Argentine Tango Dance Terms

		Arrastre	Dragging
		Barrida	A sweep
		Boleo	A quick flick of the lower leg
		Cabeceo	Dance invitation by eye & head movements
		Colgadas	Hangs
		Candombe	African origin music/dance
		Corte	A cut
		Cruzada	To cross
		Enrosque	A twist
		Gancho	Hook
		Golpecitos	Little toe taps
		Golpes	Toe taps
		Guapo	Handsome
		Giro	A turn
		Lapiz	Pencil
		Milonga	A place to dance tango
		Milonga	Cheerful dance related to the tango
		Milonguero	Frequent dancer
		Molinete	Fan
		Ocho	A figure eight
		Parada	A stop
		Practica	Practice session
		Sacada	A displacement of the leg or foot
		Salida	Exit or Start
		Traspie	Triple step
		Tanda	A set of dance music
		Rulo	Curl
		Valtz	Argentine waltz
		Volcada	Falling step (to tip over)

Alberto Paz and Valorie Hart

	Like all of the natural 'bailarines de tango' born before 1945, ALBERTO PAZ never studied contact improvisation or modern dance. He grew up as a natural dancer on the streets of Buenos Aires towards the end of the Golden Era of tango. Almost 40 years later ALBERTO PAZ was at the forefront of the renaissance of tango in the United States as an active promoter in California where he managed visiting professional dancers, published El Firulete, the first Argentine tango newsletter, and hosted weekly tango dance parties plus a tango radio program. Through most of the nineteen nineties, ALBERTO developed long lasting friendships with and benefitted from the guidance and linfluence of Orlando Paiva, Eduardo Arquimbau, Rodolfo Cieri, Carlos Gavito and other great 'bailarines de tango.' From early 1990 ALBERTO PAZ, was a broadcaster, a historian and a lecturer all over the United States, researching and studying the history of the Tango music and dance. In April 1997 ALBERTO PAZ and his dance partner VALORIE HART, a ballet trained with off-Broadway and summer stock dancing experience with a unique quality for dancing and teaching Argentine Tango, traveled to Buenos Aires to study for a teaching career with renowned master Mingo Pugliese. Upon their return to the US they began touring the country developing a clear and fair methodology for teaching based on the circular structure of the dance. They have been successful in promoting the authentic form of Argentine tango dancing in communities from Anchorage to Dallas, from Honolulu to New York, From Chicago to New Orleans and scores of cities in between. Since 1997 they have organized an annual tango festival in Reno first and for the last four years in New Orleans. Since May 2002 they have toured various European countries every year receiving praise for their solid understanding of technique and their clear and fair method of delivery. ALBERTO and VALORIE are well known for successfully developing a logical process to introduce, review and reinforce the essential elements of the structure of the dance, the codes and protocols associated with it, and the rituals that define the personal styling that characterizes a "bailarin de tango."ALBERTO and VALORIE cover basic, intermediate, and advanced technique, floor craft, and music awareness. Their classes are specifically designed to move beyond step collection, overcome short attention span, and correct the bad habits that result from imitation.
	They use the Buenos Aires workshop method to optimize the learning process and raise the bar of excellence. ALBERTO and VALORIE provide individual attention matching each participant's level of expertise in a non-judgmental, welcoming, and nurturing network of support and encouragement in order to give everyone plenty of opportunities to advance at their own pace and as far as they wish. In addition, they publish El Firulete, the Argentine Tango magazine, and are the authors of the inspirational series Tango, Our Dance, which is available on line at Planet Tango's web site. Mingo Pugliese is a disciple of Carlos Alberto Estevez, better known as Petroleo, widely recognized as one of the innovators of Tango in the dawn of the Golden Era.

