15 years...$20k plus
Including travel airfare lodging food drink clothes shoes entradas festival registrations classes workshops music
Sent from my iPhone
Tuesday, June 26, 2018
Thursday, June 14, 2018
"And the music?" "Oh, he doesn't let the music get in the way of his dancing!"
Shared on FB by Vania...
"And the music?" "Oh, he doesn't let the music get in the way of his dancing!" ~ Anonymous
[One of my photos...]
"And the music?" "Oh, he doesn't let the music get in the way of his dancing!" ~ Anonymous
[One of my photos...]
Sunday, June 10, 2018
Sunday, June 3, 2018
Tango, No Todo Es Rock :: Documentary
I'm working on finding the full doc...this is the trailer...the first video is an interview with Pedro Lombardi at a screening/exhibition in Beruit...
Ten years after having photographed the young dancers who sparked the Tango revival,
Pedro Lombardi comes back to the shores of the Rio de La Plata.
Support this movie on : www.ulule.com/tango
From the Ulele Crowdfunding site:
« Tango, no todo es rock » could have been a documentary about Tango, a dance that has
sparked a renewed interest during the last few years. It is rather a movie on the intimate and
fascinating world of the “Tangueros” and their “Milongas”, a world where the myths of
Tango are being relentlessly reinvented since the early 20th century.
Jacques Goldstein follows photographer Pedro Lombardi in a treck around the Rio de la Plata, between Buenos Aires and Montevideo, the capitals of Tango.
Through his encounters with old acquaintances, he examines what they've become.
This discovery of the circle of those who keep Tango alive and the prospect of a common work between two confirmed visual artists, drove them to make this movie.
Pedro Lombardi, author of a photography book that has become areference for tango connoisseurs, “Invitation au Tango” (2005, Editions du Collectionneur). He shared with the great figures of that culture some key moments in the dance's evolution.
He has developed a love story with, and also practiced, Tango. More than his culture, it is a
part of his life. Thus was he able to make friends the Maestros: Mariano “Chicho” Frumboli, Esteban Cortez, Evelyn Rivera and Gisela Natoli.
This allows him to gather not only rare, but authentic testimonies. His involvement and
reputation enable him to pry into each one's personal stories : love stories, mob stories, failure
and success stories in a continent which is undergoing a complete cultural and economical
renaissance.
Synopsys :
Ten years after having photographed the young dancers who sparked the Tango revival, Pedro
Lombardi comes back to the shores of the Rio de La Plata. During these new photo sessions,
the “tangueros” confide in the privileged witness of their beginnings. Through these intimate
testimonies, one can see the outline of the great history of Tango. A mythology made of
dreams of glory - sometimes accomplished -, of couples breaking up, of European exile and of
returns to the homeland.
An eternal movement back and forth :
It is a project which fits into the very history of Tango, into its perpetual shift back and forth between the black dark shores of the Rio de la Plata and the white shores of the Seine river.
Can an authentic popular culturre thrive in the energy of an emerging country, away from the world's former centerof gravity, the old Europe ?
Through the cliches and myths - which, as Roland Barthes once wrote, are meant to be
reinvented and re-appropriated -, there is always a truth to be found about who we are, or
think we are.
And if one cares to look, these myths tell the story of our world.
A world that awakens, “creole”, that is neither black nor white, but in black and white.
What are the funds for?
We've received a subsidy from the National Center for Cinema (CNC), which allows
us to launch the shooting, albeit in very precarious conditions and with no budget security...
Despite this, the shooting crew came back from it's trip with great enthusiam, magnificent pictures and beautiful interviews;
That's why, we solicit your help in order to finalize the movie most of our budget has been assigned to the shooting. Today, we still lack 5000€ to finish the post-production :
Color Grading
Mixing
Musical broadcasting rights
Translation and transcription from Spanish to French necessary for eventual subtitles
and dubbing.
We are, of course, aware that your help is more than valuable, not only for the financial boost,
but also to finish convincing various oganisms and investors to fund our movie.
