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Tango Stuff
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English Tango Terms
- backward eight = ocho atras
Typically: Follower stands on RF (Right Foot) and puts the LF (Left Foot) backwards while turning her frame slightly CCW (Counter-Clock Wise). The LF arrives to the right of the RF(!), thus making the first half of the '8' figure. The Follower then lifts the RF, spins CW (Clockwise) on the LF and does a mirrored copy of the previous step, now standing on the LF. When finished, she again stands on the RF, approximately on the same spot where she came from, with both feet together, ready to do another backward ocho, or another figure.
- basic step = paso basico
The basic tango step is made up of eight beats and has four general movements: the salida, the caminada, the trabada or cruzada, and the resolucion.
Though it means “exit,” the salida (steps 1-2) marks the beginning of the dance or movement. The caminada, or walk, requires the dancers to move through space for three beats. The dancing couple joins together during the trabada, with the leader marking the cruzada, or cross-step, for the follower. Beats six, seven, and eight are the resolución or ending.
- Cross step = cruzado
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 (paso basico).
- eight = ocho
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.
- embellishment = adornoa
(small) variation on a basic figure or embellishment, something to spice the dancing up
- embrace = abrazo
The embrace': the way the leader (man) holds the follower (lady); or the dance position.
The "close embrace" is a characteristic of the milonguero style of dancing. The Leader's and Follower's torso form a triangle, with the Leader's right side touching the Follower's left side, and his arm across her back and in most vases, with the hand on the other side of her body.
- forward eight = ocho adelante
The movement where the feet describe an '8' in 2 steps,
Example: first the right foot forward and with a slight rightward movement at the end, then the left foot joins the right one, the body is turned 180° clockwise and the mirror movement is done with the left foot, back to the original position
- lead = marca
'The lead'. From marquar, to lead. The leader takes 'la marca'.
- rock step = cunita
Cradle or rock step
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.
- sandwich = sanguchito
One partner's foot is sandwiched or trapped between the other partner's feet.
- show tango = fantasia
A style of tango for the stage characterized by large sweeping moves. 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.
- waltz = wals = vals
The style of tango that is danced on walz music: with a rhythm of one-two-three, on-two-three.
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Tips for dancing in a milonga or salon
Leader Tips
- No step backward
-Avoid the step backward (on the '1' of the paso basico). Just do a small step with the right foot (for the leader) that stays on the same place
-Do not do a back-step against line of dance.
-Do not move in a direction you cannot see.
-If the person in front of you suddenly steps backward, put up your hand to keep them from smashing their heel onto your partner's achilles tendon
- Improvisation
-The rock-step is a good defense against a potential collision.
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Learn to do very tight circular moves.
- No slow entrance
Entering a lane from the side, is like merging into traffic; don't stop and meditate on your partner's lovely embrace while the lane stalls behind you. If there is a gap in front of you it probably means a pile up behind you. Take a few traveling steps to close the gap. When the floor is moving nicely, everyone progresses slowly and steadily around the room: a few steps forward, a couple rock-steps; a little turn to see where the next gap is; safe in the corner, do a little figure; walk into the new space; etc.
- Dance small
Dance very close to your partner; use smaller steps; don't whap people with big-kicking boleos. While we no longer settle collisions with a knife fight in the alley, bumping other people is not considered to be good form.
- How to invite a lady: cabeceo
Traditional technique for selecting dance partners from a distance at the milongas in Buenos Aires by using eye contact and head movements.
At the milongas in Buenos Aires, often not a word is spoken in asking someone for a dance. A man will look around the room and try to make eye contact with a woman. Also, a woman can initiate the eye contact as well. If she does not want to dance with him, she will avert her gaze. If, however, she wants to dance with him, she will make eye contact; he will then slightly nod his head in the direction of the dance floor. If she has decided to dance with him she will nod yes. Only at this point would a man go to a woman’s table and escort her to the floor. This set of conventions serves a myriad of purposes. First: it prevents women from feeling obligated to dance with just any man who comes to her table and asks her to dance. Second: men are kept from looking foolish by going to a table and being refused a dance. Third, if for any reason something comes up, or anyone changes his or her mind, no one else need ever know.
Follower tips
- Dancing is not chatting
- Following
Ladies, do not anticipate moves. Follow and add your own style; there are many embellishments that you can add to the dance which do not require a lead from the man.
Men, provide clear leads and signals; always remember, your most important job is to lead the lady.
- Position of the head
There are three head positions for the lady:
- your left cheek bone to his right cheek bone (for salon style)
- your right side of face to his right side of face (for milonguero style)
- your nose and forehead to the right side of his face (alternate possibilty for milonguero style)
Try these positions out with a partner and notice that you can stand directly in front of your partner with your head in position #2. However, in position #1, you may be in a V position with your body in relation to his; more appropriate in salon style, but not in milonguero style.
Etiquette
- Tango Etiquette: making tango pleasant
For Leaders
Know how to ask someone to dance (cf cabeceo)
Follow the line of dance and stay in your lane
Walk smoothly
Keep your own balance
Keep the rhythm (even at the expense of executing fancier steps)
Be aware of where you and others are on the floor
Know how to walk, turn, stop and lead a few embellishments
Know how to interrupt a step to keep from hitting another couple
Know how to put basic elements together to make a dance
For Followers
Know how to accept or decline a dance (cf cabeceo)
Wait for the lead
Walk smoothly and walk to the cross well
Keep your own balance
Keep the rhythm
Be aware of others on the floor
Know how to walk, turn, stop and execute a few embellishment.
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What is Milonga, what is Practica?
Practica
Practica Is the event when the tango lovers get together and practice. There is no need for a tanda or cortina. It is good to practice with everyone else because it helps learning. It is OK to stop in the middle to figure out things with your partner. The environment is informal and casual dress is acceptable. If your instructor is on site it is a "supervised" practica. Your instructor will help you work on certain figures or comment on your dancing for improvement.
Milonga
Milonga is the event when the tango lovers get together and dance. It is a social event with its own etiquette. The code is based on common sense: respect your partner and others on the dance floor. In our milonga we adhere to the codes and ethics of a typical Buenos Aires milonga. We make use of "cabeceo" to invite a partner to dance. We play the music in sets called a "tanda". It is customary to dance the whole tanda with the same partner. Also, it is considered to be rude stop the dance in the middle and start teaching your partner, instead find a common level with your partner and enjoy the music and the company. At the beginning of each song in a tanda, it is a good opportunity to socialize with your partner for about 30seconds instead of starting the dance right away. The dress code is more formal in a milonga, the atmosphere is warm and romantic and it is quite common to dress up.
Practica is the place to share knowledge and experience among students, lesson is the place to learn from a teacher, and milonga is the place to dance.
Tanda & Cortina
A tanda is a set of music such as tango, milonga or vals and most of the time by the same tango band. Normally you would dance the whole tanda with the same partner. . A "tanda" is seperated by a "cortina". Cortina is a type of music other than tango which lasts 30-90seconds. Its purpose is to clear up the floor to allow partner changes.
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