000			03357cam a2200361Ii 4500
001			ocn896700435
003			OCoLC
005			20240726104916.0
008			141121s2015 nyu ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT _dEBLCP _dNT _dUKMGB _dE7B _dLLB _dOCLCF _dJSTOR _dDEBSZ _dCOO _dOCLCQ
016	7		_a016954475 _2Uk
020			_a9780814762912 _q((electronic)l(electronic)ctronic)
020			_a9780814764541
050	0	4	_aGV1796 _b.D363 2015
049			_aMAIN
100	1		_aDavis, Kathy, _d1949- _e1
245	1	0	_aDancing tango : _bpassionate encounters in a globalizing world / _cKathy Davis.
260			_aNew York [New York] : _bNew York University Press, _c(c)2015.
300			_a1 online resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
520	0		_a"Argentinean tango is a global phenomenon. Since its origin among immigrants from the slums of Buenos Aires and Montevideo, it has crossed and re-crossed many borders. Yet, never before has tango been danced by so many people and in so many different places as today. Argentinean tango is more than a specific music and style of dancing. It is also a cultural imaginary which embodies intense passion, hyper-heterosexuality, and dangerous exoticism. In the wake of its latest revival, tango has become both a cultural symbol of Argentinean national identity and a transnational cultural space in which a modest, yet growing number of dancers from different parts of the globe meet on the dance floor. Through interviews and ethnographical research in Amsterdam and Buenos Aires, Kathy Davis shows why a dance from another era and another place appeals to men and women from different parts of the world and what happens to them as they become caught up in the tango salon culture. She shows how they negotiate the ambivalences, contradictions, and hierarchies of gender, sexuality, and global relations of power between North and South in which Argentinean tango is - and has always been - embroiled. Davis also explores her uneasiness about her own passion for a dance which - when seen through the lens of contemporary critical feminist and postcolonial theories - seems, at best, odd, and, at worst, disreputable and even a bit shameful. She uses the disjuncture between the incorrect pleasures and complicated politics of dancing tango as a resource for exploring the workings of passion as experience, as performance, and as cultural discourse. She concludes that dancing tango should be viewed less as a love/hate embrace with colonial overtones than a passionate encounter across many different borders between dancers who share a desire for difference and a taste of the 'elsewhere.'Dancing Tango is a vivid, intriguing account of an important global cultural phenomenon"-- _cProvided by publisher.
530			_a2 _ub
650		0	_aTango (Dance) _xSocial aspects.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=908922&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hGV. _m2015 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c82513 _d82513
902			_a1 _bCynthia Snell _c1 _dCynthia Snell