Tango dance glossary: milonga, tanda, cabeceo and more
Tango has its own vocabulary, almost all of it Spanish and some of it from Buenos Aires slang. This glossary explains the words you will hear at a milonga or in a class. For street slang in tango lyrics, see the Lunfardo dictionary.
Jump to: At the milonga · Embrace and walk · Figures · Styles · Music
At the milonga
| Term | Meaning |
|---|
| Milonga | A social tango dance event, and the venue where it takes place. Also a musical genre (see Music). |
| Milonguero / milonguera | A regular dancer at milongas, especially an experienced one who knows its customs. |
| Práctica | An informal session to practise, try out figures and ask for advice. More relaxed than a milonga. |
| Tanda | A set of usually three or four pieces of the same type (tango, vals or milonga), often by the same orchestra. Partners normally dance the whole tanda together. |
| Cortina | “Curtain”: a short piece of non-tango music between tandas. The floor clears and dancers look for a new partner. |
| Cabeceo | The traditional way of inviting someone to dance: eye contact (mirada) across the room, then a small nod. Accepting is a nod back; looking away is a polite no. |
| Mirada | The look that comes before the cabeceo. |
| Ronda / línea de baile | The line of dance: couples move counter-clockwise around the floor in lanes and do not overtake. |
| Pista | The dance floor. |
| Códigos | The unwritten rules of the milonga: cabeceo, respecting the ronda, not teaching on the floor, finishing the tanda with the same partner. |
| Musicalizador | The tango DJ, who chooses tandas and cortinas. |
| Encuentro / marathon | Multi-day tango events focused on social dancing, often with long milongas into the morning. |
Embrace and walk
| Term | Meaning |
|---|
| Abrazo | The embrace, the basis of every movement. In close embrace (abrazo cerrado) the partners’ chests touch; in open embrace (abrazo abierto) there is space between them. |
| Eje | The axis: a dancer’s balance over one leg. Good tango depends on both partners keeping their own axis. |
| Caminata | The tango walk, the most important element of the dance. |
| Marca | The lead: the signal, through the embrace and the body, for the next movement. |
| Salida | The opening steps of a figure; the “basic eight”. See Basic tango steps. |
| Cruzada / cruce | The follower’s cross, left foot in front of right, as in step 5 of the salida. |
| Paso básico | The basic step, usually the eight-count salida. |
| Cadencia | A rocking weight change in place, used to wait for space or mark the music. |
| Retroceso | A backward step, used to avoid an obstacle on the floor. |
| Pausa | A deliberate pause on the music, part of the dance rather than a break in it. |
| Term | Meaning |
|---|
| Ocho | “Eight”: the follower pivots and crosses, drawing a figure eight on the floor, forward (ocho adelante) or backward (ocho atrás). |
| Media luna | “Half moon”: one of the earliest figures, drawing a half circle. |
| Giro | A turn, with the follower walking around the leader. |
| Molinete | “Windmill”: the follower’s grapevine around the leader (forward step, side step, back step, side step). |
| Enrosque | The leader’s screw-like pivot while the follower turns around him. |
| Sacada | A displacement: one partner steps into the space the other has just left, appearing to move their leg out of the way. |
| Parada | A stop: the leader halts the follower’s movement, often with his foot against hers. |
| Barrida | A sweep: one partner’s foot moves the other’s foot along the floor. |
| Boleo | A whip-like swing of the free leg, produced by a sudden change of direction. |
| Gancho | A hook: one partner’s leg hooks briefly around the other’s leg. |
| Calesita | “Merry-go-round”: the leader walks around the follower while she pivots on one foot. |
| Volcada | The leader tilts the follower off her axis so that her free leg draws a curve on the floor. |
| Colgada | Both partners lean outward, counterbalancing each other. |
| Corte y quebrada | A sudden stop and a twist of the body; the expression comes from the earliest tango and is used to describe its style. |
| Adorno / embellecimiento | Decorations, small leg and foot movements added within the lead. |
Styles
| Term | Meaning |
|---|
| Canyengue | An early style danced in close embrace, with bent knees and short steps. |
| Orillero | “From the edges”: the style of the city outskirts, playful and full of figures. |
| Tango de salón | Salon tango: upright and elegant, with a clear walk, as danced in the halls from the 1910s on. |
| Estilo milonguero | Close-embrace style of the crowded downtown milongas, with small steps and few figures. |
| Tango nuevo | A style developed in the 1990s that analyses tango’s movement mechanics and often uses open embrace and new figures. |
| Tango escenario / fantasía | Stage tango: choreographed for shows, with lifts and large movements not used on a social floor. |
Music
| Term | Meaning |
|---|
| Tango | The main rhythm, usually in 4/4 time, danced with a walking feel. |
| Vals (vals criollo) | Argentine waltz in 3/4 time, danced with tango steps but more circular and flowing. |
| Milonga | A faster, playful rhythm in 2/4 time, danced with simpler, quicker steps; milonga traspié uses quick double steps. |
| Compás | The beat. Dancing al compás means stepping on the beat. |
| Orquesta típica | The classic tango orchestra with bandoneons, violins, piano and double bass. |
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