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Talk:Tango

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Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 10:42, 17 January 2022 (UTC)

Removal of link to "Nuevo Tango" article on "Tango nuevo" subsection
Hello! I would just like to point out that there's hardly any direct connection between the tango nuevo style of dancing, which is the fusion of the tango dance with principles from contact improvisation, and the Nuevo Tango, which is a music movement inside tango music initially proposed by Ástor Piazzolla that infuses tango music with classical and jazz elements. I understand that both terms sound and seem more or less the same, but in Spanish, they are not. The Nuevo Tango movement, among its guidelines, had the explicit intention of creating music that should not be socially danced (Piazzolla said on one occasion that he would make the dancers listen to music). The Nuevo Tango article in itself should be changed too, because Nuevo Tango and tango nuevo seem be very often mistakenly mixed up. Rafaelomondini (talk) 09:09, 16 August 2014 (UTC)

tango to Tango (dance)
Hello 195.92.67.66,

Hello! Tango is african in origin. it was just music and dance and the dance was performed by two males that with rivalry tried to compete for the best dance. This style was perfomed originally by blacks and as ever whites copied it and claimed as invented by them. Please investigate more about this and how black slaves were wiped out in the ethnic cleansing that took place in argentina. Wikipedia should be compromised by the thruth. —Preceding unsigned comment added by 24.139.249.12 (talk) 18:41, 2 September 2008 (UTC)

 * Tango is as African as galliard, passepied, or tarantella. Your comment makes a number of highly doubtful claims while providing no sources at all. Furthermore, I find your racism against white people to be quite frankly disgusting and very inappropriate for an encyclopedia. --190.19.18.114 (talk) 06:27, 19 June 2011 (UTC)

Creating the Tango (dance) page and moving the text from tango was a good idea, but the way you did it you left the page history attached to tango, which is a pity. By the look of it, you copied and pasted the orginal text into a new edit window. If however you had used the Move this page command on the lefthand menu bar, it would have copied both the original tango page and the accompanying history and talk pages to the new destination, a far preferable solution. It would have left a #REDIRECT tag in the original page Tango which you could have edited as you saw fit.

 * -- Viajero 11:19 24 Jul 2003 (UTC)

Yes, very true. And does not include any info about the music played to signal the dance partners exchange - three songs to dance to, then a fourth to mingle and find a new partner. Perhaps this is "English/Ballroom Tango" only, but being a world-wide convention now, should have an entire section dedicated to it. WinkJunior (talk) 12:45, 5 February 2010 (UTC)

What is tango?
This article does not even include a basic description of what tango is, what the steps are, or how it is danced. It's like having an article on walz that does not mention that it is in 3/4 time! Let's start with some basic information, please. — Preceding unsigned comment added by 87.228.148.113 (talk) 07:00, 6 November 2011 (UTC)
 * Couldn't agree more, this was the first thing that struck me -- especially since I came to the article primarily to look up the step(s)! While the amount of detail is admirable, the absence of any description of the most basic steps and figures is deplorable. It's as though the article on the internal combustion engine went into great detail about lubricatikn, engine position, and horsepower without ever mentioning pistons, or describing the 2- & 4-stroke cycles.

 * This is an article about a dance. What could be more essential than the steps & figures? Sure, I can see that there are an immense number of variations, but surely there are one or two basic, canonical sets of steps, at least for the ballroom dance (perhaps US/SA vs UK/international)--the equivalent rhythm is given for the music despite being a gross oversimplification. I know at least one such pattern exists--I was taught it in a beginners' dance class in 1960. An article on a dance without steps is like a recipe without ingredients! --D Anthony Patriarche, BSc (talk) 17:10, 20 March 2021 (UTC)
 * Once somebody adds it (properly sourced), the article will have it! It does seem strange that no one has added it yet, but Wikipedia isn't editorially orchestrated in that way. Largoplazo (talk) 18:39, 20 March 2021 (UTC)

Moving a piece
I am going to move this piece

 * As a result, the American Tango is believed by some to be inferior, and some American Tango teachers have introduced elements of technique borrowed from the International Tango. In International tango, sequences of figures and even entire dances are choreographed instead of improvised. This makes the dance less dependent on lead-follow technique and allows for more separation between the dancers.

to a more appropriate place, probably to Ballroom dance, since this equally applies to all ballroom dances. Mikkalai 16:56, 28 Nov 2003 (UTC)

POV
The following piece is POV, while being a chaotic fighting a wrong windmill:

 * While some of the sleezier downtown dance halls served the double purpose of being popular places to find prostitutes, it seems unlikely that the Tango was actually danced in brothels, though this is a common misconception. Because of the shortage of women, in the working-class areas men often danced with other men or with prostitutes.

The real issue not where tango was danced. Of course, it was danced in brothels, just as jitterbug, swing, charleston,polka, can-can, and many other dances. In modern times of "narrow specialists" it could be dificult to imagine that not infrequently brothels could have been "subsidiaries" of multi-profile establishments hostel/tavern/brothel/dance hall. But this is not the real controversy. A significant part of Tango lyrics in these times was about pimps, prostitutes, sex, booze, see e.g., Lunfardo. The question is whether it was a tribute to the exotics of the roots of tango, or it was true reflection of tango "demographics" of the times. Mikkalai 07:29, 8 Jan 2004 (UTC)

Etymology of Tango
There is a possibility that "tango" may come directly from the Latin "tango" meaning "I touch."
 * Do you seriously believe the porteños of Buenos Aires spoke the language of Cicero? Mikkalai 04:30, 25 Mar 2004 (UTC)

Very likely. Should be researched! WinkJunior (talk) 12:47, 5 February 2010 (UTC)

Actually, it's very unlikely that the word "tango" comes from Latin. The scholarly research on the issue has pretty much settled on an African-Spanish etymology, since there are many references of "tangos de negros", describing the dances of the black Argentines and Uruguayans, in official documents in both Argentina and Uruguay by the end of the XIX century - some suggest it's a corruption of the Spanish word "tambor" (meaning "drum"), in a series that goes from "tambor", to "tambo", then eventually "tango". It's important to remember that the tango kept being a marginalized dance/music until the 1920s, when it was taken to Europe (already bearing the name "tango") and came back to the River Plate region with the approval of the European elite. Only then the majority of the Argentine and Uruguayan people felt safe dancing it - before, it would be seen as a sign of one being a lowlife of sorts, which kind of calls into question such a "noble" Latin etymology. Also, the fact that the tango became a closed position dance only after the second half of the XIX century goes against the "tangere" hypothesis, since it means "to touch" in Latin. The tango danced by the black people of the region then had barely no body connection, being the "ombligada" - a moment in which the two dancers touched navel to navel - the only contact that would have happened. If you guys need the sources, just tell me. :) Rafaelomondini (talk) 08:36, 16 August 2014 (UTC)

Some problems in chapter "Argentine Tango (Tango Argentino)"
The biggest part of this chapter is wildly biased. I am missing much objectivity in the comparison between argentine tango and ballroom tango. If noone objects I will move this section to a new headline "differences between argentine tango and ballroom tango", trying to morph it into some more objective comparison... dekay 09:12, 16 Aug 2004 (UTC)

