After a disenchantment which lasts about forty years (1950-1990), the Argentine tango is rediscovered thanks to an itinerant show, Tango Argentino (Paris, 1983; Brooklyn, 1985). Argentina and Uruguay wake up and regain control on what they consider to be their heritage. They are then going to work to register the culture of the tango on the Unesco list of the immaterial world heritage. The registration is ratified in 2009. What role played the craze of the Western World for the tango in the reappropriation of this culture by his inventors? How did the Argentine and the Uruguayans wake up in their own identity? And finally, in view of the global dissemination of the tango's culture and actors these last years, in what way can the world heritage's label be considered a tool of migration?