Safeguarding tango as an intangible cultural heritage
through higher education in Argentina: a case study ofthree national universities in Buenos Aires
Carolina Giménez Milán

Carolina Giménez Milán. Argentine Lawyer and Spanish Proofreader, with a Master’s degree in Business Law and aSpecialization in Sustainability and Corporate Social Responsibility. Currently pursuing a doctoral degree in Higher
Education. Holds the position of Responsible for Intercultural Affairs at Instituto Superior de Letras Eduardo Mallea in
Buenos Aires, Argentina. She oversees the Department of Spanish as a Foreign Language and serves as a tenured professor
for two subjects in the official tertiary career “Tecnicatura Superior en la Corrección de Textos” (Associate degree in Spanish
proofreading). Her research focuses on intercultural competences and global citizenship, particularly addressing Target 7of SDG 4. This goal urges states to ensure that, by 2030, all students acquire the knowledge and skills necessary to promotesustainable development. This includes education for sustainable development, global citizenship, appreciation of cultural
diversity, and the contribution of culture to sustainable development. Her doctoral research specifically concentrates on
Education for Sustainable Development.

Safeguarding tango as an intangible
cultural heritage through higher educationin Argentina: a case study of three national
universities in Buenos Aires
Carolina Giménez Milán

Instituto Superior de Letras Eduardo Mallea (Argentina)

ABSTRACT

Tango, a binational nomination between Argentina and Uruguay,
was inscribed as intangible cultural heritage (ICH) on the
Representative List of the 2003 Convention for the Safeguardingof the Intangible Cultural Heritage in 2009. Recognising that
cultural heritage is increasingly threatened with destruction
by changing social and economic conditions, and consideringthat the safeguarding of this heritage at the national level often
remains incomplete, UNESCO acknowledges that education
plays a key role in safeguarding intangible cultural heritage.
Safeguarding by integrating intangible cultural heritage intohigher education could be an effective strategy. The paper
briefly presents the concepts of intangible cultural heritage,
safeguarding measures, a historical approach to tango, anda review of three curricula or degree proposals offered byIntroduction

In October 2003, UNESCO adopted the Convention
for the Safeguarding of the Intangible Cultural Heritage(ICH Convention) in Paris, which came into force in April
2006 and has been ratified by 181 states (as of June2023).1 The Convention aims to safeguard traditional
cultural expressions and other manifestations of heritageclassified as ‘intangible cultural heritage’.
The ICH Convention grants states the authority todetermine which manifestations of heritage should
be inventoried and protected through the List ofRepresentative Intangible Heritage of Humanity. In this56

three universities in Buenos Aires, Argentina, that could beconsidered as safeguarding measures for tango as intangible
cultural heritage. From the perspective of the 2003 Convention
for the Safeguarding of the Intangible Cultural Heritage andthe overall results framework, we interpret that the proposalsof the universities under study can be considered measures
to safeguard tango, intending to guarantee tango as a living
heritage continuation. The three proposals include tango
education, awareness-raising and, possibly, transmission.

Keywords

tango, safeguarding measures, higher education, 2003 ICH
Convention, Overall Results Framework

regard, tango, as a nomination from Argentina and
Uruguay, was inscribed in 2009 (4.COM)2 on that list.
Both countries agreed to safeguard this intangible
cultural heritage through the establishment of specialised
training and documentation centres, the formation ofan orchestra, and the construction of museums andpreservation trusts dedicated to tango.
According to De Oliveira Pinto (2018, 24), theresponsibility for bringing the musical heritage of tango
into full public awareness ‘is given to members ofcommunities, music ensembles, and all those who areinterested in, touched by, or actively engaged in music’.
Education also plays an important role here.
In this paper, it is presented and analysed some
safeguarding measures by integrating ICH into higher
education within the context of Buenos Aires, Argentina.

Convention for the Safeguarding of theIntangible Cultural Heritage

The 2003 ICH Convention, the first binding multilateral
instrument for safeguarding intangible cultural heritage,enhances and supplements existing international
agreements, recommendations and resolutions regarding
cultural and natural heritage.

In this regard, Article 2 of the Convention for the
Safeguarding of Intangible Cultural Heritage (2003)
defines ‘intangible cultural heritage’ asthepractices,

representations,expressions,

The primary safeguarding measure proposed in the
ICH Convention is the creation of inventories. States
Parties are also urged to adopt suitable legal, technical,
administrative and financial measures aimed at:

knowledge, skills – as well as the instruments,• fostering the creation or strengthening ofinstitutions for training in the management of
the intangible cultural heritage and thetransmission of such heritage through forums
and spaces intended for the performance or
expression thereof;• ensuring access to the intangible cultural heritage
while respecting customary practices governing
access tospecific aspects of such heritage;• establishing documentation institutions for theintangible cultural heritage and facilitating accessto them.3

transmitted from generation to generation, is

It is crucial to define the meaning of ‘cultural heritage’.
According to UNESCO:

58

UNESCO emphasises that the importance ofintangible cultural heritage lies not solely in the cultural
manifestations themselves but in the wealth of knowledge
and skills transmitted through them from one generation
to the next. The social and economic value of thistransmission of knowledge is significant for minority
groups and mainstream social groups within a state, and
it is equally important for developing and developed statesalike.