I think this article should be re-reseached all together. The Tango was originated in Andalusian (Spain) and migrated to Argentina in the 1500's. The Argentine Tango is now considered a modified version of the Andalusian Tango which was originated more as a music than a dance. Evidence of this Argentine origin of tango is by the fact that the tango dance is composite of African and European styles of dancing. Most info on this can be found on this website: http://www.streetswing.com/histmain/z3andulz.htm

it's written Andalucia

migrated in the 1500?? that's the biggest uninformed and misconcept POV I ever read of, '''like Cristombulus Cólon brought the Tango, trapped in cage down below at the Sta. Maria ship?? ''' plus it just ridiculous either way the readers will probably look for footspets, and how-to's rather than the antrophological studies of Mr. professor Whatever.. And thus going all over you site, the figures of "Grease"[] will probably annoy someone, because tango is the national dance of buenos aires, so please read and _think_ before posting stupidities --190.31.12.181 20:47, 2 July 2007 (UTC)

Dance etiquette in Argentine tango and ballroom also differs.
What is the etiquette? Whats the difference Jackliddle 18:43, 21 Nov 2004 (UTC)
 * In fact is there any? They any pretty polite too me

 * Dance Etiquette
 * Beyond Dance Etiquette
 * yet more

And the Argentian Tango people seem to think

 * Argentine Tango Dance Etiquette
 * TANGO DANCE ETIQUETTE MADE SIMPLE…

Jackliddle 19:01, 21 Nov 2004 (UTC)

There is another part of "etiquette" that applies to the argentine version of the dance. It is based the need not to lose one's honor and mostly applies to asking a partner to dance. For example in argentina there is the "cabeceo" (spelling?), a way of asking with looks only - a way that makes sure you never need to hear a "no" as well as never be seen when you are rehected. Other topics of this "etiquette" are based on how to dance on a crowded floor - basically you never touch another couple on the floor and even if you do you try to recover so that your follower never even notices it - all comes down to providing your partner with the most pleasant dance possible. (reasons for this honor code see tango history, argentina history and latino mentality) ;) dekay 09:52, 24 Nov 2004 (UTC)

 * OK I see it like this. Argentinian Tango has this non-verbal communication for requesting/denying dances, International Ballroom Tango doesn't have this.  The behaviour on a crowded dance floor seems identical between the two. Jackliddle 13:25, 24 Nov 2004 (UTC)

Removed a POV comment from film list about "Shall We Dance" which stated that the original Japanese version was much better.

Hi, I was under the impression that it was fairly concensus already that tango originated from a mix of Uruguayan and Cubam ilfluences, of which the Cuban influences are from Europe. The European dance was something called contra-dance, or counter-dance, which was practiced in Germany, Franch and even in England.

TP

PC Woes
This page (along with many of the dance pages) has truly ludicrous politically correct pronoun usage. How about always using the pronoun "he" for the leader and "she" for the companion, and adding a sentence saying something to the effect of: "Pronouns are used merely for placeholding; the dance leader is not always a man, nor the dance partner a woman."? RiseAbove

Except that it is a tradition in dance that the male leads. And it is not nessecary to pander to every permitation of how the dance is performed. It is perfectably understandable as is, and anyone capable of finding this page can use their brain to determine that the dance need not be between a man and a woman

~Annoymous

Except, in tango, it has long been tradition for there to be swapping of gender roles. Only in the United States was the swapping of gender roles for the dance really frowned upon and it is coming back now. That swapping has given rise to the "queer tango" idea, except there is nothing really new in that and it really isn't a style of tango so much as a continuation of the whole "queer dance" idea. It would be simple to just say "lead" and "follow" everywhere and ditch the whole "he" or "she" use in general. In dance it is often clearer to just say lead and follow anyway.

Maztec (talk) 08:57, 4 December 2010 (UTC)

30 beats per minute?
The Ballroom section says something about the meter being set at 30 beats per minute. That sounds agonizingly slow. Could this perhaps be a mistake for 30 bars per minute (i.e., 120 beats per minute)? --jpgordon∇∆∇∆ 22:29, 20 January 2006 (UTC)

You are correct: 28 to 32 bars per minute are the speeds for ballroom competitions. dekay 19:03, 25 January 2006 (UTC)

Tango and Old Spain
I have heard that the Tango is connected to a dance called something like cheeka from Old Spain. If this is true, it may be worth a mention in the article. Eiler7 00:23, 26 February 2006 (UTC)

Tango and Montevideo
Is there some reliable source for attributing Montevideo on the same level as Buenos Aires in terms of the history of tango? This seems highly counter to the traditional story of tango's origins, and really ought not stand without some references. taion 04:32, 24 April 2006 (UTC)
 * Perhaps it's not widely known, as people normally thinks Tango to be only from Buenos Aires, but the truth is that the tango is from the Río de la Plata. Now, I'm not going to discuss whether it was born in Montevideo or Buenos Aires, nor if tango in Argentina is more important than in Uruguay, but no one can deny Uruguay its strong Tango identity. For instance La cumparsita was written by an Uruguayan author (though he then moved to Argentina). Argentina is better known because it had a huge number of artists, and a far bigger market. Many Uruguayan musicians moved to Buenos Aires because they had better chances of success there. All this coming from a proud Argentinian... Mariano (t/c) 10:12, 24 April 2006 (UTC)

I'm Argentinian and I know that tango is a mixture of dances of all the immmigrants Waltz, mazurcas etc, so is possible that Spanish immigrants had influenced, but I'm not sure.

(t

 * I agree, they can't associate Tango to Montevideo to the same level as Argentina, for the simple fact that Tango, first originated in Buenos Aires, and in that time, Uruguay was part of the portuguese Empire.. It was not even a Nation. Tango first moved to Montevideo, after the Argentina culture penetrated in that country. But as always, you will have some resenthful uruguayans in Wikipedia, trying to suck all our culture. Thats why they claim Gardel as being uruguayan, when he was in fact French. Or the chileans, trying to claim the same level in the Patagonia Article, when in fact, 95% of the Patagonia lies in Argentine territory. It is not fair to have these articles partially affected by nationalism and patriotism. —Preceding unsigned comment added by 190.30.123.183 (talk) 18:53, 15 September 2008 (UTC)

There are MANY realiable sources linking the tango to Uruguay. For the moment, I suggest reading Historia del Baile, by Sergio Pujol (Ediciones Gourmet Musical), which is a very respected and thorough scholarly research carried out by an Argentine historian - he, being a serious guy, sets aside any hint of nationalism and very clearly shows that the tango origins lie on both sides of the River Plate. For the porteños who have commented before, this book can be easily found in any library and bookstore in Buenos Aires. I bought my copy in one of the Cuspide stores on Corrientes Avenue. Another Argentine scholarly source can be found here. Rafaelomondini (talk) 08:54, 16 August 2014 (UTC)

Tango-related article deletion
Please vote Articles for deletion/Tango.info (2nd nomination). `'mikka (t) 18:47, 14 July 2006 (UTC)

Or, since that one is past already, perhaps this one is a better idea now: Articles for deletion/List of tango singers. Note that of course, that this is not an invitation to vote either way.--Pan Gerwazy 03:08, 17 July 2006 (UTC)

Tango arriving in Europe and America
I'm going to change that statement. I understand that the person that wrote the article might be American, meaning from the United States, so such a statement might have passed him or her by.

