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46 Cards in this Set
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To make a threatening motion; 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. |
amague |
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An Argentine tango composer, bandoneon player and arranger. His oeuvre revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. |
Astor Piazzolla |
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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. |
bandoneon |
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A sweep. One partner sweeps the others foot by displacing it along the floor. |
barrida |
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To throw. It 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. |
boleo |
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Capital and largest city of Argentina; located in eastern Argentina near Uruguay; Argentina's chief port and industrial and cultural center. |
Buenos Aires |
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Traditional technique for selecting dance partners from a distance at the milongas in Buenos Aires by using eye contact and head movements. |
cabeceo |
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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 when the lady's leg is lifted in the cuatro position. |
calesita |
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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. |
caminar |
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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. |
Canyengue |
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Caresses. A gentle stroking with the leg or shoe against oneself or the partner's body. They can be subtle or extravagant. |
caricia |
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The most prominent figure in the history of Argentine tango. |
Carlos Gardel |
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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. |
codigos |
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Curtain. A brief musical interlude between tandas at a milonga. |
cortina |
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An Argentine tango musician, also known as "El Rey del Compás" (King of the Beat). |
d'Arienzo |
Juan d'Arienzo |
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An Argentine tango musician, orchestra leader, composer and pianist. His reputation for musical elegance got him his nickname El Señor del Tango (The gentleman of tango). |
Di Sarli |
Carlos Di Sarli |
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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. |
enrosque |
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This style is settled in the years 40 to 50. It refers on music, dance and dresses. The term tries to describe all tango form, which is different of the traditional one: In dance couples added little sits and fast footwork, doing fantasies as popular people named it. |
Fantasia |
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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. |
gancho |
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Turn. A turning step or figure. |
giro |
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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. |
lapiz |
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To shine or polish. It is executed by the follower lifting her free leg and caressing the supporting leg of the lead - either in an upward action, downwards, or very commonly both. The inside or outside of any part of the lead's leg, including his foot, may be caressed. |
lustrada |
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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 luna |
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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. |
milonga |
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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 woman who has mastered the tango dance and embodies the essence of tango. |
milonguera |
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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 who has mastered the tango dance and embodies the essence of tango. |
milonguero |
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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 |
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Outskirts; suburbs. The style of dance which is danced in the suburbs, characterized by the man doing many quick syncopated foot moves and even jumps. |
Orillero |
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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). |
parada |
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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. |
pasada |
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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. |
planeo |
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An Argentine tango musician. He developed dramatic arrangements that retained strong elements of the walking beat of salon tango but also heralded the development of concert-style tango music. |
Pugliese |
Osvaldo Pedro Pugliese |
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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. |
sacada |
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To exit; to go out. The first steps of dancing a tango, or a tango pattern. |
salida |
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Salida in which lead initiates walk (called promenade) of the man and the woman in the same direction. |
salida Americana |
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Salida beginning with the leader's left leg outside the follow (in position 3 of the basic step). |
salida cruzada |
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Salida beginning with strong contra body position of the upper torso and the leader's right leg outside the follow (in position 3 of the basic step). |
salida simple |
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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. |
tanda |
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A bandoneon player, composer, arranger and bandleader in Argentina. His orquesta típica was among the most popular with social dancers during the golden age of tango. |
Troilo |
Aníbal Carmelo Troilo |
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Argentine waltz. |
vals |
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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. |
volcada |
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Volley. The woman's foot lifts from the floor and it flies to the side and wraps around her standing leg at the front or the back of the knee. = boleo |
voleo |
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Seduction. It is executed by the follower lifting her free leg and caressing her own supporting leg. This may take the form of an upward action, downwards, or the follower stroking both the inside and outside of her supporting leg. |
castigada |
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Hanging. Fast turns which takes the woman off her axis or plays with her axis. |
colgada |
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The little windmill. The woman dances around the man side-back-side-forward using forward and backwards ochos. |
molinete |
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Cutting eight. Performed when the action of the turn is interrupted and reversed. Upon reversal, the leader displaces the follower's space and pivots the follower, who then executes a cruzada (cross). Note that despite the name of this step, generally it is not the ocho that is interrupted but other turns such as the molinete. |
ocho cortado |
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