The term ‘cultural heritage’ has changed content
considerably in recent decades, partially owing to the
instruments developed by UNESCO. Cultural heritage
does not end at monuments and collections of objects.
It also includes traditions or living expressions inheritedfrom our ancestors and passed on to our descendants,
such as oral traditions, performing arts, social practices,
rituals, festive events, knowledge and practices
concerning nature and the universe or the knowledge
and skills to produce traditional crafts. While fragile,
intangible cultural heritage is an important factor inmaintaining cultural diversity in the face of growing
globalization. An understanding of the intangible cultural
heritage of different communities helps withintercultural dialogue, and encourages mutual respect
for other ways of life. 4

objects, artefacts and cultural spaces associatedtherewith – that communities, groups and, in somecases, individuals recognize as part of their cultural
heritage.

Thisintangible

culturalheritage,constantly recreated by communities and groups in
response to their environment, their interaction
with nature and their history, and provides themwith a sense of identity and continuity, thus
promoting respect for cultural diversity and humancreativity. For the purposes of this Convention,
consideration will be given solely to such intangible
cultural heritage as is compatible with existing
international human rights instruments, as well aswith the requirements of mutual respect amongcommunities, groups and individuals, and ofsustainable development. .

Furthermore, this article specifies that intangible
cultural heritage manifests in (among other domains):(a) oral traditions and expressions, including language
as a vehicle of the intangible cultural heritage;(b) performing arts;(c) social practices, rituals and festive events;(d) knowledge and practices concerning nature andthe universe;(e) traditional craftsmanship.
While ‘tangible cultural heritage’ refers to physicalelements produced, maintained and transmitted
intergenerationally in a society, including artistic creations,built heritage such as buildings and monuments, andother tangible products of human creativity with cultural
significance in a society, ‘intangible cultural heritage’refers to ‘the practices, representations, expressions,knowledge, skills – as well as the instruments, objects,
artefacts and cultural spaces associated therewith –that communities, groups and, in some cases,
individuals recognize as part of their cultural heritage’(UNESCO 2003). Tangible and intangible heritage
necessitate different approaches for preservation andsafeguarding, motivating the conception and ratificationof the 2003 UNESCO Convention for the Safeguarding of
the Intangible Cultural Heritage. UNESCO conventions
for the safeguarding of the Material World Heritage (1972)
and the preservation of the Intangible Cultural Heritageof Humanity (2003) employ listing practices for worldwide
identification and global recognition.

Tango in Argentine society: historicalapproximation and designation as ICH

Born at the end of the 19th century, Argentine tango
grew alongside various social and political processes in
the country, eventually becoming a symbol of Argentine
culture worldwide. Few music styles in history havemanaged to establish such a strong bond with a specificcity and geographical area as tango did with Buenos Airesand the Río de la Plata region. Initially known as ‘of the Old
Guard’, tango was a lively and physically daring suburban
dance that seemed to defy the moral conventions of theVictorian era. However, the later addition of lyrics andsingers, especially Carlos Gardel, along with rhythmic,
melodic and instrumental transformations, gave the genre
a more lyrical character. With the prominent presence ofthe bandoneon, piano and strings, tango expressed thesorrow and melancholy of immigrant descendants. Aftera period of widespread popularity, with highly successful
orchestras that promoted large-scale dances, thegenre experienced a prolonged crisis starting from the
1960s, from which only the revolutionary Astor Piazzolla
managed to emerge. Nevertheless, from the turn of the
century to the present day, tango has been reclaiming aprominent place in Argentine cultural life, largely due tothe revaluation of history and popular traditions by young
people.
Although historical sources indicate that tango
originated in the Argentine capital, its increased visibility
and significance also contributed to the construction of
the Argentine national identity, leading to the conceptof the ‘national character of Tango’ (Archetti 2003, 42).
Its deepening relationship with the nation occurred in
the 1990s, marked by the establishment of the National

Tango Academy through government policy (Decree No.
1235-1990) and the enactment of the National Tango Law
No. 24,684 in 1996, both pivotal precedents for its future
recognition as intangible cultural heritage.
For most experts, as well as society as a whole, tango
as a cultural phenomenon began to undergo revitalisationin the 1990s (Cecconi 2009; Marchini 2007; mentioned byUntref-Aamnba 2013, 11). The rejuvenation of tango wasseen against the backdrop of its perceived decline in the
1960s, when it supposedly lost its appeal to audiences(Cecconi 2009, mentioned by Untref-Aamnba 2013, 11).
In 2001, the Department of Heritage of the Ministryof Culture of Argentina proposed nominating tango to
UNESCO as a Masterpiece of Oral and Intangible Heritageof Humanity. This initial attempt failed, due to the prevailingunderstanding of ICH at the time and the absence of atransnational regulation such as the ICH Convention(2003). As Santoyo (2010, 113) noted, in its early stages,‘intangible heritage’ referred to ‘traditional culture’
characterised by a strong connection between ‘people,
identity, and tradition’. Thus, tango appeared to deviate
from this notion of tradition, as it was perceived as a global,
contemporary phenomenon associated with urban life.
Consequently, tango did not align with the traditional viewof heritage as ‘reproduction’ characterised by continuity,
stability and autonomy. The debate surrounding tango’s
UNESCO candidacy reflected its cross-border natureand its urban roots, particularly in Buenos Aires, during
the late 19th and early 20th centuries. UNESCO’s initial
rejection of tango’s candidacy suggested a perceived lackof local and authentic characteristics.
The second nomination, in 2009, employed different
strategies within a changed context of intangible heritage
production. With the endorsement of Argentina and
Uruguay, the application was jointly submitted by Buenos
Aires and Montevideo, introducing the concept of tango asa ‘Río de la Plata expression’ and inaugurating processesof shared heritage. According to Untref-Aamnba (2013,12), this regional and transnational characterisation
lent tango a relative authenticity and detached it fromthe global dimension attributed to it in the previous
submission. Moreover, this second attempt was madewithin the framework of the newly adopted ICH Conventionof 2003, which defined ‘intangible heritage’ as constantly
recreated by communities and emphasised pluralistic
concepts of identity.

