A Guide to Tango Terminology

compiled by Ed Loomis for Sacramento Tango
Last updated 13 December 2005

[See http://www.tejastango.com/terminology.html]

This list is part of an ongoing effort to educate and assist the friends and enthusiasts of Sacramento Tango in their pursuit of the lovely dance called Tango.  It is intended to be used as a tool for students to use when encountering new or conflicting terms in class and should not be viewed as a final authority on the subject.  Major sources for this information are Daniel Trenner's Spanish-English Dance Vocabulary, Cyber-Tango's FAQ - Definition of Tango Terms, Tango Times published by Danel and Maria, Mrs. Barbara Garvey, señora Nora Dinzelbacher, señor Orlando Paiva, Mrs. Gigi Jensen, Ms. Christy Coté, Ms. Debbie Goodwin, señor Mario Poli, señor Alberto Paz, Mr. Arthur Greenberg, Ms. Michelle Wright, señor Polo Talnir, Mr. Stephen Brown and señor Salvador Zuccala.  As an ongoing project, the effort may never be complete so additions, corrections, and suggestions will always be welcome.  Many Happy Tangos.  – Ed Loomis 

Pronunciation Guide:
• In Buenos Aires 'll' or 'y' is pronounced 'zh', almost an English 'j';
• a 'qu' sounds like the 'c' in cat;
• a 'z' is pronounced like 's';
• and a Spanish 'j' is a hard, throaty 'h' sound. 

A

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

B

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. 

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.

Calesita — Carousel; the merry-go-round: A figure in which the leader places the follower on one foot with a lifting action of their frame and then dances around while keeping the follower centered over, and pivoting on, the supporting leg.  Sometimes referred to as the Stork when the follower’s leg is lifted in the cuatro position.

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.

Codigos — Codes: Refers to the codes of behavior and the techniques for finding a dance partner in the milongas in Buenos Aires.  Civility, respectfulness, and consideration are the hallmark of the true and serious milonguero.  See Cabeceo. 

Colgada — 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. 

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. 

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

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.  

Crossed Feet or Crossing System — 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. 

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. 

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. 

D…

E

8-Count Basic (Academic Basic) — 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 for dancing 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.  The figure may be danced into or out of at various points and is not always entered at the beginning and there are 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, 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.  Or the man may step through with his right leg between the partners, leading the lady to mirror his action by stepping through with her left leg, remaining in closed position although briefly resembling promenade position. 

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.  This is a common point of entry to the figure which the ladies should be aware of. 

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. 

F

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

G

Gancho — Hook: Occurs when a dancer hooks a leg sharply around and in contact with their partner’s 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. 

H…

I…

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 arcs which precede the lady as she moves around the man in molinete. 

M

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. 

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 as characterized by orquestas like those of D’Arienzo or Tanturi.  Also see Stephen Brown's Styles of Argentine Tango. 

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. 

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. 

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 or backward, and going either left or right. 

P

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 or Parallel System— 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. 

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. 

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 — An informal practice session for tango dancers.

Q…

R

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.  See Codigos. 

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?}. 

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. 

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 Candombe, Habanera, Milonga, and, according to some tango scholars, the Tango Andaluz.  The exact origins of Tango are a historical mystery.  Also see Susan August Brown's Argentine Tango: A Brief History. 

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.  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.  Also see Stephen Brown's Styles of Argentine Tango. 

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. 

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.

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…

Z…