History of Argentine Tango:

Myth, Tradition & Identity

UNH Course Code: HIS353/CUL353
Subject Areas: History, Cultural Studies
Level: 300
Prerequisites: Introductory courses in Latin American history and/or cultural studies
Language of Instruction: English
Contact Hours: 45
Recommended Credits: 3
COURSE DESCRIPTION
In this course, you explore the history and culture of the Tango genre of music, dance and text
from the late 19th century to the present and engage in a deconstruction of its complex myths and
popular stereotypes. In search of historical insight into the tensions of contemporary Argentine
identity, culture and society, you will listen to Tango music, analyze lyrics to its many songs,
observe its steps in film and play, and personally dance the Tango in the milongas or ballroom) of
Buenos Aires. Your goal in this course is to investigate the complex cultural, social and political
meaningsin terms of identity, gender, and classof what has become a global social
phenomenon.
Born in the late 19th century among the lower classes of Buenos Aires, and nourished from the
confluence of Afro-American and Spanish rhythms, Italian immigrant nostalgia, and gaucho
musical traditions of the Pampas, the Argentine Tango today expresses the myths, identity and
aspirations of the people who invented it. Powerfully evocative and visually synonymous with
sensual and romantic dancein part due to Hollywood scenes of impassioned dancers crossing
ballroom floorsTango was always more than a dance. Its intoxicating music and socially-charged
lyricsa reflection of its lower class rootschallenged conventional notions of national Argentine
identity and was rejected by the dominant classes in Buenos Aires until its Parisian and New York
boom in the 1910s that made it a socially acceptable and global phenomenon.
From 1920, it therefore migrated from lower class suburbia to downtown Buenos Aires where it
became the most popular music of Argentinadanced, sung and played by all social classes. By the
1940s, Tango had become main-stream; a national icon expressing the character and culture of the
Argentine people. Through the influence of innovative tango composers such as Astor Piazzolla in
the 1970s, Tango became an international craze: now performed, sung, and danced across the
world. Tango has since gone global, and in that process, has fused with jazz, rock and electronic
music.
By the end of the course, you will acquire critical historical knowledge of this musical genre,
cultural insight into the Argentine mentality, and practical experience at dancing the Tango and
appreciating its cultural significance.

LEARNING OBJECTIVES
Cognitive Skills: Disciplinary & Cultural Knowledge

Identify the different characteristics of each historical phase of Tango

Describe the cultural, social and political issues shaping the Tango genre
Compare and contrast the Tango genre vis--vis other forms of popular music from Latin America &
Spain (e.g., Bossa Nova, Latin American folklore, Salsa, Bolero, Flamenco, etc.)
Explain how the medium and history of Tango can be used to provide insights into Argentine
cultural identity and mentality
Describe the historical role Tango has played in the host society and culture
Identify historical links between Tango and the cultural, social and political transformations of
Argentine society
Describe the historical process whereby Argentine Tango was transformed into a global esthetic and
commercial product

Analytical Skills: Critical Thinking in Oral & Written Work

Use standards of critical thinking to evaluate the role Tango plays in Argentine society
Use both local & international scholarship to inform your understanding of course concepts
Convey a critical understanding of this music (as music, dance and song) and demonstrate that you
can deconstruct its myths and realities
Evaluate the impact of Tango music in the formation of Argentine tradition and identity
Write critical reports on the music, lyrics, and films related to Tango

Affective Skills: Attitudinal & Intrapersonal Development

Value the study of cultural phenomena as a means of understanding another culture

Demonstrate a heightened appreciation and curiosity for Tango as if through Argentine eyes
Respond to history on critical-analytical levels appropriate for academic study as well as emotionalethical levels appropriate for personal interest
Demonstrate an awareness of the impact the Tango has on both host residents and yourself
Develop and convey empathy for the cultural values of other people who find meaning in their lives
through dancing or listening to Tango music

Behavioral Skills: Cultural Engagement & Interpersonal Development

Use knowledge of Tango to engage positively with the host population, city & culture
Apply your knowledge of Tango to overcome cultural differences with host people and be able to
anticipate recurrent attitudes and discourses
Interview people in the street and make a video about the meaning Tango has in the lives of
Argentine people today.