About the project owner
Vidéo de poche :
Antonin, Benjamin and Felix, the new generation of workers at Vidéo de Poche, are the
promoters of this documentary project.
Eager to get Vidéo de Poche's film production branch back on track, they initiated the project and put a breath of youth into the movie.
They need your help to go through with this adventure, starting point for a new era in their professional
lives.
Jacques Goldstein : Director
After studying philosophy and aesthetics, Jacques Goldstein turned to television. Entering
France 2, France's second national network, he worked as an assistant on a popular music
program, “Les Enfants du Rock” (The Children of Rock). He produced several musical
documentaries for the show, including a portrait of Miles Davis in 1986. He then directed
documentaries exploring the relations between Black culture and White Culture, exile and
creation, music and society.
Documentary Filmography
« Matthew Shipp, a black mystère pianist » 45mn. Mezzo 2011.
« Retour en Afrique-Konono N°1 » 52mn Trace TV 2009, TV Nantes.
« Do you still ? » 52mn Mezzo, June 2008.
« David Murray , I am a Jazzman » 52mn nominated for Arts et spectacle competiton
FIPA 2008, ARTE.
"Hors chant" 52mn, Selected for « Séance spéciale : regards sur le spectacle vivant »
FIPA 2007, shown on january 23rd 2007, opening night for FIPA's twentieth anniversary.
"Jungle Blue" 70mn. SACEM Musical creation documentary award, Special jury
award at the États généraux du documentaire Lussas 2005, Nominated for a "Rose d'or" at
Lucerne 2005.
"La Nouvelle-Orléans" 45mn Les Films d'Ici. Broadcast on 02/21/2002 on Arte and in
2003 on RTBF (Belgium) and TSR (Switzerland).
"What’s going on?" 52 mn portrait of musician Femi Kuti, broadcast on ARTE on the
show Music Planet, produced by La Huit production. Shown on 09/22/2001 non-competing
selection FIPA 2001. Rerun on France O in January 2006, selected for the Radio France
festival in Montpellier in July 2007.
"Johannesburg" 52mn broadcast on Paris Première, produced by Films d’ici. Rerun on 08/
29/2002 this film was shot in 2000 and braodcast for the first time in 2001. Selected by the
MK2 Beaubourg for Documentary Month 2002.
"La route des Roms" 26mn,in collaboration with journalist Laurent Cibien. An Arte/
Arbracam co production for "Reportages". Broadcast on Arte on 23/04/2003 and on TV5 in 2004.
"This is our music" 52mn Produced by La Huit Production and Universal Jazz France,
broadcast on Mezzo in March of 2003.
"Un sang d’encre, Black as ink" 52mn With Aimé Césaire, Melvin Van Peeble, and
Gordon Parks produced by La Huit Production for Planète, Histoire, PBS USA, CFI.
Rerun on Histoire in June of 2001.
"Wadada, Leo Smith" 52mn, produced by La Huit Production 2010.
Pedro LOMBARDI – photographer
Born in Montevideo, Uruguay, Pedro LOMBARDI has been living in Paris for 25 years.
Eager to learn about different things and – especially - people, his work as a photographer
started with several photo reports in Russia, the U.S., Morocco, Canada, and New Caledonia.
Two angles emerge from this work : at once witness and actor, social and cultural - through
theater, music and dance. Du to his cosmopolitan background, he is fascinated by the
universal language of music. He has been working for several years on Candombe, the Afro-
Uruguayan rhythm, “collective practice” that has been transmitted from one generation to the
next (exposed at the Fnac and the Biarritz International Festival 1998).
Always building bridges between Latin America and Europe, he took up the theme of Tango
in Paris in 1998 (Exposition and catalog : Unesco, 1999), and has since pursued it in both of
the cities that gave it birth : Montevideo and Buenos Aires. His approach is both that of an
esthete and that of a connoisseur, a Tanguero. He looks at the women invited to dance with
that same eye, and in this relation, as in dance, all the sensuality the complicity and intimacy
that make Tango magic build up.
