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Introduction: Parkinson’s disease (PD) is a fast-growing neurodegenerative condition caused by the deficiency of dopamine (Bloem et al., 2021). Main symptoms include tremor, bradykinesia, muscular rigidity and postural instability (Ye et al., 2023). Although PD treatment primarily involves pharmacotherapy, physical activity-based treatments such as tango dance can improve the quality of life of patients. Aim of the study: This narrative review aims to assess the impact of the therapeutic benefits of tango dance therapy for people with PD. Materials and methods: A comprehensive literature search was conducted in the PubMed database up to 2024. The review included randomised controlled trials, case reports, and pilot studies focused on the impact of tango on PD. Results: Several studies have evaluated the impact of tango on patients with PD. Some of them found that tango improves dynamic balance and walking, reduces the risk of falling, improves body awareness, stability, and emotional well-being among patients with PD. Conclusions: The impact of tango on PD is not yet conclusively documented, and further research is needed.

Book Review: Kosichev L.A. The creation of tango. – Moscow: Publishing House «East Express», 2023. – 240 p.

Aims and Objectives: This study was conducted to examine the possible aetiology of nocturia in patients with long‐term COVID‐19. Background: Physical and neuropsychiatric symptoms, an increase in overactive bladder symptoms, especially from urinary system complaints, has been reported in patients with COVID‐19, 10–14 weeks after the illness. Design: A descriptive design. Methods: The study consisted of 70 patients who had experienced COVID‐19, had nocturia, and were followed in the State Hospital between April and July 2022. Data were collected using a patient information form, the 'TANGO' nocturia screening tool, and the Visual Analog Scale. This study was created in accordance with the STROBE Statement Checklist. Results: When the nocturia effects of long‐term COVID‐19 were examined it was determined that the urinary tract was the 'priority' aetiological condition. It was observed that there was a significant difference between the aetiological factor groups in terms of the mean age of the patients and the number of nocturia (p <.05). According to post‐hoc analysis, the mean age of patients with a dominant cardio‐metabolic factor was found to be significantly younger (p <.05). In addition, when comparing the number of nocturia according to the aetiological factors of the patients, it was observed that the number of nocturia was significantly frequent in the patients with a dominant sleep factor (p <.05). Conclusions: It was found that the urinary tract aetiological factor was dominant in patients with long‐term COVID‐19 and nocturia, patients with a dominant cardiovascular aetiological factor were younger, and that the number of nocturia was higher in patients with a dominant sleep factor. Relevance to Clinical Practice: Identification of the early signs and symptoms and underlying causes of nocturia in individuals with post‐COVID‐19 syndrome will enable nurses and health professionals to guide the early identification of different underlying problems, as well as the implementation of approaches to treat and eliminate nocturia. Patient or Public Contribution: The patients contributed to the study by agreeing to participate in the evaluation of nocturia complaints after COVID‐19 infection. [ABSTRACT FROM AUTHOR]

Este artículo presenta resultados preliminares y parciales de un estudio etnográfico sobre la dimensión laboral del baile del tango en la ciudad de La Plata entre 2018 y 2022. A través de entrevistas y observaciones se exploraron las dimensiones las representaciones del trabajo que tienen los bailarines profesionales. En este artículo se profundiza en la organización y autonomía en el trabajo de los bailarines profesionales, incluyendo sus prácticas laborales. También se exploran las representaciones en torno a la elección y el disfrute en el espacio laboral. Los hallazgos muestran que el baile del tango es una forma de trabajo altamente valorada por los bailarines, pero que también presenta desafíos en términos de estabilidad laboral y seguridad social. El trabajo suele organizarse por proyectos, de duración indefinida, con asociaciones circunstanciales y de forma autogestiva. Estos hallazgos son relevantes para comprender la naturaleza del trabajo en el campo cultural y artístico, así como para informar políticas públicas orientadas a mejorar las condiciones laborales de los bailarines profesionales.

