Tango
Terms
tel:
646-271-6009
email: AnthonyLBlackwell@gmail.com
Argentine Tango class from 6:30 to 7:30 PM. The class is $10 or free with paid admission to the tango party. If you have never danced tango before this is the perfect class for you. Open roles, you can choose to lead or follow. Diversity and inclusion, everyone is welcome in our house LGBTQ+ friendly.
VENMO: @ALB8444
$10 Tango class only Tuesday cash or Venmo. VENMO: @ALB8444
Tango party 7-11PM
$10 Tango class only Tuesday cash or Venmo.
$18 in advance of Tuesday via Venmo. (includes lesson)
$20 at the door on Tuesday cash or Venmo. (includes lesson)
Private Lesson
1 Hour $130
5 Lessons 1 Hour each $625
10 Lessons 1 Hour each $1200 |
Anyone
who says sunshine brings happiness has never danced
in the rain.
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: Arrabal is a Lunfardo word with several meanings.
It refers to the Africans or someone from the slums,
i.e. low class. It also describes a gathering where
blacks 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. *(Lunfardo is a slang;
it is the language of the slaves, freed blacks, indios
and the poor and is commonly used in tango lyrics.)
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.
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.
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
The crab:
A repetitive pattern of walking steps and or sacadas
in which the man advances turned nearly sideways to
his partner. A type of dance originally danced by the
descendants of African 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
Candombe's origins lie in the Kings of Congo ceremonial
processions from the period of African slavery in South
America. Candombe is related to other musical forms
of African origin found in the Americas such as Cuban
son, Tango and tumba and Brazilian maracatu. The form
had evolved by the beginning of the 19th century and
was immediately seen as a threat to the elites, who
sought to ban the music and its dance in 1808.
Canyengue
A very old style of tango from the 1800s danced by the
descendants of African slaves. The canyengue is an old
form of tango which was danced by the black and mixed
race populations that lived in the working class areas
in towns such as La Boca and San Telmo (but also in
other catchment areas of the Rio de la Plata, including
Montevideo, in Uruguay). In fact, in Montevideo, very
interesting forms and variations of it survive even
to this day. In this dance, there are lots of quebradas
and movements of the upper torso which are rooted in
the African dances of the original slaves. 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 to the Africans or someone from the slums, i.e. low
class. It also describes a gathering where blacks 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.
Canyengue
orillero Towards the end of the twenties and
the beginning of the thirties another social class,
consisting mainly of the white population, began to
be interested in this dance of the blacks, or 'morenos',
and with them, slowly, the canyengue orillero evolved.
It is called orillero because these descendants of European
immigrants lived in the orillas, or outskirts, of the
towns, where they came into close contact with the mixed
race families who were mixtures of white and black,
or black and native peoples (indios)or of white and
native peoples (indios). This process of being taken
over by a higher social class was repeated many times
in the social and formal development of the tango. During
the forties (the golden age of tango), a new richer
social class, the middle class, began to emerge that
wanted to distinguish itself clearly from the other,
lower, classes. As a result the music and dancing of
the canyengue and the canyengue orillero began to disappear
from the salons of Buenos Aires.
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.
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.
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.
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.
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.
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.
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. 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
Lunfardo
is a Spanish slang; it is the language of the slaves,
freed blacks, indios and the poor and is commonly used
in tango lyrics.
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.
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
Milonga is a word of the African Language "Quimbunda",
plural of 'Mulonga'. Mulonga in that language means,
"word"; Milonga means words, the words of the Payadores:
The compadritos took the tango back to the Corrales
Viejos-the slaughterhouse district of Buenos Aires-and
introduced it in various low-life establishments where
dancing took place: bars, dance halls and brothels.
It was here that the African rhythms met the Argentine
milonga music (a fast-paced polka) and soon new steps
were invented and took hold.: music written in 2/4 time:
a dance salon where people go to dance tango: 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.
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.
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.
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.
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.
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: 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.
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.
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 men choose a partner for the next tanda. It is
customary to dance the entire tanda with the same partner
unless dancing with that person is very disappointing
, in which case the man or the lady may say gracias
(thank you) and excuse themself from that partner. See
Codigos, Cortina.
Tango
The exact origins of tango is lost in myth and an unrecorded
history. The generally accepted theory is that in 1770,
African slaves were brought to Argentina and began to
influence the local culture. The 1778 census showed
that 7,236 of 24,363 Buenos Aires residents, or 30 percent,
were African. The word "tango" is African in origin,
meaning "closed place" or "reserved ground." During
most of the nineteenth century, more than fifty organized
African nations existed in Buenos Aires with the official
name of African Associations. They were also known by
the popular names of tambos, tangos and, later on and
more loosely, of candombes. Whatever its origin, the
word "tango" acquired the standard meaning of the place
where African slaves and free blacks gathered to dance.
. Whatever its origin, the word "tango" acquired the
standard meaning of the place where African slaves and
free blacks gathered to dance. 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 type of african-origin
music with a marked rhythm played on a "tamboril" (kind
of drum). dance where an embraced couple perform a series
of (sometimes intricate) patterns primarily with their
legs, to the rhythm of tango
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.
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.
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.
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.
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