The first figure usually taught to beginning students after the walking steps. The 8 count basic includes elements which are used throughout the dance, although the complete figure itself is not much used socially. The name refers to counts in music, however, the man is not constrained to rigidly mark a step on each count or beat of the rhythm. He is free to hold or to syncopate, or cut the beat, as the music moves him or as space on the floor around him allows. Also the figure may be danced into or out of at various points and is not always entered at the beginning. There are also shortcuts within the 8 count basic. For instance, the man may lead the lady from the cruzada at 5 directly to 2, or he may close his left foot to his right without weight on 7 and step side left directly to 2. So in actuality the positions which the dancers move through at each step are numbered as reference points. In closed dance position, they are as follows; * The man steps back right, the lady forward left. Or, variations: the man settles his weight on his right leg, placing the lady on her left, and holds. Also, the man may settle on his right leg, placing the lady on her left, quickly extending his left leg to his left side to point then closing back to his right leg without weight, as the lady mirrors his action with her right leg. Or the man may step through with his right leg between the partners, leading the lady to mirror his action (espejo) by stepping through with her left leg, remaining in closed position although briefly resembling promenade position.
The man steps side left, the lady side right, with the man stepping slightly further than the lady. The man steps forward right in outside right position keeping his upper body turned toward the lady in contra-body, the lady back left paralleling the man and also in contra-body. This is a common point of entry to the figure which the ladies should be aware of. The man steps forward left, the lady back right stretching slightly more and seeking the man�s center. The man closes his right foot to his left with weight and rotates his upper body to face forward, leading the lady to cross her left foot in front of her right with weight (cruzada) as she finishes moving back in front of the man. Many variations for the lady begin from this position. The man steps forward left inside his partner (to her center), the lady back right. The man steps side right, the lady side left. The man closes his left foot to his right with weight, the lady her right foot to her left.
Steps 1 through 3 (sometimes 1 through 5) are known as the salida. Steps 3 through 5 are known as "walking the lady to the cross". Steps 6 through 8 are known as [resolucion].
ABRAZO
Dance hold. The embrace; a hug; or dance position.
ADELANTE
Forward. opposite of Atras. Used to describe the direction of ochos.
ADORNO
Adornment; embellishment. Movements from the man or the women that are unique to each dancer and come from the individual creativity that adorn or embellish the dance.
AFICIONADO
From aficion -- liking; amateur; fancier An enthusiastic admirer or follower; a devotee or a fan of something, such as tango.
AGUJA
Needle; an effect in the positioning of the man's working foot during a [rulo] tip of foot touching floor and heel straight up, knee bent An adornment for the man done with the working foot vertical with the toe into the floor while pivoting inside a molinete
AL COSTADO
To the side.
Alambrada
Guitar
Alma
Soul
ALTERNATE BASIC
In the Alternate basic both partners use the L for # 3 and the R for # 4. He may or may not pause for her # 5 but she must cross L over R for # 5 regardless. # 6-7-8 resumes in parallel system (regular basic).
Alternate System
AMAGUE
From amagar - To make a threatening motion as a feint: An amague is used as an embellishment either led or done on one's own, and may be used before taking a step. An example of an amague may be a beat ([frappe]) before taking a step. Sometimes called a [Saludo], it is a woman's embellishment similar to a 'frappe' (beating motion) in ballet. It involves quickly crossing one leg in front of, or behind the other, before taking a step.
Amor
Love
APILADO STYLE
Piled on As used in tango, the reference is to the way a jockey is "piled on" his horse, when racing—hugging the neck. A vertical A-frame position of two dancers in close embrace.
ARRABAL
The slums. Also suburb/neighbourhood in which someone sings or dances tango.
ARRABALERO
A person of low social status. A person of simple and direct ways who speaks plainly and uses coarse language.
Arranque
A leaders' device to create momentum during a [molinete]. It occurs when he pauses while leading her to a side step, then follows with [Entradas].
ARRASTRE
From arrastrar - to drag or pull.
ARREPENTIDA
REPENTANT; To change one's mind A family of steps which allow a couple to back away from a collision or traffic jam in a minimal amount of space and on short notice.
ATRAS
Backward.
BAILAR
To dance.
BAILARIN
A professional or very accomplished dancer.
BAILONGO
A lunfardo word to describe a place where people dance, i.e. a milonga.
BALANCEO
A deep check and replace.
BALDOSA
A walking box figure named after the black & white checkerboard tile floors which are common in Buenos Aires.
Bandoneon
An accordion like musical instrument originally created to provide missionaries with portable pipe organ music for religious services in remote locales which has been adopted by tango musicians to create the mournful and soulful sound of modern tango music.
BARRIDA
A sweep; a sweeping motion One partner's foot sweeps the other's foot and places it without losing contact. Barridas are done from either the outside or the inside of the foot of the receiving party. The technique is different for the inside and outside barridas.
BARRIO
A district or neighborhood.
BASICO
The basic pattern. There are several basic patterns the most common of which is the [8 count basic].