O presente artigo busca compreender a história, as tensões e as resistências que caracterizaram o baile de tango Milonga na Praça, entre 2016 e 2020, quando realizado na Praça dos Namorados Beto Stodieck, região central de Florianópolis (SC). Para o desenvolvimento da pesquisa, foram coletados documentos sobre a história desse ritmo e realizadas entrevistas com idealizadores, organizadores, professores e participantes do evento. As análises possibilitaram visibilizar as tensões que constituíram a história do tango, bem como os embates decorrentes da realização dessa dança em espaço público de uma cidade na região Sul do Brasil. Concluímos que, ao migrar para outro contexto, a estrutura e as regras de uma milonga se modificam, e analisá-las nos permite compreender as resistências e transformações em uma dança que se mantém viva na medida em que é reinventada.

Tango was born in the Rio de la Plata basin at the end of the 19th century. After an eclipse in the second half of the 20th century, it is experiencing a globalized revival, both as a spectacle and as a practice. To consider the geography of tango in Buenos Aires and Montevideo is then to study their prominent place in a diversity of tourist and cultural circulations, at various scales (continental and global), transforming cultural and heritage elements into territorial symbols and drivers of development through culture and tourism. These political and economic uses of tango pluralize its meanings and produce conflicts on the modes of anchoring a cultural practice to these two cities.

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 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.)

En su libro Tango Queer (2018), Mariana Docampo detalla sus vínculos con esta danza a la que imprimió un giro fundamental: es una de les fundadores de la Milonga Queer. El libro es un ensayo que narra la nueva vida queer del tango, pero también incluye un manifiesto que explica en qué consiste esa modificación que se ofrece como propuesta para las epistemologías feministas. En la idea de que “bailar tango constituye por sí mismo una performance de género” (2018, 103) radica su posible cambio de orientación, al intervenir en aquello que se ubica en el centro nodal del tango, para subvertirlo: la comprensión binaria de los roles. Este artículo analiza cómo la noción de movimiento atraviesa la obra troncal publicada hasta la fecha por Docampo (un libro de cuentos, cinco novelas, el mencionado ensayo) y que se presenta como una reflexión sobre los modos de estar en el mundo desde una mirada oblicua, que trabaja contra una noción centrada y unívoca de la subjetividad. Se tendrán en cuenta para los marcos teóricos a las pensadoras feministas y queer Teresa de Lauretis y Sara Ahmed.

This paper aims to estimate the economic impact of the Buenos Aires Tango Festival 2019, Argentina. For this, the effects method is used, which includes direct, indirect and induced effects. In addition, some indicators are proposed and calculated to account for the relative impact of the event. The data was collected through an own survey carried out in person. The results show that the 2019 edition left nearly USD 680 million in the city's recreational and commercial circuit, equivalent to 0.6% of the annual production of the City of Buenos Aires. In addition, more than USD 100 million constituted a genuine foreign exchange income for the country. It is concluded, then, that the event generated a strongly positive economic impact in 2019. [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]

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Skazka Skazok/Tale of Tales (Yuri Norstein, 1979) has delighted and puzzled audiences and critics ever since its release. It presents a series of beautifully-animated episodes that seem to make narrative sense at the micro-level and that appear to fit together as a whole, but leaves the audience bemused as to why this should be so. The article discusses the history and context of the film, arguing that the ways in which sound and, particularly, music are deployed in relation to its visual elements provide powerful clues and cues as to the film's over-arching narrative significances. Close analysis of the film's music, sound and visuals reveals teleological underpinnings that are realized by means of alignment and re-alignment of music and image, leading to a new understanding of how the film and its success can be interpreted. [ABSTRACT FROM AUTHOR]

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.

En este artículo se indaga la relevancia de la noción de sacrificio para comprender ciertas desigualdades persistentes en las relaciones de género en los circuitos dancísticos profesionales del tango y la danza contemporánea en Buenos Aires. A partir de los datos recolectados en un trabajo de campo etnográfico realizado entre 2014 y 2020 con un grupo de bailarinas madres, se observa que las representaciones del sacrificio son centrales para comprender los repertorios discursivos que son movilizados para reivindicar un compromiso total e intensivo con el rol de bailarina y para postular una incompatibilidad inherente a la carrera dancística con la maternidad. Se concluye que este ideal de sacrificio y consagración provoca sensaciones de desajuste e incompatibilidad dentro de los proyectos personales de muchas artistas de cara a la conciliación de la profesión y la maternidad.

