Sociologist and tango dancer Kathy Davis provides an ethnographic exploration of passion in tango dancers, and she illustrates how such passion is embodied, attached to strongly felt emotions, and implicated in biographical transformations. She argues that tango dancing offers a perfect site for understanding the importance of passion in ordinary people’s everyday lives, gender relations in late modernity, and the possibilities and pitfalls of transnational encounters in a globalizing world.

Omar García Brunelli provides a solid historical overview of tango music, dance, and poetry. He first broadly lays out tango’s African, European, Argentine, and Uruguayan origins in the Río de la Plata region of South America, then focuses on the musical changes that took place through time. In doing so, García Brunelli highlights important contributors from tango’s guardia vieja (Old Guard), guardia nueva (New Guard), and Golden Age; discusses Piazzolla’s nuevo tango (New Tango); and brings his overview up to today by describing active contemporary tango musicians.

Film scholar Rielle Navitski applies her discipline’s lens to tango and Argentine culture. She provides an overview of tango’s intersections with film; analyzes how tango’s affective qualities and transnational wanderings have shaped a long and productive pas de deux with the cinema; shows the influence of each in a historical context; and raises broader questions of cultural exchange and hegemony.

Bárbara Varassi Pega’s chapter represents how tango studies have become institutionalized in her case study of the Tango Department at Codarts University in the Netherlands. She focuses on the work of its founder Gustavo Beytelmann (b. 1945) and the educational exchange with scholars and practitioners in Argentina.

Pablo Palomino analyzes broader cultural themes and aesthetic currents in lyrics from the tango’s Golden Age. He considers the historical context in which tango lyrics became a sentimental, philosophical, and aesthetic lens for several generations of listeners in Argentina and beyond through a unique mix of modernism and vernacular speech. He then examines the poetry around three central themes that emerged in the Golden Age: the urban space, the sociological and poetic issue of the relationship between love and self, and the modern experience itself.

Music theorist and social dancer Rebecca Simpson-Litke brings tango music and dance together through the current interdisciplinary lens of choreomusical analysis. As she explores the connection between movement and music through her transcriptions and analyses of Juan Carlos Copes’s choreography of the famous “La cumparsita,” she shows how music and dance reinforce or complement each other through rhythm.

Historian Matthew Karush delves into tango’s role in Argentina’s political and social history. He specifically analyzes how the art form functioned within Peronism and anti-Peronism of the mid-to-late half of the twentieth century as he seeks to understand how the tango is reflected in the political climate in Argentina through time and amid political upheaval.

As health professionals, Madeleine E. Hackney and J. Lucas McKay demonstrate how widely tango reaches across disciplines. They offer a case study for how medical-research projects incorporate tango therapeutically. Hackney and McKay utilize tango for promoting health and preventing or changing declining conditions, and they illustrate how their current research applies “Adapted Tango” to improve motor and cognitive functions in individuals with Parkinson’s and Alzheimer’s diseases.

Anthropologist and social tango dancer Carolyn Merritt had begun to take dance lessons in leading, then the COVID-19 restrictions shut down in-person classes and milongas. As she continued to pursue her quest in leading, Merritt reflects on her experiences and insights about how tango is politically generative, confronts the struggles many women face with tango, and provides a more profound examination into tango’s evolution and future. As she applies such findings of her embodied research, Merritt raises larger questions about how tango impacts the total human experience, especially during the COVID-19 restrictions.

Ortaç Aydınoğlu explores the bandoneón as a symbol of tango, focusing on the great interpreters in Argentina and abroad. The Turkish bandoneonist and tango scholar recounts the international travels and “adventures” of his instrument through time, enlightening the reader about how and why it came to symbolize tango.

This chapter explores queer theatre’s continued preoccupation with history, arguing that its persistent attention to the past is part of a broader cultural project of recuperation. By attending to the legislative and social landscape that has criminalised and excluded LGBT+ people in Britain alongside historic moments of political change, the chapter illuminates how queer theatre has been configured by the historical conditions of its production. The chapter traces both the emergence of queer theatre and the sites it continues to move across, from fringe venues and queer arts festivals to national cultural events. It then examines the multiplicity of ways that histories have been produced, remade, or recovered in performance, drawing on the work of queer theatre makers including Gay Sweatshop, Emma Frankland, Nando Messias, David Hoyle, Drew Taylor-Wilson, Elgan Rhys, Rosana Cade, Jo Clifford, Milk Presents, DUCKIE, and Mojisola Adebayo. In continuing to return to the past, queer theatre recovers previously excluded marginalised lives and experiences in Britain, disrupts linear narratives of progress that accompany LGBT+ politics, and makes space for reimagined futures.