For this second entry in our tango series, we’ll move away from the structure of the compulsory — Argentine and Romantica — tango and move ahead into its looser, choreographed free dance interpretations, along with a quick nod or two to the now-departed original dance.
And as the dance proper goes, perhaps the most useful analogy can be found with Tango Nuevo. The definition of what actually constitutes this concept is muddied — it can also refer to a style of music used for the dance — and it’s blurry, too, how much this notion of a freer method of instruction, focused on improvisation and the “how” more than the “what” to dance, is itself a subgenre of the tango style. But holistically, it’s a convenient framework for the idea of a more freeform take on the tango than that offered by the ballroom world or most traditional forms of Argentine tango, so we’ll use this as our touchstone, and offer this “Oblivion” tango — note the music — from Claudia Miazzo and Jean Paul Padovani.
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