But Tango originated in 'America'. Just not 'North America'. :-) The dugout 14:46, 25 September 2006 (UTC)

 * A clear US bias; well done. Mariano (t/c) 07:45, 26 September 2006 (UTC)

 * i`m sorry to evry one but tango was originated in cuba

 * (unsigned comment by 68.164.201.212) 00:54, November 9, 2006

"tango was originated in cuba"

Grammar aside, some elements of Tango certainly came from Cuba, but the dance as a whole. --Antelope In Search Of Truth 03:02, 10 November 2006 (UTC)

Need to find some noncommercial pictures
Hello. The pictures of stage dancers gives a misleading idea of tango. How about if we replace them with some informal pictures taken at milongas. There are several people in the US alone who have tango photo galleries; I bet we can get someone to release (GPDL of course) a nice picture or two for Wikipedia. I'll try to get around to it but if someone else gets on it first I won't be upset. Best, 64.48.158.122 06:00, 28 January 2007 (UTC)

REmove link
The link http://www.learning2dance.com/site/?main_page=page&id=11&productId=76 Should be removed. It says the following when you go to the site:

ACCESS DENIED.

You do not have the correct permission to view this lesson. Please subscribe, or purchase the lesson first. If you have purchased this lesson and you still see this error, please contact us. When contacting us please provide the link to this page, which lesson you were trying to view, and any other information you think would help us in troubleshooting this problem.

Thanks, L2D Team.

I belive only free resourses should be linked. Coolest-tech 23:54, 15 March 2007 (UTC)

The Film Addams family values
The dance in this film was a balero not a tango as suggested.

76.1.45.212 21:31, 12 August 2007 (UTC)

 * In the film the dance scene was approached in the manner of stereotypical over-the-top tango such as when the aim is to approach or surpass a Valentino-like level of drama. (Valentino didn't really tango in Four Horsemen Of The Apocalypse, but we call it that anyway...) Fast forward through years of Hollywood tango spoofs including Joe E. Brown with Jack Lemmon (in drag) in Some Like It Hot. The rose held in the mouth is a clue that you are in Over-The-Top-Land. Having an extreme dip in the dance is another clue. I vote to let the Addams Family Values film remain in the list of movies that have a tango dance scene, however campy and distorted. It's all in fun. Binksternet 20:17, 13 August 2007 (UTC)

Significance of 'hesitate' in postcard?
Might the article or caption explain the significance of 'hesitate' in the pictured postcard? —Christian Campbell 08:19, 2 December 2007 (UTC)

 * Could be a reference to the Hesitation Waltz, another popular dance from that period. Porfirio Landeros 03:22, 3 December 2007 (UTC)

 * I don't have the Castle teaching materials in front of me but I think they used the word "hesitation" for the tango dance concept of pause or espera where you stop forward motion and execute a slight plié downward or a slight lift upward for a beat or two to wait through a musically appropriate moment (or to help navigate a crowded dance floor.) The hesitation was very unusual in any dance so it made tango that much more memorable to its new aficionados. No references, I'm afraid. Binksternet 04:25, 3 December 2007 (UTC)

It's a playful reference to the Hesitation Waltz. I have seen several cards from the series and the rhyme and meter are often awkward: "I know of a nice place / where there is a TANGO tea / and so we'll go there very soon / if you'll come along with me" Saxophobia (talk) 17:38, 31 May 2011 (UTC)

Added Tango Movies
Hello, this page is quite busy with editing. I added two movies (distributed in Germany and therefore probably not on the page before even so the movies are in Spanish). Hope that's fine.

greetings, Christian —Preceding unsigned comment added by 89.59.100.13 (talk) 22:18, 5 December 2007 (UTC)

Tangolates
I deleted the section about Tangolates; it seemed to me to be only tangentially linked to tango dance, and it has its own page. Binksternet (talk) 15:18, 18 March 2008 (UTC)

Tangoterms.com
I brought this link back in as I believe it to be without commercial motive (so far) as well as a very straightforward and attractive primer on basic tango moves and the embrace. Prior to my adding it back in it was removed twice for being spammed to multiple Wiki pages. I don't think this link should be attached to any other tango article; it belongs here at the Tango (dance) page. Binksternet (talk) 04:19, 27 April 2008 (UTC)

Vandalism
Hey, just letting you know I removed a spot of vandalised text from this article. It was in the first line of the history section.137.99.77.14 (talk) 03:25, 4 February 2010 (UTC)

The articles Tango (dance) and Argentine Tango should be put together
I think the two articles Tango (dance) and Argentine Tango should be put together. They have too many topics in common. --Diego de Tenerife --Diego de Tenerife (talk) 14:35, 18 June 2010 (UTC)

 * I think it works fine as it is. No change. Binksternet (talk) 03:54, 19 June 2010 (UTC)
 * The filmography need not be duplicated ?--195.137.93.171 (talk) 02:08, 15 May 2011 (UTC)

What a mess
Sorry, I don't have the time or the knowledge to fix it, but this article is a mess. For example, the paragraph beginning with: "The Tango Argentino is a partner dance, leaded by the man..." makes no sense whatsoever. See specifically:

 * "The plenty of figueres the tango argentino shows is just a rich combination of these elements. All combination, as complicated they might be, has to be leaded, when not Tango Argentino stops to be so, because it misses one of its most important princips."

It reads like a Babelfish translation. Anyone out there able to fix this? Rosetta1207 (talk) 14:49, 18 June 2010 (UTC)

 * I just noticed this myself. Honestly, I can't make sense of it. -- Gyrofrog (talk) 15:04, 4 August 2010 (UTC)
 * ✅ Done. The edit in question occurred on 06:01, 30 May 2010. I am reverting the entire section to the version prior to 30 May. -- Gyrofrog (talk) 15:10, 4 August 2010 (UTC)

 * Translation: "The uncountable number of tango dance patterns show that tango is a dance made of combined elements, not just a set of long patterns that are memorized. Ultimately, all patterns in the dance, no matter how complicated, are lead and followed.  Otherwise, it is merely choreography and memory, not Tango Argentino."  Now, while that is true, try finding an authoritative source online or in a book that says that.  It is usually something taught, not written down.

Maztec (talk) 09:14, 4 December 2010 (UTC)

Costume?
Any word on the distinctive costume typically worn when tangoing (fedoras, waistcoats, long split skirts, dark colors, etc.)? Pro hib it O ni o ns (T) 12:47, 28 October 2010 (UTC)
 * Ooh yes, and the shoes ! - Maybe they deserve their own page ?--195.137.93.171 (talk) 02:11, 15 May 2011 (UTC)

Tango Categories/Styles
Where did these categories of tango even come from? This seems like a partial, but incomplete and poorly written list. The inclusion of "queer tango" as a separate style just puzzles the advanced dancer as the gender roles for everything but ballroom style eventually become blurred in the dance, except when a certain machismo is desired to be shown. A better source and identification of categories needs to be done. The styles listed in the opening paragraph are better than the list later in the article, which makes this even more confusing.

