This question could be quickly resolved, because one can say: “who decides what we can dance or not dance?”.

The tango, although having codes, a structure, allows us, like the language, to write it according to our wish. Of course, there is to respect its practice, as for any language: we respect a certain syntax, we use vowels and consonants, we build syllables which will become words ..... but, we can not allow us a certain freedom of writing?

The tango knew a development of its various expressions: music, dance, poetry. Those evolute sometimes in correlation, in harmony, nourishing each other.

As soon as the ball is reduced, interpreter-composers, open the musical possibilities of the tango: Salgan, Rovira, Piazzolla, Cosentino ..... and this tango do not take account on the ball, the dancers.

On several occasions Astor Piazzolla said, and sometimes with emphase, that he did not write for the dancers. Since, we know that between the musicians and the dancers, professionals or not, the dialogue is not more as it was at the time of Castillo, D' Arienzo, Pugliese, Vargas .....

Can we dance with Piazzolla' music ?

During the years 1960, the popular milongas and balls start to be rare, and then we see the development, for the tv programs and the artistic tours, of the tango known as scenic-tango. Gloria and Eduardo were one of the precursory couples.

In the years 1970 and 1980 Piazzolla will be very popular arount the world, and it was be identified with the tango. It was him the tango. It will thus acquire a stature close to that of Gardel, one of the greatest myths or symbols, as one wants, of the Argentinian tango.

Professionals dancers will incorporate the music of Piazzolla in their spectacles; they choreographies them and it is integrated thus in the expression tango and at the same time go over it. One also dances on Piazzolla' music in spectacles which are not presented us tango spectacles.

Quid then for the ball ? For dancers who love to feel the abrazo and themilongueros meetings ?

On what concern Argentina the history is different than for others countries. The amateurs of the ball tango did not consider Piazzolla and his music for one as of theirs. However, one does not dance of Piazzolla, not more than one listens to it. This public tango in Argentine will incorporate recently, and accepts the Maestro Piazzolla henceforth by recognizing to him his contribution to the tango and its justified fame.

But elsewhere, in Europe, here in France, in others countries…. what's going ?

The tango-nuevo became a tendency practised by many professors, some made their speciality of it. Blow, and with the irruption of the electro-tango, one started to dance with a abrazo which separates more than it does not connect the couple, one leaves a rigour then where the bases are particularly not followed and where one does not take too account of the circle to be respected.

Do they have, these dancers, the right to occupy the track thus ? Each one can decide, can like or not, to support or not. But it is a fact and, rather than to insinuate any prohibition, it would be necessary to think of this division of the ball-space between tango milonguero and tango-nuevo. But this is another subject.

It acts, here, to know if one can or not to dance on the music of Astor Piazzolla, which was built in a different structure that the traditional tango. The answer is in the fact that many dancers like to live a certain gymnastic freedom within their practice of the tango and, for that, the music of Piazzolla, like that of Cosentino, Gotan or other Narcostangos, indeed has its place, that seems logical, because it allows this improvisation out of the traditional codes of the tango.

Then ? Does one dance on the music of Piazzolla? Yes.
Can one dance it ? And well, it is a current reality, therefore free then who wish not to feel the emotion of the abrazo, the blood-force of Troilo, Pugliese or so many others Grandes Maestros.