INSTRUCTIONAL FORMAT
Class will meet once a week for 150 minutes and will be taught as a seminar. Thus, you are expected to come
to class ready to discuss different academic texts. Course work is comprised of in-class lectures and
discussions, group exercises, student presentations, films, and a video project, and instructor-led onsite
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research excursions to relevant course-related sites and institutions in the city. Some onsite study will be
integrated into class-time while others will be assigned as out-of-class independent learning.
Please be advised: If you require any special accommodations or have any special learning needs, please inform the instructor and
the onsite academic affairs staff on the first day of class.
FORMS OF ASSESSMENT
The instructor will use numerous and differentiated forms of assessment to calculate the final grade you
receive for this course. For the record, these are listed and weighted below. The content, criteria and specific
requirements for each assessment category will be explained in greater detail in class. Whether or not you plan
to transfer letter grades back to your home institution, CEA expects that you will complete all graded
assessment categories in each course in which you are enrolled. In addition, your work and behavior in this
course must fully conform to the regulations of the CEA Academic Integrity Policy to which you are subject.
Finally, all formal written work you carry out in this course (research papers, projects, studies, etc.) must be
submitted in electronic format. Your instructor may also require that you hand in a hard copy of such work.
Workload Expectations: In conformity with CEA policy, all students are expected to spend at least two hours of
time on academic studies outside of, and in addition to, each hour of class time.
Please be advised: Any grade dispute you encounter in this course must immediately be discussed with the
instructor and definitively resolved before the last week of class. Only end-of-term assignments graded after
the end of your program are subject to CEAs formal grade appeal procedure. For more information, see
CEA Academic Policies.
Class Participation

10%

Reflection Papers

20%

Oral Presentation & Video

20%

Midterm Exam

25%

Final Exam

25%

Class Participation: The grade will be calculated to reflect your capacity to introduce ideas and thoughts
dealing with the texts and your ability to interpret different readings and to express your analysis in
intellectual, constructive argumentation in class discussions, in the presentation of your assigned reading, and
in the assignments associated to the excursions. When determining your class participation grade, traditional
criteria such as material preparation, completed reading before class, inter-personal respect and collaborative
group work are also evaluated. But it is the active, meaningful and informed verbal and written contribution
that you make that is most important to your overall participation grade. Additionally, it is important to
demonstrate a positive and supportive attitude to the instructor and your classmates, and give full attention to
class activities (i.e., cell-phones off, etc.). The grade will be split in two, 5% for the first half of the course
(Class Participation 1) and 5% for the second half of the course (Participation 2). Whereas attendance and
punctuality are expected and will not count positively towards the grade, laxity in these areas will have a
negative effect. The instructor will use the following specific criteria when calculating your class participation
grade:

Criteria for Assessing Class Participation

Grade

You make major and original contributions that spark discussion, offering both critical
and analytical comments clearly based on readings and research and displaying a working
knowledge of theoretical issues.

A+

You make significant contributions that demonstrate insight as well as knowledge of

required readings and independent research.

A-/A

You participate voluntarily and make useful contributions that are

usually based upon some reflection and familiarity with required readings.

B/B+ (8.408.99)

You make voluntary but infrequent comments that generally reiterate the basic points of
the required readings.

C+/B- (7.708.39)

You make limited comments only when prompted and do not initiate debate or show a
clear awareness of the importance of the readings.

(7.007.69)

You very rarely make comments and resist engagement with the subject, attending class
having manifestly done little if any preparation.

(6.006.99)

You make irrelevant and tangential comments disruptive to class discussion, a result of
frequent absence and complete un-preparedness.

(05.99)

(9.7010.00)

(9.009.69)

Reflection Papers: You will write two reflection papers related to course films and/or onsite study excursions.
In addition to your own reflective thoughts and insights, these papers must also integrate concepts and
information drawn from course readings. These papers must be well-structured, handed, commented upon in
class, and revised. Each paper is worth 10% of your final grade. The instructor will provide specific guidelines
and support for engaging in critical reflection and writing.
Video & Oral Presentation: You will present a video created by a team made of two or three classmates. The
video will include interviews of local residents on the art and meaning of Tango music as well as the impact it
has on their lives. The video presentation must be accompanied by an oral presentation in which you make
clear connections between the readings and the material gathered in the interview. You must also submit a
one-page (500 word) overview of the video and corresponding oral presentation.
Midterm and Final Exam: These exams are designed to establish and communicate to you the progress you
are making towards meeting the course learning objectives listed above. They are comprised of questions
and/or exercises that test your abilities in three important areas of competency: the amount of information
you master; the accuracy of the information you present; and the significance you ascribe to the facts and
ideas you have integrated across your study in this course. The final exam is cumulative.