That work has been published in a beautiful book :
« Invitation au Tango » (Editions du Collectionneur, Paris 2005) and in a musical
Ten years after having photographed the young dancers who sparked the Tango revival,
Pedro Lombardi comes back to the shores of the Rio de La Plata.
Support this movie on : www.ulule.com/tango
From the Ulele Crowdfunding site:
« Tango, no todo es rock » could have been a documentary about Tango, a dance that has
sparked a renewed interest during the last few years. It is rather a movie on the intimate and
fascinating world of the “Tangueros” and their “Milongas”, a world where the myths of
Tango are being relentlessly reinvented since the early 20th century.
Jacques Goldstein follows photographer Pedro Lombardi in a treck around the Rio de la Plata, between Buenos Aires and Montevideo, the capitals of Tango.
Through his encounters with old acquaintances, he examines what they've become.
This discovery of the circle of those who keep Tango alive and the prospect of a common work between two confirmed visual artists, drove them to make this movie.
Pedro Lombardi, author of a photography book that has become areference for tango connoisseurs, “Invitation au Tango” (2005, Editions du Collectionneur). He shared with the great figures of that culture some key moments in the dance's evolution.
He has developed a love story with, and also practiced, Tango. More than his culture, it is a
part of his life. Thus was he able to make friends the Maestros: Mariano “Chicho” Frumboli, Esteban Cortez, Evelyn Rivera and Gisela Natoli.
This allows him to gather not only rare, but authentic testimonies. His involvement and
reputation enable him to pry into each one's personal stories : love stories, mob stories, failure
and success stories in a continent which is undergoing a complete cultural and economical
renaissance.
Synopsys :
Ten years after having photographed the young dancers who sparked the Tango revival, Pedro
Lombardi comes back to the shores of the Rio de La Plata. During these new photo sessions,
the “tangueros” confide in the privileged witness of their beginnings. Through these intimate
testimonies, one can see the outline of the great history of Tango. A mythology made of
dreams of glory - sometimes accomplished -, of couples breaking up, of European exile and of
returns to the homeland.
An eternal movement back and forth :
It is a project which fits into the very history of Tango, into its perpetual shift back and forth between the black dark shores of the Rio de la Plata and the white shores of the Seine river.
Can an authentic popular culturre thrive in the energy of an emerging country, away from the world's former centerof gravity, the old Europe ?
Through the cliches and myths - which, as Roland Barthes once wrote, are meant to be
reinvented and re-appropriated -, there is always a truth to be found about who we are, or
think we are.
And if one cares to look, these myths tell the story of our world.
A world that awakens, “creole”, that is neither black nor white, but in black and white.
What are the funds for?
We've received a subsidy from the National Center for Cinema (CNC), which allows
us to launch the shooting, albeit in very precarious conditions and with no budget security...
Despite this, the shooting crew came back from it's trip with great enthusiam, magnificent pictures and beautiful interviews;
That's why, we solicit your help in order to finalize the movie most of our budget has been assigned to the shooting. Today, we still lack 5000€ to finish the post-production :
Color Grading
Mixing
Musical broadcasting rights
Translation and transcription from Spanish to French necessary for eventual subtitles
and dubbing.
We are, of course, aware that your help is more than valuable, not only for the financial boost,
but also to finish convincing various oganisms and investors to fund our movie.
About the project owner
Vidéo de poche :
Antonin, Benjamin and Felix, the new generation of workers at Vidéo de Poche, are the
promoters of this documentary project.
Eager to get Vidéo de Poche's film production branch back on track, they initiated the project and put a breath of youth into the movie.
They need your help to go through with this adventure, starting point for a new era in their professional
lives.
Jacques Goldstein : Director
After studying philosophy and aesthetics, Jacques Goldstein turned to television. Entering
France 2, France's second national network, he worked as an assistant on a popular music
program, “Les Enfants du Rock” (The Children of Rock). He produced several musical
documentaries for the show, including a portrait of Miles Davis in 1986. He then directed
documentaries exploring the relations between Black culture and White Culture, exile and
creation, music and society.
Documentary Filmography
« Matthew Shipp, a black mystère pianist » 45mn. Mezzo 2011.