Bicycle
A woman's embellishment (not led), similar to one backward peddling motion. She extends her working leg in the air, bends knee while lifting knee, places working foot touching the outside of the supporting leg so legs form the # 4 shape, lowers working foot along supporting leg until it is crossed over supporting foot
BIEN PARADO
Well stood (literally), standing straight up.
Bloque
Block: where one dancer blocks the motion of the other's foot.
Boca
Mouth
BOLEO
From bolear - To throw A boleo may be executed either high or low. Keeping the knees together, with one leg back, swivel and return on the supporting leg with a whipping action of the working leg. Sometimes spelled [Voleo]. Is a movement which appears to throw the working leg in a circular motion. For example, a back boleo can be executed by pivoting the supporting leg (say R) one direction (CCW) while extended the working foot (L) back, then quickly changing directions, pivoting CW on the standing leg (R) before the working foot has completed the extension back. This creates its characteristic whip effect. If the working foot is lifted during the pivot CW, this is considered a high boleo which adds to the appearance of a circular motion. A front boleo can be executed by pivoting the supporting leg (say R) one direction (CW) while extended the working foot (L) front, then quickly changing directions pivoting CCW on the standing leg (R), while lifting the L foot during the pivot. To execute the front and back boleo's simultaneously, it is necessary to join the feet immediately afer each boleo.
Bombilla
metal straw to drink mate tea
BRAZO
Arm.
CABECEO
From cabeza; head Traditional technique for selecting dance partners from a distance at the milongas in Buenos Aires by using eye contact and head movements.
CADENA
The chain; enchainement Three or four steps involving change of direction that repeats itself. An athletic and very theatrical turning figure which moves rapidly across the floor turning left, in which the couple alternate [amagues] ([cuatros]) or [ganchos]. Another variation involves the man stepping outside left in crossed feet and leading the lady in a change of direction to keep her in front of him as he turns to the left, alternately going around her and bringing her around him.
CADENCIA
Cadence, rhythm. A deep check and replace, usually led by the man as he steps forward left. Useful for avoiding collisions and making direction changes in small spaces. May also refer to a subtle shifting of weight from foot to foot in place and in time with the music done by the man before beginning a dance to give the lady the rhythm he intends to dance and to ensure that she will begin with him on the correct foot.
CAIDA
Fall A step in which the man steps backward, sinks on his supporting leg, and crosses his working leg in front without weight while leading the lady to step forward in outside position, sink on her supporting leg and cross her working leg behind without weight. Caida may be done to either side.
CALESITA
Carousel; the merry-go-round A figure in which the man places the lady on one foot with a lifting action of his frame and then dances around her while keeping her centered over, and pivoting on, her supporting leg. Sometimes referred to as the [Stork]. A movement in which the man leans the lady's axis on his and steps around her placing all his steps equidistant to her supporting leg. If he steps further away from her supporting leg during the calesita it creates a deeper angle and is often called Carpa (tent).
Calle
Street
CAMBIO DE FRENTE
Change of Front. Simply involves facing a new direction. However, some teachers use the term to specifically refer to a particular method of turning for the leader in which he pivots both feet CW (or both feet CCW) at the same time. For a 90 degree turn, he begins in parada position and pivots until he stands straight with both feet apart (or vice versa start standing, end in parada position). For a 180 turn, he begins in parada position, reaches standing position at 90 degrees but continues turning until he is once again in the parada position. Frequently accompanies the woman's molinete, this effect creates an interesting cadence in her movement
CAMINADA
The walking steps; a walking step.
CAMINANDO Valsiado
A crossing and walking step which the man initiates at 3 of basico as he steps forward right in outside right position, pivoting to his right on his right foot and leading the lady to pivot on her left foot, stepping side left (side right for the lady) and drawing his right leg under him with weight (the lady mirroring with her left). The man then steps forward left in outside left position, pivoting to the left on his left foot, stepping side right and drawing his left foot under him with weight (as the lady dances the natural opposite). The man returns to outside right position and either continues the figure or walks the lady to the cross. May be danced in tango or vals.
CAMINAR
To walk The walk is similar to a natural walking step, but placing the ball of the foot first instead of the heel. Sometimes taught that the body and leg must move as a unit so that the body is in balance over the forward foot. Another style requires stretching the working leg, placing the foot, and then taking the body over the new supporting foot regardless of direction. Walks should be practiced both forward and backward for balance, fluidity, and cat like gracefulness.
CANDOMBE
A type of dance originally danced by the descendants of black slaves in the Rio de la Plata region. Music of African origin with a marked rhythm played on a "tamboril" (a kind of drum).
CANGREJO
The crab A repetitive pattern of walking steps and or sacadas in which the man advances turned nearly sideways to his partner.
Cantar
Sing
CANYENGUE
A very old style of tango from the 1900s to the 1940s. The music from this era had a faster or peppier 2/4 tempo so the dance had a rhythmic flavor similar to that of modern milonga. A very close embrace was used as well as some unique posture and footwork elements. The tango of the [arrabal]. A lunfardo word with several meanings; It refers to somebody or something from the slums, i.e. low class. It also describes a gathering where people from the slums dance. It is also a certain way to perform or dance the tango with a slum attitude. Finally, it is a rhythmic effect created by Leopoldo Thompson by hitting the string of the contrabass with the hand or the arch of the bow.
