FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2095918557> ?p ?o ?g. }

• W2095918557 endingPage "179" @default.
• W2095918557 startingPage "162" @default.
• W2095918557 abstract "Japanese Perceptions of Argentine Tango: Cultural and Gender Differences Etsuko Toyoda Dance of Passion In Argentina and Uruguay, the tango, the dance of passion, is a deep-rooted tradition, closely related to the history of the region, and maintained for decades by aficionados. In October 2009, the tango (widely known as the Argentine tango) was recognized by the United Nations as part of the world’s intangible cultural heritage (UN News n. pag., par. 1). This study investigates gender and cultural differences in perceptions about the Argentine tango danced by the Japanese and Latin Americans (hereafter “Latinos”). While the dance cannot be separated from the music, my focus is the dance. In this article the term tango refers to the Argentine tango dance, unless otherwise specified. The findings of my study suggest that, despite the clear division of roles, the female and male dancers’ perceptions are very similar. On the other hand, despite the tango’s long history and popularity in Japan, there are significant differences between the two cultural groups, the Japanese and Latin Americans, in their perceptions of the tango. Gender Settings In the Argentine tango, the roles played by the male dancer and female dancer are distinct. The male invites a woman to dance, embraces her, and confidently leads by listening to and interpreting the music, and improvising steps to suit (Takahashi 91). During the dance, the male dancer is also required to create a peaceful, protective, and enjoyable environment for his partner while navigating across the floor. The woman accepts (or ignores) the invitation and returns the embrace. She is calm but alert so as to sense the male dancer’s marca (this usually involves an indication of the direction of the next step, but may include the direction of rotation, pauses, stops, timing changes, change of axis, and even passage of control from male to female). She then makes appropriate responses (in three dimensions and time) to the marca. [End Page 162] The gender roles in the tango are seen by Elshaw to reflect Argentine cultural values such as machismo (manliness): To be macho the Argentinean way is to be self confident, to be certain of where a man stands and where he is going. He is in charge, he is reliable and accepts responsibility. He cares for the well-being, safety and happiness of his woman. (Elshaw n. pag., par. 3) Although the responsibilities of female dancers are fewer compared to their male partners, the female role is certainly not passive. Olszewski claims that the role women play in the tango is also a reflection of the Argentine culture, of the strong social norms that differentiate roles according to gender (75). The woman/mother/housewife is in charge of domestic work, and the man supplies the income for the family’s maintenance (Jelin 193). While machismo is valued, a woman’s role in society is no less valued. For this reason, tanguearas, or female tango dancers, are tough, assertive, creative, and autonomous, both in their dance and in their selection of partners (Olszewski 75). Thus, the tango is often described as “four legs, two heads, and one heart.” Although the man and woman have different responsibilities, they dance as one, actively collaborating in the creation of an ephemeral dance experience (Olszewski 71). Cultural Settings Japan first encountered the tango as part of elegant French-style ballroom dance in the 1920s (Savigliano 239). At that time, the tango was a dance of the elite (Gambarotta n. pag., par. 3). By the 1930s, middle-class Japanese had access to the British-style ballroom tango (Savigliano 240). Even during World War II when almost all pleasure was banned, listening to tango music was possible (Savigliano 243). After the war, a circle of tango lovers organized regular gatherings to listen to tango music and, to a lesser extent, dance to it, by copying the Argentine dancers seen on films (Miura 22). As far as the general public was concerned, the key to the dissemination of the tango was the stage show “Tango Argentino,” which opened in Paris in 1983 (Goertzen and Azzi 68), toured the world, and created an Argentine tango boom in Europe, North America, and Japan..." @default.
• W2095918557 created "2016-06-24" @default.
• W2095918557 creator A5001014517 @default.
• W2095918557 date "2012-01-01" @default.
• W2095918557 modified "2023-10-17" @default.
• W2095918557 title "Japanese Perceptions of Argentine Tango: Cultural and Gender Differences" @default.
• W2095918557 cites W1162111323 @default.
• W2095918557 cites W1487011914 @default.
• W2095918557 cites W1569194950 @default.
• W2095918557 cites W1588607581 @default.
• W2095918557 cites W1963588912 @default.
• W2095918557 cites W2006492717 @default.
• W2095918557 cites W2014915747 @default.