Vol.19 2024 International Journal of Intangible Heritage 59

The inscription of tango from the Río de la Plata region
as intangible cultural heritage in 2009 does not imply
that debates ceased, as evidenced by the elaboration of
new definitions by the UNESCO committee of experts in
2011. These definitions broadened the understandingof ICH, recognising it as ‘traditional, contemporary, andliving at the same time’, allowing for the incorporationof the urban dimension and contemporary
manifestations.Additionally, the concept of identity was
expanded to include continuities not only from theoriginal source but also from recreations, displacements
and adaptations resulting from movement by bothsedentary and migrantgroups (Untref-Aamnba 2013, 12).
UNESCO’s explanation of tango’s inscription in 2009 on
the Representative List of the Intangible Cultural Heritageof Humanity5 underscores its significance as a productof the cultural fusion in Buenos Aires and Montevideo.
Tango, practised in traditional dance halls, embodies andpromotes diversity and cultural dialogue, transcending
national boundaries and adapting to new environments
while maintaining its community spirit. The community oftango encompasses musicians, professional and amateur
dancers, choreographers, composers, songwriters andteachers, reflecting its widespread embrace as a popularurban music and its incorporation into celebrations ofnational heritage in Argentina and Uruguay.

function of the intangible cultural heritage in society,and at integrating the safeguarding of such heritage
into planning programmes; (b) designate or establish
one or more competent bodies for the safeguarding of
the intangible cultural heritage present in its territory;(c) foster scientific, technical and artistic studies, aswell as research methodologies, with a view toeffective safeguarding of the intangible cultural
heritage, in particular the intangible cultural heritage
in danger; (d) adopt appropriate legal, technical,
administrative and financial measures aimed at: (i)fostering the creation or strengthening of institutions
for training in the management of the intangible
cultural heritage and the transmission of such
heritage through forums and spaces intended for the
performance or expression thereof; (ii) ensuring
access to the intangible cultural heritage while
respecting customary practices governing access to
specific aspects of such heritage; (iii) establishingdocumentation institutions for the intangible cultural
heritage and facilitating access to them.

Article 14: Education, awareness-raising and capacity-building
Each State Party shall endeavour, by all appropriate
means, to: (a) ensure recognition of, respect for, andenhancement of the intangible cultural heritage insociety, in particular through: (i) educational,

Measures for safeguarding ICH‘What kind of measures might prove useful to safeguard
living cultural manifestations? How can safeguarding
actions be made possible to protect, keep, disseminate,
and revitalize living heritage?’, asked Tiago de Oliveira
Pinto (n.d.), Professor and Chairholder, UNESCO Chairon Transcultural Music Studies and Head of Musicology
Department, University of Music Franz Liszt Weimar at
the SDGAcademy course Living Heritage and Sustainable
Development.
These questions are relevant when defining
safeguarding measures. In this regard, the ICH Convention
establishes the following:
Article 13: Other measures for safeguarding
To ensure the safeguarding, development andpromotion of the intangible cultural heritage present
in its territory, each State Party shall endeavour to: (a)adopt a general policy aimed at promoting the60

awareness-raising and information programmes,
aimed at the general public, in particular young
people; (ii) specific educational and training
programmes within the communities and groups
concerned; (iii) capacity-building activities for thesafeguarding of the intangible cultural heritage, inparticular management and scientific research; and(iv) non-formal means of transmitting knowledge; (b)keep the public informed of the dangers threatening
such heritage, and of the activities carried out inpursuance of this Convention; (c) promote education
for the safeguarding of natural spaces and places ofmemory whose existence is necessary for expressing
the intangible cultural heritage.

Safeguarding ICH is about transferring knowledge,
skills and meaning. Transmission – the communicationof heritage from one generation to the next – isemphasised in the ICH Convention over the productionof tangible manifestations such as dances, songs,
musical instruments or crafts. Therefore, safeguardingmeasures largely focus on strengthening and reinforcing
the diverse and varied circumstances, both tangible andintangible, necessary for the continuous evolution andinterpretation of intangible cultural heritage, as well as for
its transmission to future generations.6
The ICH Convention defines ‘safeguarding’ asmeasures aimed at ensuring the sustainability ofintangible cultural heritage, which include identifying,
documenting, researching, preserving, protecting,promoting, enhancing and transmitting such heritage,
particularly through formal and non-formal education, as
well as revitalising its various aspects.7
While there are various types of safeguarding
measures, this paper focuses on measures within
education, particularly higher education. Under thisframework, UNESCO has initiated ‘The Programme on
Safeguarding Intangible Cultural Heritage in Formal and
Non-Formal Education’ in recognition that education
plays a crucial role in safeguarding intangible cultural
heritage. It acknowledges that intangible cultural heritage
can offer context-specific content and pedagogy foreducation programmes, serving as a catalyst to enhance
the relevance and quality of education and improvelearning outcomes. This programme promotes learningand teaching with and about intangible heritage across all
relevant disciplines in education.

