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Tango: The Art History of Love
 
 

Tango: The Art History of Love (Paperback)

by Robert Farris Thompson (Author)
4.0 out of 5 stars  See all reviews (1 customer review)
RRP: £11.99
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Product details

  • Paperback: 384 pages
  • Publisher: Alfred A. Knopf; New edition edition (2 Jan 2007)
  • Language English
  • ISBN-10: 1400095794
  • ISBN-13: 978-1400095797
  • Product Dimensions: 19.8 x 13.2 x 2.3 cm
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 277,996 in Books (See Bestsellers in Books)

    Popular in these categories:

    #11 in  Books > Music, Stage & Screen > Performing Arts > Dance > Tango
    #20 in  Books > Music, Stage & Screen > Performing Arts > Dance > Ballroom
    #22 in  Books > Music, Stage & Screen > Performing Arts > Dance > Contemporary

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Product Description

Review

"Thompson . . . inflames us with his reverence for the form." -Mikhail Baryshnikov
"Thompson helps us understand the way artistry and ancestry combine to make an art form of the body." -"The Washington Post"

"Elegant. . . . Uplifting and timely. . . . Thompson rescues tango from a one-dimensional tristesse, mining in its working-class origins emotions of defiance, freedom, self-control, humor, love, and redemption." -"Foreign Affairs"
"[Thompso treats tango as narrative art, literature and way of life. . . . By extensively tracing the lines of this 'rich suite of moves, ' Thompson's work gives a dance started in the early 1900s the weight of a centuries-old form." -"Newsweek"



Book Description

A definitive study of tango in all its manifestations from the author of the classic Flash of the Spirit. Beginning with Carlos Gardel, the Argentine genius considered to have invented tango in 1917, through to Hollywood's current representations of the dance, Thompson approaches his subject from all conceivable angles. Passionately argued, unequalled in its research, synthesis and depth and written with a revelatory clarity, Tango is a monumental and hugely fulfilling achievement. --This text refers to an out of print or unavailable edition of this title.

Inside This Book (Learn More)
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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1 of 4 people found the following review helpful:
4.0 out of 5 stars Remarkably thorough and wide-ranging., 21 Aug 2007
By M. P. Rendell (UK/Colombia) - See all my reviews
(REAL NAME)   
Despite Buenos Aires and Montevideo being the whitest cities of the Americas, their characteristic dances, tango and milonga, are at root deeply and, according to this remarkably thorough and wide-ranging piece of investigation, inescapably African..
Thompson is expertly equipped to make the case, being both a tango enthusiast and, in his other hat, a scholar of African art and deeply knowledgeable of the Bantu language Ki-Kongo, spoken by the Bakongo people in the tropical forests of Democratic Republic of the Congo and Angola. Ki-Kongo was spoken by many Africans who were taken into slavery and sold in the Americas. Creolized forms of the language are found in the ritual speech of African derived religions in Brazil, Jamaica and Cuba. Thompson argues that Ki-Kongo is "the main ancestral idiom of black Buenos Aires." In the course of a detailed history of the evolution of tango, with potted biographies of dozens of dancers and musicians, Thompson traces dance steps to antecedent body moves in the cultures of Central Africa at the moment the slave ships transported them across the Atlantic and created an overarching Afro-Atlantic culture.
Wonderful stuff, passionately argued, with some charming lyrical flourishes - `...some milongas are tinctured with yearning...'; `To follow its motions, steps and offbeats is to learn to connect roots with new voices.'
One or two minor blemishes in the argument: on occasion, word derivations we suspect are hypothetical are stated as fact. At times the thinking behind renderings of porteño in Black `yoof' English (`homegirl' for `compadrita,' for instance) beg for some justification. On the editorial side, two passages on the derivation of canyengue, and two passages about there being no African instruments in tango, should each have been melted down to one. And, strangely, the original Ki-Kongo follows his translations from that language, but not so verses and aphorisms first cast in Spanish, for instance, or German. Lastly, I'm against celebrity prefaces a priori: they suggest a lack of confidence in the book that follows. Don't let David Byrne's put you off: it could cost you an enriching, horizon-expanding read.
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