globalization and tango

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Globalization and the TangoAuthor(s): Chris Goertzen and María Susana AzziReviewed work(s):Source: Yearbook for Traditional Music, Vol. 31 (1999), pp. 67-76Published by: International Council for Traditional MusicStable URL: http://www.jstor.org/stable/767974 .

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GLOBALIZATION AND THE TANGO

byChrisGoertzenndMaria SusanaAzzi

Over a centuryfter tsgestation n the slumsofBuenos AiresandMontevideo, he tangohas become a global musicin several nterde-pendentways. t is global in the most iteral enseofgeographicreach,flourishingn BuenosAires nd Tokyo, n Saigon and Durban, n smalltowns nScandinavia nd inthe U.S. It has attained nd maintained ucha reachthroughts distinctivend enduringmusicalprofile nd, moreimportantly,hrougheveralkinds fsemantic lexibility.he tangobears

strongyetmutable inks to place and culture; t is variously utvividlyperceived s belonging otheRiode la Plataculture f theArgentinendUruguayan apitals, s thenationalmusicofArgentina,s moregeneri-callyLatin, r ustas pleasantlyorbizarrely)xotic, lderdance music. trewards he ntense ttention fferedy ficionadosnBuenosAires, ycoreoftangokichigaitangofanatics)nJapan,and byseriousdevoteeselsewhere,n addition to thepassingnoticeofpeople exposed onlytoisolated dances in movies or at an ice-skatingrink. For differentpopulations, hetango seither historicalootnote, healthful obby,ra

stunninglyomplexand

all-consumingocusfor motional ife.

The messageof thetango sbornebydance and musicelements hatwere rich and culturallyiversefrom heverybeginning one mighthave predicted he eventualglobal appeal of thetangofrom heglobalnatureof itsgenesis nd from ivotalmoments n itsearlyhistory.herich nd volatile ultural erment f the ate 19th-centurylumsofBue-nos Aires and Montevideobrought ogether mmigrants romEurope,especially talians, nd an ethnicallymixedarrayofnativeArgentineslookingforwork n, forexample,themeat industrynd the growingexport rade o GreatBritain. he rhythmicnderpinningfthetango s

generallyttributedoa blackpopulationofwhichfewdiscernibleracesremain; ther lements reassignedtootherArgentinethnic nd racialgroups see,e.g.,Natale1984andAzzi 1991:76).Whether rnotthey redemonstrable,hetango'sethnicallynd raciallynclusive ootshelp tojustifyhe claimthat, lthough lways ssociatedprimarily ith orteiios(thename Buenos Aires'citizensgivethemselves),he tango sArgenti-na's nationalmusic.

The largelymale underculturef turn-of-the-centuryuenosAires,reinforcedysympatheticpper-classmen,firsthaped thetango'swild,sensualchoreography, any f tsmusical haracteristics,omeof tstex-

tualthemes, nd its inguisticexture.With he ast termwe refer o thepeppering f yrics ithunfardo,lower-class ialect fBuenosAires seeGobello 1991). This first eriod,theguardiavieja old guard),extendedthrough hemid-1910s,when thetangofirst ecame internationallya-mous. (It is raretodayto hearguardiaviejatangosor ensembles.)Mostmembers f theArgentinepperclassdisdainedthetangoatfirst. ut twas savoredbyrakeswho soughtout dangerbyrubbing houlderswith



68/1999YEARBOOK FOR TRADITIONAL MUSIC

compadritosstylishhugswithknives) n arrabalesntertainmententers,rakeswho wouldhelp transporthetangoto Europe.In about 1910 the

tango begana double ourney: tshifted rom ough lums odowntowncaf6s nArgentina,nd atroughlyhesametime tbecameall therage nParis nd thenLondon. In Europe, twasthe atest aringdanceadoptedbythenewgeneration,nd itprovoked ratifyingutrage rom he Euro-pean CatholicChurch including ope PiusX) as well as from heArgen-tinediplomatic orps.