Measures for safeguarding ICH within
higher education

At the core of the 2030 Agenda are 17 Sustainable
Development
Goals(SDGs).
The
universal,
transformational and inclusive SDGs describe major
development challenges for humanity. The aim of the 17
SDGs is to secure a sustainable, peaceful, prosperous andequitable life on Earth for everyone now and in the future(UNESCO 2017).
As highlighted in the guide Accelerating education for
the Sustainable Development Goals (SDGs) in universities,
published in 2020 by SDSN, Education for the SDGs
(ESDGs), is a critical mission for universities, both because
universities are in a unique position to provide this service
to society, as well as because the implementation of
ESDGs can bring benefits to universities.
As providers of general, professional and vocational

education across disciplines, and reaching millions ofstudents at all stages of their lives, universities are in aunique position – and therefore have a critical responsibility– to deliver ESDGs to as many students as they can.
ESDGs integration can be an organisationally difficult
process, but there are many actions that universities cantake to support it. Although we have mentioned ESDGs ina general way, in this paper we will focus on the analysis of
SDG 4: ‘Ensure inclusive, equitable and quality educationand promote lifelong learning opportunities for all.’ And,in particular, we will refer to SDG 7, by which states
must, by 2030, guarantee that all students acquire thetheoretical and practical knowledge necessary to promotesustainable development, among other things througheducation for sustainable development and the adoption ofsustainable lifestyles, human rights, gender equality, thepromotion of a culture of peace and non-violence, global
citizenship and the appreciation of cultural diversity andthe contribution of culture to sustainable development,
among other means.
Our intention is to highlight the importance ofappreciating culture in all of its expressions, and theimportance of protecting and safeguarding the vitality ofa given cultural tradition and how higher education may
collaborate with this.
We agree with Nigel Encalada (n.d.), Director of theInstitute for Social and Cultural Research in Belize withresponsibility for implementing the 2003 ICH Convention,
when he remarked as follows at the SDGAcademy course
Living Heritage and Sustainable Development:
Taking living heritage into education settings
recognizes the importance of communities as thecenterpiece in transmitting and safeguarding ourliving heritage. A community-centered education
model ensures that the community speaks for itself
and is actively engaged in passing on knowledge andskills to younger generations, who, in turn, will beable to use this knowledge to assist with continued
development of society.

Article 2.3 of the ICH Convention explains thatsafeguarding measures aimed at ensuring the viabilityof intangible cultural heritage includes the identification,
documentation, research, preservation, protection,
promotion, enhancement, transmission, particularly

Vol.19 2024 International Journal of Intangible Heritage 61

through formal and non-formal education, as well as therevitalisation of the various aspects of such heritage.
Similarly, Article 14 of the ICH Convention also
requires that each State Party shall endeavour, by all
appropriate means, to ensure recognition of, respect
for and enhancement of the intangible cultural heritage
in society, through educational, awareness-raising andinformation programmes, aimed at the general public,
and in particular young people; as well as throughspecific educational and training programmes within thecommunities and groups concerned; and through nonformal means of transmitting knowledge. The recurrent
idea is the use of appropriate measures to safeguard
intangible cultural heritage within formal or non-formal
education.

Figure 1
Overall Results Framework for the 2003 ICH Convention
Source: © UNESCO / A. Vaivade

62

Linking education and intangible heritage is set as ahigh strategic priority, not only in the Convention but also
according to the Overall Results Framework (ORF), a tool
for measuring its impact.
In June 2018, the General Assembly of the States
Parties to the ICH Convention approved the ORF (Figure1). The aim was to devise a tool to measure the impactof the ICH Convention around the globe at various levels.
The ORF contains 26 core indicators and 86 assessment
factors, subdivided into eight thematic categories(UNESCO 2018). Within this framework, education wasconceived as a crucial factor in safeguarding ICH, so four
indicators concerning education were elaborated: core
indicators 4, 5, 6 and 12 (Table 1).

Table 1
ORF indicators concerning education.
ORF indicator
4

The extent to which both formal and non-formal education strengthen the transmission of ICH and promote respect for ICH.

5

The extent to which ICH and its safeguarding are integrated into primary and secondary education, included in the content of relevant
disciplines, and used to strengthen teaching and learning about and with ICH and respect for one’s own and others’ ICH.

6

The extent to which post-secondary education supports the practice and transmission of ICH, as well as study of its social, culturaland other dimensions.

12

The extent to which policies as well as legal and administrative measures in the field of education reflect the diversity of ICH and theimportance of its safeguarding, and are implemented.

Source: Authors’ own elaboration from UNESCO (2018).

We will focus our analysis on indicator 6 and its
assessment factors (Table 2).