« Retour en Afrique-Konono N°1 » 52mn Trace TV 2009, TV Nantes.
« Do you still ? » 52mn Mezzo, June 2008.
« David Murray , I am a Jazzman » 52mn nominated for Arts et spectacle competiton
FIPA 2008, ARTE.
"Hors chant" 52mn, Selected for « Séance spéciale : regards sur le spectacle vivant »
FIPA 2007, shown on january 23rd 2007, opening night for FIPA's twentieth anniversary.
"Jungle Blue" 70mn. SACEM Musical creation documentary award, Special jury
award at the États généraux du documentaire Lussas 2005, Nominated for a "Rose d'or" at
Lucerne 2005.
"La Nouvelle-Orléans" 45mn Les Films d'Ici. Broadcast on 02/21/2002 on Arte and in
2003 on RTBF (Belgium) and TSR (Switzerland).
"What’s going on?" 52 mn portrait of musician Femi Kuti, broadcast on ARTE on the
show Music Planet, produced by La Huit production. Shown on 09/22/2001 non-competing
selection FIPA 2001. Rerun on France O in January 2006, selected for the Radio France
festival in Montpellier in July 2007.
"Johannesburg" 52mn broadcast on Paris Première, produced by Films d’ici. Rerun on 08/
29/2002 this film was shot in 2000 and braodcast for the first time in 2001. Selected by the
MK2 Beaubourg for Documentary Month 2002.
"La route des Roms" 26mn,in collaboration with journalist Laurent Cibien. An Arte/
Arbracam co production for "Reportages". Broadcast on Arte on 23/04/2003 and on TV5 in 2004.
"This is our music" 52mn Produced by La Huit Production and Universal Jazz France,
broadcast on Mezzo in March of 2003.
"Un sang d’encre, Black as ink" 52mn With Aimé Césaire, Melvin Van Peeble, and
Gordon Parks produced by La Huit Production for Planète, Histoire, PBS USA, CFI.
Rerun on Histoire in June of 2001.
"Wadada, Leo Smith" 52mn, produced by La Huit Production 2010.
Pedro LOMBARDI – photographer
Born in Montevideo, Uruguay, Pedro LOMBARDI has been living in Paris for 25 years.
Eager to learn about different things and – especially - people, his work as a photographer
started with several photo reports in Russia, the U.S., Morocco, Canada, and New Caledonia.
Two angles emerge from this work : at once witness and actor, social and cultural - through
theater, music and dance. Du to his cosmopolitan background, he is fascinated by the
universal language of music. He has been working for several years on Candombe, the Afro-
Uruguayan rhythm, “collective practice” that has been transmitted from one generation to the
next (exposed at the Fnac and the Biarritz International Festival 1998).
Always building bridges between Latin America and Europe, he took up the theme of Tango
in Paris in 1998 (Exposition and catalog : Unesco, 1999), and has since pursued it in both of
the cities that gave it birth : Montevideo and Buenos Aires. His approach is both that of an
esthete and that of a connoisseur, a Tanguero. He looks at the women invited to dance with
that same eye, and in this relation, as in dance, all the sensuality the complicity and intimacy
that make Tango magic build up.
That work has been published in a beautiful book :
« Invitation au Tango » (Editions du Collectionneur, Paris 2005) and in a musical
Tango Orquestas :: Le Collectif Roulotte Tango
https://www.roulottetango.com/
LE Collectif Roulotte tango, c'est qui ?
Explosant toute la tension des boyaux et des corps, le collectif expose ses tripes à
l' attention de tous en décorant ses accords.Explorateur, il fouille dans le langage
du corps, le verbe musical.
Insolent Tangophage Il dissèque avec amour les Tangos les plus renommés du Rio de
la Plata, pille, admiratif le répertoire des plus grands, détrousse affectueusement les
classiques, dépouille tendrement les modernes, dévalise passionnément les anciens,
il prend langue avec eux, s'empresse d'en détourner les thèmes, les mots et les
accents pour redonner aux corps l'indispensable pression d'un embrasement câlin, pour
redonner un langage à la rencontre, de l'intense à la fête, du sensuel au spectacle,
pour redonner du corps à la Milonga sous l'œil béat des danseurs qui adulent ces
iconoclastes improvisateurs et l'oreille épanouie des auditeurs iconodules.