Althoughhe dance wasmoving nder tsownpowerfrom lumto thecenter f Buenos Aires n theearly1910s, ts onquering fParis cceler-ated and amplifiedhis hift. hisprocess eflects hat lobin hastermed

"validationhrough isibility . . when higher rofile ausesa localorregionalpopulation o reconsider tsowntraditions,nd the occasionfor hismoment susually utsideprompting"1992:11). However,twaslesstheoriginal onstituencyfthetango ffected erethanBuenosAires'upper crust,whichroutinely alidated ts status hrough arisian nflu-ence.Argentina,hemostEuropean countrynSouthAmerica, pes thestate twouldmost iketo resemble France through ocusing a-tional dentityn itscapital.Endorsement rom broad,especially romParis, oostedupper-class omestic ppreciation f thetangotimeaftertime;forexample, thelped to legitimizeAstorPiazzolla's innovations

afterWorldWar I (thathe studiedwith nd was encouragedbyNadiaBoulanger n 1954-55certainly elped too). Foreign ndorsement lsofueled he revival ased on stageddance thatbeganwith he 1983 Parisdebutof theshowTangoArgentino.

A secondroundof nternationalopularizing fthetangofollowed tstransformationnthe ate 1910s nto he ango-cancidn,ithmore mpha-sis on newly erioustexts hatwere moreconsistentlyad. Aroundthistime,CarlosGardel, t firstn urbansinger f folklore enres onveyedto thecitybyruralmigrants nd itinerant olk ingers thepayadores),transferredis attentiono thetango, nd throughkilled howmanshipand fine inginginkedhisnamewith hegenre.This couplingofgenretransformationith heappearanceofa signature erformermarks hebeginning fthetango'sEpocade Oro GoldenAge),which asted ntotheearly1950s. In Argentina,Gardel sangwhilewearingsuave nightclubattire hat dvertised he tangoas belonging o chic Buenos Aires andthus oEuropeanfashion.nEuropeheadoptedthe omplementarytrat-egyofportrayinghetangoas generically rgentine,ftendonningthemostdistinctiveational ostume, lthough his ostumewas ess charac-teristicfthemetropolis ome to thetango.He did weargaucho garb n

Argentinat a

performanceor he Prince fWales

Collier 1986:86);in

this ase he wasphysicallyome,buttheperformanceenuehad becomeEuropean.

While nParis,Gardelprobably isited l Garr6n, cabaretwhichwasthen aris' trongestedoubt f angomusic,ndwhichRudolphValentinofrequentedCollier 1986:81-82).We don'tknow f heymet,butGardel'sand other angueros' abit fwearing auchocostumeswhenperforminginEuropemustnsomewaybe behindRudolphValentino'suasi-gaucho



GOERTZEN AND AZZI GLOBALIZATION ANDTHE TANGO / 9

dress nthe1921 silent ilm, ourHorsemenf he pocalypse.ardel'sgau-chogarbmayhave beenglamorized, utValentino's ilm ostume sup-plied bythe studioand actuallymore Andalusian thanArgentinianestablished near-imaginarytereotype.eaturinghetango nthiswidelydistributed ilm, n the one hand, helped fuel the 1920s surgeof thetango nindustrializedations fthenorth,nd on theother, nderlinedthe association fthereimagined auchowith hetango, link hat,whileever moretenuous,was effectivedvertisingmong audiences with ittleknowledge f thedance.

The tango, s redefinedn thecaf6s nd tango-teas fParisand Lon-don,didn'tust go hometriumphant,utstayed n in Europeand radi-

ated out from here,forexample,to Finland,wherea modified angobecame the entral olk ance Gronow 973and Isokangas1994).Vernonand IreneCastle,dancerswhospread everal ancefads, arried he angofromParis to New Yorkand foundedmanyCastleTango Parlors.TheCastlesemphasizedtherelativelyoung, legant ideofthetango,mini-mized itssensuality,nd seemed unacquaintedwith ts sadness. IreneCastle statedthat whenwe danced therewas nothing uggestiveboutit . . . IfVernonhad ever ookedintomyeyeswith moldering as-sion duringthetango,we would have both burst ut laughing" Castle1980:86-87).Another bserver f the timewrote,