A better list would be as follows: Tango Argentino, Tango de Salon, Tango Vals, Tango Milonguero, Tango Milonga, Tango Canyengue, Tango Orillero, Club Tango, Tango Nuevo, Nuevo Milonguero, Neo Tango, Tango Colgada, Ballroom/American Tango, Fantasia/Hollywood Tango, Finnish Tango, and the list goes on. These could be summarized as Argentino, Salon, Vals, Milongeuro, Cayengue, Orillero, Club, Neuvo, Ballroom, Fantasia, Finnish.

Sample sources: http://www.tejastango.com/tango_styles.html http://www.allabouttango.com/styles.htm http://www.totango.net/styles.html http://dance.about.com/od/typesofdance/tp/Tango_Styles.htm http://www.virtuar.com/tango/articles/2005/tango_styles.htm

Maztec (talk) 09:14, 4 December 2010 (UTC)

Naming Conventions
There should be a short section on naming conventions for a variety of common tango moves. For example: colgada, secada, gancho, volcada, boleo, enrosque, mordida, ocho, cadena, etc. Probably should stick with a few that people are more likely to see when watching tango ... moves that really stand out, like the secada, gancho, boleo, and ocho. Then refer to articles for the remainder. For example: http://www.layuega.com/terms.htm

Maztec (talk) 09:26, 4 December 2010 (UTC)

UNESCO
A pair of years ago, when the UNESCO declared Tango an Intangible Cultural Heritage, I rushed to this article to add the good news. I had not notice that there were two article, tango music and tango dance (this one). Perhaps the comment in the lead and the related category should be removed from here, and added to that other article? MBelgrano (talk) 17:57, 1 March 2011 (UTC)

 * I think the UNESCO decision should be shared with all the tango articles on Wikipedia. Binksternet (talk) 18:36, 1 March 2011 (UTC)

 * What about the category? There should be a single Tango entry in it. MBelgrano (talk) 18:38, 1 March 2011 (UTC)

 * I don't quite understand. Binksternet (talk) 18:44, 1 March 2011 (UTC)

Ballroom tango - contradictory taxonomy
This section starts by contrasting "international" with "European" tango and subsequently "American" with "English" tango. Are these four different styles? There is a subtle implication that "international" = "English" and "American" = "European", which seems unlikely. Tesspub (talk) 09:18, 25 September 2011 (UTC)

 * Unlikely, I agree. American is a head-snap, open-embrace, choreographed variation of English, European and International ballroom styles, the latter three being very closely related if not confusingly similar. Binksternet (talk) 01:21, 26 September 2011 (UTC)

Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: moved per request. The precise relationship between the Tango and Argentine tango articles will have to be sorted out separately. Favonian (talk) 22:47, 17 March 2013 (UTC)

Capitalization
Article uses "the tango" and "The Tango" with different capitalization. — Preceding unsigned comment added by Layne Phillips (talk • contribs) 19:23, 3 July 2015 (UTC)

Tango (dance) → Tango – The primary topic is the dance, of which the Argentine tango and Tango (music) are subtopics. This would also require moving Tango to Tango (disambiguation). Srnec (talk) 21:22, 10 March 2013 (UTC)

Survey

 * Feel free to state your position on the renaming proposal by beginning a new line in this section with  or  , then sign your comment with  . Since polling is not a substitute for discussion, please explain your reasons, taking into account Wikipedia's policy on article titles.

 * Support - have noticed this awkward disamb in the past and glad someone has proposed to fix it. In ictu oculi (talk) 00:33, 11 March 2013 (UTC)
 * Support. Clear primary topic. -- Necrothesp (talk) 12:55, 11 March 2013 (UTC)
 * Support Cambalachero (talk) 13:09, 11 March 2013 (UTC)
 * Support as per above. LCS check (talk) 16:48, 11 March 2013 (UTC)
 * Support. A minor viewpoint I have encountered is that tango music is as important as the dance form, that the music can stand on its own. However, the music's origin is the dance. Binksternet (talk) 16:58, 11 March 2013 (UTC)
 * Support. The Tango music and Tango dance are inseparable, and should thus be presented under a single title "Tango" User:magazine1212 (talk) 18:58, 11 March 2013 (UTC)
 * Comment: I don't believe that's what has been proposed. -- Gyrofrog (talk) 22:07, 11 March 2013 (UTC)

 * Support as per above. -- Gyrofrog (talk) 22:07, 11 March 2013 (UTC)

Discussion

 * Any additional comments:

 * Is this really a subtopic of Argentine tango given that it's the "modern international dance form that evolved from the Argentine tango" (from the hatnote on that page)? --BDD (talk) 02:43, 11 March 2013 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

I was intrigued by this sentence: "The word "tango" seems to have first been used in connection with the dance in the 1890s". I come from Russian music and it is being told in music circles that there are so many Russian Tangos because the Argentinian musicians on the World Expo in Paris (1889, when the Eiffel Tower was opened) played so many Tangos there which the Russians (Andreyev's Balalaika Orchester) liked and they brought that style home to Russia. Food for thought for someone who can read Cyrillic. Possibly someone thought, we must give it a name when we go and perfom in Paris? Almuth Hauptmann-Gurski 121.209.56.202 (talk) 03:41, 30 March 2014 (UTC)

Edit External Links
I would replace the current external links: Festivals Worldwide Tango Events Worldwide Repository

By the following: www.tangopolix.com - Worldwide Tango Events Directory and Search Engine, including Tango Festivals, Marathons, Encuentros, Seminars, Workshops, etc

Tangopolix is much more comprehensive and complete than the previously mentioned links, and adapts to every screen resolution which makes it more accessible and easy to use. — Preceding unsigned comment added by Tangopolix (talk • contribs) 22:17, 13 April 2016 (UTC)

Talk:María (tango)
See multiple move request. In ictu oculi (talk) 11:19, 15 October 2018 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 13:22, 24 September 2019 (UTC)
 * Carlos Gardel Abasto Buenos Aires.jpg

Yoruba etymology?
What exactly is the semantic connection between the Yoruba thunder-god Shangó and the tango? The etymology section doesn't give any explanation, and there's no a priori reason to associate the two (unlike with the competing etymology hypotheses). — 69.120.64.15 (talk) 17:24, 8 September 2020 (UTC)

Tango nuevo section should be improved?
IP https://en.wikipedia.org/wiki/Special:Contributions/77.218.44.30 just suggested "This last paragraph is a bit deceiving, and should be looked over by someone who is qualified." for the Tango nuevo section. Anyone interested? — Preceding unsigned comment added by RealLifeRobot (talk • contribs) 17:31, 22 May 2022 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 06:54, 26 September 2022 (UTC)
 * Carlos Gardel, Argentine tango singer, portrait.jpg

title: Talk:Tango


text:
Counties of Estonia

Counties (maakond, plural maakonnad) are the state administrative subdivisions of Estonia. Estonian territory is composed of 15 counties, including 13 on the mainland and 2 on islands. County governments (maavalitsus) were abolished at the end of 2017, with their duties split between state authorities and local governments, and nowadays counties have no noteworthy independent competences. Counties are composed of municipalities of two types: urban municipalities (towns, linnad) and rural municipalities (parishes, vallad), which are by law required to cooperate in development of their county.

