I think there is a style of tango descended from the tango stage shows that peaked in the mid-to-late '90s, which seemed to me to be characterized by using *excess* physical tension in the embrace as a way of conveying passion or conflict between a couple during a performance. In stage tango in general, dancers often seem to take on extra tension in their movements as a way of indicating their supposed emotional state to an audience.
On the other hand, those whose priorities are oriented to social tango quickly learn that excess tension makes them tired sooner, and reduces their social dance stamina reserves.
Yet, many social dancers who favor a close embrace sometimes retain too much tension in their embrace, far more than is needed to maintain connection with their partners. These social dancers can also convey a sense of struggle in their dance.
Any style (stage, social/close embrace, social/flex-embrace, "nuevo") can be done either in a relaxed way, or with too much tension, but I think it was jost those '90s stage dancers (and their imitators) who really cultivated it on purpose
On the other hand, those whose priorities are oriented to social tango quickly learn that excess tension makes them tired sooner, and reduces their social dance stamina reserves.
Yet, many social dancers who favor a close embrace sometimes retain too much tension in their embrace, far more than is needed to maintain connection with their partners. These social dancers can also convey a sense of struggle in their dance.
Any style (stage, social/close embrace, social/flex-embrace, "nuevo") can be done either in a relaxed way, or with too much tension, but I think it was jost those '90s stage dancers (and their imitators) who really cultivated it on purpose
