-- “We put aside our judgments about what is good and bad dancing.   We center ourselves and taste the delicious experience of the four connections in Argentine tango: the music, our partner, the floor, and the others on the dance floor.”

Brief Descriptions of Major Musical Styles and Musicality of Argentine Tango:

Rhythm Tango generally from the classic or golden age era of tango -- it is very common to hear this type of music in the social tango dance setting (also known as a “milonga”).  It incorporates all the standard social Argentine tango dance figures, but similar to milonga, it is weighted to focus on rhythm, including faster movements with a lot of double beat (or quick-quick) rhythms.  That said, it can be danced quickly and yet still maintain a romantic feel.   A typical orchestra of this style is D’Arienzo.

Slow or Smooth Tango:  With slow tango, the music allows us to focus more on the romantic flavor of the dance.  Of course, rhythm (dancing with the music) is always important.  Dancing to slow tango music we would see more of the long movements, pauses and stops (paradas).   This is what we often visualize when we think of Argentine tango.   Typical of this style of tango is DiSarli.

Tango Vals uses pretty much all the standard figures of Argentine tango and incorporates them into the rhythm of the Viennese waltz.  Here we see more of the styling of longer, gliding steps as well as many figures with turns.  This hybrid combines classic tango with Viennese Waltz rhythm – beautiful.

Neo Tango (new tango / Tango Nuevo) is tango danced to new, modern music, often electronic, but with roots still in traditional tango music.  With the rising popularity of Neo tango music and tango electronico, there is an entire catalogue of new and interesting dance figures that are coming into tango.  New opportunities to enjoy the dance.

Alternative Tango:  Expanding the idea of Neo Tango, Alternative Tango is the art of dancing tango to music that is completely non-tango, such as pop music, classical or rock & roll.  Some alternative tango examples could include Pink Floyd’s “Us and Them,” “La Habanera” from the opera “Carmen” and “No More I Love You’s” by Annie Lennox.

Adapted from:  http://www.tejastango.com/terminology.html  by Ed Loomis of Sacramento Tango, with Thanks!

A

Academic Basic — Another name for the 8-step basic which is often the first figure taught to new students after the walking steps. 

Abrazo — The embrace; a hug; or dance position.

Adelante — Forward.

Adorno — Adornment; embellishment.

Arrastre — From arrastrar - to drag.  See Barrida.

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.

Atrás — Backward.

B

Bailar — To dance.

Bailarin — A professional or very accomplished dancer.

Baldosa — A walking box figure named after the black & white checkerboard tile floors which are common in Buenos Aires.  See Cuadrado.

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.

Bandoneón — 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.

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.  See Latigazo.

C

Cadena — The chain; enchainement: An athletic and very theatrical turning figure which moves rapidly across the floor turning left or right, in which the couple alternate amagues (cuatros) or ganchos.  Another variation involves the man stepping outside left or right in crossed feet and leading the lady in a change of direction to keep her in front of him as he turns, alternately going around her and bringing her around him.

Cadencia — 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.

Caminada — The walking steps; a walking step.

Caminar — To walk: The walk is similar to a natural walking step.  Sometimes taught that the body and leg must move as a unit so that the body is in balance over the forward foot.   Walks should be practiced both forward and backward for balance, fluidity, and cat-like gracefulness.

Candombe — Originally danced by the descendants of black slaves in the Rio de la Plata region and still performed in Montevideo, Uruguay.  Music of African origin with a marked rhythm played on a "tamboril" (a kind of drum).  It survives today as a rhythmic background to certain milongas.

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. 

Caricias — Caresses: A gentle stroking with the leg or shoe against some part of the partner's body.  They can be subtle or extravagant. 

Carpa — The tent: A figure created when the man leads the lady onto one foot as in, or at the end of, calesita and then steps back away from her, causing  her to lean at an angle from her foot to his frame. 

Colgada — A move executed by a couple in which both dancers lean out away from each other may include a spin / turn.

Compás — Beat, as in the beat of the music.  The walking count or impulse of each measure, the simplest element of each piece of music.  See Ritmo.

Corrida — (also: corridita, a little run) from correr: to run.  A short sequence of running steps.

Corte — Cut: In tango, corte means cutting the music either by syncopating, or by holding for several beats

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. 

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, Canyengue and Milonguero- and Club-style tango.  See Baldosa.

Cuartas — 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.  See Corte.

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.

Derecha — Right (the opposite of left).

Derecho — Erect, straight, forward.  See Postura.

E

In closed dance position, the steps are as follows:

1. The man settles his weight on his right leg, placing the lady on her left, and holds.  Or, variations: the man steps back right, the lady forward left.  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. 

