodiments in Physical Education and Sport Tertiary Education. Conclusion: An isolated activity is not enough, and more queer pedagogical practices should be introduced in order to make meaningful changes to mainstream students' ideology and behaviors. [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]

Copyright of Revista de Sociología is the property of Universidad 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.)

This text launches a series of articles under the image-based project 'With the Aid of an Unidentified Interpreter: Putting Names to Faces on Historical Photos' dedicated to the history of high-level interpreting. Here, the quest is to identify the interpreter at the two encounters between Nikita Khrushchev and Fidel Castro at Harlem's Hotel Theresa and at the Soviet Mission in New York on 20 and 23 September 1960 based on a photo from the personal archive of Khrushchev's assistant Vladimir Lebedev. This interpreter turned out to be Menia Martínez, a historic figure in Cuban ballet. Educated at the Vaganova School in St. Petersburg (Leningrad), she was proficient in Russian. The text looks at other professional and unprofessional interpreters who worked with the two leaders before, on, and after this trip to New York and whose work contributed to the development of Cuban-Soviet and East-West relations. The discussion draws on available visuals, memoirs, newspaper sources, and unclassified documents placing the discussion in the wider context of international relations at the time. The author is grateful to Menia Martínez, who, in a telephone conversation, has helped in clarifying some of the aspects of the matter under investigation. [ABSTRACT FROM AUTHOR]

At the top right-hand side of the first page of Pablo Palomino's Introduction to I The Invention of Latin American Music i is printed in a small font a question: "How did music become Latin American?" None of this, however, renders less interesting Palomino's thoughtful exploration of how, as he puts it, 'the music of this region only began to be perceived as Latin American when Latin America as an intellectual and geopolitical journey unfolded' (p. 205). "Latin American Music", Palomino argues, is a 'distinct musical discourse, recognizable within the world's polyphony' (ibid.). [Extracted from the article]

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]

The idea that the therapeutic relationship is at the core of psychotherapy is shared by most therapeutic approaches. Also, an increasing variety of therapeutic approaches, consider experiential techniques as central tools to promote effective therapeutic change. Commonly, it is argued that the creation of a positive, empathic, safe, and solid therapeutic alliance should be a prerequisite for administering these techniques. However, recent evidence is beginning to challenge this cautious stance showing that the introduction of experiential work early in therapy can be safe and effective. So, the quality of the therapeutic relationship may either facilitate or hinder the use of experiential techniques, but the use of these techniques may also strengthen or cause ruptures in the therapeutic alliance. So how do we balance the attention to the therapeutic relationship and the use of active, emotionally arousing techniques? In this paper, we present an issue of the Journal of Clinical Psychology: In Session exploring the complex interplay between therapeutic relationship and experiential practices in light of different psychotherapeutic approaches. We do so by first providing an initial overview of the topic. Next, we introduce the five papers of the issue along with some thoughts on how authors from diverse psychotherapeutic orientations contributed to illustrate and reflect on this multifaceted "dance" between therapeutic relationship and techniques. [ABSTRACT FROM AUTHOR]

This article explores the presence of tango music and its relationship to the politics of identity in Mayra Santos-Febres’s novel La amante de Gardel (2015). Engaging with George Yúdice’s (2004) notion of “cultural power” as an extension of biopower in regard to cultural productions, it compares the circulation of music and medicine in global markets and how they work to produce forms of identity for the novel’s characters. At a first moment, both ancestral medicine in 1935 Puerto Rico and the genesis of tango in early twentieth-century Río de la Plata involve forms of human relationality that facilitate mutual recognition for the people involved. But later, the eventual commodity forms, such as the birth control pill and music records, circulate in a transnational market that creates problematic networks of representation and alienates their original producers. The article concludes that by demystifying a Latin American music superstar, the novel critically reflects on the effects of globalization and coloniality on the protagonists’ self-identification, particularly on the female character’s ambivalence toward her own womanhood. [ABSTRACT FROM AUTHOR]

Copyright of Amazonia Investiga is the property of PRIMMATE 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 Revista Poligramas is the property of Universidad del Valle 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.)

