Tango, of all popular dances, would seem to be the most extreme embodiment of traditional notions of gender difference. It not only draws on hierarchical differences between the sexes, but also generates a ‘politics of passion’ which transforms Argentineans into the exotic ‘Other’ for consumption by Europeans and North Americans in search of the passion they are missing at home. In this article, I offer a modest provocation in the direction of scholarship that places politics before experience by questioning (...) whether passion can be explained solely through the discourses of feminism or postcolonialism. Instead I will show why we, as critical feminist scholars, need to pay more attention to the experience of passion, whether we are analysing a passion for tango or any other bodily activity that is intensely pleasurable, addictively desired, but also unsettling, disruptive, and – last but not least – politically incorrect. (shrink)

Le premier cycle de diffusion internationale du tango, dans les années immédiatement antérieures à la Grande Guerre, a eu Paris pour épicentre et les milieux aristocratiques et mondains de la capitale française comme lieu privilégié et premier d’inscription sociale. Un fort engouement pour la « nouvelle danse»s’ensuivit, ce qu’on appelle à l’époque « tangomanie»s’installa et, avec elle, sont nées des polémiques opposant partisans et adversaires d’une danse venue d’ailleurs et aux accents sexuels troubles. C’est ainsi en tout cas qu’elle (...) est perçue, au croisement de deux axes de réception principaux : érotisme et exotisme. Or ils sont étroitement liés. On en examinera les figures et leurs interactions dans la construction d’une image publique du tango promise à une réappropriation au-delà du seul contexte parisien et à une longue postérité qui se prolonge, à certains égards, jusqu’à aujourd’hui. (shrink)

The purpose of this paper is to discuss the idea that members are fully competent at what they do. With that aim, I start with a Schutzian and Ethno­methodological account of what it is like to be a member of the tango scene in the dance halls of Buenos Aires. I specify different degrees and kinds of competences. On the one hand, there are fully competent members and incompetent members. The incompetent members are the vast majority in comparison (...) to the few fully competent ones. On the other hand, there are technically competent members and socially competent ones. Technical competence is very hard to acquire, thus it is very rare. Social competences, instead, are accessible to all members. These different ways of being a member are heterogeneous and indicate a significant diversity of competences and skills. I conclude that not all members are alike and that each one is challenged in a particular way. (shrink)

This book develops an original theory of performative beauty. Philosophical aesthetics has largely neglected one's own actions as a potential experience of the beautiful. Throughout the book, the author uses own experiences of Argentine tango as a case study; one important incentive for social dancing is to have pleasurable and beautiful experiences. This book begins by investigating the methodological causes for why beauty in modernity has been seen to result only from contemplating external objects. It then builds a theory (...) of performative beauty that incorporates findings from new phenomenology, neuroaesthetics, enactivism, and somaesthetics and that reassesses existing inquiries of beauty. The result is an account that identifies kinaesthetic awareness as the point of emergence of both theory and practice, of creation (poiesis) and perception (aisthesis), and of moving (agency) and being moved (reception). Performative beauty is the pleasure of being moved by the dance where the dancer feels both as a creative improvisor and as an integrated part of the activity itself. A Somaesthetics of Performative Beauty - Tangoing Desire and Nostalgia will appeal to scholars and advanced students working in aesthetics, dance studies, performance studies and related fields of artistic research. (shrink)

This article explores the nature of "the phenomenological attitude," which is understood as the process of retaining a wonder and openness to the world while reflexively restraining pre-understandings, as it applies to psychological research. A brief history identifies key philosphical ideas outlining Husserl's formulation of the reductions and subsequent existential-hermeneutic elaborations, and how these have been applied in empirical psychological research. Then three concrete descriptions of engaging the phenomenological attitude are offered, highlighting the way the epoché of the natural sciences, (...) the psychological phenomenological reduction and the eidetic reduction can be applied during research interviews. Reflections on the impact and value of the researcher's stance show that these reductions can be intertwined with reflexivity and that, in this process, something of a dance occurs—a tango in which the researcher twists and glides through a series of improvised steps. In a context of tension and contradictory motions, the researcher slides between striving for reductive focus and reflexive self-awareness; between bracketing pre-understandings and exploiting them as a source of insight. Caught up in the dance, researchers must wage a continuous, iterative struggle to become aware of, and then manage, pre-understandings and habitualities that inevitably linger. Persistance will reward the researcher with special, if fleeting, moments of disclosure in which the phenomenon reveals something of itself in a fresh way. (shrink)

