From the book "Tangos en el Éter", by Paula Ferrío
The movements of the Tango have orbits. Each dance floor is a kind of interstellar map and each pair seems to represent the planets.
There are axes, there is rotation and translation. There are concentric paths that move in relation to everything else.
As in an astrological chart, tango is a combinatorial relationship between different relationships and connections. But circularity touches us in different possible ways, sometimes more round or more ellipsoidal. Sometimes slower or faster. Sometimes more orderly or more chaotic.
And in addition it turns against the hands of the clock, that is to say against time.
I can imagine that those of us who dance know in the end that what we do is play with time. Challenge him Maybe that is why we believe that we somehow perpetuate it. In a sense, it seems that we turn it back, since what we do is dance with the great orchestras of those that are no longer there.
However, the walk of the Tango is always an advance, a promising future that connects us with the walk of life itself. And paradoxically, that embraced couple is pure present, it is the maximum manifestation of the ephemeral, of what will cease to be immediately.
The gift of becoming comes to tell us that "the eternal return is possible"
Perhaps Zarathustra, when discovering this vision of time, could have thought of tango as a way of printing it and repeating it every time.
It occurs to me that the idea of a continuous awakening also appears in this cyclical sequence. But to wake up, first you have to fall asleep, you have to forget.
Borges tells us: "the infinite tango takes us to everything" with the same lightness with which he declares: "so that oblivion can help invention". And this is where an act of "blind faith" is revealed to us in which tango could not exist without the possibility of improvising it.
It is quite an adventure to learn and discover its laws, to know them and then forget them. And do something of your own, reinvent yourself, be part of a new universe every time.
Open a different, unlimited dimension, where the embrace is conjugated in the spatio-temporal coordinate, through music -which is nothing more than a material expression of the time mode- and we are given to live the "Great Present".
And so, how could Gardel say "Go back".
But this time already stripped of the cursed burden that recalls the absurd wound of a small and anguished life.
But with a new vision, perhaps some form of ritualizing the enormous gratitude of being able to receive the immense past, present and future experiences.