Tango Glossary

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Amaguefrom amagar, to make a threatening motion — a feint: Used as an embellishment, either led or done on one's own, and often taken before a step. A common example is a beat (frappé) before stepping.
Arrastreto drag: A dragging motion, in which one partner's foot moves the other's along the floor.
Barridaa sweep: One partner's foot sweeps the other's and places it without ever losing contact. Barridas are taken from either the outside or the inside of the receiving foot.
Boleo (Voleo)to throw: May be executed 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.
Cadenathe chain; enchaînement: An athletic, theatrical turning figure that travels rapidly across the floor to the left or right, the couple alternating amagues (cuatros) or ganchos. One variation has the leader stepping outside in crossed feet and leading a change of direction, alternately going around the follower and bringing her around him.
Cadenciacadence: A deep check and replace, usually led as the leader steps forward left. Useful for avoiding collisions and changing direction in small spaces. Can also mean the subtle shifting of weight from foot to foot in place, in time with the music, that a leader does before starting a dance — giving the follower the rhythm he intends and making sure she begins on the correct foot.
Calesitacarousel; the merry-go-round: The leader places the follower on one foot with a lifting action of his frame, then dances around her while she stays centred over and pivoting on her supporting leg. Sometimes called the Stork when her leg is lifted in the cuatro position.
Caminarto walk: Similar to a natural walking step, but placing the ball of the foot first rather than the heel. One school teaches that body and leg move as a unit so the body stays balanced over the forward foot; another stretches the working leg, places the foot, then brings the body over it. Walk both forwards and backwards for balance, fluidity, and cat-like grace.
Carpathe tent position: Created when the leader takes the follower onto one foot, as in or at the end of a calesita, then steps back away from her — causing her to lean at an angle from her foot to his frame.
Castigadafrom castigar, to punish — a punishment: A lofting of the follower's working leg, then flexing at the knee and caressing the foot down the outside of the supporting leg. Often used as an adorno before stepping forward, as in parada or ochos.
Colgadaa hanging step: A spinning move at the end of an inside barrida in which both dancers lean out away from each other and spin rapidly, until the leader leads out with a back step.
Corridaalso corridita, a little run; from correr, to run: A short sequence of running steps.
Cortecut: Cutting the music, either by syncopating or by holding for several beats. Can also mean a position with the torso erect over a flexed supporting leg and the working leg extended forward to a point, knees together — the position the leader takes when touching the follower's foot in parada. May also describe a variety of dramatic finale poses with erect posture, flexed supporting legs, and extended lines.
Enganchehooking; coupling; the little hook: Occurs when a partner wraps a leg around the other's, or uses a foot to catch and hold the other's foot or ankle.
Enrosquefrom enroscar, to coil or twist: While the follower dances a molinete, the leader pivots on his supporting foot, hooking or coiling the working leg behind or in front of it.
Firulete (Adorno)an adornment; a decoration; an embellishment: Complicated or syncopated movements a dancer uses to show skill and to interpret the music.
Frenoto stop and hold; brake: A stopping action that arrests the movement.
Ganchohook: A dancer hooks a leg sharply around and in contact with the partner's leg, flexing the knee and releasing. May be done to the inside or outside of either leg, and by either partner.
Giroturn: A turning step or figure.
Lápizpencil: Tracing circular motions on the floor with the toe or inside edge of the working foot while turning or waiting on the supporting foot. These range from small adornments marking time to large sweeping arcs that precede the follower as she moves around the leader in molinete.
Llevadafrom llevar, to transport — a carry: The leader uses the upper thigh or foot to carry the follower's leg to the next step. Barridas interspersed with walking steps, taking the follower with him across the floor.
Media Lunahalf 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 follower and often led with a sacada to her leg. May be used to bring her to an inside gancho.
Media Vueltahalf turn: Usually done when the leader's right foot and the follower's left foot are free. He steps forward outside right, leading her back left and collect, then side right across his centre and forward left around him, as he shifts weight to his centre and then his right foot and pivots a half turn with her. Used on its own to change direction or manoeuvre on the floor, and as an entrance to many combinations.
Milonga: May refer to the music, written in 2/4 time; to the dance that preceded tango; to the salon where people go to dance tango; or to a tango dance and party.
Molinetewindmill; wheel: The follower dances a grapevine on a circumference around the leader — side, back, side, forward, using forward and back ocho technique — as he pivots at the centre. A very common figure that challenges both dancers to hold posture, balance, and technique. One of the central codes of tango.
Ochoeight (pl. ochos); figure eights: A crossing and pivoting figure, from which the fan in American tango derives. Executed as a walking step with flexed knees and feet together while pivoting; ochos may be danced forward or backward, named from the follower's perspective. Along with the caminada, one of the oldest steps in tango. It dates from the era when women wore floor-length skirts and danced on dirt floors: since her footwork could not be seen directly, the quality of her dancing was judged by the figure she left behind in the dirt after she danced away.
Ocho Cortadocut eight; change of direction: A molinete or ocho-like movement is stopped and sent back upon itself. Typical of club-style tango, where such brakes are used to avoid collisions. Can be done on either foot, pivoting forward or backward, going either left or right.
Paradafrom parar, to stop — a stop: The leader stops the follower, usually as she steps crossing back in back ochos or molinete, with inward pressure at her back and balance hand and a slight downward thrust. Led properly, she stops with her feet extended front and back and her weight centred. He may extend his foot to touch her forward foot as an extra cue, or pivot and step back to mirror her position.
Pasadapassing over: The leader has stopped the follower with foot contact and leads her to step forward over his extended foot. Used often at the end of a molinete or after a mordida. She may step over his foot or trace her toe around the front of it. Pasada is the most common opportunity for the follower to add adornos of her own, and a considerate leader gives her time to do so.
Planeopivot; glide: The leader steps forward onto a foot, usually his left, and pivots with the other leg trailing behind, as the follower dances an additional step or two around him. May also occur when he stops her mid-stride with a slight downward lead and dances around her while pivoting her on the supporting leg. Can be done by either partner.
Quebradabreak; broken: A position where the follower stands on one foot with the other hanging relaxed behind the supporting foot — sometimes with most of her weight against the leader. Also a position in which the upper body and hips rotate in opposition, the working leg flexed inward, creating a broken line.
Sacadaa displacement: The most common term for displacing a leg or foot with your partner's. A dancer places a foot or leg against the partner's and transfers weight so that it moves into the space of, and displaces, the partner's leg.
Sandwich: One partner's foot is sandwiched or trapped between the other partner's feet.
Tandaa set: A set of dance music, usually three to five songs of the same dance in a similar style, often by the same orquesta. 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 whole tanda with the same partner, unless the leader is rude or very disappointing — in which case the follower may say gracias and leave.
Volcadafrom volcar, to tip over or capsize — a falling step: The leader causes the follower to tilt or lean forward off her axis before catching her again. The movement produces a beautiful leg drop, and requires the support of a close embrace.