Choreographing a Paper Tango
W
hen confronted with the question of illustrations for a
book on dance, I realized that the real problem of
this particular book on the tango was not really one
of illustrations in the conventional sense. The text
had sought to find words that would transmit the bodily
knowledge of a dance form, knowledge that includes the re-
flections and associations with other experiences that the
tango as genre demands. Part of that search might be shoul-
dered by visual images, if there was a way to introduce
movement onto a page of written words and to keep its pres-
ence there in such a way that readers were reminded that
the words were intended to interact constantly with the im-
age of movement to which they referred.
An obvious point of departure was film. But
what was not so obvious was how to reproduce film
in the pages of a book so that the central element
most important to dance, the moving body, would
appear on the pages. An initial idea of using pho-
tographs taken from a series of frames from the
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