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Abrazo
The embrace; a hug; or dance position.
Abrazo al Borde
The embrace; a hug; or dance position - "on the edge". [Picture]
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.
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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.
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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
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.
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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.
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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.
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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
Freno To stop and hold; brake.
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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.
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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.
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No
Terms Available
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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.
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No
Terms Available
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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.
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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.
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No
Terms Available
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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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Primary Source: Tango Afficionado
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