LA CUMPARSITA - The little marching band (1917)

Music by: G. H. Matos Rodriguez
Lyrics by: Enrique P. Maroni - Pascual Contursi
Translated by: Alberto Paz

Version en castellano

English version

Si supieras que aun dentro de mi alma, conservo aquel cariño que tuve para ti... Quien sabe si supieras que nunca te he olvidado, volviendo a tu pasado te acordaras de mi... Mis amigos ya no vienen ni siquiera a visitarme, nadie viene consolarme en mi afliccion... Desde el dia que te fuiste siento angustias en mi pecho, deci, percanta, que has hecho de mi pobre corazon? Sin embargo, yo siempre te recuerdo con el cariño santo que tuve para ti. Y estas en todas partes, pedazo de mi vida, y aquellos ojos que fueron mi alegria los busco por todas partes y no los puedo hallar. Al cotorro abandonado ya ni el sol de la mañana asoma por la ventana como cuando estabas vos, y aquel perrito compañero que por tu ausencia no comia, al verme solo, el otro dia, tambien me dejo.

If you knew, that still deep in my soul I keep that affection that I had for you... Who knows if you could know that I have never forgotten you, going back into your past, you will remember me... My friends no longer come not even to visit me, nobody wants to console me in my afliction... Since the day that you left, I feel anguish in my chest, say, woman, what have you done with my poor heart? However, I always remember you with the saintly affection that I had for you. And you are everywhere, piece of my life, and those eyes that were my joy I look for them everywhere and I can't find them. To the abandoned pad not even the morning sun peeks through the window like when you were here, and that friendly puppy who because of your absence did not eat, when it saw me all alone, the other day it also left me.

A MEDIA LUZ - At half light

Music by: Edgardo Donato
Lyrics by: Carlos Cesar Lenzi
Translated by: Alberto Paz

Version en castellano

English translation

Corrientes tres cuatro ocho, segundo piso, ascensor; no hay porteros ni vecinos adentro, cocktel y amor. Pisito que puso Maple, piano, estera y velador... un telefon que contesta, una fonola que llora viejos tangos de mi flor, y un gato de porcelana pa que no maulle al amor. Y todo a media luz, que es un brujo el amor, a media luz los besos, a media luz los dos... Y todo a media luz, crepusculo interior, que suave terciopelo la media luz de amor. Juncal doce veinticuatro, telefonea sin temor; de tarde, te con masitas, de noche, tango y amor; los domingos, te danzante, los lunes, desolacion. Hay de todo en la casita: almohadones y divanes como en botica... coco, alfombras que no hacen ruido y mesa puesta al amor...

Corrientes three-four-eight, second floor, elevator There are no doormen nor neighbors. Inside, cocktail and love. Loft furnished by Maple: piano, rug and nightlamp, a telephone that answers, a fonograph that cries old tangos of my flower and a porcelain cat that can't mew the love. And everything at half light that love is a sorcerer... At half light the kisses... At half light the two of us... And all at half light... interior twilight... What a soft velvet the half light of love! Juncal twelve twentyfour Call without fear. On afternoons, tea with pastries; at night, tango and love. On Sundays, tea dancing; on Mondays, emptiness... There is everything in the little house: pillows and sofas; like in a drugstore, coke; carpets muffling the sound and a table set for love.

DESDE EL ALMA - From the soul (1917)

Music by: Rosita Melo
Lyrics by: Homero Manzi and Piuma Velez in 1948
Translated by: Walter Kane

The making of Desde El Alma

by Alberto Paz

Rosita Melo was born in Uruguay in 1903 but she lived in Argentina since 1906. She wrote the music for Desde El Alma, a Boston-style vals, at age 14 in 1917. In 1922 she married poet Victor Piuma Velez who wrote the first set of lyrics for Desde El Alma. It was a theme dedicated to the love of a mother. In 1948, Homero Manzi called to tell them that he was interested in including the song in his movie Pobre mi madre querida, but with different lyrics as demanded by the movie script. This would not affect the copyright ownership of the song. Piuma Velez and Rosita Melo opposed the idea, and requested that if Manzi wrote new lyrics, Piuma Velez's name should be included as co-author. Manzi agreed, the lyrics became famous and the vals, already a classic became universally famous.