CARANCANFUNFA
In the lingo of the compadritos, the dance of tango with interruptions ([cortes]) and also those who dance it that way in a very skillful manner.
CARICIAS
CARESSES A gentle stroking with the leg or shoe against some part of the partner's body. They can be subtle or extravagant.
CAROUSEL
A term used for [molinete] con [sacadas] to the man's left, the lady's right, with [ochos] and / or [ocho cortado] to exit.
CARPA
The tent A figure created when the man leads the lady onto one foot as in [calecita] and then steps back away from her, causing her to lean at an angle from her foot to his frame.
CASTIGADA
From castigar to punish; a punishment A lofting of the lady's working leg followed by flexing at the knee and caressing the working foot down the outside of the supporting leg. Often done as an [adorno] prior to stepping forward, as in [parada] or in [ochos].
CHICHE
Small ornamental beats done around the supporting foot with the working foot in time with the music, either in front or in back as desired.
CINTURA
Waist
CLUB STYLE
CODIGOS
Codes Refers to the codes of behavior and the techniques for finding a dance partner in the milongas in Buenos Aires.
Codo
Elbow
Colgada
A hanger - when the follower's axis is tilted (away from the leader). A spinning move executed by a couple at the end of an inside barrida in which both dancers lean out away from each other and spin rapidly until the man leads out with a back step.
COMPADRE
A responsible, brave, well behaved, and honorable man of the working class who dresses well and is very Macho. A person living in the suburb, haughty, proud and brave
COMPADRITO
Dandy; hooligan; street punk; ruffian They invented the Tango. Typical character of the suburb, a bully and a braggart
COMPAS
Beat, as in the beat of the music.
CONFITERIA BAILABLE
A cafe like establishment with a nice atmosphere where one can purchase refreshments and dance tango. A nice place to meet friends or a date for dancing.
CONFITERIA STYLE
May refer to a smooth and simple Salon Style as in [Tango Liso] or to [Milonguero Style].
Contra-Enrosque
A leader's inside or outside turn which has been embellished by tucking one foot close in front of the other during his pivot. This creates the appearance of a turning coil, like the turning stripes of a barber shop sign or the threading of a screw. He can further this illusion on an outside turn by immediately following with a transfer of weight and a back sacada. He can further this illusion on an inside turn by immediately following with a [lapiz] using the foot that was tucked in front. Contra Enrosque is executed while the follower dances the [molinete].
Contrapaso
A step produced when you lock one foot behind the other. For instance right foot steps forward, left foot locks behind right. Now right foot steps forward again. This can be done in single or double time, in one instance or repetitively.
Conventillo
A house that is shared between multiple families, commonly found in the neighbourhood of early immigrants Boarding houses in the suburbs of Buenos Aires in which the immigrant population was housed. It consisted of many rooms around a central courtyard with a common cooking area. The space for Saturday night "jam sessions" and dances where the milonga and the tango were born. The cradle of Milonga!
Corazon
Heart
CORRIDA
From correr to run. A short sequence of running steps.
CORRIDA GARABITO
A milonga step in which the couple alternately step through between each other, the man with his right leg and the lady mirroring with her left, then pivot to face each other as they step together. May be repeated as desired.
CORTE
CUT In tango, corte means cutting the music either by syncopating, or by holding for several beats. May refer to a position in which the torso is erect over a flexed supporting leg with the working leg extended forward to a pointe with the knees together which the man assumes when touching the lady's foot with his in [parada]. The lady moves to the same position from [parada] as the man closes over her working foot in [mordida], and pivots on her supporting foot in this position whenever the man leads an outside [barrida]. May also refer to a variety of dramatic poses featuring erect posture, flexed supporting legs, and extended dance lines by both dancers, used as a finale.
CORTINA
Curtain A brief musical interlude between [tandas] at a [milonga].
CROSSED FEET
Occurs whenever the couple are stepping together on his and her right feet and then on his and her left feet, regardless of direction. The opposite of parallel feet.
Crossed System
Crossed System or Alternate System occurs when both partners move the R at the same time or the L at the same time.
CRUZADA
From cruzar - to cross; the cross A cruzada occurs any time a foot is crossed in front of or in back of the other. The lady's position at 5 of the 8 count basic. May also be called [Trabada].
CUADRADO
A square; A box step Used mostly in Milonga and Club or Canyengue style tango.
CUATRO
A figure created when the lady flicks her lower leg up the outside of the opposite leg, keeping her knees together, and briefly creating a numeral 4 in profile. This can be led with a sacada or with an arrested rotational lead like a boleo, or it can be used, at the lady's discretion, in place of a gancho or as an adornment after a gancho.
CUCHARITA
The spoon. A lifting of the lady's foot with a gentle scooping motion by the man's foot to the lady's shoe, usually led during forward ochos to create a flicking motion of the lady's leg.
CUERPO
Body; torso.