Letter
Grade
A+
A
AB+
B
BC+
C
D
F
W
INC

Numerical Grade
Low Range
9.70
9.40
9.00
8.70
8.40
8.00
7.70
7.00
6.00
0.00
Withdrawal
Incomplete

CEA Grading Scale

Numerical Grade
High Range
10.00
9.69
9.39
8.99
8.69
8.39
7.99
7.69
6.99
5.99

Percentage
Range
97.0 - 100%
94.0 - 96.9%
90.0 93.9%
87.0 89.9%
84.0 86.9%
80.0 83.9%
77.0 79.9%
70.0 76.9%
60.0 69.9%
0 - 59.9%

Quality
Points
4.00
4.00
3.70
3.30
3.00
2.70
2.30
2.00
1.00
0.00
0.00
0.00

CEA ATTENDANCE POLICY

Every student is expected to attend all scheduled class sessions on time and be thoroughly prepared for the
days class activities. In compliance with NEASC and UNH accreditation requirements, CEA instructors
compile regular attendance records for every course and take these records into account when evaluating
student participation and performance.

In each three-credit 15-week course, a maximum of the equivalent of two weeks (4 class sessions) of
accumulated absences due to sickness, personal emergency, inevitable transport delay and other
related impediments will be tolerated.
Your final course grade will drop one full letter grade (e.g. A- to B-) for each additional class missed
beyond this two week period, regardless of the reason for your absence.
You will automatically fail a course if your absences exceed the equivalent of three weeks of class.

Furthermore, to comply with immigration and financial regulations, you must maintain full-time student
status and attend at least 12 hours of class every week. Consequently, the Dean and Campus Director will
dismiss from all CEA courses, programs, activities and housing any student who fails to maintain full-time
status.
Arriving Late for Class: Consistently arriving late is disruptive and shows a lack of respect for instructor and
fellow students. For persistent lateness, the instructor deducts percentage points from the total 10%
earmarked for Participation as indicated in the syllabus. Missing a significant portion of one of your classes
may constitute a full days absence. If you arrive late due to serious and unforeseen circumstances, or if you
must leave class early due to illness or emergency, you must inform the instructor. The instructor will
determine if the amount of class time missed constitutes a full or partial absence.
CEACLASSROOM: CEA'S MOODLE CMS

CEA instructors use the open source course management system (CMS) called Moodle that creates an
interactive virtual learning environment for students and educators alike. This web-based platform provides
you with 24/7 access to the course syllabus, daily schedule of class lectures and assignments, non-textbook
required readings, and additional resources directly related to your studies. Moodle includes the normal array
of forums, up-loadable and downloadable databases, wikis, and related academic support designed for helping
you achieve the many course learning objectives.
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The ceaClassroom website is located here: https://www.ceaClassroom.com/