En el siguiente artículo se analiza el poemario Tangos (1987), del chileno Mauricio Redolés, con el propósito de indagar en la vivencia del exilio provocado por la dictadura militar chilena. Se propone que el autor poetiza la experiencia del exilio a través del estilo musical del tango. Pues en el tango la música, la letra y la danza confluyen para dar cuenta de una determinada representación cultural que varía, según la geografía y temporalidad en que está situada. En este sentido, la particularidad de este poemario reside en cómo dialogan y se emplean estratégicamente, a nivel escritural, motivos propios del tango como la ciudad, la sexualidad y fenómenos migratorios con la postura de una voz poética que enuncia desde el desarraigo.

El ensayo explora el uso de lenguas plebeyas, es decir, de conjuntos sistemáticos de opciones léxicas y gramaticales carentes de prestigio en el ámbito cultural, en la literatura de Julio Cortázar. Se centra en tres ejemplos de este uso, cuyo análisis permite construir lecturas específicas de los cuentos elegidos en las cuales la materia lingüística se muestra tan relevante como el contenido y la estructura narrativos. Se analiza la lengua popular en “Torito”, la lengua de clase media en “Final de juego” y la lengua de traducción en “Continuidad de los parques”. En los tres casos, la estilización de una determinada lengua (su recreación literaria con objetivos narrativos) colabora en la creación de un sentido.

Producto de una prolongada y detallada etnografía en las milongas porteñas, la autora detecta un grupo clave: los antiguos milongueros, que centralizan el baile, el poder, y la atención en estos ámbitos. Con su marca de machismo y gracias a la aceptación gozosa por parte de las milongueras, los tangueros mantienen en secreto sus "historias" amorosas. De modo que hay un contraste entre el baile erotizado que se muestra en la pista y la contemplación aseptica que se registra en las mesas de alrededor, donde florecen vínculos libidinales que se mantienen fuera de la vista general. Por ello, la autora plantea que la milonga más que favorecer, traba la libre circulación sexual.

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The historical performing styles in tango as a socio‐cultural construction give rise to the elaboration of the canon of the musical style that we know today. In this stylistic tradition, Aníbal Troilo is one of the relevant figures. In this work we analyze Troilo’s modes of temporal enunciation in order to find indicators of the construction of the temporal‐expressive patterns of his style. To do this we compare different interpretations of the tango Mi Refugio applying computer tools on manual beat annotations. We calculate tempo curves and compare them through correlation analysis and polynomial regression. Comparisons between different versions are interpreted through hermeneutical‐musical analysis. The results indicate a consistent use of temporal regulation patterns in Troilo’s phrasing at different expressive‐structural levels, beyond the variations in the musical surface of the arrangements. In addition, an increaseing‐decreacing resource was identified for articulatory purposes in the communication of the form.

The present study examines the efficacy of tango therapy on motor and non-motor symptomatology in Parkinson's disease, as detailed in articles published over the previous four decades (1980–2022). All data was collected using PubMed, Google Scholar, Web of Science, and Science Direct. The present descriptive study outlines the advantages of tango in the rehabilitation of Parkinson's disease's motor and non-motor symptoms. Numerous studies have been conducted to determine the usefulness of tango for people with PD. Information from various research is critical for determining if tango is a useful supplementary therapy for the variety of symptoms related to Parkinson's disease. The purpose of this review was to describe the present state of research on this subject. Thus, the objective of this review is to promote awareness of tango therapy's therapeutic benefits for Parkinson's disease. [ABSTRACT FROM AUTHOR]

This study proposes a manufacturing method for reproducing some physical properties of the heart by comparing the elasticity, tear resistance, and hardness of a pig heart and three-dimensional printing materials, Agilus and Tango. A Digital Force Gauge was used to analyze elastic modulus and tear resistance, whereas a Shore A hardness meter was used to measure hardness. Agilus and Tango had 10 and 5 times higher elasticity, respectively, 2 and 4 times higher tear resistance, and a higher Shore A hardness than the pig heart. In summary, the pig heart had a more similar elasticity and Shore A hardness than the Tango sample, whereas more tear resistance was similar to the Agilus sample. Therefore, we proposed elasticity and tear resistance equations that can be used to build a heart model and a conversion table for heart fabrication at various thicknesses. [ABSTRACT FROM AUTHOR]