CUNITA
Cradle A forward and backward rocking step done in time with the music and with or without [chiches], which is useful for marking time or changing direction in a small space. This movement may be turned to the left or right, danced with either the left or right leg forward, and repeated as desired.
Dedo
Toe or finger
Derecha
Right (opposite of Left Izquierda)
DERECHO
Erect, straight.
Despacio
Slowly
DESPLAZAMIENTO
Displacement Displacing the partner's leg or foot using one's own leg or foot. A loosely used term which refers to a dancer occupying their partner's previous space (not necessarily their exact previous axis). It is always happening in Tango, even in the basic walk.
DIBUJO
Drawing; sketch A dibujo is done by drawing circles or other small movements on the floor with one's toe.
Doble tiempo
doubletime
EJE
Axis or balance.
ELEVADAS
Dancing without keeping the feet on the floor. This was the style before the turn of century when tango was danced on dirt surfaces in the patios of tenements, low-class taverns, and on the street. Once tango went uptown enough to actually be danced on floors (wood, tile, or marble) the dancers fell in love with the floor, thus we now refer to 'caressing the floor'.
Embutido
Filler or inlay a foot swinging behind other foot after an [enrosque].
ENGANCHE
Hooking; coupling; the little hook Occurs when a partner wraps a leg around the other's leg, or uses a foot to catch and hold the other's foot or ankle.
ENROSQUE
From enroscar - to coil or twist While the lady dances a [molinete], the man pivots on his supporting foot, hooking or coiling the working leg behind or around in front of the supporting leg. A leader's outside turn which has been embellished by tucking one foot close behind the other during his pivot. This creates the appearance of a turning coil, like the turning stripes of a barber shop sign or the threading of a screw. He furthers this illusion by immediately following with a transfer of weight and [lapiz]. Enrosque is executed while the follower dances the [molinete].
ENTRADA
Entrance Occurs when a dancer steps forward or otherwise enters the space between their partners legs without displacement. Occurs when the dancer occupies their partner's previous axis by stepping inside the partner's trailing foot during their [molinete]. This term is more specific than [sacada] or [displacement], though often interchanged.
ENTREGARME
Surrender, yield To give oneself up to the leader's lead.
Espalda
Back of torso
ESPEJO
Mirror To mirror the movement of ones partner as in "[Ochos en espejo]", a figure where the man and woman both do forward [ochos] at the same time.
Estrella
Star
FANFARRON
A rhythmic tapping or stomping of the foot in time with the music for dramatic and emotional effect. Boisterous behavior.
Farolito
The Light; The farol is a street lamp specific to Buenos Aires which produces a circular sphere of light. The term in tango refers to the man sweeping his foot to draw the sphere of light
Feliz
Happy
FIRULETE
An adornment; a decoration; an embellishment Complicated or syncopated movements which the dancer uses to demonstrate their skill and to interpret the music.
Flor
Flower
FRENO
To stop and hold; brake.
Fueye
Bellows, a Bandoneon
GANCHO
The hook Occurs when a dancer hooks a leg sharply around and in contact with their partners leg by flexing the knee and releasing. May be performed to the inside or outside of either leg and by either partner. Occurs when a dancer's knee bends to wrap or hook around partner's leg. One should not execute a gancho when the working leg is not in contact with the partner's leg. If a woman is not in contact with the partner's leg when lead to a gancho, she can do an [amague] instead.
Gancho Pasajero
Passenger hook. Is a hook (gancho) that is executed on the way to another step. The working leg appears to wrap over the partner's leg while hooking, then releases and proceeds to the next step
Garcha
A rather rude lunfardo term to be used only among friends; noun, 1. penis, pija masculino; 2. worthless or of bad quality, trucho comprar; 3. bad luck ¡Qué garcha! This sucks! cagada malo garchar; verb, 'to screw' coger sexo. In tango, it may refer to a blind step against line of dance causing a collision for your partner, a garcha! May also be used as a pejorative, as in "Politicians are all garchas!" Akin to "screw-off" or "screw-up" in English slang.
Gaucho
The Argentine Cowboy. The folklore of Argentina centers around this figure. Martin Fierro written by Jose Hernandez is the bible to read in order to understand this personnage from the history of Argentina and Tango
GIRO
Turn A turning step or figure. While woman does molinete, man turns on one foot placing the toe of the foot in front and executing a sharp turn.
Golden age of tango
The period from 1935s-1950s when tango experienced particluar high popularity. La Epoc de Oro
GOLPECITOS
Little toe taps Rhythmic tapping done with a flat foot on the ball or underside of the toe as an adorno.
GOLPES
Toe taps With a tilted foot tap the floor with the toe and allow the lower leg to rebound keeping the knees together.
GRELAS
A [lunfardo] term for woman.
Guardia Vieja
The Old Guards. A period in the history of tango, 1866 to 1920.
GUAPO
Handsome A respectable and desirable man. A [compadre].
Guiar
To guide, also to lead.
HABANERA
A side together side together stepping action entered with a side chasse, commonly used by the man as he leads backward ochos for the lady in crossed feet. An Afro-Cuban dance from the mid 19th century which contributed to Tango.