The Boston-vals is a style originated in the city of that name in the United States. It is associated with the piano and its characteristic is that the player does not mark the rhythm with the left hand as it is customary with that instrument. The rhythm is marked witht he right hand along with the melody. The left hand only marks the first note of the beat, the bass.

Edited by Valorie Hart

Version en castellano

English translation

Alma, si tanto te han herido ¿Por qué te niegas al olvido? ¿Por qué prefieres llorar lo que has perdido buscar lo que has querido llamar lo que murió? Vives inútilmente triste y sé que nunca mereciste pagar con penas la culpa de ser buena, tan buena como fuiste, por amor. Fue lo que empezó una vez lo que después dejó de ser. Lo que al final, por culpa de un error fue noche amarga del corazón. ¡Deja esas cartas! Vuelve a tu antigua ilusión. Junto al dolor que abre una herida llega la vida, trayendo amor. Vives inútilmente triste y sé que nunca mereciste pagar con penas la culpa de ser buena tan buena como fuiste, por amor.

Soul, if they have hurt you so much Why do you refuse to forget? Why do you prefer to cry for what you've lost to look for what you've wanted to call for what has died? You live needlessly sad and I know that you never deserved to redeem with sorrow the blame of being good, as good as you were, for love. It was what once began what later ceased to be. What at the end, for the fault of a mistake was a bitter night for the heart. Forget those letters! Come back to your old dream. Together with the pain that opens a wound life arrives, bringing love. You live needlessly sad and I know that you never deserved to redeem with sorrow the blame of being good, as good as you were, for love

EL DIA QUE ME QUIERAS - The day you love me (1935)

Music by: Carlos Gardel
Lyrics by: Alfredo Lepera
Translated by: Alberto Paz

Version en castellano

English version

Acaricia mi ensueño el suave murmullo de tu suspirar. Como rie la vida si tus ojos negros me quieren mirar. Y si es mio el amparo de tu risa leve que es como un cantar, ella aquieta mi herida, todo todo se olvida. El día que me quieras la rosa que engalana, se vestirá de fiesta con su mejor color. Y al viento las campanas dirán que ya eres mía, y locas las fontanas se contaran su amor. La noche que me quieras desde el azul del cielo, las estrellas celosas nos mirarán pasar. Y un rayo misterioso hara nido en tu pelo, luciernaga curiosa que veras que eres mi consuelo. El día que me quieras no habra más que armonía. Será clara la aurora y alegre el manantial. Traerá quieta la brisa rumor de melodía. Y nos daran las fuentes su canto de cristal. El día que me quieras endulzara sus cuerdas el pajaro cantor. Florecerá la vida no existira el dolor La noche que me quieras desde el azul del cielo, las estrellas celosas nos mirarán pasar. Y un rayo misterios hará nido en tu pelo. Luciernaga curiosa que veras que eres mi consuelo.

It caresses my dream the smooth murmur of your sighing. How life laughs if your black eyes want to look at me. And if it is mine the shelter of your slight laughter that is like singing, it calms my wound, everything is forgotten. The day that you love me The rose that adorns, will dress in celebration with its best color And to the wind the church bells will say that already you are mine, and the crazy fountains will tell about their love. The night that you love me from the blue of the sky the jealous stars will watch us go by. And a mysterious ray will nest in your hair, inquisitive glow-worm that'll see that you are my consolation. The day that you love me there'll be nothing but harmony. The dawn will be clear and the water spring will be happy. The breeze will quietly bring a rumor of melody. And the fountains will give us their crystal song. The day that you love me the singing bird will sweeten its cords. Life will bloom pain will no exist. The night that you love me from the blue of the sky the jealous stars will watch us go by. And a mysterious ray will nest in your hair, inquisitive glow-worm that'll see that you are my consolation.

