Choreography as an Art FormNowadays it is very clear that every Tango dancer or couple wants to be original.  Everyone wants to put his mark on this world. There are many ways to approach this goal. On Stage, on the Dance Floor, dancing Tango, Vals or Milonga. Dancing through Choreography or just Improvising, putting a little story in between dances etc…These are all wonderful, but my analogy is related to another art form, such as music, and to be more specific I relate this to playing instruments. If we think about artists or aficionados who play an instrument, piano, guitar, saxophone, flute, trumpet, violin to name a few, most musicians play and learn through compositions that already exist. It is very common to hear pianists interpreting MOZART, BETHOVEEN, CHOPIN, BACH, RACHMANINOV or others. Through these compositions people appreciate the art form and take the steps to learn the instrument.  We’re all aware of concerts being held to honor a particular artist and we appreciate the INTERPRETER who brings the COMPOSER to life.My question is, why isn’t this a possibility for the Tango Professionals or Aficionados.  I think that studying and interpreting someone else’s choreography could be not only a great exercise but also a beautiful theme for a performance as long as the interpreter gives credit to the original choreographer. Performing by improvising is beautiful and I think one of the biggest channels in which to express the dance.  With many couples improvisation becomes as fluent as talking to each other. They are so familiar with each other the dance becomes a dialogue.  In a chorography the dance becomes a script. We dance that script.It might sound very strange for someone to announce: I will or they will interpret  the Tango “Recuerdo” as choreographed by Roberto Herrera and Vanina Bilous for example. Or simply rehearse this or that choreography in order to become better.  If some people do this already, I don’t mean to announce it as my original idea, this is just a thought.  I don’t consider this to be copying, it’s training and can bring many benefits to our dance.Interpreting someone else’s choreography could be the same analogy as someone else’s composition in music. This happens all the time in Tango. The Cumparsita has been interpreted by almost every orchestra with different arrangements and different colors. The Cumparsita still is the same.Maybe we have the idea that we will be copying steps from others. The isolated steps belong to no one, it is the way in which we combine movements and steps that creates an original choreography. When we see a Tango Show those choreographies are registered and have a value, the value of building a show. That is why there is a choreographer.There are thousands of choreographies created by thousands of couples around the world. Maybe a good way to interpret the art form, Argentine Tango, could be not by creating one but by interpreting an existing one as cleanly and slickly as the creator thought of it.Now the question is among us, who do we consider to be the Mozart, Beethoven or Chopin in our small world, our Argentine Tango World? Does he/she exist? Our ego lets us see it?