Who is the collective caravan Tango?
Exploding all the tension of the guts and bodies, the collective exposes its guts to the attention of all by decorating its chords. Explorer, he searches the language of the body, the musical verb.
Insolent Tangophage He dissects with Love the most renowned Tangos of the Rio de la Plata, plunders, admiring the repertoire of the greatest, affectionately unpacks the classics, tenderly strips the modern, steals passionately the elders,
He takes language with them, hastens to divert the themes, words and accents to give back to the bodies the indispensable pressure of a hug ignite, to give a language to the encounter, from the intense to the feast, from the sensual to the spectacle, for restore from the body to the Milonga under the smug eye of the dancers who worship these improvising iconoclasts and the open ear of the iconodules listeners.
LE Collectif Roulotte tango, c'est qui ?
Explosant toute la tension des boyaux et des corps, le collectif expose ses tripes à
l' attention de tous en décorant ses accords.Explorateur, il fouille dans le langage
du corps, le verbe musical.
Insolent Tangophage Il dissèque avec amour les Tangos les plus renommés du Rio de
la Plata, pille, admiratif le répertoire des plus grands, détrousse affectueusement les
classiques, dépouille tendrement les modernes, dévalise passionnément les anciens,
il prend langue avec eux, s'empresse d'en détourner les thèmes, les mots et les
accents pour redonner aux corps l'indispensable pression d'un embrasement câlin, pour
redonner un langage à la rencontre, de l'intense à la fête, du sensuel au spectacle,
pour redonner du corps à la Milonga sous l'œil béat des danseurs qui adulent ces
iconoclastes improvisateurs et l'oreille épanouie des auditeurs iconodules.
Who is the collective caravan Tango?
Exploding all the tension of the guts and bodies, the collective exposes its guts to the attention of all by decorating its chords. Explorer, he searches the language of the body, the musical verb.
Insolent Tangophage He dissects with Love the most renowned Tangos of the Rio de la Plata, plunders, admiring the repertoire of the greatest, affectionately unpacks the classics, tenderly strips the modern, steals passionately the elders,
He takes language with them, hastens to divert the themes, words and accents to give back to the bodies the indispensable pressure of a hug ignite, to give a language to the encounter, from the intense to the feast, from the sensual to the spectacle, for restore from the body to the Milonga under the smug eye of the dancers who worship these improvising iconoclasts and the open ear of the iconodules listeners.
Tango Orquestas :: Gaspar Pocai & BATACAZO - "Paulita"
The scene of this milonga (or house milonga/party) reminded me a bit of the scene from Pedro Almodovar's film "Hable Con Ella" where Caetano Veloso is singing Currucurru Paloma at a house concert/party.
1080p available for full-screen viewing...
Batacazo - http://batacazo31.wixsite.com/batacazo
Milonga "Paulita" Para Milongueros de Hoy
Composition Gaspar Pocai // Arrangement
Xavier Gainche Piano // Sergio Saraniche Guitare // Aurélien Deléron Contrebasse // Chant et bandonéon Gaspar Pocai
Enregistrement septembre 2014 - Images prises lors du "Bal des Pigeons" Loupiac 81
Vidéo-Montage Morgan Eloy MyYpok Ypok
1080p available for full-screen viewing...
Batacazo - http://batacazo31.wixsite.com/batacazo
Milonga "Paulita" Para Milongueros de Hoy
Composition Gaspar Pocai // Arrangement
Xavier Gainche Piano // Sergio Saraniche Guitare // Aurélien Deléron Contrebasse // Chant et bandonéon Gaspar Pocai
Enregistrement septembre 2014 - Images prises lors du "Bal des Pigeons" Loupiac 81
Vidéo-Montage Morgan Eloy MyYpok Ypok
Saturday, June 2, 2018
Wallflowers and Femmes Fatales: Dancing Gender and Politics at the Milongas | Marta E. Savigliano
‘Wall Flowers and Femme Fatales: Dancing Gender & Politics at the Milongas in Buenos Aires ’by Marta E.