List
Population figures as of 2023. The sum total of the figures in the table is 42,644 km2, of which the land area is 42,388 km2, so that 256 km2 of water is included in the figures.

History
In the first centuries AD, political and administrative subdivisions began to emerge in Estonia. Two larger subdivisions appeared: the parish (kihelkond) and the county (maakond). The parish consisted of several villages. Nearly all parishes had at least one fortress. The defence of the local area was directed by the highest official, the parish elder. The county was composed of several parishes, also headed by an elder. By the 13th century the following major counties had developed in Estonia: Saaremaa (Osilia), Läänemaa (Rotalia or Maritima), Harjumaa (Harria), Rävala (Revalia), Virumaa (Vironia), Järvamaa (Jervia), Sakala (Saccala), and Ugandi (Ugaunia). Additionally there were several smaller elderships in central Estonia where danger of war was smaller – Vaiga, Mõhu, Nurmekund and Alempois. The exact number and borders of some elderships are disputed.

The first documented mentioning of Estonian political and administrative subdivisions comes from the Chronicle of Henry of Livonia, written in the 13th century during the Northern Crusades.

The autonomy of the Estonian counties and parishes ended after conquered and divided between Denmark, Livonian Order, Bishopric of Dorpat and Bishopric of Ösel-Wiek. The name of Rävala became Reval, replacing the name of an Estonian town Lindanisse, later Tallinn. Ugandi, Sakala and the smaller elderships disappeared from common usage.

In the 1580s, after the Livonian war as Sweden had conquered Northern Estonia, Harju, Järva, Lääne and Viru counties were officially formed there. Southern Estonia, which belonged to Poland 1582–1625, was divided into voivodships of Pärnu and Tartu; the island of Saaremaa belonged to Denmark until 1645. They all became counties as they went under Swedish rule.

This administrative system mostly remained as Estonia went under Russian rule due to the Great Northern War, ending circa 1721. In 1793 were formed Võru County in the south of Tartumaa, Viljandi County between Tartu and Pärnu counties, and Paldiski County in the west of Harjumaa. In 1796 Paldiski County was joined with Harjumaa again. Until 1888 Võrumaa and Viljandimaa were not wholly independent from Tartumaa and Pärnumaa, respectively.

Several changes were made to the borders of counties after Estonia became independent, most notably the formation of Valga County (from parts of Võru, Tartu and Viljandi counties) and Petseri County (area acquired from Russia with the 1920 Tartu peace treaty).

During Soviet rule, Petseri County became a part of Russia in 1945. Hiiumaa seceded from Läänemaa in 1946, Jõgevamaa from Tartumaa in 1949 and Jõhvimaa (modern Ida-Virumaa) from Virumaa in 1949. Counties were completely dissolved in 1950 as Estonian SSR was divided into raions (rajoonid) and (until 1953) oblasts. Until the 1960s, the borders of raions often changed until 15 of them were left. Out of them, Põlva and Rapla regions became separate, while the others were roughly corresponding to the pre-1950 counties.

Counties were re-established on 1 January 1990 in the borders of the Soviet-era raions. Due to the numerous differences between the current and historical (pre-1940) layouts, the historical borders are still used in ethnology, better representing cultural and linguistic differences.

County governments were abolished at the end of 2017, with their duties split between state authorities and local governments. Nowadays counties have no noteworthy independent competences, but local governments are required by law to work together in developing their county.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Counties of Estonia


text:
Ze'ev Jabotinsky

Ze'ev Jabotinsky (זְאֵב זַ׳בּוֹטִינְסְקִי; born Vladimir Yevgenyevich Zhabotinsky; 17 October 1880  – 3 August 1940) was a Revisionist Zionist leader, author, poet, orator, soldier, and founder of the Jewish Self-Defense Organization in Odessa.

With Joseph Trumpeldor, he co-founded the Jewish Legion of the British Army in World War I. Later he established several Jewish organizations, including the paramilitary group Betar in Latvia, the youth movement Hatzohar and the militant organization Irgun in Mandatory Palestine.

Early life

Vladimir Yevgenyevich (Yevnovich) Zhabotinsky was born in Odessa, Kherson Governorate (modern Ukraine) into an assimilated Jewish family. His father, Yevno (Yevgeniy Grigoryevich) Zhabotinsky, hailed from Nikopol, Yekaterinoslav Governorate. He was a member of the Russian Society of Sailing and Trade and was primarily involved in wheat trading. His mother, Chava (Eva Markovna) Zach (1835–1926), came from Berdychiv, Kiev Governorate. Jabotinsky's older brother Myron died when Vladimir was six months old, and his father died when he was six years old. His sister, Tereza (Tamara Yevgenyevna) Zhabotinskaya-Kopp, founded a private school for girls in Odessa. In 1885, the family moved to Germany due to his father's illness, returning a year later after his father's death.

Raised in a middle-class Jewish home, Jabotinsky was educated in Russian schools. Although he studied Hebrew as a child, he wrote in his autobiography that his upbringing was divorced from Jewish faith and tradition. His mother ran a stationery store in Odessa. Jabotinsky dropped out of school at the age of 17 with a guarantee of a job as a correspondent for a local Odessan newspaper, the Odesskiy Listok, and was sent to Bern and Rome as a correspondent. He also worked for the Odesskie Novosti after his return from Italy. Jabotinsky was a childhood friend of Russian journalist and poet Korney Chukovsky.

Studies in Rome and return to Odessa
From the autumn of 1898 onward, Jabotinsky was registered for three years as a law student at the Sapienza University of Rome, but hardly attended any classes and did not graduate, leading a bohemian lifestyle instead. In addition to Russian, Yiddish and Hebrew, he learned to speak fluent Italian.

After returning as a news reporter to Odessa, he was arrested in April 1902 for writing feuilletons in an anti-establishment tone, as well as contributing to a radical Italian journal. He was held isolated in a prison cell in the city for two months, where he communicated with other inmates through shouting and passing written notes.

In October 1907 Jabotinsky married Joanna (or Ania) Galperina.

Zionist activism in Russia
Prior to the Kishinev pogrom of 1903, Jabotinsky joined the Zionist movement, where he soon gained a reputation as a powerful speaker and an influential leader. With more pogroms looming on the horizon, he established the Jewish Self-Defense Organization, a Jewish militant group, to safeguard Jewish communities throughout Russia. He became a source of great controversy in the Russian Jewish community as a result of these actions.

Around this time, he began learning modern Hebrew, and took a Hebrew name: Vladimir became Ze'ev ("wolf"). During the pogroms, he organized self-defence units in Jewish communities across Russia and fought for the civil rights of the Jewish population as a whole. His slogan was, "Better to have a gun and not need it than to need it and not have it!" Another slogan was, "Jewish youth, learn to shoot!"