This article aims to explore and make theoretical sense of a stream of tourism that blurs the boundaries between sex, romance and intimacy, and diffuses the line between affectionate and economic relations. The empirical scope is the expanding international tourism of tango dancing—meaning the increasing number of people from all over the world travelling to Buenos Aires to dance tango and engage with the local tango culture. In contrast to women's sex tourism on the beaches of (...) Jamaica and Ghana, the relationships evolving in the Argentinean dance halls only occasionally lead to sexual affairs and temporary romances, but they are still part of a sensual geography made up of a transnational skin-to-skin intimacy. In addition, the relations between local dancers and tourists rarely result in economic transactions of sex for money; however, they engage with a growing market of intimate dance services and are part of the economic injustices and exotified projections of our post-colonial time. Hence, this article seeks to shed critical light over a broader area of transnational romance. The case of tango evokes new sets of critical queries regarding the trade of bodily intimacy and affection; the consequences of economic inequality in the area of heterosexual romance; and the production of class morals and racialised gender regimes. Through an exploration of these intimate practices, discourses and sets of emotions produced in this particular context, a complex landscape of market forces and close-embrace dancing unfolds. (shrink)

Argentine tango has been investigated by scholars of various disciplinary backgrounds. A broad range of empirical methods has been used in this research. But little attention has been paid to the artefacts which participate in the practice of Argentine tango. Following the programmatic claims of the ‘practical turn’ in the social sciences and in cultural studies, practices are always linked with the materiality of the practising bodies and of the artefacts participating in practices. Thus materiality is indispensable for (...) the analysis of any practice. How materiality can be included into the generating of data and the analysis is little discussed in practice theories. High heels in Argentine tango are the example to demonstrate the necessary application of various qualitative research instruments to investigate the role of artefacts in practice. High heeled female dancing shoes as used in Argentine tango are analysed with respect to their gendered performative and symbolic impact. (shrink)

The Afro-Latin dance known as ‘salsa’ is a fusion of multiple dances from West Africa, Muslim Spain, enslaved communities in the Caribbean, and the United States. In part due to its global origins, salsa was pivotal in the development of the Figuration philosophy of dance, and for ‘dancing with,’ the theoretical method for social justice derived therefrom. In the present article, I apply the completed theory Figuration exclusively to salsa for the first time, after situating the latter in (...) the dance studies literature. My first section explores Juliet McMains’ recent history, Spinning Mambo into Salsa, with an emphasis on the dynamics of class, race and sex therein. My second section explores a resonant Afro-Latin dance history, Marta E. Savigliano’s Tango and the Political Economy of Passion, where she deploys salsa’s sister-dance (tango) as a ‘counter-choreography’ to the choreography of postmodern neocolonialism. And my third section applies Figuration’s four central aspects of dance (or ‘Moves’) to salsa qua member of its ‘societal’ family of dance. In conclusion, through partnering with salsa, Figuration emerges as a member of its own ‘discursive’ family of dance, while salsa emerges as a gestural discourse capable of helping reconstruct a more socially-just world from the postmodern ruins of today. (shrink)

This essay is about a short sequence of Pina Bausch’s Kontakthof with ladies and gentlemen over 65. It discusses the hypothetical question as to “how to dance tango without dancing a tango?” I argue that the principle movement topics and practices of the Argentine Tango such as leading and following or the cruz are transformed by choreographic modes. In this way they constitute the structure of the Pina Bausch stage sequence.

A recent (2020) special issue in Critical Philosophy of Race dedicated to Maria Lugones illustrates and thematizes the continuing challenge of (re)constructing coalitions among Latina and Black feminists and their allies. As one proposed solution to this challenge, in their guest editors’ introduction to that special issue, Emma Velez and Nancy Tuana suggest an interpretive “dancing with” Lugones. Drawing on my own “dancing-with” interpretive method (which significantly predates that special issue), in the present article I choreograph an interpretive duet between (...) Lugones and Saidiya Hartman. My first section retraces Lugones’ essay on queering tango as a decolonizing practice, and how the latter echoes Marta Savigliano’s Tango and the Political Economy of Passion. My second section then utilizes Lugones’ queering of tango as a lens for interpreting her magnum opus, Pilgrimages/Peregrinajes, emphasizing the dance-resonance of its central concepts, including “playfulness” reinterpreted as a “dance-fulness” that empowers the peregrina’s “world-traveling.” My third section identifies this dancing peregrina’s world-traveling with the wayward young Black female chorus member, or “chorine,” at the center of Saidiya Hartman’s tour de force history, Wayward Lives, Beautiful Experiments. And my conclusion names chorines of color in Afro-Latin social dance communities today as exemplary agents for empowering coalitions among Latina and Black feminists and allies. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, (...) the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Bodily rhetoric is a burgeoning field, with scholars investing attention to the ways in which non-verbal communication mediates change between individuals and groups in complex scenarios, including political settings. Scenarios in which individuals move together – whether in completely extemporaneous situations or in existing forms such as Contact Improvisation, Argentinian Tango, or Classical Pas de Deux – pose a similarly complex communicative problem. Drawing on the work of Lloyd Bitzer, I demonstrate how rhetorical theory provides methodological insight by which (...) we can better understand the dynamic practice that is always already happening in situations where individuals move together. (shrink)

