Is it possible, by working in/on Argentine tango dancing communities as innovative pedagogical spaces, to envision and elaborate a new generation of praxis frameworks for arts-rich pedagogies and arts education/community programs?
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Poetic verses on the alchemy of Argentine Tango (3)
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Poetic verses on the alchemy of Argentine Tango (2)
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Poetic verses on the alchemy of Argentine Tango (1)
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Who are you? To exchange the certainties of your time, for the desperation of a journey? Ulysses of our modern age, you traveler, unable to live with one only truth, in one only world. Unable to surrender the loss of a direction...
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What are the limits and distortions of traditional academic knowing?
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“Tango knows” not only by expressing human creativity and cultural identity through the symbolic language of dance, poetry and music, but also by presenting and enacting a way of being and inhabiting the world.
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Why are we still talking of Practice “as” Research in the arts? Does not the use of that apparently innocuous element of linguistic conjunction (“as”) hide the conceptual supremacy of research over artistic practice?
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I think it would be beneficial for the advancement of Practice as Research in Performance to shift the focus from the pluralization of epistemological frameworks to the pluralization of modes of inquiry across macro research activities.
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Can the Tango become a legitimate mode of inquiry through which an original type of artistic knowing is produced and shared across communities and institutions?
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