In 1903, he was elected as a Russian delegate to the Sixth Zionist Congress in Basel, Switzerland. After Theodor Herzl's death in 1904, he became the leader of the right-wing Zionists. That year he moved to Saint Petersburg and became one of the co-editors for the Russophone magazine Yevreiskaya Zhyzn (Jewish Life), which after 1907 became the official publishing body of the Zionist movement in Russia. In the pages of the newspaper, Jabotinsky wrote fierce polemics against supporters of assimilation and the Bund.

In 1905, he was one of the co-founders of the "Union for Rights Equality of Jewish People in Russia". The following year, he was one of the chief speakers at the 3rd All-Russian Conference of Zionists in Helsinki, Finland, which called upon the Jews of Europe to engage in Gegenwartsarbeit (work in the present) and to join together to demand autonomy for ethnic minorities in Russia. This liberal approach was later apparent in his position concerning the Arab citizens of the future Jewish State: Jabotinsky asserted that "Each one of the ethnic communities will be recognized as autonomous and equal in the eyes of the law."

In 1909, he fiercely criticized leading members of the Russian Jewish community for participating in ceremonies marking the centennial of the Russian writer Nikolai Gogol. In light of Gogol's antisemitic views, Jabotinsky claimed it was unseemly for Russian Jews to take part in these ceremonies, as it showed they had no Jewish self-respect.

Representative of the ZO in the Ottoman Empire, 1908–1914
In 1909, Sultan Abdulhamid II was deposed. The year before that, following the Young Turk Revolution, the Berlin Executive office of the Zionist Organization (ZO), sent Jabotinsky to the Ottoman capital Constantinople where he became editor-in-chief of a new pro-Young-Turkish daily newspaper Le Jeune Turc (meaning Young Turk) which was founded and financed by Zionist officials like ZO president David Wolffsohn and his representative in Constantinople Victor Jacobson. The journalists writing for that paper included the famous German Social democrat and Russian-Jewish revolutionary Alexander Parvus, who lived in Constantinople from 1910 until 1914. The Jeune Turc was prohibited in 1915 by the pro-German Turkish military junta. Richard Lichtheim, who was to become Jabotinsky's representative in Germany in 1925, stayed in Constantinople as ZO representative and managed to keep the "Yishuv" (Jewish population of Palestine) out of trouble during the war years by constant diplomatic interventions with German, Turkish, and also American authorities, whose humanitarian support was crucial for the survival of the Jewish settlement project in Palestine during the war years.

World War I military career
During World War I, he had the idea of establishing a Jewish Legion to fight alongside the British against the Ottomans who then controlled Palestine. In 1915, together with Joseph Trumpeldor, a one-armed veteran of the Russo-Japanese War, he created the Zion Mule Corps, which consisted of several hundred Jewish men, mainly Russians who had been exiled from Palestine by the Ottoman Empire and had settled in Egypt. The unit served with distinction in the Battle of Gallipoli. When the Zion Mule Corps was disbanded, Jabotinsky traveled to London, where he continued his efforts to establish Jewish units to fight in Palestine as part of the British Army. Although Jabotinsky did not serve with the Zion Mule Corps, Trumpeldor, Jabotinsky and 120 Zion Mule Corps members did serve in Platoon 16 of the 20th Battalion of the London Regiment. In 1917, the government agreed to establish three Jewish battalions, initiating the Jewish Legion.

As an honorary lieutenant in the 38th Royal Fusiliers, Jabotinsky saw action in Palestine in 1918. His battalion was one of the first to enter Transjordan.

He was demobilised in September 1919, soon after he complained to Field Marshal Allenby about the British Army's attitude towards Zionism and the reduction of the Jewish Legion to just one battalion. His appeals to the British government failed to reverse the decision, but in December 1919 he was appointed a Member of the Order of the British Empire (MBE) for his service.

Jewish self-defense and 1920 Palestine riots
After Ze'ev Jabotinsky was discharged from the British Army in September 1919, he openly trained Jews in warfare and the use of small arms. On 6 April 1920, during the 1920 Palestine riots the British searched the offices and apartments of the Zionist leadership for arms, including the home of Chaim Weizmann, and in a building used by Jabotinsky's defense forces they found three rifles, two pistols, and 250 rounds of ammunition.

Nineteen men were arrested. The next day Jabotinsky protested to the police that he was their commander and therefore solely responsible, so they should be released. Instead, he, too, was arrested, and the nineteen were sentenced to three years in prison with Jabotinsky being given a 15-year prison term for possession of weapons, until a July 1920 general pardon was granted to both Jews and Arabs convicted in the rioting. A committee of inquiry placed responsibility for the riots on the Zionist Commission, alleging that they provoked the Arabs. The court blamed "Bolshevism" claiming that it "flowed in Zionism's inner heart", and ironically identified the fiercely anti-socialist Jabotinsky with the socialist-aligned Poalei Zion ('Zionist Workers') party, which it called 'a definite Bolshevist institution.'

Founder of the Revisionist movement
In 1920, Jabotinsky was elected to the first Assembly of Representatives in Palestine. The following year he was elected to the executive council of the Zionist Organization. He was also a founder of the newly registered Keren haYesod and served as its director of propaganda. Jabotinsky left the mainstream Zionist movement in 1923 due to differences of opinion between him and its chairman, Chaim Weizmann, establishing a new revisionist party called Alliance of Revisionists-Zionists and its Zionist youth paramilitary organization Betar.

His new party demanded that the mainstream Zionist movement recognize as its stated objective the establishment of a Jewish state on both banks of the Jordan River. His main goal was to establish, with the help of the British Empire, a modern Jewish state in which equality of rights for its Arab minority were upheld. He maintained, however, that this could only be achieved through force, and condemned the "vegetarians" and "peace mongers" in mainstream Zionism who believed that this could be achieved peacefully.

His philosophy contrasted with that of the socialist-oriented Labor Zionists, in that it focused its economic and social policy on the ideals of the Jewish middle class in Europe. His ideal for a Jewish state was a form of nation state based loosely on the British imperial model. His support base was mostly located in Poland, and his activities focused on attaining British support to help with the development of the Yishuv. Another area of major support for Jabotinsky was Latvia, where his speeches in Russian made an impression on the largely Russian-speaking Latvian Jewish community.

Jabotinsky was both a nationalist and a liberal democrat. He rejected authoritarian notions of state authority and its imposition on individual liberty; he said that "Every man is a king." He championed the notion of a free press and believed the new Jewish state would protect the rights and interests of minorities. As an economic liberal, he supported a free market with minimal government intervention, but also believed that the "'elementary necessities' of the average person...: food, shelter, clothing, the opportunity to educate his children, and medical aid in case of illness" should be supplied by the state.

In 1930, while he was visiting South Africa, he was informed by the British Colonial Office that he would not be allowed to return to Palestine.

The Revisionists, Fascism and Mussolini
Italy and Mussolini were a source of ideological, historical and cultural inspiration for the Zionist Revisionists of the 1920s and 1930s. From the early 1930s onwards Jabotinsky believed that the United Kingdom could no longer be trusted to advance the Zionist cause and that Italy, as a growing power capable of challenging Britain for dominance in the region, was a natural ally.

