The tango embrace: A physical recreation of the spread of cosmopolitanism through tango
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This purpose of this thesis is to discuss how the tango orchestras of Osvaldo Pugliese (1905-1995) and Juan D’Arienzo (1900-1976) contributed to the development of a cosmopolitan community within Buenos Aires and its surrounding cities from 1949-1953. Pugliese and D’Arienzo were both of Italian heritage and grew up in different cosmopolitan neighborhoods. Additionally, both orchestras were comprised of ethnically, socioeconomically, and geographically diverse musicians, creating a cosmopolitan orchestra. The cosmopolitanism established within the two groups assisted in the diffusion of cosmopolitanism through a total of nine hundred seventeen live performances, collectively. Pugliese performed a total of four hundred forty times between 1949-1953 in twenty-four neighborhoods within Buenos Aires and twenty-three cities outside of the city. D’Arienzo’s well-established orchestra performed a total of four hundred seventy-eight times, also between 1949-1953, in thirty-one neighborhoods within Buenos Aires and thirty-two cities outside of the city. The mutual acceptance and support from both the orchestras and the communities contributed to the development of a cosmopolitan society within Argentina. Based on printed advertisements of live tango music performances in the Buenos Aires newspaper, El Mundo, the creation of a soundscape map on Historypin.org documented the coverage and frequency of live performances from 1949-1953, focusing on Pugliese and D’Arienzo’s orchestras. This map, combined with data from the 1947 General Census of Argentina, allowed in the analysis of the orchestras’ spread of cosmopolitanism.