2. The man steps side left, the lady side right, with the man stepping slightly further than the lady.

3. 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.

4. The man steps forward left, the lady back right stretching slightly more and seeking the man’s center.

5. 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.

6. The man steps forward left inside his partner (to her center), the lady back right.

7. The man steps side right, the lady side left.

8. 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 resolución.

 

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.

Entrada — Entrance: Occurs when a dancer steps forward or otherwise enters the space between their partners legs without displacement.

Entregarme — Surrender: To give oneself up to the leader’s lead.

F

Fanfarron — A rhythmic tapping or stomping of the foot in time with the music for dramatic and emotional effect. Boisterous behavior.  See Golpecitos.

Firulete — An adornment; a decoration; an embellishment: Complicated or syncopated movements which the dancer uses to demonstrate their skill and to interpret the music.  See Adorno and Lapiz.

G

Gancho — 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.

Giro — Turn: A turning step or figure.

Golpecitos — Little toe taps: Rhythmic tapping done with a flat foot on the ball or underside of the toe as an adorno.  See Fanfarron and Zapatazo.

Golpes — Toe taps: With a tilted foot tap the floor with the toe and allow the lower leg to rebound keeping the knees together.  See Picados and Punteo.

H

Habanera — A side together side together stepping action entered with a side chassé, 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.

I

Izquierda — Left (the opposite of right).

J

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.

L

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.

Lento — Slowly.

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. 

M

Marcar (also Marca) — From Marque; to plot a course; guide: To lead.  La marca is the lead.

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.

Media Vuelta — Half turn, literally:

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.

Milonguero  (feminine; Milonguera) — 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 — A 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) while using simple walking and turning steps.  This style relies on music of the more rhythmic type.

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. This is a very common figure in tango which challenges both the man and the lady to maintain good posture, balance, and technique in order to perform it well.  One of the central codes of tango.

Molinete con Sacadas — 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.  Sometimes called Sandwiche or Sanguchito.

O

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: change of direction: Occurs when a molinete or an ocho-like movement is stopped and sent back upon itself.  Typical in club-style tango where many such brakes are used to avoid collisions.  Describes a movement done on either foot, pivoting forward of backward, and going either left or right.

Ocho para Atrás — Ocho to the back: Back ochos for the lady (i.e., crossing behind).

Ochos Cortados — Cut eights: A common figure in Milonguero- or Club-Style Tango which is designed to allow interpretation of rhythmic music while dancing in a confined space.  See Milonguero Cross.

Ochos en Espejo — Ochos in the mirror: The man and the lady execute forward or back ochos simultaneously, mirroring each others movement.

Otra vez — Another time; repeat; do again.

P

Palanca — Lever; leverage: Describes the subtle assisting of the lady by the leader during jumps or lifts in tango fantasia (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).

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.

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. Pasada provides the most common opportunity for the lady to add adornos 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 or pose for two or more beats of music.  See Titubeo.

Pecho — Chest.

Picados — A flicking upward of the heel when turning or stepping forward. Usually done as an advanced embellishment to ochos or when walking forward.  See Golpes.

Pinta — Appearance; presentation: Includes clothes, grooming, posture, expression, and manner of speaking and relating to the world.  See Bien Parado.

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.

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. 

Práctica — An informal practice session for tango dancers.

R

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.

Resolución — 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 compás as well as the more defining elements of the song.  See Compás.

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. 

S

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.

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?}.

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. 

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.

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.  (Michael’s Edit Note) The correct term used in tango is double-beat (doble-ritmo) or perhaps described as “quick-quick” which is often used in ballroom.

T

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 Candombe, Habanera, Milonga, and, according to some tango scholars, the Tango Andaluz.  The exact origins of Tango are an 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.  Also see Stephen Brown's Styles of Argentine Tango.

Tango Fantasia — This is a hybrid tango, an amalgam of traditional tango steps, ballet, ballroom, gymnastics, ice-skating figures, etc. 

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.

Tanguero — (feminine; Tanguera) Refers to anyone who is deeply and seriously passionate about any part of tango, such as its history, music, lyrics, 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.

Traspie — 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 — Literally, trick or stunt: May be used to describe fancy athletic movements in addition to lifts for stage or tango fantasia.

V

Vals — Argentine waltz: Sometimes referred to as Vals Criollo, or Vals Cruzada, and danced to what is arguably the most beautiful dance music anywhere (editorial bias!:-).

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.

Y

Yumba (zhoóm-ba) — A phonetic expression that describes the powerful, dramatic, and driving musical accent of a moderate or even, slow tempo; characteristic of the music of Osvaldo Pugliese.

Z

Zapatazo — Shoe taps: A dancer taps their own shoes together.  See Adorno, Fanfarron, and Golpecitos.