Meet tango john blogspot

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meet tango john blogspot

RETROKIMMER MEETS TANGO ARGENTINO! Jorge and Kimmer Tango . Search This Blog . John Varvatos Detroit Grand Opening. Over million people live in Latin America and many of them love dancing the tango. The passion, the mystery and the rhythm of the tango. I have been writing my blog, Tango-Therapist, for over 10 years and my I loved some people in the dance classes I met, and hated the ones who .. Hope I can come to Reno some time and dust off my Tango shoes, John.

In this sense, tango dancing can be fascinating and engaging, but may also be perceived as disreputable or discriminatory, and, thus, repelling. This tension makes for interesting and complicated characterizations of tango dancing, both when it first became a transnational phenomenon at the beginning of the 20th century and from a contemporary perspective. Eine transnationale Geschichte der Metropolenkultur umexplores the ways in which Argentinean tango dancing became a local cultural practice in Paris and Berlin at the turn of the 20th century.

In her dissertation, Lange studies the different ways in which the cultural transfer of tango dancing from Buenos Aires to the European metropolises took place, asking how and by whom conflicts and challenges were negotiated in this process of appropriation.

Kerstin Lange, Tango in Paris und Berlin.

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Eine transnationale Geschichte der Metropolenkultur um In view of the intense transnational exchange of tango dancers, instructors and musicians between Buenos Aires and Paris, the chapter on the French metropolis offers a supplementary sub-chapter on Argentinians in Paris, displaying the tension between tango dancing as an immoral way of life and tango argentino as a new, modern representation of national pride and identity on an international parquet Lange Passionate Encounters in a Globalizing World Passion, the American sociologist argues, is key to everyone who dances tango and is engaged with local and transnational tango communities; as such, it is an accordingly central concept for her analysis.

New York University Press, Davis studies why people in different places are so interested in tango and how they negotiate the ambivalences, contradictions and hierarchies of gender, sexuality and relations of power between North and South.

Passion, gender and transnationality are three different, but interrelated themes which Davis addresses. Tango salons, Davis argues, become spaces where dancers have the possibility to escape the realities of the present Davis Combined with personal observations of the author, a polyphony of voices drawn from multiple interviews fill the following chapters, centering on the experience of passion in tango dancing and the different ways in which this passion influences personal trajectories.

In the last three chapters, Davis addresses the performance of masculinity and femininity through tango dancing, innovative and alternative queer tango practices in Buenos Aires and abroad, and the importance of transnational encounters for the recent global revival of tango argentino.

Through their focus on the reciprocal cultural transfer of tango dancing practices between Buenos Aires and European metropolises in the past and present, both studies reveal the importance of tango as a transnational, urban phenomenon that has evolved locally and globally since its inception. When Argentinean tango reached the European dancefloor at the beginning of the 20th century, dancing practices from both sides of the Atlantic influenced each other mutually and complicated the image of one single authentic tango dancing style Lange Another important shift has taken place regarding the discussion and perception of tango as a sexualized, disreputable dancing practice.

As Lange shows, in both Buenos Aires and Europe, the early tango dancing culture led to resistance by urban elites who rejected its working-class provenance and provocative style. Yet the critiques in Paris were less pronounced as in Berlin and mostly expressed by Argentineans living in the French capital at the time, fearing that the appropriation of Argentinean tango would lead to a negative image of Argentinean culture and lifestyle Lange In Berlin, the situation at the beginning of the 20th century was different.

Over the last twenty years, as Kathy Davis shows, tango argentino became an established transnational dancing style in metropolises such as Amsterdam and Buenos Aires. Both studies provide fascinating accounts of Argentinean tango in Buenos Aires and European metropolises and offer new insights into the transnational negotiation of tango dancing, its critiques and its role in the shaping of post modern cosmopolitan lifestyles.


Both also invite further research on those aspects of tango that have had and continue to have an important impact on the practice of tango dancing, its role within national identity formation and its implementation as a part of a transnational, local and global popular culture.

Notably, three elements, that neither Lange nor Davis addressed in depth, deserve more scrutiny. First, the role of religion and the critical, conservative and traditional perception and condemnation of tango as an immoral dance form should be explored. Though recent tango studies emphasize that the current Argentinean pope himself is a tango aficionado, [1] many Catholics and other religious adherents, particularly but not exclusively in Argentina, perceive tangoing as an offensive sin.

She submits a letter she made up, from a man calling himself John Doe. In the letter he complains about the state of the world and says that in protest he is going to jump off the city hall roof at midnight on Christmas Eve.

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The letter provokes countless responses of sympathy and support for the man who wrote it. The newspaper brings the woman in to get the original letter. When she tells them she made it all up, they realize that they can simply find someone and pay him to say he wrote the letter.

Judging from the arguments that his films put forward, one could make the mistake of thinking that Capra was a New Deal Democrat, a believer in Roosevelt's radical social reforms that were aimed at rescuing America from the Great Depression. But Capra's politics were actually quite reactionary. The liberal heroes of his films were the creation of Capra's scriptwriters, the best of whom was Robert Riskin. This disparity between Capra's films and his own political convictions perhaps explains why he was so good at creating convincing villains.

The enemies of Mr. Smith, and John Doe are ruthless and powerful men, wealthy and corrupt, as well as almost totally cynical. Despite their passion and their popularity, Capra was enough of a realist to allow his villains to pose a serious threat to his heroes. So serious, in fact, that Capra had a difficult time resolving the resulting conflicts. Deeds is sewn up too neatly, with the hero keeping his inherited fortune, but Mr. Smith is resolved with a quite unbelievable change of heart by the powerful Senator Paine having what looks like a nervous breakdown.

With John Doe, Capra shot the film without an ending, believing that a satisfactory one would materialize by the time his shooting schedule got around to it. When he realized that an ending was not forthcoming, he had to test alternate endings with preview audiences. The ending that Capra settled on feels tacked on - which it was.

meet tango john blogspot