Abstract
Even if some of the martinfierristas , the group of Argentinian writers in 1920s who identified themselves with the artistic avant-garde, preferred earlier versions of tango and rejected Gardelian style of interpretation, the popular music genre –in those days a growing massive cultural phenomenon– was celebrated in their poems and essays. That position is in marked contrast with the rejection of tango by the Boedo group, whose writers and magazines Los Pensadores and Claridad viewed the tango as culturally abject and politically dangerous (as it could steer workers away from their fights and the construction of class consciousness). Those contrasting standings on a popular music species emphasize diverging approaches by both groups on the issues of national identity and its relevance for art and culture.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
