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· INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewri~er face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikeiy event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact liMI directly to order. U-M-I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, M148106-1346 USA 313/761-4700 800/521-0600 Order Number 9205811 Political economy of passion: Tango, exoticism, and decolonization Savigliano, Marta Elena, Ph.D. University of Hawaii, 1991 Copyright @1991 by Savigliano, Marta Elena. All rights reserved. U·M·I 300 N. Zeeb Rd. Ann Arbor, MI 48106 POLITICAL ECONOMY OF PASSION: TANGO, EXOTICISM, AND DECOLONIZATION A DISSERTATION SUBMITIED TO THE GRADUATE DMSION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE AUGUST 1991 By Marta E. Savigliano Dissertation Committee: Farideh Farhi, Chairperson Sankaran Krishna Kathy E. Ferguson Robert B. Stauffer Steven J. Goldberg iii © Copyright 1991 by Marta E. Savigliano iv a mis abuelas Angelica Martin de Savigliano y Etelvina Alvarez de Ahumada v ABSTRACT My purpose is to contribute to the historical account of Capitalism by adding a new dimension to the marxist and neomarxist depictions of its development. A political economy of Passion has been occurring, juxtaposed to and intertwined with the economies usually described on materialist and ideological grounds. Paralleling the extraction of material goods and labor from the Third World-periphery, and paralleling the imposition of colonial bureaucratic state apparatuses and ideological devices, the core countries of the capitalist world system have systematically appropriated emotional and affective practices. This emotional capital has been accumulated, recoded, and consumed in the form of Exotic culture. The Exotic is not an exclusive item for the delight of the Imperial West; it is in turn exported, in its new colonized-westernized package to the Rest (including the very colonies from which the "raw" emotionality was extracted in the first place). When exported to the (neo) colonies of origin, practices of auto-exoticism develop conflictively as a means of both adjusting to and resisting (neo) colonialism. Through complex practices of auto-exoticization carried out in the periphery's internal political settings, the exotic/exoticized representations become symbols of national identity. The scandalous tour of the Tango in the early twentieth century from Argentina to Paris, London, New York, and its final rage in Japan surrounding World War II is an example of the complex practices involved in the world economy of Passion. However, Tango is not a mere vi mirror image ofmore relevant or decisive economic and political realities nor a reflection of necessary social functions. Tango has resisted the incorporation into the world political economy of passion as an exotic raw material and has simultaneously promoted its co-option by conforming to various tastes regarding music and dance. These episodes, at different times and places, have situated the Tango within an intricate process of the construction of the argentina national identity. Gender, class, and racial issues have been at stake in shaping the desire for and resistance to the inclusion within the parameters of identity established by an imperial world political economy, systematically giving contradictory results. vii TABLE OF CONTENTS ABS1RA.CT ... .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. v LIST OF FIGURES ix PREFACE .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. xii IN1RODUCTION ...................................... .. 1 (on the micro-politics of introducing) ....... .. 1 Introduction .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .... 2 (on the micro-politics ofre-introduCing) ..... .. 5 Re-Introductions 6 CHAPTER ONE: TANGO, METHOD AND THEORY 16 Tango, My Tango 16 Tango as Decolonization ............... .. 18 El Tango del Che 24 Argentina and "Decolonization" .......... .. 28 Argentina and Colonialism ... .......... .. 33 CHAPTER TWO: TANGO AS SPECTACLE OF SEX, RACE, AND CUSS .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .... 45 Tango and the "Maclw" Cult .. .......... .. 45 Docile Bodies in Rebellion .............. .. 51 The Tango Embrace 54 Rioplatense Roots .................... .. 57 Positions for the Lady ................. .. 63 Positions for the Gentleman 79 CHAPTER THREE: TANGO AND THE COLONIZING GAZE 90 The Erotic and the Exotic Steps 90 Manufacturing Exoticism 101 Dance Masters and Spectacle Entrepreneurs .. 118 Montmarte,Fm-d~S~c~ 124 Plumette's Diary 132 Tango in the World's Capital of Pleasure ..... 136 Tango, World Scandal, and Fascination 141 CHAPTER FOUR: SCANDALIZING NATIONAL IDENTI'lY 163 Tango Back Home 163 Local Scandals and Fascinations 167 OrtgmatingTango 188 Tango and National Identity 194 Viii Identifying the Colonized 198 CHAPTER FIVE: EXOTIC ENCOUNTERS 204 Redistributing the Exotic 204 Exotic Reciprocities 205 Tango "a lo Megatct' and the "Shako Dansu" Masters 220 Tango Argentino in Japan 232 The Erotic Incompatibilities of Some Exotics .. 238 Tango's Travels 253 CHAPTER SIX: DECOLONIZATION AS INTELLECTUAL "UNLEARNING" 258 (on the micropolitics of concluding) 258 First Steps in Tango .