Why We Are SOTANGO About It, Part 4/4: Let's Make Art

Tango comes into existence every time each individual dancer steps onto the dance floor and takes the embrace. Tango is a result of a collective act of dancing together. Tango is perpetuated into evolution by the pure joy experienced by each dancer. The more joy a dancer experiences, the more they want to dance, the more tango is created, forever, into eternity. The external form of tango will alter over time as each dancer individually undergoes personal and physical evolution. New trends, new music, new inspiration will surely influence how people dance social tango in a century or so. But in the end, it is not about how tango evolves, it is about how we can use tango to evolve ourselves. How creative, beautiful, empowered, confident can we become through tango?

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Social tango is a collective art. It is an urban phenomenon that arose among people who were desperate for connection. Everything within tango - the figures, the etiquette, the music - developed over time as a collective expression, a conversation among dancers, musicians, poets, writers, artists… The result is a form of creative social practice that has successfully spread throughout communities around the world.

When considering why social tango has been so successful, I believe it is because it answers to a deep longing within ourselves to connect, to express, to belong, and to create. It fulfills an essential human need for healthy physical touch and intimacy. It integrates communities, bridging the gaps between ages, cultures, and belief systems. It provides continuity that fosters building of supportive relationships. In essence, social tango functions in our culture the way dancing around a fire functions in tribal cultures - it is a social glue. As such, it is capable of tremendous personal and collective transformation that we so need at this time.

To dance is to be out of yourself. Larger, more beautiful, more powerful. This is power, it is glory on earth and it is yours for the taking.
— Agnes de Mille