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Music is a Western construct tied to Western assumptions of what music is. Barnett (2012) argued that the West has a habit of imposing its own perspectives and values on cultures and lifestyles that are different from theirs (p.335). As a result, what is not considered as music in other cultures becomes music to Western ears. For instance, the West sees Quran recitation as music, even when Muslims do not categorize it as such. Other examples are a few forms of pop music that for some critics are already more like trash music due to its overemphasis on image than the music itself (Leopold, 2012). Despite the strong image factor, the West still makes and sells this kind of music successfully across the globe. Thus, music is a Western construct because the West “makes” music according to its own definitions and classifications of it.
Music and/or dance can do things that are different from visual art by using properties that the latter does not contain and by involving couple, group, or community performance. Barnett (2012) provided five propositions of what music is, which not only set it apart from other forms of noise but from visual art as well. Music is organized sound, which is different from the organized hues of visual art (Barnett, 2012, p.7). The audience consumes music through their ears, and sometimes through their ears and eyes, while visual art is entirely for the eyes. Moreover, dance is a performance that sometimes requires two or more people to participate in its production. The social aspect of its production sets it apart from visual art which can be very single-artist-driven in construction. Dance can also serve several social functions. Dance and its accompanying music act as a “lens” through which people can find social celebration and community solidarity (Barnett, 2012, p.23). Dance can refer to rituals and other dances that serve diverse individual and social functions. Individually, people can dance to express themselves or to heal or curse others. Dance and music are common staples in social events too, such as weddings, birthdays, and funerals. Thus, dance and music operate at a different level than visual arts and can also be very social in its production and outcomes.
Tango is an important music and dance in Argentina culture, precisely because it originated in Buenos Aires, Argentina. The urban poor developed tango during the 1890s and because of the socioeconomic conditions of its makers, tango was danced more frequently in brothels during this time (Morales, 2003, p.14). Eventually, the Argentine elite embraced Tango dance and music because of its sensuality and emotionality (Morales, 2003, p.14). This music is important to the Argentines because it has come to reflect their cultural identity. It's emotionality and surprising figures poses, and steps represent their approach to life in general. Nowadays, people who know tango cannot detach it from Argentine identity.
The video clip “A Romantic Tango Dance by Gustavo and Jesica Hornos from Buenos Aires, Argentina” from TangoClasses (2006) shows a married couple dancing tango and demonstrates why dance and music are different from visual arts. The way Gustavo and Jesica Hornos dance is so intimate that it is almost voyeuristic to watch them. Their dance involves music and movement that change across the duration of the performance, which cannot be found in visual arts. Their music is different from visual art too because their body moves to the music to interpret it, and their dance, in turn, is interpreted by the audience. The result is that the dancers are affecting their audiences through their music and dance in a dynamic way. Moreover, their performance speaks of their Argentine culture in a performed manner. People can learn about Argentine culture through their arts and literature, but it cannot be complete without watching the Argentines dance tango. Tango is an essential aspect of Argentine identity. And for the Hornos dancers, they show that they are Argentine through the music and dance they perform too.
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