Table 2
ORF Indicator 6, Assessment factors.
This indicator is assessed on the basis of two
country-level factors monitored and reported byeach State Party:

Assessment
factors

Post-secondary education institutions offer
curricula and degrees (in fields such as music,
arts, crafts, technical and vocational educationand training, etc.) that strengthen the practiceand transmission of ICH.
Post-secondary education institutions offer
curricula and degrees for the study of ICH and its
social, cultural and other dimensions.

Source: Authors’ own elaboration from UNESCO (2018).

According to UNESCO’s guidance notes to Indicator
7, Indicator 6 contributes to SDG Target 11.4, ‘Strengthen
efforts to protect and safeguard the world’s culturaland natural heritage’, by emphasising the practice andtransmission of ICH. It also complements SDG Target 4.7,
particularly insofar as study of ICH’s social, cultural andother dimensions can promote ‘appreciation of cultural
diversity and of culture’s contribution to sustainable
development’. Contributions to other goals such as SDG
8 on productive employment and decent work for all – inparticular, SDG Target 8.9 – are also pertinent for thisindicator.
UNESCO also emphasises that this indicator focuseson post-secondary education as a platform for eithertransmitting the skills and knowledge of ICH or teaching

about ICH in society. Like Indicator 4, it is concerned withpractice and transmission, although higher education is
the specific context here. Similarly, it complements thefocus of Indicator 5 on primary and secondary education by
concentrating on higher education. Educational policies,
legal frameworks and administrative measures fall within
Indicator 12.
As mentioned earlier, all safeguarding measures aim
to ensure the viability of intangible cultural heritage, andeducational institutions can play a crucial role in this byintegrating safeguarding measures into higher education.
Regarding the assessment factors of Indicator 6, we
will examine how some universities in Buenos Aires aresupporting and preserving tango, an intangible cultural
heritage originating from this region, and ensuring its
accessibility for future generations.

Tango safeguarding measures within
universities in Buenos Aires, Argentina

For this research we have chosen national universities
within Buenos Aires, since, as we have mentioned, this is
the city where this musical genre was born. It is importantto remark that the higher education system of Argentina isorganised regionally to facilitate planning and articulation.
According to the regulations (MEYD Resolution No. 280/16),
there are seven regions, each coordinated by a Regional
Council for Higher Education Planning (CPRES) madeup of the education ministers of the provinces includedin the region and the rectors of the universities, bothpublic and private. The CPRES, among other functions,act as a coordination and consultation body for the higher
education system, coordinating extension activities andVol.19 2024 International Journal of Intangible Heritage 63

cultural development, and carrying out dissemination
actions related to the planning of higher education.
In this research, we will analyse curricula and degree
activities related to tango published in each institutional
website that can be considered as safeguarding measuresoffered by three national universities belonging to theMetropolitan CPRES within the City of Buenos Aires:
Universidad Nacional de las Artes, Universidad Nacionalde Buenos Aires and Universidad Nacional de Tres deFebrero.
It is important to highlight that the activities described
below correspond to institutional strategies and are notattached to a national plan of intangible cultural heritage.
In this sense, even though there is a bill (2020) throughwhich it is proposed to include tango transversally in the
curricula of all educational levels, it has not yet becomea national law. In accordance with the recitals of thisbill, adding tango to the curricula will not only be acting
in favour of the promotion of tango by giving it greater
presence among citizens from an early age, but also would‘be improving the quality of our education, giving it anotherelement of roots, an element that runs through the entire
history of our country, its various regions and complex
social processes of notable relevance and necessary
addressing’11.

Universidad Nacional de las Artes (National
University of the Arts)
Undergraduate degree: Bachelor’s Degree in Folklore,
focusing on Tango Studies.8
This is a four-year university programme, comprisinga total of 3040 hours. The degree provides scientific,
technical and artistic knowledge necessary for researchin folklore and artistic expression, particularly in relation
to tango dance.
Professional profiles: Graduates with a Bachelor’s
Degree in Folklore with a specialisation in Tango Studies
possess scientific training and practical skills necessary
for understanding the complexities of this national
dance form, especially within an urban context. They are
equipped to engage with socio-cultural realities, revalue
traditional/popular cultural heritage, and contribute to therepresentation of citizen and national identity.
The training offered by this degree programme ensurescomprehensive support for professional development. The

64

practical experience in tango dance, along with acquired
technical proficiency, prepares graduates for national
and international careers in artistic expression, creation,
management and tango research.
In terms of professional scope, the Bachelor’s Degree
in Folklore with a specialisation in Tango Studies qualifies
graduates to:(a) Professionally perform tango dance across various
media platforms and communication channels to
promote this genre of urban folklore.
(b) Manage, coordinate and produce outreach activities
aimed at promoting the cultural identity of tango inboth public and private organisations dedicated tofostering national cultural heritage.
(c) Conduct research in Folklore and Tango Studies tocontribute to the development of cultural identity,
aesthetic expression and innovative interpretations.
The curriculum of this undergraduate degree includes
courses such as:• Origin and development of tango; Traditional Argentine
attire; Argentine regional history; Legislation andcommercialization of cultural heritage; Tango andliterature; Tango and music; Tango I, Tango II• Lunfardo (Tango slang) I; Tango and media; Tango andcinema; Tango III, Tango IV• Choreographic interpretation of Tango I,
Choreographic interpretation of Tango II.
This proposal from the National University of theArts encompasses both practical training in tango
and theoretical study of its social, cultural and otherdimensions, reinforcing the practice and transmission oftango as well as its scholarly investigation. The proposal
includes both assessment factors mentioned above(see Table 2): 6.1 as a degree offer that strengthens thepractice and transmission of tango; and 6.2 as a degree
for the study of tango and its social, cultural and otherdimensions.
It has been confirmed that this undergraduate degree
is currently available to students. Consulted via email,the Student Office of the Department of Folklore at thisuniversity indicated to the authors of this paper that the2024 school year began in March with annual enrolment.
This means there will be no admission of new students inAugust 2024, so the next cohort of students will begin in
March 2025.

of infinite possibilities. Tango is the dance of expression,
feeling and communication with the other.