The much-misunderstoodango becomes an evolutionof theeighteenth-centuryinuet.There is in it no strenuous laspingof partners,no hideous gyrations f the limbs,no abnormaltwistings,o vicious ngles . . . WhentheTango degeneratesinto n acrobatic isplay r into alacious uggestiont s thefaultof thedancers nd not of the dance. The CastleTango iscourtlyand artistic,nd this s theonlyTangotaught ytheCastleHouseinstructors.Marbury 914:20)

This sanitizedreinventionf the tango, appropriate n its new sur-roundings,onstitutedn early nd powerfulnfluencen how thedance

would enter heballroom epertoire,lthoughValentinowould return hesmolderingook to theU.S. tango, nd the 1940sbigband tangowouldalso leave a mark.Today's standardEnglish-language allroom dancetexts cho thetime-hallowed isconceptionhat hetango originated nthe ampas monggauchosexclusivelye.g.,Harris1988:399; EllfeldtndMorton1974:48; Schild1985:38).But tmustbe kept nmind thatmanyoutsiderswould neither orget oracceptthe seriouspassionsof the Ar-gentine ango.

The Tango Today: Globalization at Home

Muchof the modern upport f thetango n tsbirthplaceomesfromoutsiders, specially ourists, hoseimagesof thetangomustthereforebe accommodated.The favoritemusicoftoday'spoor inBuenosAires sno longerthe tango:whilea fairnumber njoy istening o or dancingtangos, heir inancialupport f thegenre snegligible.However,moreaffluentorteihostill eserve place in theirhearts and budgets)for hetango.The local governmentnd the most nformed ans upport mall



70/1999YEARBOOK FOR TRADITIONAL MUSIC

but activeformal rganizationsuch as theOrquestadel Tango de Bue-nos Aires the last of the tango big bands,with25 performers), he

AcademiaNacional delTango,and theFundaci6nAstorPiazzolla,plusahandful f clubssuchas the Caf6 Homero and the Club delVino,whichare outside the touristmainstreamn the northernneighborhoodofPalermoViejo. In contrast,woof theoldestneighborhoods eardown-town, a Boca and SanTelmo,havetosomedegreebecome "museums fthemselves"Kirshenblatt-Gimblett995:371). La Boca, a southern ortbarrioettlednthe ate nineteenthentury yGenoese sailors nd otherpoor immigrants,till ontains fewtangobars. While tango festivalsoccasionally ill much-touristedtreet alled theCaminito, he inkbe-

tweenneighborhood nd dance is embodiedprincipallyn tourist bjetsd'art. he most ommonsubject fthese s the Caminito tself,uttangodancersfinish strong econd.

Most of BuenosAires' angoclubsnow clusternSan Telmo,confirm-ingtheir ourist rientationy heirocation. he Casablanca,amongthemost uccessfulfthese,s a favoritefguidebooks vailable ntheUnitedStates,ndaptly epresentshemajorityf ocaltango lubs.AnAndalusian( ) exterior eads to a roomseating380,with ll chairs and tables fordrinksnd ashtrays) acing hestage.A $35 cover theArgentineurrencyispeggedtothedollar) ncludesdrinksnd a brochure,muchofwhich s

inbothSpanish nd English.As theshow nds,one maybuy tapeorCDofa similar erformance.he brochure eproduces statementfappre-ciationfromArgentina's residentnd citesvisits rom ignitaries ang-ingfrom therLatinAmerican eaderstotangoaficionadoRobertDuvalland to EricClapton.Showssuch as thosepresentedhereare fast-pacedBroadway-styleevuesncluding ango s dance,song, nd concertmusic,oftennaddition o actsrepresentingtherArgentineraditionalmusics.Performancesrevirtuosic,ut so short s topresent hetangoand other

Argentinemusic n caricature,omfortably ilking ostalgia.A primary aythat ypical rogram rochuresn such clubsassert he

highquality f their erformerss to notethatmosthavetouredEurope,Japan, nd/or heAmericas. his continued utsidevalidationhas a verypractical unction.he incomes fmany killed angomusicians nddanc-ers are not limitedto whatnative. nsiders an pool together o savor

varietynd excellencen thetango.Thereare moreperformersith oodincomes ecausethey anply heir radenotustfor hosewhoappreciatethembest, ut also for omewhat ormuch less nformed oreignerswhovisit,nd for hese nd many ther oreignersntheir wn countries.The main oncerteasonnArgentina,s inEurope nd theU.S., s thecoolerhalf f the

year;inceBuenos Aires s in the southern

emisphere,andmostforeignenues nthenorthern emisphere,hetop performerskeepbusy llyear.

