Modern Tango World N° 11 (Paris, France) | Page 18

For the amateur audience, after some particularly beautiful
tandas, there is touch the magic of dance and they applaud
the dancers. It is very strange to be involved in what we love
— the dance and its representations. I have learned to share
with the group of dancers and with the public.
— Pauline, a dancer who frequents the millégales
In the mid-2000s, the greatest dancers found themselves
on the docks, mixing with beginners, their students and
passers-by. Mariano Chicho Frumboli and Sebastian
Arce were among them. This was the wave of tango
nuevo and everything was ok — the dusty codegos of
tango: jeans, shorts, electro rhythms, new people, new
abrazos, new places of dance! The outdoor spots were
part of this revivals. Ironically, by 2010, there was a re-
turn of the milonguero and salón styles of dance. They
brought with them the ethics and codes of milonga and
the purity of technique.
Today, outdoor milongas no longer attract the best Pa-
risian dancers. The phenomenon seems to have faded
in favor of perfecting a high level of dance. During the
summer, the best dancers go to festivals amd marathons.
They rarely find themselves outdoors dancing. How-
ever, there have never been so many dancers during
this beautiful season. A few years ago, the milongas in
the Jardins du Trocadéro and the Opéra Garnie were
irregular. Now they are held daily. So that every night
there are three different places to dance in the capital,
since the quays on the Seine is still available for dancing.,
There may even be four millégales in a single evening.
The streets of Paris may not have the prestige of the
parquet floorsl The great dancers of the moment prefer
the Dolce Vita, Tanguedia, El Garron or Oh There. Yet,
the streets are imperseptably giving tango something
that it could get no other way — a presence in the city.
And so, we begin to dream: that the tango could could,
in the XXI century, become part of the popular culture!
— 18 —
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