Universidad Nacional de Buenos Aires (National
University of Buenos Aires)

Far from being a dance structured by steps, tango has
the virtue of being a couple’s dance that develops together
with another, through bodily dialogue. Knowing andunderstanding brands both in the driving and led role isone of the main perception and communication tasks that
we must learn. Through different body techniques andmovement proposals, tango will emerge as a consequenceof communication and listening.

Course: Tango, Waltz and Milonga.9
For young people and adults (no age limit). For students
and general public. Once a week (1.5 hours) from April to
November. The course will seek to bring young people andadults closer to tango through music and communication.
The foundation of the proposal is articulated on theuniversity’s website at the Faculty of Law section: One of
the most important objectives of education at its different
levels and modalities is the dissemination of one’s own
culture. Modernity and technological progress haveallowed the entry of new cultures through the media,
achieving easy access to distant ones.
Radio, television, social networks and different
internet sites are the means that privilege certain cultures
over others, but no longer as access bridges but rather
as hegemonic. In this way, the culture itself is not only atrisk of being disseminated but also of being known andaccepted.
The tango is part of our identity. The lyrics of thetangos take us back to the beginnings of the city, to thebanks of the Río de la Plata, to the ships that disembarked
from some distant place loaded with goods and personal
stories. It is the reflection of the life of Buenos Aires itself,of its history and its people.
Through its lyrics and music, it will be possible toinquire about its own history, get closer to the customs
and life of the ‘conventillos’ (popular housing of that time),
and understand the transformations that society has
undergone up to the present day.
Declared in September 2009 as Intangible Cultural
Heritage of Humanity by UNESCO, tango has achieved
worldwide recognition.
For these reasons, the Public University of Buenos
Aires fulfils the primary function of being a link to promote
the approach of citizens to their roots, enabling access tomusic and dance that are part of their identity.
Tango is a body language that understands a world

The seminar will be developed through exercises
to register the body itself (axis, balance, displacements,
supports) and in pair work based on movement sequences.
The work methodology will be completed with theknowledge and mastery of the technique of tango, waltz
and milonga and in the acquisition of different steps thatwill allow participants to achieve greater autonomy andfreedom in social dancing.
Within the objectives of this course, we would liketo highlight the following: promote an understandingof the language of tango dance; encourage listening totangos; foster musical awareness in each participant;and facilitate an understanding of one’s own culture
and provide technical knowledge for tango, waltz andmilonga.
Other objectives are also mentioned, as follows:
provide tools for understanding and perceiving one’s own
body; appreciate the body as an instrument of expression;
encourage self-confidence; promote gender integration;
foster communication among participants; enable
expression through movement and body language; value
team work; facilitate adaptation to different partners;
promote respect for oneself and others’ bodies; createa supportive and educational environment; encouragegroup cohesion; generate a space for individual andcollective creativity; value active listening and sharing
within the group; cultivate freedom of expression andenjoyment through movement; and assess personal andgroup production.
We believe this proposal of National University of
Buenos Aires falls within assessment factor 6.1 (see Table
2 above) because it is an institution that offers a coursethat strengthens the practice and transmission of tango.

Vol.19 2024 International Journal of Intangible Heritage 65

Consulted via email, the University Extension
Directorate at the Faculty of Law of this university
informed the authors of this paper that this course iscurrently (March 2024) unavailable. When queried further,
the university responded that this was ‘for other reasons’than a lack of interested students.

Universidad Nacional de Tres de Febrero (National
University of Tres de Febrero)
Undergraduate degree: Diploma in Tango Dance
Teaching.10
This is a 1.5-year tertiary course for undergraduates,
comprising 384 hours of workload.
Graduates from the Tango Dance Teaching Diploma
will possess the knowledge, skills and abilities to perform
in cultural, educational and social fields in which tango
as dance is inserted or where it is desired that it beincorporated.
The foundation of the proposal is articulated on theuniversity’s website: Tango is an outstanding, authentic
and genuine expression of our popular culture, which
identifies us not only in our country, but also represents
us all over the Planet…
UNESCO has designated tango as Intangible Cultural
Heritage of Humanity, signifying the importance ofrecognising this cultural expression of our people.
The majority of those who teach tango dance, both
domestically and internationally, are instructors. They
possess knowledge of movements, steps, figures andsequences, along with the skills and abilities of dancers.
However, they often lack comprehensive training in
psychological, pedagogical and didactic aspects necessaryfor effective knowledge transmission.
The Diploma in Tango Dance Teaching addresses thisgap by providing additional training in various aspects oftango, including its history, music, poetry, lyrics and vocal
techniques. Graduates of this programme will acquire theknowledge and skills required to excel as tango dance
instructors, with distinctive competencies.
Through a comprehensive understanding of
tango’s diverse expressions and specialised training
in psychological, pedagogical and didactic principles,
graduates will be equipped to effectively teach tango