While iveperformanceorvisitorsoBuenosAiresprovides omefi-nancial upport or hetango, alesofrecordingsrealsoimportant.Mostoftheseconsumersbothfans nd souvenir-gatherers)re LatinAmeri-can, thoughsignificant umbersofJapanese, Europeans, and NorthAmericans uytangorecordings oo. LatinAmerican ourists elatively



GOERTZEN AND AZZI GLOBALIZATION AND THE TANGO /71

knowledgeableboutthetangotendtopurchase tandard epertoirend

performanceshat renot

ustold-fashioned,utold. Severalfactors on-

tribute o this attern fpreference.hese touristseekauthenticityhenthey uy angos.Oldertourists'erceptionsf uthenticityaybe guidedbymoreor less detailedmemories fwhich angosused tobe performedin theirhomelands nd whichArgentine erformersouredthere.Buy-ing a recording ya specific inger llows these tourists o displayanintimacy ith hegenre.This informed ostalgia ffellow atinAmeri-cansvisiting uenosAireskeepsa farwider rray ftango recordingsndowntownmusic tores' helvesand thus vailable oportefios)hanwouldbe possibleotherwise.n addition, hetango is takenquite seriouslyn

somecirclesnJapan,despite anguagebarrierssee Savigliano1995:170-203), due to an assertedkinship etween hetangoandJapanesedrama(Montes1991); manyJapanesebelieve na special compatibilityetweenthe nationalpsyches fJapan and Argentina. merican nd Europeanvisitors endto know he east bout thetango, nd as a result oncentrateon tapesand CDs whoseverygeneral ppeal ismade explicitnEnglishtitles uch as BuenosAires yNight1993) and TangosorExportn.d.; "forexport"maymean that ll of the selections reinstrumental,n line withgeneraltangoperformance ractice broad,thoughoccasional"for x-port" apescontain omesinging). he cover rtof theserecordingsimi-

larlyretreatso a verygeneral evel,depicting cabaret cene,BuenosAires' entral beliskwhich angueroso indeed consider art fthetangolandscape),or another rominent ight, hether r not thas muchtodowith hetango.

Untilrecently,t could have been said that the tango at home hadexperienced relativelyenignmuseumizationhroughmarketing. mongthe LatinAmerican ouristmajorityincluding xpatriate rgentineans)who understand yrics nd knowsome tango history,manyserve theireducatednostalgiaby buying ecordingsfspecific erformersrom he

past.The

arrayfrecordings

eededby

thisopulation

s alsoacceptableto ess-informedatinAmerican isitors,oavidJapanesefans, nd,when

supplementedwith ery eneral ompilations,o even the east nformedtourists. he Argentinemusic ndustry,houghnormally ager to reapthe benefits f changingfashions, as had little ncentive o resist hemuseumizationfthetango.Remasteringld recordingsscheaperthanproducingnewones,expiredcopyrightsre a bonus,and the 1930s-40sproduceda richenoughlegacy fgood tangorecordingsonearly atu-rate the market.

Taken ogether,hepublic ndprivatenstitutionsupportinghe ango

comprisemuchoftheelite,formal ide ofArgentina's eritage ndustry,whileheritage ourism onstituteshecomplementaryut muchlargerpopulistarm. While these economicforces upporting nd exploitingheritage ontrastnbothmotives nd means,the results hey chieve recompatiblyonservativeorthetango.This is because the inebetweencatering o nostalgia nd searching or ultural uthenticitys inevitablyblurry. othare value-addedprocesses nventing magesof thepast,a



72/1999 EARBOOK ORTRADITIONALMUSIC

timerevised n therosymemoriesofthenostalgic nwaysthatcan beparallelto howthat ime sfreshlymaginedby heritage ourists.