Hablar
To speak, talk
Hombro
Shoulder
HAMACA
Izquierda
Left (opposite of Right Derecha)
Inclinada
Tilt, tilting.
Intrusiones
Adornos where you put your foot or leg between your partner's legs. Sometimes this is just a brief kick. Sometimes you'll use your foot or leg to push against one of your partner's feet or legs. When beginning tango the man does the intrusions but as dancers become more advanced women may do them too
JUNTA
From juntar - to join or bring together (as in, one's feet or knees); close: In Tango it is essential that the ankles and knees should come together or pass closely by each other between each step to create an elegant appearance, preserve balance, and to communicate clearly the completion of the step to one's partner. This applies equally to the man and the lady.
LAPIZ
Pencil Tracing of circular motions on the floor with the toe or inside edge of the working foot, while turning or waiting on the supporting foot. These may vary from small adornments done while marking time to large sweeping arcs which precede the lady as she moves around the man in molinete. While supporting leg pauses, working leg executes an arc shaped figure lightly along the floor during her [molinete].
LATIGAZO
Whip. Describes a whipping action of the leg as in a [boleo].
LENTO
Slowly.
Lindo
Pretty, cute
Line of Dance
Since tango is a walking and turning dance, the set direction for group movement is CCW. CW turning is of course allowed but in time, each couple should progress forward along LOD.
LISO
Smooth, as in [Tango Liso]: An early term for [Tango de Salon].
LLEVADA
From llevar - to transport; a carry; to take with Occurs when the man uses the upper thigh or foot to "carry" the lady's leg to the next step. [Barridas] interspersed with walking steps in which the man takes the lady with him across the floor.
Luna
Moon
LUNFARDO
The Spanish slang of the Buenos Aires underworld which is common in tango lyrics and terminology.
Lunge
Right Lunge In closed position, trail feet free, lower into the left knee and step side and forward onto the right, keeping the left side in toward your partner and your body upright. Don't lean over your partner. As you take weight on the right, lower into the right knee and turn slightly LF to close her head.
LUSTRADA
From lustrar - to shine or polish; the shoe shine A stroking of the man's pant leg with a shoe. May be done by the lady or by the man to himself but is never done to the lady.
Luz
The light
Malevo
ruffian
Mano
Hand
MARCAR
From Marque; to plot a course; guide To lead. (la marca = the lead)
mate
(pron. Ma Te) Native tea drank by the Argentinians
MEDIA LUNA
Half moon A sweeping circular motion of the leg similar to a ronde in ballroom but always danced in contact with the floor, never lofted. Usually danced by the lady and often led with a [sacada] to the lady's leg. May be used to bring the lady to an inside [gancho].
MEDIA VUELTA
Half turn Usually done when the man's right foot and the lady's left foot are free. The man steps forward outside right (3 of 8 count basic), leading the lady to step back left, then side right across his right leg, and forward left around him as he shifts weight first to his center, then onto his right foot as he then pivots on both feet and turn with his partner, the lady pivoting on her left foot. Media Vuelta is used by itself to change direction or maneuver on the dance floor and as an entrance to many combinations.
MILONGA
May refer to the music, written in 2/4 time, or to the dance which preceded the tango, or to the dance salon where people go to dance tango, or to a tango dance and party. Has 2 meanings 1) a tango social 2) a related Argentine music and dance which preceded tango as we know it
MILONGUERO
Refers to those frequenting the milongas from the early 1900s to the present who were or are tango fanatics. A person whose life revolves around dancing tango and the philosophy of tango. A title given by other tango dancers to a man (woman) who has mastered the tango dance and embodies the essence of tango.
MILONGUERO STYLE
Term originally given by Europeans and some North Americans to the style of dancing in a very close embrace; also referred to as confiteria style, club style, apilado style, etc. Usually used in the very crowded clubs frequented by singles in the center of Buenos Aires. Milonguero Style is danced in a very close embrace with full upper body contact, the partners leaning into each other (but never hanging on each other), and using simple walking and turning steps. This style relies on music of the more rhythmic type as characterized by orquestas like those of D'Arienzo or Tanturi.
Milonguita
Questionably, an affectionate diminutive for the milonga. Milonguita is also a name used for the young girls brought from eastern Europe and France (Madame Yvonne) with the promise to marry a rich Argentinean, or the poor girls from the conventillos, all of whom ended up as a hostess’ or prostitutes in the tango bars.
MINA
A lunfardo word for woman.
MIRA
From mirar - to look; see; observe; take notice Look at this. Observe.
MOLINETE
Windmill; wheel A figure in which the lady dances a grapevine on a circumference around the man, stepping side-back-side-forward using forward and back ocho technique and footwork, as the man pivots at the center of the figure. Pattern in which side steps separate alternating front and back steps ie frontL-sideR-backL-sideR-frontL-sideR..
Molinete con Sacada
An exciting and more complicated form of molinete in which the man steps into the lady’s space, displacing her leg with his, and pivots on a new center to face her as she continues around him. Many combinations are possible.
