By Mike Gonzalez, Marianella Yanes

Born at the unlit streets of Buenos Aires, tango was once encouraged by way of the tune of ecu immigrants who crossed the sea to Argentina, lured through the promise of a higher lifestyles. It came upon its domestic within the city's marginal districts, the place it was once embraced and formed by means of younger males who informed tales of prostitutes, petty thieves, and upset fans via its tune and hobbies. Chronicling the tales informed via tango's lyrics, Mike Gonzalez and Marianella Yanes exhibit in Tango how the dance went from slumming it within the brothels and cabarets of lower-class Buenos Aires to the ballrooms of Paris, London, Berlin, and beyond.

Tracing the evolution of tango, Gonzalez and Yanes set its track, key figures, and the dance itself of their position and time. They describe the way it was once no longer till Paris went loopy for tango previous to global conflict I that it turned applicable for middle-class Argentineans to accomplish the seductive dance, they usually discover the renewed enthusiasm with which every new new release has come to it. Telling the attractive, captivating tale of this trendy and dramatic dance, Tango is a booklet for informal lovers and ballroom aficionados alike.

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By dragging on the cursor the user can activate video sequences, text and sound. For instance, as the cursor moves around the screen various models of washing machine appear, each accompanied by a different soundtrack. Dancing figures run up staircases, roll over armchairs and digital bodies merge and overlap. A number of computer programmes are currently used by digital dance artists and perhaps the best known for the purposes of dance is Lifeforms. This programme was developed by Dr Tom Calvert at Simon Fraser University, British Columbia, and can be utilized for choreographic practices, notation, reconstruction and movement analysis (Jones, 1996).

13). This data can then be manipulated on screen and represented through a multitude of visual forms. Digital dance is still very much in its infancy, and as technology becomes increasingly sophisticated there is even more scope in the future for artistic and pedagogic developments in this field. As some of the evolutionary strands of dance on film, television and digital formats are traced in this section, the remainder of the chapter is concerned with the current context for dance on screen from critical, artistic and technical perspectives.

This attitude fails to acknowledge the role of the televisual apparatus in the construction of motion within screen dance. These sentiments, which implicitly suggest that dance can only be defined in terms of trained bodies and established techniques, are echoed elsewhere (Bayston, 1987; Penman, 1995). With reference to the Dancehouse(1992) series, Bayston(1992) states: ‘The series does raise some points for discussion – where does movement end and dance begin? ’ (p. 950). Once again, however, this dismissal of movement techniques that do not conform to existing dance vocabularies highlights the critical framework of these writers.

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