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Argentine tango is, what I like to call, a narrative dance: it moves forward, counterclockwise, in the line of dance, moving around an invisible center, a force that seems to structure the dance and its codes. People dance tango anywhere: a living room, a street corner, an outdoor gazebo, the beach, even an airline terminal.
But wherever it is danced, it moves in that counterclockwise system, inexorably around this absent cente...
For several years, I had been working on the semiotics of tango, something I thought of calling, in reference to Roland Barthes, Tango Mythologies. The idea *was* to interpret the various elements that make up tango: cabaceo (exchange of glances), milonga space, music, lead-follow, shoes and fetishism, nostalgia, history. I wrote a lot, submitted several chapters to an editor, who liked one, but felt the other two a bit too me...