MORDIDA
From morder to bite; the little bite One partner's foot is sandwiched or trapped between the other partner's feet. If the other partner's feet are also crossed it may be referred to as Reverse Mordida. Sometimes called [Sandwich], or [Sanguchito].
MORDIDA ALTO
A variation in which a dancer catches a partners knee between both of their own.
Muerte
death
Neotango
Increasingly used term associated with music and dancing to tango fusion or non-tango tracks. the latest mutation of tango nuevo
Noche
Night
OCHO
Eight (pl. ochos); Figure eights A crossing and pivoting figure from which the fan in American tango is derived. Executed as a walking step with flexed knees and feet together while pivoting, ochos may be danced either forward or backward and are so designated from the lady's perspective. El Ocho is considered to be one of the oldest steps in tango along with caminada, the walking steps. It dates from the era when women wore floor length skirts with full petticoats and danced on dirt floors. Since the lady's footwork could not be directly observed the quality of her dancing was judged by the figure she left behind in the dirt after she danced away.
OCHO CORTADO
Cut eight Occurs when a molinete or an ocho-like movement is stopped and sent back upon itself. Typical in club style where many such brakes are used to avoid collisions. A common figure in Milonguero or Club Style Tango which is designed to allow interpretation of rhythmic music while dancing in a confined space.
OCHO DEFRENTE
Ocho to the front Forward ochos for the lady (i.e., crossing in front).
OCHO PARA ATRAS
Ocho to the back Back ochos for the lady (i.e., crossing behind).
OCHOS EN ESPEJO
Ochos in the mirror The man and the lady execute forward or back ochos simultaneously, mirroring each others movement.
Ojos
Eyes
ORILLERO
Outskirts; suburban.
ORILLERO STYLE
The style of dance which is danced in the suburbs, characterized by the man doing many quick syncopated foot moves and even jumps.
ORQUESTA
Orchestra A large tango band like those of the "Golden Age" of tango frequently referred to as "Orquesta Tipica"
OTRA VEZ
Another time; repeat; do again.
PAICAS
A lunfardo word for girl.
PALANCA
Lever; leverage Describes the subtle assisting of the lady by the leader during jumps or lifts in stage tango.
PARADA
From parar - to stop; a stop The man stops the lady, usually as she steps crossing back in back ochos or molinete, with pressure inward at the lady's back and at her balance hand and with a slight downward thrust, preventing further movement. When properly led the lady stops with her feet extended apart, front and back, and her weight centered. The man may extend his foot to touch her forward foot as an additional cue and element of style or he may pivot and step back to mirror her position (fallaway).
Parada Position
supporting leg bent, other leg extended in front, knees together
PARALLEL FEET
The natural condition when a couple dance in an embrace facing each other, the man stepping on his left, the lady on her right foot, and then the man stepping on his right, the lady on her left foot, regardless of direction. The opposite of crossed feet.
Pareja
couple, pair
PASADA
Passing over. Occurs when the man has stopped the lady with foot contact and leads her to step forward over his extended foot. Used frequently at the end of MOLINETE or after a mordida. The lady may, at her discretion, step over the man�s foot or trace her toe on the floor around its front. Pasada provides the most common opportunity for the lady to add adornos or firuletes of her own and a considerate leader will give the lady time to perform if she wishes.
PASO
A step.
PATADA
A kick.
PAUSA
Pause; wait Hold a position for two or more beats of music.
PEBETA
A lunfardo word for young woman or girl.
Pecho
Chest
Pecho Argentino
A social Tango from the 50's, with simple vocabulary but not limited.
Pelo
Hair
Peso
The Weight
PICADOS
A flicking upward of the heel when turning or stepping forward. Usually done as an advanced embellishment to ochos or when walking forward.
PIE
A foot.
PIERNA
A leg.
PINTA
Appearance; presentation Includes clothes, grooming, posture, expression, and manner of speaking and relating to the world.
Pisar
to step
Piso
Floor
PISTA
The dance floor.
planchadoras
The women who sit all night at the milongas without being asked to dance. The main reason for that, is because they don't know how to dance well enough. Yes, it may seem cruel but one of the many tango lyrics actually says something like, "let them learn as a consequence of sitting all night."
PLANEO
Pivot; glide Occurs when the man steps forward onto a foot, usually his left, and pivots with the other leg trailing (gliding behind) as the lady dances an additional step or two around him. May also occur when the man stops the lady in mid stride with a slight downward lead and dances around her while pivoting her on the supporting leg as her extended leg either trails or leads. Can be done by either the man or the lady. Occurs when one holds the [quebrada position] (working leg pauses) while pivoting on supporting foot during several steps of the partner's [molinete]
PORTENO
An inhabitant of the port city of Buenos Aires.
POSTURA
Posture Correct posture for tango is erect and elegant with the shoulders always over the hips and relaxed, and with the center carried forward toward the dance partner over the toes and balls of the feet.
Pregunar
Question
Potranca
Young female racehorse Sometimes used to refer to a beautiful long-legged Argentine woman.
PRACTICA
A practice session for tango dancers.