• W2095918557 cites W2024225798 @default.
• W2095918557 cites W2079021146 @default.
• W2095918557 cites W2142712532 @default.
• W2095918557 cites W2283170057 @default.
• W2095918557 cites W2335092865 @default.
• W2095918557 cites W2412158741 @default.
• W2095918557 cites W2505333017 @default.
• W2095918557 cites W2797448971 @default.
• W2095918557 cites W2970608779 @default.
• W2095918557 cites W605686753 @default.
• W2095918557 cites W608861524 @default.
• W2095918557 doi "https://doi.org/10.1353/sla.2012.0014" @default.
• W2095918557 hasPublicationYear "2012" @default.
• W2095918557 type Work @default.
• W2095918557 sameAs 2095918557 @default.
• W2095918557 citedByCount "1" @default.
• W2095918557 countsByYear W20959185572012 @default.
• W2095918557 crossrefType "journal-article" @default.
• W2095918557 hasAuthorship W2095918557A5001014517 @default.
• W2095918557 hasConcept C107993555 @default.
• W2095918557 hasConcept C142362112 @default.
• W2095918557 hasConcept C144024400 @default.
• W2095918557 hasConcept C147446459 @default.
• W2095918557 hasConcept C153349607 @default.
• W2095918557 hasConcept C15744967 @default.
• W2095918557 hasConcept C158886217 @default.
• W2095918557 hasConcept C163286209 @default.
• W2095918557 hasConcept C169655244 @default.
• W2095918557 hasConcept C169760540 @default.
• W2095918557 hasConcept C177291462 @default.
• W2095918557 hasConcept C17744445 @default.
• W2095918557 hasConcept C199539241 @default.
• W2095918557 hasConcept C26760741 @default.
• W2095918557 hasConcept C2780310893 @default.
• W2095918557 hasConcept C2780586970 @default.
• W2095918557 hasConcept C46312422 @default.
• W2095918557 hasConcept C77805123 @default.
• W2095918557 hasConceptScore W2095918557C107993555 @default.
• W2095918557 hasConceptScore W2095918557C142362112 @default.
• W2095918557 hasConceptScore W2095918557C144024400 @default.
• W2095918557 hasConceptScore W2095918557C147446459 @default.
• W2095918557 hasConceptScore W2095918557C153349607 @default.
• W2095918557 hasConceptScore W2095918557C15744967 @default.
• W2095918557 hasConceptScore W2095918557C158886217 @default.
• W2095918557 hasConceptScore W2095918557C163286209 @default.
• W2095918557 hasConceptScore W2095918557C169655244 @default.
• W2095918557 hasConceptScore W2095918557C169760540 @default.
• W2095918557 hasConceptScore W2095918557C177291462 @default.
• W2095918557 hasConceptScore W2095918557C17744445 @default.
• W2095918557 hasConceptScore W2095918557C199539241 @default.
• W2095918557 hasConceptScore W2095918557C26760741 @default.
• W2095918557 hasConceptScore W2095918557C2780310893 @default.
• W2095918557 hasConceptScore W2095918557C2780586970 @default.
• W2095918557 hasConceptScore W2095918557C46312422 @default.
• W2095918557 hasConceptScore W2095918557C77805123 @default.
• W2095918557 hasIssue "1" @default.
• W2095918557 hasLocation W20959185571 @default.
• W2095918557 hasOpenAccess W2095918557 @default.
• W2095918557 hasPrimaryLocation W20959185571 @default.
• W2095918557 hasRelatedWork W2039564213 @default.
• W2095918557 hasRelatedWork W2400997804 @default.
• W2095918557 hasRelatedWork W2480537999 @default.
• W2095918557 hasRelatedWork W2768984611 @default.
• W2095918557 hasRelatedWork W3005058071 @default.
• W2095918557 hasRelatedWork W3008299076 @default.
• W2095918557 hasRelatedWork W3108426621 @default.
• W2095918557 hasRelatedWork W3127427106 @default.
• W2095918557 hasRelatedWork W3201493773 @default.
• W2095918557 hasRelatedWork W4241804573 @default.
• W2095918557 hasVolume "30" @default.
• W2095918557 isParatext "false" @default.
• W2095918557 isRetracted "false" @default.
• W2095918557 magId "2095918557" @default.
• W2095918557 workType "article" @default.