During the first week of class, the CEA academic staff and instructors will provide you with log-in
information and corresponding passwords to access this site. They will also help you navigate through the
many functions and resources Moodle provides. While you may print a hard copy version of the syllabus that
is projected on the first day of class, it is the class schedule on Moodle that is the definitive and official one,
given that the instructor will be announcing updates and additions there and nowhere else. It is your
responsibility to ensure that you have access to all Moodle materials related to your course and that you
monitor Moodle on a daily basis so as to be fully informed of required course assignments and any scheduling
changes that might occur.
REQUIRED & RECOMMENDED READINGS
Listed below are the required course textbooks and additional readings. Whether you buy your books from
our locally affiliated merchants or whether you acquire these before arrival, you must have constant access to
these resources for reading, highlighting and marginal note-taking. It is required that you have unrestricted
access to each. Additional copies will be placed on reserve in the Academic Affairs office for short-term
loans. Access to additional sources required for certain class sessions will be provided in paper or electronic
format consistent with applicable copyright legislation. In addition, the Academic Affairs Office compiles a
bank of detailed information about the many libraries, documentation centers, research institutes and archival
materials located in the host city and accessible to CEA students. You will be required to use these resources
throughout your studies. Direct access to additional resources and databanks are available to you through the
online library of the University of New Haven.
Archetti, Eduardo P. Multiple Masculinities: The Worlds of Tango and Football in Argentina. In Sex and
Sexuality in Latin America, Daniel Balderston and D. J. Guy (eds.). New York: New York University
Press, 1997. pp. 200-216.
Bergero, Adriana. Intersecting Tango: Cultural Geographies of Buenos Aires, 1900-1930. Pittsburgh: University of
Pittsburgh Press, 2008. 376pp.
Borges, Jorge Luis. Man on Pink Corner, in Collected Fictions. New York, N.Y., U.S.A.: Viking, 1998.
-------. A History of the Tango, in Evaristo Carriego. New York: Dutton, 1984. 131-148pp.
Collier, Simon. The Birth of Tango. Gabriela Nouzeilles and Graciela Montaldo (eds.) The Argentina Reader.
Durham: Duke University Press, 2002. 196-203.
Collier, Simon; Azzi, Susana, et al. Tango! New York: Thames & Hudson, 1997. 208pp.
Comte, Mnica Gloria Hoss de le. The Tango. Buenos Aires, Maizal, 2003. 32pp.
Corradi, Juan E. How Many did it take to Tango? Voyages of Urban Culture in the Early 1900s. In Outsider
Art: Contesting Boundaries in Contemporary Culture, edited by Vera L. Zolberg and J. Maya Cherbo.
London: Cambridge University Press. 194-214
Dujovne, Beatriz. In Strangers' Arms: The Magic of the Tango. North Carolina: MacFarland, 2011. 232pp.
Farris Thompson, Robert. Tango: The Art History of Love. New York: Pantheon, 2006. 384pp.
Garramuo, Florencia, Tango, Samba, Modernity and Nation. It Takes More Than Two. ReVista. Harvard
Review of Latin America, Fall 2007. 5-8 pp.
Garramuo, Florencia, Primitive Iconographies: Tango and Samba, Images of the Nation. Jens Anderman
and William Rowe (eds.), Iconographies of Power. London: Bergham Books, 2004.
Gift, Victoria. Tango, a History of Obsession. Booksurge Publishing, 2009. 456pp.
Guy, Donna J. Sex and Danger in Buenos Aires: Prostitution, Family, and Nation in Argentina. Lincoln: University of
Nebraska Press, 1991. 258pp.
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Gorin, Natalio, Astor Piazzolla: A Memoir. Portland, Oregon: Amadeus Press, 2003. 260pp.
Molloy, Sylvia. Memories of Tango. ReVista. Harvard Review of Latin America, Fall 2007.
Morgan James Luker. Tango Renovacin: On the Uses of Music History in Post-Crisis Argentina, Latin
American Music Review, 28.1 Spring/Summer 2007. 68-93 pp.
Savigliano, Marta E. Tango and the Political Economy of Passion. San Francisco: Westview Press, 1995. 312pp.
Vila, Pablo. Tango to Folk: Hegemony Construction and Popular Identities in Argentina. Studies in Latin
American Popular Culture 10 (1991):107-139.
Viladrich, Anah. "Tango Immigrants in New York City: The Value of Social Reciprocities." Journal of
Contemporary Ethnography. Vol. 5, N. 34(2005):533-559.
Recommended Films & Documentaries:
Tango by Carlos Saura
El dia que me quieras (with Carlos Gardel)
Yo no s qu me han hecho tus ojos (Life of singer Ada Falcon)
The Tango Lesson
ONLINE REFERENCE & RESEARCH TOOLS
http://www.la2x4.gov.ar/ (Tango Radio)
www.todotango.com
http://www.astorpiazzolla.org
http://www.buenosairesmilongas.com/
http://www.tangobuenosaires.gob.ar/
www.los36billares.com
www.torquatotasso.com.ar

History of Argentine Tango: Myth, Tradition, & Identity

Course Content
SESSION

TOPIC

ACTIVITY

STUDENT ASSIGNMENTS
Film Viewing:

Introduction to the Course

1

Bernardo Bertolucci: Last Tango in Paris

(1973)

Lecture &

Overview of major historical & cultural events that

shaped Argentina & its music

Discussion

Readings:

Comte, Mnica Gloria Hoss de le. The

Tango. 32pp
Gift, Victoria. Tango, a History of Obsession.
3-160

PART I. THE BIRTH OF TANGO

Lecture &
Discussion
2

Hollywood & Tango

Discovering the Myths
Revealing the History

Group Activity:
Film analysis of American movies with
Tango dancing scenes

Readings:
Robert Farris Thompson, Tango: The Art
History of Love. 3-48.
Vila, Pablo. Tango to folk: Hegemony
construction and popular identities in
Argentina. 107-139.

