Tracing Tangueros offers an inside view of Argentine tango music in the context of the growth and development of the art form's instrumental and stylistic innovations. Rather than perpetuating the glamorous worldwide conceptions that often only reflect the tango that left Argentina nearly 100 years ago, authors Kacey Link and Kristin Wendland trace tango's historical and stylistic musical trajectory in Argentina, beginning with the guardia nueva's crystallization of the genre in the 1920s, moving through tango's Golden Age (1932-1955), and culminating with the "Music of Buenos Aires" today. Through the transmission, discussion, examination, and analysis of primary sources currently unavailable outside of Argentina, including scores, manuals of style, archival audio/video recordings, and live video footage of performances and demonstrations, Link and Wendland frame and define Argentine tango music as a distinct expression possessing its own musical legacy and characteristic musical elements. Beginning by establishing a broad framework of the tango art form, the book proceeds to move through twelve in-depth profiles of representative tangueros (tango musicians) within the genre's historical and stylistic trajectory. Through this focused examination of tangueros and their music, Link and Wendland show how the dynamic Argentine tango grows from one tanguero linked to another, and how the composition techniques and performance practices of each generation are informed by that of the past.

A radically new reading of the origins of recorded music Noise Uprising brings to life the moment and sounds of a cultural revolution. Between the development of electrical recording in 1925 and the outset of the Great Depression in the early 1930s, the soundscape of modern times unfolded in a series of obscure recording sessions, as hundreds of unknown musicians entered makeshift studios to record the melodies and rhythms of urban streets and dancehalls. The musical styles and idioms etched onto shellac disks reverberated around the globe: among them Havana’s son, Rio’s samba, New Orleans’ jazz, Buenos Aires’ tango, Seville’s flamenco, Cairo’s tarab, Johannesburg’s marabi, Jakarta’s kroncong, and Honolulu’s hula. They triggered the first great battle over popular music and became the soundtrack to decolonization.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Competitive ballroom is much more than a style of dance. Rather, it is a continually evolving and increasingly global social and cultural arena: of fashion, performance, art, sport, gender and more. Ballroom explores the intersection of dance cultures, dress and the body. Presenting the author's experiences at an international range of dance events in Europe, the US and UK, as well as featuring the views of individual dancers, the book shows how dancing influences mind and body alike. For students of anthropology, dance, cultural and performance studies, Ballroom provides an ethnographic picture of how dancers and others live their lives both on and off the dance floor.

Matsuda proves his argument by visiting a remarkable array of "memory-sites": the destruction of a monument to Napoleon during the 1871 Paris Commune; the frantic selling of futures on the Paris stock-exchange; the state's forensic search for a vagabond rapist and murderer; a child's perjured testimony on the witness stand; a scientist's dissecting of the human brain; the invention of cameras and the cinema.

Can scholarly pursuit of soap operas and folk art actually reveal a national imagination? This innovative collection features studies of iconography in Mexico, telenovelas in Venezuela, drama in Chile, cinema in Brazil, comic strips and tango in Argentina, and ceramics in Peru. In examining these popular arts, the scholars gathered here ask the same broad questions: what precisely is a national culture at the level of the popular? The national idea in Latin America emerges from these pages as a problematic, divided one, worth sustained attention in the field of culture studies. Many different arts come forth in all their richness and vitality, compelling us to look, listen, and understand.

Latin American societies were created as pre-industrial colonies, that is, peoples whose cultures and racial makeup were largely determined by having been conquered by Spain or Portugal. In all these societies, a colonial heritage created political and social attitudes that were not conducive to the construction of democratic civil societies. And yet, Latin America has a public life--not merely governments, but citizens who are actively involved in trying to improve the lives and welfare of their populations. Monteon focuses on the relation of people's lifestyles to the evolving pattern of power relations in the region. Much more than a basic description of how people lived, this book melds social history, politics, and economics into one, creating a full picture of Latin American life. There are two poles or markers in the narrative about people's lives: the cities and the countryside. Cities have usually been the political and cultural centers of life, from the conquest to the present. Monteon concentrates on cities in each chronological period, allowing the narrative to explain the change from a religiously-centered life to the secular customs of today, from an urban form organized about a central plaza and based on walking, to one dominated by the automobile and its traffic. Each chapter relates the connections between the city and its countryside, and explains the realities of rural life. Also discussed are customs, diets, games and sports, courting and marriage, and how people work.