Jabotinsky set up the Betar Naval Academy, a Zionist naval training school established in Civitavecchia, Italy in 1934 with the agreement of Benito Mussolini.

1930s evacuation plan

During the 1930s, Jabotinsky was deeply concerned with the situation of the Jewish community in Eastern Europe. In 1936, Jabotinsky prepared the so-called "evacuation plan", which called for the evacuation of 1.5 million Jews from Poland, the Baltic States, Nazi Germany, Hungary and Romania to Palestine over the span of the next ten years. The plan was first proposed on 8 September 1936 in the conservative Polish newspaper Czas, the day after Jabotinsky organized a conference where more details of the plan were laid out; the emigration would take 10 years and would include 750,000 Jews from Poland, with 75,000 between age of 20–39 leaving the country each year. Jabotinsky stated that his goal was to reduce Jewish population in the countries involved, to levels that would make them disinterested in its further reduction.

The same year he toured Eastern Europe, meeting with the Polish Foreign Minister, Colonel Józef Beck; the Regent of Hungary, Admiral Miklós Horthy; and Prime Minister Gheorghe Tătărescu of Romania to discuss the evacuation plan. The plan gained the approval of all three governments but caused considerable controversy within the Jewish community of Poland, on the grounds that it played into the hands of antisemites. In particular, the fact that the 'evacuation plan' had the approval of the Polish government was taken by many Polish Jews as indicating Jabotinsky had gained the endorsement of what they considered to be the wrong people.

The evacuation of Jewish communities in Poland, Hungary and Romania was to take place over a ten-year period. However, the British government vetoed it, and the Zionist Organization's chairman, Chaim Weizmann, dismissed it. Chaim Weizmann suggested that Jabotinsky was willing to accept Madagascar as one destination for limited emigration for Jews, due to political issues involved with settlement in Palestine, and dispatches from Warsaw by British ambassador Hugh Kennard, corroborate Weizmann's account. Two years later, in 1938, Jabotinsky allegedly stated in a speech that Polish Jews were "living on the edge of the volcano" and warned that the situation in Poland could drastically worsen sometime in the near future. "Catastrophe is approaching. ... I see a terrible picture ... the volcano that will soon spew out its flames of extermination," he said. Jabotinsky went on to warn Jews in Europe that they should leave for Palestine as soon as possible. There is much discussion about whether or not Jabotinsky actually predicted the Holocaust. In his writings and public appearances, he warned against the dangers of an outbreak of violence against the Jewish population of Central and Eastern Europe. However, as late as August 1939, he was certain that war would be averted. The General Jewish Labour Bund ridiculed Jabotinsky and his warnings calling him a "Purim General."

A study published in 2023 by Goldstein and Huri concluded that Jabotinsky never made the 1938 speech attributed to him. Although Jabotinsky gave a speech on that day, the text was different. The earliest mention of the alleged prophetic content that Goldstein and Huri could locate was published in 1958 by the same associate of Jabotinsky who had published the original text in 1938, possibly to bolster the campaign to relocate Jabotinsky's remains to Israel.

On the anniversary of Tisha B'Av (August 1938), Jabotinsky said:

"It is already three years that I am calling upon you, Polish Jewry, who are the crown of world Jewry. I continue to warn you incessantly that a catastrophe is coming closer. I became grey and old in these years. My heart bleeds, that you, dear brothers and sisters, do not see the volcano which will soon begin to spit its all-consuming lava. I see that you are not seeing this because you are immersed and sunk in your daily worries. Today, however, I demand from you trust. You were convinced already that my prognoses have already proven to be right. If you think differently, then drive me out of your midst! However, if you do believe me, then listen to me in this 12th hour:In the name of God! Let anyone of you save himself as long as there is still time. And time there is very little…and what else I would like to say to you in this day of Tisha B’Av: whoever of you will escape from the catastrophe, he or she will live to see the exalted moment of a great Jewish wedding: the rebirth and the rise of a Jewish state. I don’t know if I will be privileged to see it; my son will! I believe in this as I am sure that tomorrow morning the sun will rise."

1939 plan for a revolt against the British
In 1939, Britain enacted the MacDonald White Paper, in which Jewish immigration to Palestine under the British Mandate was to be restricted to 75,000 for the next five years, after which further Jewish immigration would depend on Arab consent. In addition, land sales to Jews were to be restricted, and Palestine would be cultivated for independence as a binational state.

Jabotinsky reacted by proposing a plan for an armed Jewish revolt in Palestine. He sent the plan to the Irgun High Command in six coded letters. Jabotinsky proposed that he and other "illegals" would arrive by boat in the heart of Palestine – preferably Tel Aviv – in October 1939. The Irgun would ensure that they successfully landed and escaped, by whatever means necessary. They would then occupy key centers of British power in Palestine, chief among them Government House in Jerusalem, raise the Jewish national flag, and fend off the British for at least 24 hours whatever the cost. Zionist leaders in Western Europe and the United States would then declare an independent Jewish state and would function as a provisional government-in-exile. Although Irgun commanders were impressed by the plan, they were concerned over the heavy losses they would doubtless incur in carrying it out. Avraham Stern proposed simultaneously landing 40,000 armed young immigrants in Palestine to help launch the uprising. The Polish government supported his plan, and it began training Irgun members and supplying them arms. Irgun submitted the plan for the approval of its commander David Raziel, who was imprisoned by the British. However, the beginning of World War II in September 1939 quickly put an end to these plans.

Literary career
In 1898, Jabotinsky was sent to Rome as a correspondent for Odessky Listok, writing columns under the pen name "V. Egal, "Vl. Egal" "V.E." for more than a year. His first application for a job at Odesskiya Novosti was turned down, but after the editor, J.M. Heifetz, saw his writing for Odessky Listok, he hired him. At that point, Jabotinsky changed his pen name to Altalena, which he confesses was a mistake. He thought the Italian word meant "elevator," but explained to the editor that the real meaning, "swing," suited him well, since he was "'by no means stable or constant', but rather rocking and balancing." In 1914, Jabotinsky published the first Hebrew translation of Edgar Allan Poe's poems The Raven and Annabel Lee.

From 1923, Jabotinsky was editor of the revived Jewish weekly Rassvet (Dawn), published first in Berlin, then in Paris. Besides his journalistic work, he published novels under his previous pseudonym Altalena; his historical novel Samson Nazorei (Samson the Nazirite, 1927), set in Biblical times, describes Jabotinsky's ideal of an active, daring, warrior form of Jewish life. His novel Pyatero (The Five, written 1935, published 1936 in Paris) has been described as "a work that probably has the truest claim to being the great Odessa novel. ... It contains poetic descriptions of early-twentieth-century Odessa, with nostalgia-tinged portraits of its streets and smells, its characters and passions." Although it was little noticed at the time, it has received renewed appreciation for its literary qualities at the start of the twenty-first century, being reprinted in Russia and Ukraine and in 2005 translated into English (the first translation into a Western language).