Lecture &

The Birth of Tango

1880-1920
Black Roots

Discussion

Group Activity

Readings:
Collier, Simon; Azzi, Susana, et al. Tango!
15-100.
Gift, Victoria. Tango, a History of Obsession.
165-250

History of Argentine Tango: Myth, Tradition, & Identity

Course Content
SESSION

TOPIC

ACTIVITY

STUDENT ASSIGNMENTS

Lecture &

The Birth of Tango

La Habanera & la Milonga pampeana

Discussion

Readings:
Robert Farris Thompson, Tango: The Art
History of Love. 111-150.

Group Activity
Readings:

From Gaucho to Compadrito:

Borges & the Myth of the Arrabal
Candombe & Milonga
in the San Telmo antique fair

Onsite Field Trip

Observation & Participation

Jorge Luis Borges, A History of the

Tango 131-148.
Jorge Luis Borges, Man on Pink Corner. 1029.
Dujovne, Beatriz. In Strangers' Arms: The
Magic of the Tango. 25-92.

PART II. THE GOLDEN AGE OF TANGO

Due Report on The Roots of Tango
Lecture &
Tagomania in Europe
6

Discussion

Tango Returns Home

The Golden Age of Tango

Group Activity
Lecture &

Gender, Race & Class in Tango

1900-1930s

Discussion

Readings:
Collier, Simon; Azzi, Susana, et al. Tango!
101-145.
Corradi, Juan E. How Many did it take to
Tango? Voyages of Urban Culture in the
early 1900s. 124-214.
Gift, Victoria. Tango, a History of Obsession.
251-299.
Readings:
Savigliano, Marta E. Tango and the Political
Economy of Passion. 30-72.
Guy, Donna J. Sex and danger in Buenos Aires.
5-36; 141-179.

History of Argentine Tango: Myth, Tradition, & Identity

Course Content
SESSION

TOPIC

ACTIVITY

STUDENT ASSIGNMENTS

Group Activity

Lecture &

Tango Song
1930s-50s
Carlos Gardel, the voice
Tango Women singers

Discussion

Group Activity

Readings:
Collier, Simon; Azzi, Susana, et al. Tango!
162-198.
Archetti, Eduardo P. Multiple masculinities:
The worlds of tango and football in
Argentina.200-216.
Dujovne, Beatriz. In Strangers' Arms: The
Magic of the Tango. 145-200.
Film Screening:
El dia que me quieras with Carlos Gardel
Videos from Tita Merello.

Lecture &

From La Morocha to Malena:

Tango Poets & Themes
Tango Argot: El Lunfardo

Discussion

Group Activity

10

Contemporary Interpreters

Onsite Study Excursion:

of Tango Songs

Susana Rinaldi in Concert

Readings:

Molloy, Sylvia. Memories of tango

Bergero. Intersecting Tango. 115-260.

Readings:
Robert Farris Thompson, Tango: The Art
History of Love. 150-218.
Gift, Victoria. Tango, a History of Obsession.
337-430.

Part III. Tango Today

10

History of Argentine Tango: Myth, Tradition, & Identity

Course Content
SESSION

TOPIC

11

The New Tango of the 1960s: Astor Piazzolla

The presence of Jazz
The Piazzolla Songbook

ACTIVITY
Group Activity & Research

Oral Presentations
Onsite Study Excursion:

12

Keeping the Roots Alive:

Traditional Tango Orchestras & Singers Today

Orchestra La Fernandez Fierro at Club Atletico

Almagro

STUDENT ASSIGNMENTS
Readings:
Natalio Gorin. Astor Piazzolla: A
Memoir.260pp.
Musica and Videos of Astor Piazzolla's
music
Readings:
Robert Farris Thompson, Tango: The Art
History of Love. 219-303
Due Report on Field Trips

Group Activity:
13

Tecno Tango

Musical Examples of

Readings:

Tecno Tango & Videos

14

15

Video & Oral presentations:

The Meaning of Tango for Argentine People

Final Exam

Group Activity:
Final Video Presentations

Exam

Morgan James Luker. Tango Renovacin: On the

Uses of Music History in Post-Crisis Argentina,
68-93 pp.
Viladrich, Anah. "Tango Immigrants in
New York City: The Value of Social
Reciprocities." 533-559.

Readings:

Bergero. Intersecting Tango. 13-110

Review all Class Readings
& Course Materials

11