Savigliano at ‘TANGO! Dance the world around: global transformations of Latin American Culture’ at Agassiz Theatre, Radcliff Institute, Harvard University, Boston
choreography Susan Rose in collaboration with dancers Adriana Pegorer, Carlos and Tovas Moreno
“Just as the conference broke new ground by bringing together popular music and scholarly analysis, so
Savigliano's presentation created a new genre by combining academic discourse with performance art” Harvard Gazette
The Harvard Gazette
BY Ken Gewertz
Harvard News Office
November 1, 2007
ARTS & HUMANITIES
It takes 200 (or more) to tango
Dozens of participants and hundreds of auditors participate in conference on tango
Barefoot and dressed with thrift-shop elegance in a floor-length, taffeta gown with fingerless gloves and a discus-shaped hat, Marta Elena Savigliano read from her paper “Wallflowers and Femmes Fatales: Dancing Gender and Politics at the Milongas” with a tinkling Argentine accent and an air of fey imperturbability.
A professor at the University of California, Los Angeles, Department of World Arts & Cultures, and the author of “Tango and the Political Economy of Passion” and “Angora Matta: Fatal Acts of North South Translation,” Savigliano had come to Harvard to participate in the conference “Tango! Dance the World Around: Global Transformations of Latin American Culture,” co-sponsored by the David Rockefeller Center for Latin American Studies, the Humanities Center, and the Radcliffe Institute for Advanced Study. The conference took place Oct. 26-27.
Just as the conference broke new ground by bringing together popular music and scholarly analysis, so Savigliano’s presentation created a new genre by combining academic discourse with performance art.
As she spoke, four dancers paralleled her words with brief solos and pas de deux, interspersed with ambiguous movements and glances. Short films of tango dancers played on the screen behind them, and later, choreographer Susan Rose, dressed like a French schoolboy in black jacket and shorts and red boots, videotaped the live dancers with a hand-held camera, projecting their images onto the screen.
Meanwhile, Savigliano developed a thesis about the world of the milongas, Argentinean clubs where people go to dance the tango. Through the medium of dance, men and women enact a succession of roles that include performer and observer, chooser and chosen, victim and victimizer. “It takes three to perform the tango,” she said, “two to dance and one to watch.” Despite the self-conscious role-playing, the dancers are at the mercy of this sensual and overpowering music. “It is beyond your control; just try to make it beautiful.”
According to Homi Bhabha, the Anne F. Rothenberg Professor of the Humanities in the Department of English and American Literature and Language, the conference represented an attempt to initiate a conversation among the performing arts and a range of academic disciplines, including literary and cultural studies, sociology, anthropology, political science, economics, philosophy, and history.
“Tango is an impassioned music that is indeed a world music,” Bhabha said. “It began in Argentina and Uruguay in the early 20th century and spread all over the world, even to places like Japan and Finland. Tango provides a lens through which we can study such things as gender, urban development, globalization, and other issues.”
Bhabha’s own history testifies to tango’s global reach. Growing up in Bombay, he was introduced to tango by his father, a great fan of tango music and an enthusiastic tango dancer. Bhabha said that listening to his father’s records, he was “completely captivated by the music’s combination of fragility and strength. And in that way that children sometimes experience, the music caused me to feel nostalgia for something without my really knowing what I was nostalgic about.”
Years later, when he was an adviser for the humanities at Radcliffe, Bhabha suggested the idea of a tango conference to then-Radcliffe Dean Drew Faust, who agreed that it would it would be an interesting way of bringing about dialogue across disciplinary boundaries. As Harvard president, Faust was, if possible, even more enthusiastic about the idea, since it coincides with her focus on intellectual discussions underpinned by new interdisciplinary and institutional alliances.
Just as Bhabha imagined, the conference did succeed in bringing together scholars and performers from many different fields and geographical locations. In some cases there was a melding of the two roles. Pablo Aslan, a bassist and composer and amateur tango historian, gave a presentation titled “In Search of Tango Music History.”