66

dance. They will also be capable of initiating projects topreserve and transmit tango, inspiring young people toengage with it and fostering intergenerational integration.
This will enable tango to thrive across all social andgenerational demographics.
The curriculum of the Diploma in Tango Dance
Teaching encompasses the study of tango as a dance
form, supplemented by exploration of its historical context,
musical elements, lyrics and poetry.
The objectives of this diploma include: to enhancepedagogical knowledge to enable graduates to teachtango dance; to gain insight into and understanding ofvarious forms of urban music; to develop the ability toappreciate musical diversity; to acquire knowledge of theorigins, history and evolution of tango, considering thepolitical, economic, and social events that influenced its
development as a manifestation of popular culture; torecognise stylistic differences among orchestras and toanalyse tango lyrics in order to understand the history andsociology of this urban art, considering the approaches
and processes that shaped its artistic movements; andto develop skills in interpretation and analysis to apply
learned concepts to milonga and waltz dances.
This proposal of National University of Tres de Febreroincludes both assessment factors mentioned in Table 2
above: 6.1 as a degree offer that strengthens the practiceand transmission of tango; and 6.2 as a degree for the studyof tango and its social, cultural and other dimensions.
It has been confirmed that this undergraduate degree
is currently available to students. Consulted via email,the Director of the Diploma in Tango Dance Teaching at
this university informed the authors of this paper thatthe 2024 school year began in March, and it has not
yet been confirmed if new students will be admitted inAugust 2024.

Conclusion

Recognising that the processes of globalisationand social transformation, along with the conditions
they create for renewed dialogue among communities,
also lead to the disappearance and destruction of
intangible cultural heritage (UNESCO 2018) is a crucial
step in understanding the importance of safeguarding
measures.

All safeguarding measures aim to ensure the viabilityof intangible cultural heritage and can vary in scope andscale. They range from developing policies or inventories
on ICH to creating safeguarding plans for specificelements of ICH.
Integrating ICH into higher education can be a
powerful strategy, especially considering that linking
education and intangible heritage is set as a high strategic
priority. Therefore, music educators in schools and higher
learning institutions in Western and other countries
have emphasised the importance of fostering a deeper
understanding not only of musical structures but alsoof the meanings in music from a global perspective (DeOliveira Pinto 2018, 145).

identity. For Argentina, as a state committed to achieving
the Sustainable Development Goals, offering culturally
relevant education is crucial when seeking to integrate
intangible cultural heritage into education. A culturally
relevant education that includes ICH aligns well withTarget 4.7, which aims to ensure that all learners acquire
the knowledge and skills needed to promote sustainable
development and to appreciate cultural diversity.
Furthermore, it would be noteworthy if such academic
proposals, currently part of institutional strategies
of some universities, were to form part of a national
plan for safeguarding tango through higher education
programmes.

In this context, the academic proposals of theuniversities presented in this research could be recognised
as safeguarding measures aiming to ensure thecontinuation of tango as a living heritage. These proposals
encompass tango education, awareness-raising and,potentially, transmission. Students learn not only about
tango but also about its historical aspects, music, lyrics
and poetry, while promoting intergenerational dialogue
between older and younger people, with tango as thecentrepiece of intangible cultural heritage.

As Barsky (2018, 20) asserts in reference to theintegration of tango into formal education in Argentina,
it can be observed that the realm of higher education
appears to have largely overlooked the genre, especiallytango dancing. Few institutions and academics support
research initiatives in this area, unlike the attention given
to the preservation and promotion of other folk dancesconsidered as national cultural expressions. In this sense,
we believe that the analysis of safeguarding measures fortango as ICH within these studied universities can serveas an example for other educational institutions to develop
similar proposals.

It is important to highlight that the three universities
under study emphasise the significance of revaluing tango
and reclaiming traditional and popular cultural heritageas valuable and representative of citizen and national

In conclusion, future research could include an analysisof the effective attendance and enrolment of students ineach of these university proposals to assess the specificimpact of these measures as safeguarding strategies.

Vol.19 2024 International Journal of Intangible Heritage 67

ENDNOTES
1. Convention for the Safeguarding of the Intangible Cultural Heritage, Number of States Parties 181. https://www.unesco.

org/en/legal-affairs/convention-safeguarding-intangible-cultural-heritage#item-2
2. Fourth Session of the Intergovernmental Committee (4.COM) – Abu Dhabi, United Arab Emirates, 28 September to 2

October 2009. https://ich.unesco.org/es/4com
3. UNESCO legislation. https://ich.unesco.org/en/legislation-00034
4. What is Intangible Cultural Heritage? https://ich.unesco.org/en/what-is-intangible-heritage-00003
5. Tango. UNESCO. https://ich.unesco.org/en/RL/tango-00258
6. Safeguarding without freezing. https://ich.unesco.org/en/safeguarding-00012#:~:text=Safeguarding%20intangible%20

cultural%20heritage%20is,songs%2C%20musical%20instruments%20or%20crafts
7. Overall results framework for the 2003 Convention. https://ich.unesco.org/en/overall-results-framework-00984
8. Universidad Nacional de las Artes. Licenciatura en Folklore mención Tango. https://folklore.una.edu.ar/carreras/
licenciatura-en-folklore-mencion-tango_19481#
9. Universidad Nacional de Buenos Aires. Tango, vals, milonga. http://www.derecho.uba.ar/extension/cursos/programa/arte-y-expresion/tango-vals-y-milonga/2618
10. Universidad Nacional de Tres de Febrero. Enseñanza de Baile de Tango. https://untref.edu.ar/carrera/ensenanza-debaile-de-tango
11. https://www4.hcdn.gob.ar/dependencias/dsecretaria/Periodo2020/PDF2020/TP2020/5822-D-2020.pdf