When moving a piano or dancing tango with a partner, how should I control my arm muscles to sense their movements and follow or guide them smoothly? Here we observe how physically connected pairs tracking a moving target with the arm modify muscle coactivation with their visual acuity and the partner's performance. They coactivate muscles to stiffen the arm when the partner's performance is worse and relax with blurry visual feedback. Computational modeling shows that this adaptive sensing property cannot be explained by the minimization of movement error hypothesis that has previously explained adaptation in dynamic environments. Instead, individuals skillfully control the stiffness to guide the arm toward the planned motion while minimizing effort and extracting useful information from the partner's movement. The central nervous system regulates muscle activation to guide motion with accurate task information from vision and haptics while minimizing the metabolic cost. As a consequence, the partner with the most accurate target information leads the movement. [ABSTRACT FROM AUTHOR]

This theological reflection is a motivation to walk in the footsteps of Marcella Althaus-Reid to discover the disruptive principles of Latin American Queer Theology. Between tangos and popular music, libertine evocations and dissident stories, prosthetic considerations, and transit strategies, this indecent text indicates some revitalizing ideas that manifest the need to think and inhabit the Global South in a more queer way. The voice of the South is powerfully theological and potentially revolutionary. [ABSTRACT FROM AUTHOR]

In the following article, the implications of the musical style of tango on female poetics from the late eighties in Chile will be analyzed. The selected corpus corresponds to the poems "Exilio" in Vía Pública by Eugenia Brito and "Perestroika" in Mónologo de una hembra tardía (1994) by Heddy Navarro. It is proposed that both explicitly allude to tango to represent womanhood in the dictatorial context, that is, as a strategy to avoid censorship and refer to topics such as patriarchal violence, exile and the violence of this period. So the poems resignify the tango's own imaginary and dislocate themes such as the city and the body to situate and exhibit the figure of women within the dictatorial panorama. [ABSTRACT FROM AUTHOR]

Copyright of Maguaré is the property of Universidad Nacional de Colombia, Departamento de 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.)

Copyright of Tábano is the property of Pontificia Universidad Catolica Argentina 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 central idea of this article is that bodily practices like queer tango contribute positively to societal change by facilitating the development of a more plurally oriented society. The argument rests primarily on queer tango's inherent potential as a dialogic body practice. Along with what the practice implies in terms of subverting gender traditions and expanding freedom within the community, the case is made that it has an impact as well on the body schema. The body schema, understood as the individual's initial, initiating point of action, is of course shaped by society and the individual's history, but it is also open to change with every new experience. Drawing on the work of Sara Ahmed, Eve K. Sedgwick, Steffen Kitty Herrmann and Hans Joas, the article discusses queer tango as a practice that is multiple in orientation, intrinsically reparative, transgressive and significantly creative – a set of qualities that support change insofar as participants in the practice broaden their qualitative experiences and encounter others at once both bodily and dialogically. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

In diesem Beitrag wird der finnische Tangotanztourismus unter Berücksichtigung des Konzeptes des verkörperten Raumes (Low 2003) und des Raumverständnisses von Lefebvre (1991) auf den vielschichtig miteinander verbundenen Ebenen von Körper, Kultur und Raum analysiert. Die finnische „Kultur der Schweigsamkeit" wird in diesem Zusammenhang im Besonderen betrachtet. Methodisch werden hierbei sowohl Interviews mit Expertinnen und Experten, teilnehmende Beobachtung als auch die Auswertung von Filmmaterial herangezogen. Im Ergebnis zeigen sich vielfältige Wechselwirkungen von Körper, Kultur und Raum, die zusätzlich Potenziale für den finnischen Tangotanztourismus aufzeigen. Summary: In this paper, Finnish tango dance tourism is analysed, taking into account the concept of embodied space (Low 2003) and Lefebvre's (1991) understanding of space on the multi-layered interconnected levels of body, culture and space. The Finnish „culture of silence" is considered in particular in this context. Methodologically, interviews with experts, participant observation and the evaluation of film material are used. As a result, a variety of interactions between body, culture and space emerge that reveal additional potential for Finnish tango dance tourism. [ABSTRACT FROM AUTHOR]