Other ess angible ut uitepowerfulactorsmpede ignificanthangeinthetango nArgentina. he firstsboundupwith he essentialnatureofthegenre.The balance ofmeanings ttached oanypop genregradu-allytilts romnovelty owardsnostalgia, nd from nnovation owardsauthenticity,s itsoriginalfans ge; surprisesn text nd musicbecomelessreadilywelcomed.From hebeginning ftheEpocadeOro, hetangowasexplicitlyostalgicnmostof ts ntertwinedhemes, nd thusespe-ciallywedded toitsownearlydays. ndeed,most anguerosre traditionalinboth habits nd taste.The second factors the ssueofGardel'sceleb-

rity. isurbane, oetic nterpretationsrystalizedhe dentityfthe angosong and, sixty-fourearsafterhis premature eath in a plane crash,remain sonichagiography.t remains ifficultorhissuccessors ocom-petewithhim.The thirdfactor s thatthe tango,as a nationalmusic,bears a certainunexpressedbutweightymoralresponsibilityo remainrespectablend easily ecognizable,more mportants a symbol hanforday-to-dayun.Last s thetango's hare na worldwide henomenon: hemore musicgenresthemass media deliverto our doors,the smallerfraction four attention ach of thesegenres ancompel.Wemayhavealong-termavoriteenreortwo, nd may lso keep upwith urrent ash-

ions. Butbeyondthese fewfocuses, clearand reliableprofilewillhelpkeepsmaller enres rom alling ut ofthe modestplace they aveon theradio, nstores,nd inour homes and hearts.

However, espitethe continuedpressure f theseforces, hetango snowundergoing renaissancenArgentina. s the middleclassrefocusesattention n the tango,dance studios re proliferatingnd newspapercoverageoftangoevents ncreasing; newtelevision tation evotedex-clusivelyothetangonowsupplementsheall-tango adio station. hesechangesreflectn upswing npopularity f the azz-influenced oungertango, articularlyhemusic fAstor iazzolla,whodied n1992.Piazzolla

was himself linkbetween hetangoat home and abroad;born nMardel Plata,Argentina, e lived s a child n New York.He cametolove thetangoby istening o his father's ollection f recordsbyCarlos GardelandJuliode Caro. Soon after isreturnoArgentinan 1937,hebecameactive n thetangoscene,firsts a virtuoso n thebandoneonthetangoaccordion), hen s a composer.His strikingompositionshewrote ver3000),whichwereat first opularprimarily ith udiences forazz andclassicalmusic, renowattractingrowds f fans mongmore traditionaltangueros,population hat nitially as not sowelcomingAzzi nCollier

1998:157-59).The Tango in Small-Town ndianaOfthe uthors fthis rticle, zzi ives nBuenosAires,whileGoertzen

residesnRichmond,ndiana.This latter own's opulation funderfortythousandhasno obvious pecialstake nthetango.Butodd twists ffatebringcompelling ango performancesven to such locations.Justtwoweeks fter erformingt a galaWhiteHouse dinner twhich heClintons



GOERTZEN AND AZZI GLOBALIZATION AND THE TANGO/73

fetedArgentina's residentMenem,theWashington, .C.-based ensem-bleQuintangobrought irtuosonstrumentalangosbyGardel,Piazzolla,

and others o Richmond's arlhamCollege.Why?A cousin of a memberof the groupworks t thattiny chool. The audience was packedwithtownsfolk,any fwhom now he ango hroughallroom ancingthereare a half-dozen ance studioswithin n easydrive), r through xhibi-tion ce-skatingta rinkusta half-hour's rive way.Othershad gainedorrekindledn enthusiasm or hetango fter urchasing recentwidelydistributed D on whichYo-YoMa - a wonderful ellistwithpop-starcharisma nd fame- passionatelynterprets orksbyAstorPiazzolla.Enthusiasm or hetango n artmusiccircles s hardlynew: some ofthebetter-knownrt