Puente
Bridge
Punteo
Point; with the point; peck Rhythmic toe taps to the floor done with the toe, or point, of the shoe while the foot is moving over the floor in a sweeping movement as in boleo or planeo.
QUARTAS
Poses Dance lines struck and held as dramatic flourishes at the end of a song. Large dramatic ones are used for stage or fantasia dancing, smaller softer versions occasionally in Salon style, and not used in Milonguero style at all.
QUEBRADA
Break; broken A position where the lady stands on one foot with the other foot hanging relaxed behind the supporting foot. Sometimes seen with the lady hanging with most of her weight against the man. Also a position in which the dancer's upper body and hips are rotated in opposition to each other with the working leg flexed inward creating a broken dance line.
Quebrada position
Breaking position; supporting leg bent, other leg extended behind or beside with foot touching the floor, knees apart
Querido
dear, beloved. From Querer (want)
RABONA
A walking step with a syncopated cross. Done forward or backward the dancer steps on a beat, quickly closes the other foot in cruzada, and steps again on the next beat. Adopted from soccer.
Rapido
Fast. Usually heard "mas rapido."
Rebote
Rebound the dancers rebound from their step without fully changing weight.
RESOLUCION
Resolution; tango close An ending to a basic pattern similar to a half of a box step. 6, 7, and 8 of the 8 count basic.
RITMO
Rhythm Refers to the more complex rhythmic structure of the music which includes the beat or compas as well as the more defining elements of the song.
RODILLAS
Knees.
Ronda
(La ronda) Line of dance Refers to the etiquette of dancing in the line of dance by moving counter clockwise around the dance floor, and using concentric lanes in the traffic to facilitate dancing in close proximity with one another.
RULO
A curl Used frequently at the end of molinete when the man, executing a [lapiz] or [firulete] ahead of the lady, curls his foot in around the lady and extends it quickly to touch the her foot. An older term for [lapiz]. While supporting leg pivots, working leg executes a curl shaped figure lightly along the floor. It accompanies a change of direction (ie. CW to CCW) at the beginning or end of her [molinete]
SACADA
The most common term for a displacement of a leg or foot by the partner's leg or foot. Occurs when a dancer places their foot or leg against a leg of their partner and transfers weight to their leg so that it moves into the space of and displaces the partner's leg. Occurs when the dancer appears to remove a partner's trailing leg. It is not limited to the circumstances of an entrada ie not limited to 1) involving a molinete 2) stepping inside the partner's trailing foot 3) occupying the partner's previous the axis.
SALIDA
From salir - to exit; to go out The first steps of dancing a tango, or a tango pattern, derived from "�Salimos a bailar?" {Shall we (go out to the dance floor and) dance?}. Take-off; the start of pattern or sequence. ie # 1-5 of the 8 count basic are considered a salida
Salida Cruzada
In the Salida Cruzada partners dance to # 5 of the basic, however both partners use the L for # 3 and the R for # 4. He may or may not pause for # 5 but she must cross L over R for # 5 regardless.
SALIDA DE GATO
A variation on the basico in which the man steps side left, forward right outside the lady, diagonal forward left, and crossing behind right with a lead for forward ochos for the lady. The lady is led to step side right, back left, diagonal back right, and crossing forward left, beginning ochos on her left foot. This figure enters ochos without using cruzada.
SALTITO
A little Jump.
Salon
A Hall. Style of tango best suited for social dancing. Always following line of dance, being aware and be courteous to others.
Salto
Jump (saltito - little jump): Leading your partner/yourself into a jump.
Saludo
Front leg wipe
SANDWICHE
SANGUICHITO
SEGUIDILLAS
Tiny quick steps, usually seen in [orillero style].
SEGUIR
To follow.
SENTADA
From sentar - to sit. A sitting action A family of figures in which the lady creates the illusion of sitting in, or actually mounts, the man's leg. Frequently used as a dramatic flourish at the end of a dance.
Soltada
Untying, to let go steps where the embrace is broken.
STORK
Same as Calecita. Not used often or much recommended but refers to a position of the lady where the working leg is held with the lower leg lifted and horizontal in a figure four, or cuatro, position.
SUAVE
Smooth, steady and gentle, soft, stylish. A major objective in tango.
SYNCOPATION
Syncopate; syncopated; syncopa A musical term adopted by dancers and used in a way which is technically incorrect, musically, and leads to endless arguments between dancers and musicians. Musically it refers to an unexpected or unusual accenting of the beats in a measure such as the two and four beats of swing music rather than the more common accent on the one and three beats. Dancers have come to use the term to describe cutting the beat, or stepping on the half-beat, which annoys musicians all to heck. Maybe if they could dance the tango we would pay more attention to them.
SUBE Y BAJA
Literally, to go up and down A milonga step in which the couple dance forward-together and back-together in outside right position with a pendulum action of the hips.
Taco
Heel
TANDA
A set of dance music, usually three to five songs, of the same dance in similar style, if not by the same orquesta. The tandas are separated by a brief interlude of non tango music called a "[cortina]", or curtain, during which couples select each other. It is customary to dance the entire tanda with the same partner unless the man is rude or very disappointing as a dance partner, in which case the lady may say gracias (thank you) and leave.