REFERENCES· Archetti, E. P. 2003. Masculinidades: fútbol, tango y polo en la Argentina. Buenos· Aires: Editorial Antropofagia. https://www.academia.edu/35667491/Archetti_Eduardo_Masculinidades_Futbol_tango_y_polo_en_
la_Argentina_Antropofagia_2003· Barsky, J. 2018. Tango y Educación. Colección UAI-Investigación.
·· Bill. 2020. Ley de protección, difusión y promoción integral del Tango. Honorable Congreso de la Nación Argentina. https://www4.
hcdn.gob.ar/dependencias/dsecretaria/Periodo2020/PDF2020/TP2020/5822-D-2020.pdf
Cecconi, S. 2009. Territorios del tango en Buenos Aires: aportes para una historia de sus formas de inscripción. Iberoamericana IX.

· Decree No. 1235/1990. Academias Nacionales. Academia del Tango. 1990. Poder Ejecutivo Nacional de Argentina. https://www.
argentina.gob.ar/normativa/nacional/decreto-1235-1990-3697· De Oliveira Pinto, T. n.d. Module 3: Safeguarding intangible cultural heritage. Chapter 2: Safeguarding measures. SDGAcademy
course Living Heritage and Sustainable Development. UNESCO. https://courses.edx.org/courses/course-v1:SDGAcad
emyX+ICH001+3T2022/8f9765477b6f454fa7ee376ffa723a68/· De Oliveira Pinto, T. 2018. Music as living heritage. An essay on intangible culture. Berlin: EMVAS. https://www.researchgate.net/
publication/338788730_Music_as_living_heritage· Encalada, N. n.d. Module 5: Intangible cultural heritage for sustainable livelihoods and inclusive social development. Chapter

2: Intangible cultural heritage and education. SDGAcademy course Living Heritage and Sustainable Development.
UNESCO.

https://courses.edx.org/courses/course-v1:SDGAcademyX+ICH001+3T2022/8f9765477b6f454fa7ee376ffa72

3a68/· Law No. 24.684. Tango patrimonio cultural de la Nación. 1996. Honorable Congreso de la Nación Argentina. https://www.argentina.
gob.ar/normativa/nacional/ley-24684-187292· Marchini, J. 2007. El tango en la economía de la ciudad de Buenos Aires, OIC, GCBA.
·

68· Resolution MEYD No. 280/16. 2016. Ministerio de Educación y Deporte de la República Argentina. https://www.argentina.gob.ar/sites/default/files/resolucion-280-16-5963b400a5e5d.pdf
Santoyo, A. 2010. Del folclor y el patrimonio cultural en Colombia. Reflexiones críticas sobre dos conceptos antagónicos. En:
Patrimonio y cultura en América Latina. Nuevas vinculaciones con el estado, el mercado y el turismo y sus perspectivas

actuales, edited by J. Hernández López, M. Rotman and A. González de Castells. México. https://www.erigaie.org/wpcontent/uploads/2014/10/Santoyo-2010.-Del-folclor-y-el-patrimonio-cultural-en-Colombia.pdf· SDSN. 2020. Accelerating education for the SDGs in universities: a guide for universities, colleges, and tertiary and higher education

institutions. New York: Sustainable Development Solutions Network (SDSN). https://irp-cdn.multiscreensite.com/

be6d1d56/files/uploaded/accelerating-education-for-the-sdgs-in-unis-web_zZuYLaoZRHK1L77zAd4n.pdf· UNESCO. 1972. Conventions for the Protection of the Material World Heritage. Paris: UNESCO. https://whc.unesco.org/archive/
convention-en.pdf· UNESCO. 2003. Convention for the Safeguarding of the Intangible Cultural Heritage. Paris: UNESCO. https://ich.unesco.org/doc/
src/2003_Convention_Basic_Texts-_2022_version-EN_.pdf· UNESCO. 2009. Decision of the Intergovernmental Committee: 4.COM 13.01. https://ich.unesco.org/es/4com· UNESCO. 2017. Education for Sustainable Development Goals Learning. Paris: UNESCO. https://unesdoc.unesco.org/ark:/48223/
pf0000247444· UNESCO. 2018. Basic texts of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage: 2018 edition. Paris:
UNESCO. https://ich.unesco.org/doc/src/2003_Convention_Basic_Texts-_2018_version-EN.pdf· Untref-Aamnba. 2013. Cátedra UNESCO de Turismo Cultural. Patrimonio Cultural Inmaterial, identidad y turismo. Argentina.
https://heritagesofmigration.files.wordpress.com/2016/10/workshop-tango-espac3b1ol-final.pdf

Vol.19 2024 International Journal of Intangible Heritage 69