Family
While in Odessa, Jabotinsky married Joanna (or Ania) Galperina [1884-1949] in October 1907. They had one child, Eri Jabotinsky (1910-1969), who later became a member of the Irgun-affiliated Bergson Group. Eri Jabotinsky briefly served in the 1st Knesset of Israel; he died on 6 June 1969 age 58 -one year younger than his father had been when he died at the age of 59.

Death and burial
On 12 May 1940, Jabotinsky offered Winston Churchill the support of a 130,000 strong Jewish volunteer corps to fight the Nazis; he also proposed Weizmann and David Ben-Gurion the creation of a united front for policy and relief.

Jabotinsky died of a heart attack shortly before midnight on 3 August 1940, while he was visiting a Jewish self-defense camp run by Betar in Hunter, New York.

Jabotinsky was buried in New Montefiore Cemetery in Farmingdale, New York, in accordance with a clause of his will. Ben-Gurion refused to allow Jabotinsky to be reburied in Israel. By order of Israeli Prime Minister Levi Eshkol and in accordance with a second clause of his will, the remains of Jabotinsky and his wife were reburied at Mount Herzl Cemetery in Jerusalem in 1964. A monument to Jabotinsky was erected at his original burial site in New York.

Views and opinions
According to Israeli historian Benny Morris, documents show that Jabotinsky favored the idea of the transfer of Arab populations out of the proposed state if required for its establishment. Jabotinsky's other writings state, "we do not want to eject even one Arab from either the left or the right bank of the Jordan River. We want them to prosper both economically and culturally. We envision the regime of Jewish Palestine [Eretz Israel ha-Ivri, or the 'Jewish Land of Israel'] as follows: most of the population will be Jewish, but equal rights for all Arab citizens will not only be guaranteed, they will also be fulfilled." In 1927, he reacted angrily to a published report that he had called for the expulsion of Arabs from Palestine. In a letter to the Zionist newspaper Haolam, he wrote: "I never said that, or anything that could be interpreted in this sense. My position is, on the contrary, that no one will expel from the Land of Israel its Arab inhabitants, either all or a portion of them -- this is, first of all, immoral, and secondly, impossible." Jabotinsky was convinced that there was no way for the Jews to regain any part of Palestine without opposition from the Arabs. In 1934, he wrote a draft constitution for the Jewish state which declared that Arabs would be on an equal footing with their Jewish counterparts "throughout all sectors of the country's public life." The two communities would share the state's duties, both military and civil service, and enjoy its prerogatives. Jabotinsky proposed that Hebrew and Arabic should enjoy equal status, and that "in every cabinet where the prime minister is a Jew, the vice-premiership shall be offered to an Arab and vice versa."

Jabotinsky viewed Zionism as a complete cultural departure from the Jewish way of life in Europe and saw the new "Hebrew" as a radical redefinition of the Jewish culture and values at the time. In 1905 he wrote:"To imagine what a true Hebrew is, to picture his image in our minds, we have no example from which to draw. Instead, we must use the method of ipcha mistavra (Aramaic for deriving something from its opposite): We take as our starting point the Yid (used here as pejorative for Jew) of today, and try to imagine in our minds his exact opposite. Let us erase from that picture all the personality traits that are so typical of a Yid, and let us insert into it all the desirable traits whose absence is so typical in him. Because the Yid is ugly, sickly, and lacks handsomeness (הדרת פנים) we shall endow the ideal image of the Hebrew with masculine beauty, stature, massive shoulders, vigorous movements, bright colors, and shades of color. The Yid is frightened and downtrodden; the Hebrew ought to be proud and independent. The Yid is disgusting to all; the Hebrew should charm all. The Yid has accepted submission; the Hebrew ought to know how to command. The Yid likes to hide with bated breath from the eyes of strangers; the Hebrew, with brazenness and greatness, should march ahead to the entire world, look them straight and deep in their eyes and hoist them his banner: “I am a Hebrew!”"

His views were adopted by some Zionist publications, including Cahiers du Bétar, a monthly in Tunisia.

Awards and recognition

 * In Israel, 57 streets, parks and squares are named after Jabotinsky, more than for any other person in Jewish or Israeli history, making him the most-commemorated historical figure in Israel. In 2022 the Murom Street in Ukraine's capital of Kyiv was renamed to the Ukrainian version of Jabotinsky's name Volodymyr Zhabotinsky Street.
 * The Jabotinsky Medal is awarded for outstanding achievements in the sphere of literature and research.
 * The Jabotinsky Institute, in Tel Aviv, is a repository of documents and research relating to the history of Betar, the Revisionist movement, the Irgun, and Herut. It is identified with Likud.
 * A bronze bust of Jabotinsky by Johan Oldert was presented to the Metzudat Ze'ev in Tel Aviv in 2008 and remains on display.
 * A mural of a young Jabotinsky was unveiled in his birthplace of Odesa on the house where he was born in April 2021. It was unveiled by mayor of Odesa Hennadii Trukhanov and Israeli ambassador to Ukraine Joel Lion.
 * Jabotinsky Day (יום ז'בוטינסקי) is an Israeli national holiday celebrated annually on the twenty ninth of the Hebrew month of Tammuz, to commemorate the life and vision of Zionist leader Ze'ev Jabotinsky.

Legacy
In his study of the formative leaders of the Zionist movement and the State of Israel, Zeev Tzahor describes Jabotinsky as "a dazzling intellectual, an exceptional writer and a brilliant statesman...A charming man fluent in many languages, sensitive to cultural nuances, and profoundly knowledgeable in a broad array of subjects." However, despite this profusion of talents, he never became leader of the Zionist movement.

Published works

 * Turkey and the War, London, T.F. Unwin, Ltd. [1917]
 * Samson the Nazarite, London, M. Secker, [1930]
 * The Jewish War Front, London, T.F. Unwin, Ltd. [1940]
 * The War and The Jew, New York, The Dial Press [c1942]
 * The Story of the Jewish Legion, New York, B. Ackerman, Inc. [c1945]
 * The Battle for Jerusalem. Vladimir Jabotinsky, John Henry Patterson, Josiah Wedgwood, Pierre van Paassen explains why a Jewish army is indispensable for the survival of a Jewish nation and preservation of world civilization, American Friends of a Jewish Palestine, New York, The Friends, [1941]
 * A Pocket Edition of Several Stories, Mostly Reactionary, Tel-Aviv: Reproduced by Jabotinsky Institute in Israel, [1984]. Reprint. Originally published: Paris, [1925]
 * The Five, A Novel of Jewish Life in Turn-of-the-Century Odessa,'' Paris, [1936]
 * Jabotinsky translated Edgar Allan Poe's "The Raven" into Hebrew and Russian, and parts of Dante's Divine Comedy into modern Hebrew verse.
 * "The East Bank of the Jordan" (also known as "Two Banks has the Jordan"), a poem by Jabotinsky that became the slogan and one of the most famous songs of Betar
 * Vladimir Jabotinsky's Story of My Life, Brian Horowitz & Leonid Katsis, eds., Detroit: Wayne State University Press, 2015.

title: Ze'ev Jabotinsky