TANGO
Popular music from the Rio de la Plata region dating back to 1885-95, defined by a 2/4 rhythm until the 1920s when a 4/8 rhythm became common. A popular dance originating in the mid 19th century which descended from the Candombe, Habanera, Milonga, and (by some tango scholars) the Tango Andaluz. The exact origins of Tango are a historical mystery.
TANGO DE SALON
An elegant and very social style of tango characterized by slow, measured, and smoothly executed moves. It includes all of the basic tango steps and figures plus sacadas, giros, and boleos. The emphasis is on precision, smoothness, and elegant dance lines. The dancing couple do not embrace as closely as in older styles and the embrace is flexible, opening slightly to make room for various figures and closing again for support and poise.
Tango Escenario
TANGO FANTASIA
Stage Tango This is a hybrid tango, an amalgam of traditional tango steps, ballet, ballroom, gymnastics, ice-skating figures, etc. This is what most people see when they buy tickets for a tango show. The moves include all of the basic tango moves plus, ganchos, sacadas, boleos of every kind, sentadas, kicks, leaps, spins, lifts, and anything else that the choreographer and the performers think that they can get away with. Alas, this style of dancing shows up from time to time at the milongas, usually badly performed by ill-behaved tango dancers and frustrated tango performers who insist on getting their money's worth even if they have to kick, step on, bump into, or trip every other dancer on the floor. This behavior is NOT socially acceptable.
Tango fusion
A fusion of tango music with other music genres.
TANGO LISO
Literally, tango smooth A way of dancing tango characterized by its lack of fancy figures or patterns. Only the most "basic" tango steps and figures such as caminadas, ochos, molinetes, etc., are utilized. Boleos, ganchos, sacadas, sentadas, and other fancy moves and acrobatics are not done. A very early term for Tango de Salon.
Tango nuevo
(dance) Covers the entire range of leadable argentine tango moves; it is particularly apparent when danced in complex combinations envolving saccadas, boleos, ganchos, colgadas, volcadas etc.; open style is easier and more popular. The very basics are the open step, front and back cross which represent together with the giro "the base" of argentine tango as taught using the proven system of tango nuevo. (music) Associated with the tango music from the 1950s, 1960s and later (e.g. Piazzolla, Pugliese) that came after the golden age era.
TANGUERO
Refers to anyone who is deeply and seriously passionate about any part of tango, such as its history, music, lyrics, etc. In Argentina most tangueros are scholars, of lunfardo, music, orchestrations, Gardel, etc. One can be a tanguero without being a milonguero and a milonguero without being a tanguero (very few milongueros would be referred to as tangueros). And of course one can be an extremely good tango dancer without being either, such as stage dancers, who are quite disdained by real milongueros and tangueros, unless they go the extra distance and become milongueros by going to the milongas, and/or tangueros as well. An aficionado.
Tent
Tiempo
time
TIJERA
Scissor A movement, usually danced by the man, in which an extended leg is withdrawn and crossed in front of the supporting leg without weight so that it remains free for the next step or movement. May also refer to a figure in which the man steps forward in outside position (left or right) caressing the outside of the lady's leg with his leg (as in 3 of basico), then crosses behind himself which pushes the lady's leg to cross in front. May also refer to a jumping step from stage tango where the lady swings her legs up and over with the second leg going up as the first leg is coming down (frequently seen as an aerial entry to sentadas).
TITUBEO
Hesitation.
Tobillo
ankle
TRABADA
Another term for Cruzada. Fastened. It is a lock step - the step that the woman takes when man steps outside with his right foot and then straight forward left, together right. At this point the woman crosses and this cross is referred to as trabada
TRASPIE
Cross foot; triple step A walking step with a syncopated cross. Using two beats of music the dancer does step-cross-step beginning with either foot and moving in any direction.
truco
Trick or stunt May be used to describe fancy athletic movements in addition to lifts for stage or tango fantasia.
VALS
Argentine waltz Sometimes referred to as Vals Criolo, or Vals Cruzado, and danced to what is arguably the most beautiful dance music anywhere (editorial bias).
VAREADOR
From horse racing; a man who walks the horses but is never allowed to mount them In tango it refers to a man who dances and flirts with all the ladies but never gets involved with anyone. May also refer to a man who is a clumsy or inconsiderate lead who "might just as well be walking a horse."
VEN Y VA
Come and go.
VIBORITA
Viper; the little snake A figure in which the man places his right leg between his partners legs and takes a sacada to first her left and then her right legs in succession using a back and forth slithering motion of the right leg and foot.
Volcada
From Volcar - to tip-over or capsize; a falling step The leader causes the follower to tilt or lean forward and fall off her axis before he catches her again. The process produces a beautiful leg drop from her. The movement requires the support of a close embrace.
VOLEO
YUMBA
ZAPATAZO
Shoe taps: A dancer taps their own shoes together.
ZARANDEO
A vigorous shake to and fro; a swing; a push to and fro; to strut about In Tango it is the swinging back and forth, pivoting in place on one foot, marked to the lady in time with the music.