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Los debates sobre los orígenes del tango siempre han sido controvertidos. Las dos más influyentes escuelas de pensamiento aparecieron en las décadas de los veinte y treinte. Uno, el más célebre, difundido por el uruguayo Vicente Rossi, defiende un tango afrodiaspórico. El otro, popularizado por el musicólogo argentino Carlos Vega, propone el tango como un sobreviviente evolutivo de la música española de la Edad Media. Aunque a menudo se presenta como mutuamente excluyente, una lectura intertextual de estas narraciones, junto con las construcciones cambiantes de la raza, abre nuevas vías para comprender historias aparentemente dispares. Inicialmente considerada africana, la palabra "tango" cambia de un significado racializado a medida que se construye y acepta la narrativa hegemónica de una Argentina "blanca". En esta construcción de raza, los cuerpos africanos e indígenas quedan relegados a un pasado lejano. Si bien a primera vista, esta racialización parece estar en desacuerdo con los orígenes hispanos de Vega, un examen más detallado revela que esta narración reinventada es parte de la narrativa argentina más amplia de la raza que margina a los afroargentinos. A través de la historiografía crítica, demuestro cambios en el significado del tango tanto en las historias de origen dominantes como en las formas en que los flujos transatlánticos informan esas historias. Además, demuestro las formas en que la racialización musical invisibiliza las contribuciones y la participación de las personas de color en las historias de tango. A través de la comprensión de las formas en que las construcciones hegemónicas de la raza interactúan con las narrativas de la historia del tango, podemos avanzar hacia versiones más inclusivas de la historia del tango, presentando una nación argentina heterogénea tanto en su pasado como en la actualidad.

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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 Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, Servicio de Publicaciones 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.)

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. [ABSTRACT FROM AUTHOR]

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.

El bandoneón, ese instrumento que evoca sentimien-tos bohemios en el tango, género que inició exclusi-vamente para hombres al igual que el bandoneón, hasta que la argentina Francisca Bernardo decidió interpretar el instrumento a principios del siglo XX, es decir, toda una hazaña para la liberación del mun-do femenino en el tango. Aquel primer paso, que dio Francisca, o “Paquita” como es conocida, abrió la oportunidad para que otras mujeres se arriesgaran a interpretar el bandoneón. Una de esas grandes bandoneonistas es Carla Alge-ri quien, además de interpretar el instrumento, es compositora, directora y arreglista en el tango; em-bajadora cultural del tango de la Ciudad de Buenos Aires y gestora cultural. Entre sus grandes trabajos se encuentra la redacción del tango como patrimonio de la humanidad para la Unesco, además de ser discí-pula de uno de los más reconocidos en el bandoneón como el Maestro Rodolfo Mederos.

В центре статьи - картина кубанского мастера, заслуженного художника РСФСРВасилия Васильевича Монастырного (1946-2017) «Музкоманда “Танго смерти”», созданнаяв 1987 г. Осуществляя анализ картины, авторы сосредоточивают свой исследовательский интерес на теме искусства в контексте войны. Вспоминая работы Романа Полански и Андрея Малюкова, Рикардо Ортиса и Валерия Туракевича, авторы обращают внимание на особый прием,используемый ими в своем творчестве. Имеется в виду оксюморон, посредством которого художественное пространство предстает отмеченным единством таких несовместимых феноменов,как искусство и война. Если сфера искусства напрямую связана с умножением сущностныхсил человека, то война, напротив, являет собой бездушную машину, призванную поставить под вопрос само существование человека. С этой точки зрения искусство выступает знаком бессмертия аналогично тому, как война символизирует смерть. Обозначенный прием заявляето себе и в названии картины Василия Монастырного. В одном случае «Танго смерти» обнажает хрупкость человеческой жизни, возможность ее мгновенной утраты согласно характерному длятанго быстрому ритму. В другом - танго как парный танец указывает и на количество оставшихся музыкантов - скрипача и исполнителя на тубе. Наконец, название картины обращает внимание зрителя на этимологию лексемы танго, которая берет свое начало от латинскогоглагола tangere (прикасаться), т.е. прикосновение смерти. При этом во всех без исключения случаях налицо сочетание несочетаемого, обусловливающее эмоциональную выразительность художественного образа.