According to Aslan, the leader of a tango-jazz ensemble called Avantango, there are many myths and assumptions about the origins of tango that have no basis in fact. According to many sources, tango began in the early 20th century as a scandalously erotic dance of the lower classes of Buenos Aires forbidden by the authorities, which achieved respectability only when it became a fad in Paris just before World War I. But Aslan said he has discovered sheet music for tangos as early as the mid-19th century and that by 1900 it was being danced by all classes throughout Buenos Aires.
Aslan played several early recordings of the music, showing how it evolved from a complex style played by highly trained musicians to a simplified form accessible to the middle class. Certain features remained, however, such as the corte, a sudden halt in the rhythm that gives the tango its characteristic start-and-stop quality.
Conference participants got a chance to see Aslan the performer at a reception following the conference when he and pianist Octavio Brunetti, accordianist Victor Prieto, keyboardist Bario Boente, and other musicians played contemporary expressions of this still-evolving musical form. Two Argentinean-born dancers, Fernanda Cajida and Dario da Silva, demonstrated various styles of tango dance.
The second day of the conference also featured talks and discussions that covered a wide variety of subjects. Sylvia Molloy, the Albert Schweitzer Professor of Humanities at New York University, where she teaches Latin American and comparative literature, delivered the keynote address on the influence of tango on the work of the great Argentine writer Jorge Luis Borges. Two discussions considered “Tango as a Cultural Form: Music, Dance, Film,” and “Tango as Politics: Gender, Class, Urban Life.” Cellist Yo-Yo Ma, who recorded the CD “Soul of the Tango: The Music of Astor Piazzolla” in 2005, participated in a discussion of tango with composer Osvaldo Golijov.
Bhabha said that he hopes the tango conference will serve as model for future conferences that will consider other cultural forms indigenous to particular regions and follow their development into global phenomena. He said that he was encouraged by the enthusiasm that has been generated by the tango conference.
“This was something that was literally a dream in my head, and now it’s become a reality,” he said.
ken_gewertz@harvard.edu
Destino Buenos Aires | Tango-Turismo: Sexual Cinematagraphico | Marta E. Savigliano
PDF En Español: http://www.scielo.br/pdf/cpa/n25/26531.pdf
Destination Buenos Aires
Tango – Cinematographic Sexual Tourism
Abstract
Buenos Aires currently enjoys a boom in international tourism and the tango is undoubtedly a main local attraction. What are foreign tourists looking for in the tango experience? How do they know what is in a tango and in the tango world for them? What pleasures does the tango offer them? Unconvinced with settling explanations based in the universal and transcendental powers of art, the author explores the uses of tango in narrative cinema – in particular, the sophisticated ways in which the erotics of cultural difference frame tango-esque seduction. For this purpose, tango films of recent release (Potter’s The Tango Lesson and Saura’s Tango) and oldies (Gilda) are analyzed as stories that, taking place in an exotic Buenos Aires, weave intertwined dramatic plots of cultural and gender alterity – exacerbated by the presence of femmes fatales – , through dramatic and dangerous romantic disencounters with a happy end. Thus the tango, culturally appropriated, promises violent emotional turmoils, erotically tamed via “ universal” laws of heterosexuality and homosociality. An irresistible cinematic formula for sex tourism.
Key Words: Tango in Film, Sexuality and Cultural Tourism, Cinema and Inter/Multi/Transculturalism, Femmes Fatales.
Resumo
Buenos Aires disfruta de un boom turístico internacional y el tango
figura predominantemente entre los motivos de atracción.
¿Qué buscan los viajeros foráneos en la experiencia tanguera?
¿Cómo saben qué les puede brindar específicamente un tango y el
mundo del tango en general? ¿Qué placeres les ofrece el tango?
