ABSTRACT The Middle East and North Africa (MENA) rarely appear in any analysis of the global diffusion of Argentine tango. Yet, writers, musicians, singers, and dancers from the MENA region have long contributed to and drawn from tango as a cultural phenomenon in complex and multi-layered ways, as this essay demonstrates through a select taxonomy of historical, literary, musical, and dance encounters that culminates with a cross-cultural dialogue between Borges’ analysis of the One Thousand and One Nights and the theology of Sufism in order to theorise the ineffable experience of the dance and the profundity of its music and lyric dimensions. Through a contrapuntal methodology that draws on my dual experience as a tango dancer and DJ, and as a literary and cultural historian of the MENA region, I explore these encounters and entanglements as opening new embodied pathways for South-South solidarity engendered through transnational “translations” of music and dance.

中文翻译：

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探戈舞一千零一夜：在阿根廷，北非和中东之间移动

摘要在对阿根廷探戈的全球扩散进行的任何分析中，很少出现中东和北非（MENA）。然而，中东和北非地区的作家，音乐家，歌手和舞蹈家长期以来以复杂而多层次的方式为探戈作为一种文化现象做出了贡献并从中汲取了灵感，正如本文通过对历史，文学，音乐和音乐的精选分类法所证明的那样。舞蹈的相遇最终以博尔赫斯（Borges）对“一千零一夜”的分析与苏菲派神学之间的跨文化对话达到高潮，从而将无法理解的舞蹈体验以及其音乐和歌词的深刻性理论化。通过一种对立的方法论，借鉴了我​​作为探戈舞者和DJ以及MENA地区的文学和文化历史学家的双重经验，