The article aims to give a new interpretation of the functioning of society starting from the tango metaphor. Within it, music represents the principle (the supreme norm), dance, the rendering into gestures of music, of the principle. The two protagonists of the dance (the man and the woman) are seen as the embodiment of the legislature and the executive. The judiciary is the dance teacher who is the main pawn in the tango logos, adapting the movements (sermo) to the music (ratio), while giving the framework for the performance of the two protagonists who improvise starting from the principles. Happiness results from the combination of music and dance, as ways of social organization. Against the background of a subtle harmony, the tango metaphor can account for the functioning of society, the relationship established between the tango partners, between them and music, between them and the dance teacher, but also between the protagonists and the public, shows how it works in society as a whole. [ABSTRACT FROM AUTHOR]

Can motor expertise be robustly predicted by the organization of frequency‐specific oscillatory brain networks? To answer this question, we recorded high‐density electroencephalography (EEG) in expert Tango dancers and naïves while viewing and judging the correctness of Tango‐specific movements and during resting. We calculated task‐related and resting‐state connectivity at different frequency‐bands capturing task performance (delta [δ], 1.5–4 Hz), error monitoring (theta [θ], 4–8 Hz), and sensorimotor experience (mu [μ], 8–13 Hz), and derived topographical features using graph analysis. These features, together with canonical expertise measures (i.e., performance in action discrimination, time spent dancing Tango), were fed into a data‐driven computational learning analysis to test whether behavioral and brain signatures robustly classified individuals depending on their expertise level. Unsurprisingly, behavioral measures showed optimal classification (100%) between dancers and naïves. When considering brain models, the task‐based classification performed well (~73%), with maximal discrimination afforded by theta‐band connectivity, a hallmark signature of error processing. Interestingly, mu connectivity during rest outperformed (100%) the task‐based approach, matching the optimal classification of behavioral measures and thus emerging as a potential trait‐like marker of sensorimotor network tuning by intense training. Overall, our findings underscore the power of fine‐tuned oscillatory network signatures for capturing expertise‐related differences and their potential value in the neuroprognosis of learning outcomes. [ABSTRACT FROM AUTHOR]

Museum of Consumption: The Archives of Mass Culture in Argentina (1880-1930): by Graciela Montaldo, and Translated by Terry Rugeley, Amherst (New York), Cambria Press, 2021, x + 327 pp., £81.42 (hardback), ISBN 9781621965541, £41.44 (paperback), ISBN: 9781638570608 In Montaldo's account, the lettered elites who dominated the city were both challenged and attracted by popular forms of representation and spectacle. Graciela Montaldo's I Museum of Consumption i , translated from the 2016 original Spanish version by Terry Rugeley, digs into a richly diverse collection of sources and brings to life a nuanced and illuminating story about the rise of mass culture in I fin-de-siècle i Argentina. [Extracted from the article]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 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.)

The aim of study was to evaluate communicative behaviors in close relationships of persons who dance Argentine tango and compare them with couples who do not undertake such activity. We also determined the types of psychological gender in our study groups and evaluated the differences between them. The study involved 78 persons (who dance Argentine tango and the control group). The set of administered tools included: Communication in Marriage and Partner Relationship Questionnaire, Psychological Gender Inventory and a self-designed demographic survey. Our data indicated that dancing tango was related to the overall quality of partner communication. Tangueros exhibited significantly better communicative behaviours and assessed their partners’ communicative behaviours better as well. We did not observe any differences in the distribution of psychological gender in the two groups. Our analyses show that the hypotheses concerning the relationship of practising tango and the quality of communication in a close relationship are predominantly accurate. The dancers evaluate their partner’s contribution to communication significantly better – especially their support and commitment, and consider them less prone to diminish their worth. Argentine tango practitioners’ overall assessment of the quality of communication is also significantly higher – both when it comes to their own behavior, and the behavior of their partners. Dancing tango helps to improve communication and can be an effective form of assistance for persons with difficulties in communication in partner relationships. [ABSTRACT FROM AUTHOR]

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina 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 Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina 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 Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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.)