•.................. 258 Latest Steps in Tango: Postmodem Uses of Passion 265 Female Intellectual Cannibals 274 Feminist Uses ofThird World Women 283 Female Intellectual Invaders .............. 286 ENDNOlES 297 GLOSSAR.Y 312 SOURCES CONSULTED 316 ix LIST OF FIGURES 2.1: "EI Tango," 1882 58 2.2: "Candombe Lunatico" by Fernando Guibert 59 2.3: Portrait of Carlos Gardel 85 2.4: Gardel and Margarita in "EI Dia Que Me Quieras," 1935 .... .. 85 2.5: Carlos Gardel in gaucho costume ..................... .. 87 3.1: The Rivarolas performing the sentada figure ............. .. 94 3.2: The sentada figure depicted by Sabat .................. .. 95 3.3: Cover ofAstor PiazzoUa's ''Take Me Dancing" 96 3.4: Enrique "Muiiio and partner performing the sentada figure 97 3.5: Gloria and Eduardo ............................... .. 98 3.6: Flamenco dancers 107 3.7: IIExcelsior," 1881 114 3.8: Virginia Zucchi in a Manzotti production 115 3.9: Moulin Rouge summer garden. 1890 118 3.10: High-class (a), low-class (b), and no class (c) styles 124 3.11: Can-can in a Parisian cafe-concert, late nineteenth century .. 127 3.12: French can-can dancer 128 3.13: Apache· ........................................ 139 3.14: Dance demonstrators 146 3.15: Vernon and Irene Castle, New York, 1914 147 3.16: Dance demonstrators 148 3.17: Mistinguett perfOrming the Tango in a Parisian revue, 1911 ." 149 3.18: Bernabe Simarra and Ideal Gloria teaching in Paris, 1913 ... 150 3.19: Tango choreography according to Andre de Fouquieres, 1913 . 151 x 3.20: Gladys Beattie Crozier's Tango manual, London, 1913 152 3.21: Franco Giovannini's Tango manual. Milano, 1914 153 3.22: The Tango skirt by Bakst. executed by Paquin. 1912 154 3.23: The Tango slipper 156 3.24: Tango-tea in London. 1913 157 3.25: Mistinguett in 'Vals Challoupee" 159 3.26: Valentino dancing Tango 160 3.27: Ruth St. Denis and Ted Shawn performing exotic dances 161 4.1: Men dancing Tango in the streets of Buenos Aires 177 4.2: Ball at "Centro Patriotico 25 de Mayo." 1906 178 4.3: Dancing at a popularfiesta, 1908 178 4.4: Professor Carlos Herrera teaching Tango de salOn. 1913 ... .. 180 4.5: Cover of "Alma Portefia" music-sheet. 1923 181 4.6: Casimiro Ain and Edith Peggy. 1913 183 4.7: Jose O. Bianquet and Carmen Calderon, 1934 184 4.8: Arturo de Nava in "EI Maco." 1903 185 5.1: Winners of the first Tango competition held in Japan, 1930s .. 207 5.2: The first Tango contest in Tokyo. December 16. 1934 208 5.3: Juan Canaro's orchestra at dinner in Japan. 1954 212 5.4: Juan Canaro' orchestra on stage in Japan, 1954 213 5.5: Ikeda Mitsuo's Orquesta Tipica San Telmo. 1950 214 5.6: Orientalist Tangos 'I •••••••••••••• 215 5.7: Cover ofRanko Fujisawa's record "Tango in Kimono" 216 5.8: Exotics in Tango 217 5.9: A shako dansu lesson 223 5.10: A shako dansumanual 224 xi 5.11: A Japanese shako dansucouple 225 5.12: npassionate Tango" 227 5.13: Basic positions for the Tango
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  • TANGO… the Perfect Vehicle the Dialogues and Sociocultural Circumstances Informing the Emergence and Evolution of Tango Expressions in Paris Since the Late 1970S

    TANGO… the Perfect Vehicle the Dialogues and Sociocultural Circumstances Informing the Emergence and Evolution of Tango Expressions in Paris Since the Late 1970S

    TANGO… The Perfect Vehicle The dialogues and sociocultural circumstances informing the emergence and evolution of tango expressions in Paris since the late 1970s. Alberto Munarriz A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO March 2015 © Alberto Munarriz, 2015 i Abstract This dissertation examines the various dialogues that have shaped the evolution of contemporary tango variants in Paris since the late 1970s. I focus primarily on the work of a number of Argentine composers who went into political exile in the late 1970s and who continue to live abroad. Drawing on the ideas of Russian linguist Mikhail Bakhtin (concepts of dialogic relationships and polyvocality), I explore the creative mechanisms that allowed these and other artists to engage with a multiplicity of seemingly irreconcilable idioms within the framing concept of tango in order to accommodate their own musical needs and inquietudes. In addition, based on fieldwork conducted in Basel, Berlin, Buenos Aires, Gerona, Paris, and Rotterdam, I examine the mechanism through which musicians (some experienced tango players with longstanding ties with the genre, others young performers who have only recently fully embraced tango) engage with these new forms in order to revisit, create or reconstruct a sense of personal or communal identity through their performances and compositions. I argue that these novel expressions are recognized as tango not because of their melodies, harmonies or rhythmic patterns, but because of the ways these features are “musicalized” by the performers. I also argue that it is due to both the musical heterogeneity that shaped early tango expressions in Argentina and the primacy of performance practices in shaping the genre’s sound that contemporary artists have been able to approach tango as a vehicle capable of accommodating the new musical identities resulting from their socially diverse and diasporic realities.