Resumen de Los periplos del tango argentino: trayectorias migratorias y laborales en la construcción del tango como industria nacional

Anahí Viladrich, María Celeste Castiglione

• español

  Este trabajo analiza las trayectorias laborales de los artistas de tango argentinos (principalmente bailarines) cuyos periplos representan una dinámica de exportación/reterritorialización: exportación de artistas y apropiación del tango como un producto genuinamente argentino y, principalmente, porteño. En base al marco conceptual de Bourdieu (1979), desarrollamos el término “capital del tango” (definido como la acumulación de capital social, cultural y simbólico en la práctica del género), el cual se reproduce a través de las redes sociales de los artistas. En particular, este estudio etnográfico analiza las carreras migratorias y laborales de los artistas de tango identificados como miembros de tres grupos: los “transnacionales”, los “bisagra” y, los “locales”, que si bien responden a categorías separadas, persiguen objetivos comunes dentro de la industria global del entretenimiento.AbstractThis paper analyzes the career paths of Argentine tango artists (mainly dancers) whose journeys represent a dynamic of export/reterritorialization of artists amid the framing of Argentine tango as a genuine product, which particularly represents the city of Buenos Aires. Based on the conceptual framework of Bourdieu (1979), we develop the term "tango capital" (defined here as the accumulation of social, cultural and symbolic capital) that is reproduced through the artists’ social networks. In particular, this ethnographic study examines the migratory and job trajectories of tango artists identified as belonging to three different groups: the “transnational”, “hinge” and “local” which — although identified as members of distinctive categories — share common goals within the global entertainment industry.

• English

  This paper analyzes the career paths of Argentine tango artists (mainly dancers) whose journeys represent a dynamic of export/reterritorialization of artists amid the framing of Argentine tango as a genuine product, which particularly represents the city of Buenos Aires. Based on the conceptual framework of Bourdieu (1979), we develop the term "tango capital" (defined here as the accumulation of social, cultural and symbolic capital) that is reproduced through the artists’ social networks. In particular, this ethnographic study examines the migratory and job trajectories of tango artists identified as belonging to three different groups: the “transnational”, “hinge” and “local” which — although identified as members of distinctive categories — share common goals within the global entertainment industry.