Theseus could not know that at the other end of the labyrinth was the other labyrinth, that of time, and that Medea was in a predetermined place. The ‘mitos’ is lost. So is the maze. This ‘mitos’, this myth we may find and lose in an act of faith, in a harmony, in a dream, in philosophy or simply in the essential happiness.’ Borges, Knossos 1984
Tango is a dipole (male-female) dance.
Although when it was created it was usually danced by two men – waiting in the parlors of the brothels – the male / female role was always distinct. The primordial dipole of nature, yin and yang, the two opposites that are mirrored, synchronized, coordinated in a union, presupposes a good knowledge of body language but also simultaneous communication, ‘understanding’ and ‘identification – obedience’ to the masculine improvisation, although its purpose is to highlight the dance of women.
Tango for me is a dance where the two heads of the dancers, united, form a modern version of the Minotaur. The two dancers become a mythical Being, with four legs – one head – which ‘does not look’, sees just a little around it, through peripheral vision, since the eyes are fixed on the ‘inside’ ritual. This is my ‘Tangos of Magical Realism’