CAFETIN DE BUENOS AIRES - Small tavern of Buenos Aires (1948)

Music by: Mariano Mores
Lyrics by: Enrique Santos Discepolo
Translated by: Ramon Penalva

A "cafetín" was a small tavern, in the first half of this century. It was the place where the younger and older generations met and developed a tight relationship. Youngsters could learn all those lessons not taught at home and a kind of dismal philosophy about life. All this changed during and after the '60's and those places slowly disappeared from the urban scene.
First stanza: A "cafetín" was a males only place so it was off limits to women and children. The author remembers when as a child he thought it never would come the time when he could get in. It mentions a melancholic sentiment equating the cold of the window pane with his actual feelings and recognize the "cafetín" as the teacher of several things, good and bad, that helped him to grow up.
Second stanza: Now there is a claim of not forgetting this place which was so much alike his mother, a perpetual harbor from all pains and dangers of the world. Then a description of the strange mix of customers and what he learned from them.
Third stanza: Finally he remembers the bunch of buddies he found between those walls and recalls several of them, falling again in a melancholic mood bringing to memory some sad moments in life and his final sense of failure.

Version en castellano

English version

De chiquilín te miraba de afuera (1) como a esas cosas que nunca se alcanzan, la ñata contra el vidrio, (2) en un azul de frío que sólo fue después viviendo igual que el mío. Como una escuela de todas las cosas, ya de muchacho me diste entre asombro el cigarrillo... la fe de mis sueños y una esperanza de amor. ¿Cómo olvidarte en esta queja, cafetín de Buenos Aires? Si sos lo único en la vida que se pareció a mi vieja. (3) En tu mezcla milagrosa de sabihondos y suicidas yo aprendí filosofía... dados... timba (4) y la poesía cruel de no pensar más en mi... Me diste en oro un puñado de amigos, que son los mismos que alientan mis horas; José el de la quimera, Marcial que aún cree y espera y el flaco Abel... que se nos fue, pero aún me guía. Sobre tus mesas que nunca preguntan Lloré una tarde el primer desengaño. Nací a las penas, bebí mis años, y me entregué sin luchar.

In my childhood I stared at you as those things I would never possess the nose against your window in an iced blue feeling that only later, living, was the same in my soul. As a school that teaches all things, in my youth you gave me in wonder a good smoke... a faith in my dreams and a hope for love. How can I forget you in my lament "cafetín de Buenos Aires"? If you are the only one in life who resembled my mother. In your strange association of smart guys and self-killers I learned philosophy... dice... gamble and the bitter poetry of not to think of myself. You gave me in gold a fistful of friends the same who cheer my life and my hours José the one with dreams Marcial who still believes and hopes and skinny Abel... who's gone but still he guides me. On your tables that never ask questions I wept some day my first disillusion I knew of pains, I drank my years And I gave up with no fight.

GLOSSARY:
(1) Chiquilín (diminutive) from "Chico" = small boy, kid
(2) Ñata (f) (colloquial) from "Ñato"(m): pug-nosed or flat-nosed = the nose.
(3) Vieja (coll) literal: old woman = mother
(4) Timba (coll) = the action of playing games for money

Tango Terminology

A

Abrazo
The embrace; a hug; or dance position.

Adelante
Forward.

Adorno
Adornment; embellishment. See Firulete.

Aficionado (Afficionado)
From afición - liking; amateur; fancier: An enthusiastic admirer or follower; a devotee or a fan of
something, such as tango.

Al costado
To the side.

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 (frappé) before taking a step. See Cuatro.

Apilado
Style See Milonguero Style.

Arrabal
The slums.

Arrabalero
A person of low social status. A person of simple and direct ways who speaks plainly and uses coarse language.

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.

Bailongo
A lunfardo word to describe a place where people dance, i.e. a milonga.

Balanceo
A deep check and replace. See Cadencia.

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. See Arrastre, and Llevada.

Barrio
A district or neighborhood.

Basico
The basic pattern. There are several basic patterns the most common of which is the 8 count basic.

Bien Parado
Well stood (literally), standing straight up. See pinta, postura.

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.

Brazos
Arms.

C

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. See also Codigos.

Cadena
The chain; enchainement: 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
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. See Balanceo.

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.

Calecita
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.

Caminada
The walking steps; a walking step.