tangosre

byMilhaud "Tangodes Fratellini,"nBoeufsurla Toit, 919), Samuel Barber "HesitationTango," from ouvenirs,1952),VirgilThomson (whocomposed severaltangos),and Stravinsky(Tango,1940, and the tangowithinHistoireu Soldat,1918). Ma's CD,whichgarnered 1999 Grammy plus a second nomination) nd soldover600,000 copies,represents fresh nthusiasm or hetango amongprominent erformersfart music.Just s at home, a reevaluation fPiazzolla'swork s at the center fthisnew enthusiasm broad: one cannowbuyCDs of histangos s performed yGidon Kremer 1996),GaryBurton1998),theG-String uartet1996),and DanielBarenboim1996),

amongothers.However,hemain xposure o the ango ntownsikeRichmond omesthroughhevisualmassmedia, .e.,through atching V or movies. an-gos appear on networkelevisioneveraltimes week- while a giveninstancemay aricature hegenre s merely oignant, assionate, r silly,these mpressionsdd up. The same holds true n movies, ven block-busters,nwhichthevery ame tango maybe rendered s tender ndevocativewhendancedbyAlPacino nScent fa Woman,r as comicwhenstruttedyArnoldSchwartzeneggern True ies.A recent elease,CarlosSaura's Tango 1998) willprobably otbe booked in anyofRichmond's

few and cautious)movietheatres, ut t willbe available n video-rentaloutlets.No tangofan- or devoteeofforeign ilms could ignorere-views uch as thatbyMaslin n TheNew York imes: It'sno slight o thelovers . . . that the kissing seen here is less torrid than thedancing . . . Eyes ocked, odiestensed,moves nperfectnison, thedancers]need onlydisplay hisdance's hypnotic lend ofliquidityndfury,nlyrevel n tsdizzyingomplexitynd split-secondiming,o burnup thescreen"Feb. 12, 1999).

Tangos experienced utsideofSouthAmerica, s danced and seen inmovies ikethese,

usuallyose their

yrics,r have

new, ighternes at-

tached.Ahl6n, Swedishtangoscholar, eelsthatthishas resultedn athorough nd tragicmpoverishmentf thetangoas itflourishesn Eu-rope on the dance floor 1987). However,n films uch as thosemen-tionedabove, the themesof tangotextsmayreturn, owtransformedinto visual symbols. ango messagesremainpowerful nd fresh oday.Lyrics evercontainedmanyperiod-bound oliticalreferencesinpart,an oddlybeneficial esult f thehistoryfcensorshipduring he Per6n



74/1999 YEARBOOK FOR TRADITIONAL MUSIC

era). Itcouldbe arguedthat hetangowasbornpost-modem,.e.,that tresonates oday npartbecause tpredicted he essence ofcontemporary

malaise.MacCannell notes that"theprogress fmodernitymodernization)depends on itsvery ense of nstabilitynd inauthenticity.ormodems,realitynd authenticityre thought o be elsewhere: n otherhistoricalperiodsand other ultures,npurer, impler ife-styles"1975:3). A con-cernfornaturalness, ostalgia, nd a searchfor uthenticityre inevita-ble components f the"spirit fmodernity thegrounds f tsunifyingconsciousness"ibid.).Whiletourists,n a literal ense,continue o pro-vide much of the supportof the tango and ofmanyotherrepertoirestaken o be characteristicfculturesttractiveotravellers, anymoreof

us are touristsn a broader ense, .e.,peoplewhopursueauthenticitynculturalmaterialswe consider o be distant, ifferent,nd less tainted ythepresent.Webuttressiteral ourists'upport f thetango nArgentinathrough uying ickets o exported angoevents, ypurchasing loballydistributedangoproducts,nd byvisiting substantial and growing- number f nternet itesdevoted to thetangoand its tars.