No conforme con explicaciones sobre el carácter trascendental y
universal del arte, este artículo explora los recursos sofisticados
empleados en la narrativa cinematográfica para transmitir la
seducción tanguera en el marco del erotismo de la diferencia
cultural. Con este fin se analizan películas de tango recientes
(The Tango Lesson de Potter y Tango de Saura) y del
pasado (Gilda) en las que, en la exótica locación de Buenos Aires,
la alteridad cultural se cruza con la alteridad de género
(exacerbada por la presencia de femmes fatales) para desarrollar
dramáticos y peligrosos desencuentros amorosos con final feliz.
El tango, entonces, así apropiado, promete violentos huracanes
emocionales, eróticamente docilizados por las leyes “universales”
de la heterosexualidad y la homosocialidad. Una fórmula
cinemática irresistible para el turismo sexual cultural.
Palavras-chave: Tango en el Cine, Turismo Cultural y Sexualidad, Inter/Multi/Tr
MARTA SAVIGLIANO
Professor
Ph.D. in English, UC Berkeley
marta.savigliano@ucr.edu
Office: ARTS 107
Marta Elena Savigliano holds a Ph.D. in Political Science from the University of Hawaii-Manoa, and a Licenciatura in Anthropology from the Universidad de Buenos Aires.
She is an Argentine political theorist and anthropologist interested in the politics of culture: the transnational traffic of cultural goods, workers, ideologies and affects under global capitalism.
She is the author of Tango and the Political Economy of Passion (Westview, 1995), translated into Turkish, Slovene and Japanese, which received the Congress of Research on Dance Award for Outstanding Book 1993-1996. Her second book Angora Matta: Fatal Acts of North South Translation (Wesleyan U.P., 2003) addresses feminization and fatal-ness as recurrent tropes associated to artistic and scholarly representations of Latin America and, in particular, of Argentina.
Angora Matta was first conceived as a libretto for a thriller-opera of tangos. As an interdisciplinary and multi-art project of international collaboration, Angora Matta was developed with composer Ramon Pelinski, choreographer Susan Rose, and animation director Miguel Angel Nanni. A first experimental presentation of the complete work took place in the Teatro Presidente Alvear of Buenos Aires in November 2002 as a US-Argentine co-production involving 30 artists on stage.
The active participation of artists and intellectuals in reproducing or challenging historical and contemporary colonial world orders is consistently discussed in her work. Savigliano's current research focuses on staged and screened Global South responses to World Dance, in particular self-parodic versions of “traditional” dance forms associated to racialized, exotic, and erotic representations of “other” cultures and their contentious power in globalization.
Savigliano taught at UC Riverside's Dance department from 1992 to 1998, and at UCLA's department of World Arts and Cultures from 1998 to 2006. She is currently Full Professor at the University of California, Riverside, in Dance History and Theory; and founder of GLOSAS, an international center for Global South Advanced Studies located in Buenos Aires. Savigliano is President of the Congress on Research in Dance since August 2010.
Friday, June 1, 2018
What's In Your Heart? :: Portland Tango Festival Promo Video :: October 11-15, 2018
Will you let tango sweep you across Portland like Nancy and Chris did? We know we will! Watch this teaser for Portland Tango Festival 2018. You won't regret it! We can't wait to see you all in a just a couple of months. For more information go to www.portlandtangofest.com.
We would like to thank Nancy & Chris for participating in this video, Oliver for the beautiful voice over,TriMet for allowing us to use them, and Alex Krebs for letting us use his beautiful song Ella Es Asi feat. Enrique El Peru Chavez by The Alex Krebs Tango Sextet. Lastly, we would like to extend our appreciation to Bassel Hamieh for producing all of our videos. We can't wait to show you the rest!
The narrator says "We are a city that recognizes your individuality and inspires what is already in your heart." Obviously referring to the city of Portland.
I'll extrapolate that over to tango, and re-word it.
"What's in your heart?" Obvious/common words, not-so-common wording. Loaded with meaning.
In a different time and place and context, Jypsy JedEye said "tango is a wonderful forum to explore and cultivate mutual respect, freedom, communication, pleasure, compassion, forgiveness, grace, grace, generosity, empathy, subtlety, gentleness, and passion".
Indeed.
What's in your heart?
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