In the literature on social ontology, two perspectives on collective agency have been developed. The first is the internal perspective, the second the external one. The internal perspective takes the point of view of the members as its point of departure and appeals, inter alia, to the joint intentions they form. The idea is that collective agents perform joint actions such as dancing the tango, organizing prayer meetings, or performing symphonies. Such actions are generated by joint intentions, a topic (...) which has been investigated extensively in recent decades.1 The external perspective takes the point of view of outsiders as its point of departure. Here the idea is that outsiders ascribe certain properties to collections of individuals that thereby acquire a new status. An example that is discussed in some detail below is provided by universities that, at least initially, had to be recognized by the pope in order to perform the actions that are characteristic of universities, in particular the awarding of academic degrees. This perspective has received considerably less attention.2 In this paper I present and defend a new account of collective agents from the external perspective. I call it ‘the status account’. At the heart of this account lies the idea just mentioned. A collective agent can come into existence by outsiders granting a collection of individuals some kind of status. I call a collective agent for which this holds a ‘corporate agent’, because such an agent is or has been, in a sense to be explained, incorporated. I develop this idea by distinguishing between two kinds of rules: status rules and constitutive rules. Status rules explicate the normative attributes that are characteristic of a particular kind of corporate agent. Constitutive rules specify the conditions that have to be met for a certain collection of individuals to have those attributes. The status account shares some important features with John Searle’s social ontology.3 The advantages that my account has over Searle’s are discussed in section 2.2, immediately after the account has been introduced in section 2.1. Before doing that, however, I shall discuss the internal perspective.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gerald Prince WORLDS WITH STYLE Whether it is taken to be a laudable characteristic of verbal artifacts (as in, "This essay is really well written"), a distinctive feature of an individual manner of speaking or writing (as in, "Jane definitely has a style of her own"), an ornamental supplement to that which is expressed (style as elocutio), or an appropriate way of using language in different contexts (there is (...) — or was — a style for tragedy, another one for comedy, and still another one for pastoral; there is a style for speaking at business meetings and other styles better suited to everyday conversations, political rallies, or Ph.D. exams), whether it is taken to be any of these four things (or many other things as well), the style of an utterance is traditionally viewed as a secondary phenomenon different from and added to some primary base. It is the mode of expressing a given matter, the way of "saying" some thing, the how of a what. The same is true when the notion style is used in connection with nonverbal artifacts — we talk about musical styles and about pictorial ones — but also in connection with any number of activities or states of affairs: walking down the street, dancing the tango, being pleasant, or playing ping-pong. Ping-pong players use rackets, a net, and a ball, in accordance with certain rules, when they engage in a casual game; but they are thought to be doing somediing more than merely playing: they are performing an activity (the what) in a particular way. They do it stylishly, idiosyncratically, with a lot of showboating, or in a manner appropriate to the informal context.1 It is somewhat surprising, therefore, that, when it comes to verbal (and nonverbal) representations, style is often thought to be irrelevant to the signified (what is represented) as opposed to the signifier (what represents). Graham Hough writes, for example: "In discussing whatever it is we mean by style we assume mat the primary choice, the choice of subject-matter in the large sense, has already been made.... We can talk about the secondary choice, the stylistic one, in various ways.... But whatever point of view we adopt, it will be the verbal ordonnance that we discuss, not the oudines of die mym, the facts of the case, the ideological or biographical substructure."2 Yet, as I have more than suggested, any what has (or can have) a corresponding how. Besides, both 59 60Philosophy and Literature in formal criticism and informal exchanges, we frequently seem to refer to the how of a signified. When we say, for instance, that a given short story is Kafkaesque, we do not, I think, have its verbal style in mind; and when we claim that a novelistic episode or character comes right out of Alice in Wonderland, we are not talking about linguistic matters. Of course, the fact mat we seem to refer to the how of signifieds (or that we do refer to the how of signifiers) does not necessarily mean mat mere are such things (or that we can describe them). But I suspect that there are (and that we can). I would like to discuss in what follows some of the ways in which we might be able to talk of the style of represented "worlds" more or less meaningfully and systematically and some of the problems attending such talk. For the sake of convenience and because of personal affinities, I will restrict myself to verbal narratives. I will not make a distinction between literary and non-literary ones, since such a distinction is formally and even pragmatically quite problematic. IfI concentrate on fictional narratives, it is, again, because of personal affinities and not because I mink that, when it comes to style, (ontological or other) differences between fiction and nonfiction make very much of a difference. As I will argue, style is in the eye ofthe beholder and, from that point of view, whether or not something is compossible with one's knowledge of the "real world" does not necessarily make it function as fictional or nonfictional; indeed, I am constandy surprised by the real world and I could easily recount... (shrink)

This chapter contains sections titled: Flirting and Courtship Conservative Ideology Power Dynamics and Relationships Exploring the Views of Conservative Men Timing and Reciprocity Themes of Contradiction Conclusion.