Caminando (Caminar) 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.

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
(also carancanfun) 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. See Adorno, Firulete, and Lustrada.
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 (pl. chiches)
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. See adorno, firulete.

Cintura
Waist.

Club Style
See Milonguero Style.

Codigos
Codes: Refers to the codes of behavior and the techniques for finding a dance partner in the milongas in Buenos Aires. See Cabeceo.

Compadre
A responsible, brave, well behaved, and honorable man of the working class who dresses well and is very Macho.

Compadrito
Dandy; hooligan; street punk; ruffian: They invented the Tango.

Compás
Beat, as in the beat of the music.

Confiteria Bailable
A café 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.
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. See Quartas.

Cortina
Curtain: A brief musical interlude between tandas at a milonga.

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. 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.

Cuadrado
A square; A box step: Used mostly in Milonga and Club or Canyengue style tango. See Baldosa.

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. See Amague.

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. See Hamaca.

D

Derecho
Erect, straight. See Postura.

Desplazamiento
Displacement: Displacing the partner’s leg or foot using one’s own leg or foot. See Sacada.

Dibujo
Drawing; sketch: A dibujo is done by drawing circles or other small movements on the floor with one’s toe. See Firulete, Lapiz, and Rulo.

E

Eje (pronounced ay-hay)
Axis or balance. See Postura.

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'.

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.

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.

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.
Freno To stop and hold; brake.

G

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.

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.

Grelas
A lunfardo term for woman. See mina.

Guapo
Handsome: A respectable and desirable man. A compadre.

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.

Hamaca
Another term for Cunita.

I

No Terms Available

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.

K

No Terms Available

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 arcs which precede the lady as she moves around the man in molinete. See Dibujo, Firulete, and Rulo.

Latigazo
Whip. Describes a whipping action of the leg as in a boleo.

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. Barridas interspersed with walking steps in which the man takes the lady
with him across the floor.

Lunfardo
The Spanish slang of the Buenos Aires underworld which is common in tango lyrics and terminology.

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.

M

Marcar
From Marque; to plot a course; guide: To lead. (la marca = 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. 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 ½ 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.

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
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.

Mina
A lunfardo word for woman. See grelas, paicas, or pebeta.

¡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.

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 Sandwiche, or Sanguchito.

Mordida Alto
A variation in which a dancer catches a partners knee between both of their own.

N

No Terms Available

O

Ocho Eight (pl. ochos)
Figure eights: A crossing & 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.

Ocho Defrente
Ocho to the front: Forward ochos for the lady (i.e., crossing in front).

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.

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

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. See seguidillas.

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.

P

Paicas
A lunfardo word for girl. See mina, or pebeta.

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).

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.

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. See titubeo.

Pebeta
A lunfardo word for young woman or girl. See mina or paicas.

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.

Pie
A foot.

Pierna
A leg.

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

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.

Porteño (feminine; Porteña)
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. See derecho and eje.

Práctica
A practice session for tango dancers.

Q

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. See Corte.

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.

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. Adopted from soccer. See traspie.

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 compas as well as the more defining elements of the song. See compas.

Rodillas
Knees.

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.

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. See Desplazamiento.

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. This figure enters ochos without using cruzada.

Saltito
A little Jump.

Sandwiche
See Mordida.

Sanguchito
See Mordida.

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.

Stork
See Calecita.

Suave
Smooth, steady and gentle, soft, stylish.

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. See Ven y Va.

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. See Codigos, Cortina.

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 Fantasia
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 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. 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.

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. See pausa.

Trabada
Another term for Cruzada.

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. See rabona.

U

No Terms Available

V

Vals
Argentine waltz: Sometimes referred to as Vals Criolo, or Vals Cruzado.

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. See Sube y Baja.

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.

Voleo
See Boleo.

W

No Terms Available

Y

Yumba
A phonetic expression that describes the powerful, dramatic, and driving musical accent of a moderate or even slow tempo which is characteristic of the music of Osvaldo Pugliese.

Z

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

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.