Manygenres hat ndure n themediaage find heirmusical nd lyriccontent hangingess and less as timepasses.Those that urvive estwillbe thosethat re, ikethetango,broadly ased. Suchgenresneed several

audiences, ifferentiatedy ocation rby ocioeconomic evels rbygen-eration.Theyfindhomes nniches mmune o thecycles ffashion,ndcan be buoyedby ymbolicssociations ithnation rraceorethnicity.ogain sucha rangeofacceptancerequires balance between durablesemantic ore and an apt potential orreinterpretation.hentheper-ceived dentityf a genrepointsmore nd moretowards hepast, tmustdo so inpowerfulnd variedways.Ofcourse, hepast s notustanothercountry,utmany.t can be mocked: n audiencemayfeelmoresophis-ticatedbecausethepast s so ludicrous. he frequent se of thetangotosatirize assion amongLatinsor themiddle-aged ppears,for nstance,

in therecentmovieAddamsamily atters. utmostusesofthepast paintit in a rosy ight.Nostalgia, hesearchfor uthenticity,nd, indeed,na-tionalism verlap s cultural rocesses.Both veteran anguerosnd mem-bers ofburgeoning ew audiences ssociate hetangowith generalizedearlier nd better ra,with he cultural etting f itsorigin, rwith hetime rplacean individual irstawor danced a tango.Atthesametime,the emantic ichnessnd varied udiences fthisgenre acilitatets rans-formation nd renewal. he tango today s old, new, ertainlyital, ndundeniablyglobal.

REFERENCES CITEDAddams amily alues1994 Paramount ilm, ir.Barry onnenfeld.Ahlkn,Carl-Gunnar1987 TangonEuropa: nPyrrusseger?tudierringmottagandetvtangon

Europaochgenrensmusikaliskamstillningsprocess.tockholm: ro-priusF6rlag.



GOERTZENANDAZZI GLOBALIZATIONNDTHETANGO 5

Azzi,Maria Susana1991 AntropologiaelTango: osProtagonistas.uenosAires:Edicionesde

Olavarria.Barenboim,Daniel1996 Tangos mong riends. eldec Classics International ompactdisc

T2 13474.Buenos ires yNight: 0 Tangos ist6ricose aMisicaLegendaria rgentina.1993 EMI compactdisc/cassette89180 2.Castle, rene1980[1958]. CastlesntheAirNew York:Da Capo Reprint.Collier, imon

1986 TheLife,Music nd TimesfCarlosGardel. ittsburgh: niversityfPittsburghress.Collier, imon,Artemis ooper,MariaSusanaAzzi,and RichardMartin1995 iTango ondon and New York:Thames and Hudson.Ellfeldt, ois and Virgil . Morton1974 This s Ballroom ance.PaloAlto,CA: NationalPressBooks.FourHorsemenf heApocalypse1921 Metrofilm, ir.Rex Ingram.Gobello,Jose1991 NuevoDiccionariounfardo.uenos Aires:EdicionesCorregidor.

Gronow, ekka1973 "PopularMusic n Finland:A Preliminaryurvey." thnomusicology17(1):52-71.

G-String uartet1996 G-String uartet laysAstor iazzolla.Koch Schwann ompactdisc

SCH 364232.Harris,JaneA.,et al.1988 1950] Dance While: andbookfFolk,quare, ontrand SocialDance.

6thedition.New York:MacMillan.Isokangas,Antti

1994 "Finnish ango: Once a Fad, the Dance is Nowa Tradition." ill-board, eb. 12:1,78.

Kirshenblatt-Gimblett,arbara1995 "TheorizingHeritage."Ethnomusicology9(3):367-80.Kremer, idon1996 GidonKremer: omage Piazzolla.Nonesuchcompactdisc WEA

79407.M , Yo-Yo1997 Yo-Yo a: Soulofthe ango: heMusic fAstoriazzolla. onyClassical

compactdiscSK 63122.MacCannell,Dean1975 TheTourist: NewTheoryf heLeisure lass.NewYork:Schocken

Books.Marbury, lizabeth1914 "Introduction."nModern ancing,reneand VernonCastle. New

York:Harperand Brothers.



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Maslin,Janet1999 "'Tango':With izzling angos,Who Needs a Plot?"NewYorkimes,

Feb. 12.Montes,Jorge1991 Notes to Horacio algdn;RankoFujisawa.Music Hall compactdisc

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