Тесное взаимодействие эстрадной и композиторской опус-музыки существенно затруднено в силу противоположности этики и эстетики этих двух типов творчества. Сопоставление Концерта для двух оркестров Софии Губайдулиной и «Фьюжн-концерта» для альта с камерным оркестром Антона Танонова выявляет понимание обоими композиторами сутионтологического раскола между двумя типами музыки, а также возможностей их творческих контактов. В обоих сочинениях существен полистилевой контраст между эстрадными антиэстрадным компонентами. У Губайдулиной он репрезентирован двумя оркестрами; симфонический опирается на сонорную стилистику, в эстрадном доминирует немелодический джаз-роковый рифф. В концерте Танонова стилевая антитеза возникает между танго 1-й частии репетитивизмом 2-й. В обоих сочинениях налицо противопоставление двух музыкальныхмиров в виде антиномий «движение, игра - рефлексия», «энергетический выплеск - динамическая интроспекция». Концептуально мир эстрады и у Губайдулиной, и у Танонова представлен неоднозначным, и его противополагание опус-музыке не носит уничижительного оттенка.Упругие танцевальные ритмы представляют эстраду как одно из проявлений празднично-гедонистических граней жизни. Вместе с тем в обоих сочинениях просматривается мысль о том,что энергетический потенциал при соответствующих условиях может привести к духовномуопустошению и обернуться весьма напористой банальностью. Тем не менее, оба композиторарепрезентируют и иной облик бытовых жанров, который можно назвать примиряюще-гармонизующим. Диалог «серьезного» и «легкого» искусства в условиях ощутимого кризиса обоихтипов творчества может быть достаточно перспективным - как одна из линий музыки XXI в.Об этом свидетельствует сегодняшний интерес к музыкальной эстраде представителей российской опус-музыки разных поколений.

Abstract Tango therapy is very effective by applying tango elements according to the clinical severity and status of a patient. Maximization of the clinical effects of tango therapy in patients with Parkinson's disease may be achieved by the proper prescription of tango elements according to the clinical status of a patient.

In Argentine society, artistic expressions or popular manifestations have managed to entrench a very strong sense of belonging and among these demonstrations stands out the "Tango”. In 2009, Argentina achieved that this cultural event enters the representative list of intangible cultural heritage of UNESCO. Since then, policy actions are increased to contribute to the process of heritage construction of Tango, which have contributed to the “festivalization” of the city of Buenos Aires as a strategy for the development of tourist activity. In this context, the aim of this work is to analyze the cultural actions and policies linked to tango as a strategy of heritage construction. As an artistic expression that combines dance, music, poetry and singing, and is part of the national cultural identity, the purpose is to understand its economic and touristic impact in the city. The analysis show that the consolidation of cultural actions and policies enabled the affirmation of tango as a support for the collective memory and identity of a people and as a phenomenon that generates wealth through tourism and the cultural industry.

Astor Piazzolla deixou-nos uma obra peculiar com um estilo musical que combina os elementos do tango argentino com os da música clássica e do jazz americano que viria a marcar as décadas de 50 a 70 do século XX. Este estudo debruça-se sobre uma coleção de seis estudos escritos originalmente para flauta solo em 1987, designados por Astor Piazzolla Tango-Études. Na passagem do centenário do seu nascimento, assinalam-se os dois concertos que realizou em Portugal, o contexto e o impacto que tiveram na época nas cidades de Lisboa e Porto, onde atuou.

Problematizar lo que acontece en un concierto de tango es reconstruir las relaciones que establecen las personas y los objetos desde una dimensión musical y social. A partir de la noción de concierto, se realiza una geografía de los lugares del tango donde actúan los grupos del género. En la primera década del siglo XXI el circuito de tango porteño ha mutado para configurarse de forma híbrida e integrada por dos flujos de circulación diferenciados pero vinculantes: uno legítimo y otro autogestivo. Cada uno con sus respectivos mediadores, estos lugares dan fuerza al género en la ciudad porteña.