Tango lexicon
We are often asked about the terms we use in our classes, ie. the names of particular tango movements and steps. This page gives the terms we use most frequently and their definitions, in alphabetical order. If the term you are looking for is not here, please tell us; we will keep this page constantly updated.
Tango's vocabulary has changed over the years. Until relatively recently, tango steps were labelled in Spanish. However, as tango developed rapidly in the 1990s, via tango nuevo, English increasingly took over. Today, you'll see that special stylistic (or as Naveira calls them, 'choreographic') figures have kept their Spanish names (barrida, gancho), but that crucial, constitutive movements are labelled in English (front cross, open step).
There are still many (non-Spanish-speaking) conservative salon dancers who prefer to stick with Spanish even for the fundamental movements, perhaps thinking that it makes their tango feel more 'authentic'. But most 21st-century tango taught internationally, even by Argentineans, is now taught in English. In our classes we use terms and definitions used internationally today.
Important: as we emphasise in our classes, all the follower's steps and figures are led by the leader, so although we refer below to steps being 'performed' or 'executed' by the follower, this does not mean they are unled. If the leader doesn't lead it, the follower shouldn't do it!
Tango's vocabulary has changed over the years. Until relatively recently, tango steps were labelled in Spanish. However, as tango developed rapidly in the 1990s, via tango nuevo, English increasingly took over. Today, you'll see that special stylistic (or as Naveira calls them, 'choreographic') figures have kept their Spanish names (barrida, gancho), but that crucial, constitutive movements are labelled in English (front cross, open step).
There are still many (non-Spanish-speaking) conservative salon dancers who prefer to stick with Spanish even for the fundamental movements, perhaps thinking that it makes their tango feel more 'authentic'. But most 21st-century tango taught internationally, even by Argentineans, is now taught in English. In our classes we use terms and definitions used internationally today.
Important: as we emphasise in our classes, all the follower's steps and figures are led by the leader, so although we refer below to steps being 'performed' or 'executed' by the follower, this does not mean they are unled. If the leader doesn't lead it, the follower shouldn't do it!
arrastre
Arrastre means 'drag'. Here the leader literally drags or pushes the foot of
the follower's free leg to another position, whilst her axis (body weight) remains in the same place. This is different from but related to the barrida.
barrida
A tango illusion, which looks as if the leader 'sweeps' the foot of the follower's free leg, with the foot of his free leg - or vice versa. However, the barrida is actually a lead from the chest, inviting the follower to take a step; the barrida action is a 'fake' which accompanies her natural movement as she moves her axis from one spot to the next. This is how the leader can lead the follower to barrida him!
Tip: most barridas work more effectively if you incorporate an element of 'arrastre' movement within them. This ensures a good connection between the barrida-ing feet.
boleo, back
Usually performed by the follower. The free leg swings freely from the hip (and hinges at the knee, depending on the height and style), around and behind the follower. The movement is created from the hip, and the leg continues the flow. Boleos are led via counter-movements.
Boleos can be low or high, short or long, circular or linear, crossed or open. There are at least three different kinds of high boleo in modern tango. These are fairly advanced figures.
boleo, front
Usually performed by the follower. The free leg swings freely from the hip, hinging at the knee, crossed in front of the follower. The movement is created from the hip and expressed through the leg. The lead is through counter-movement. This is a fairly advanced figure.
caminata
Spanish word for 'walk'. For simple walks, most modern tango teachers prefer the English word 'walk'. Sometimes 'caminata' is used to refer to more complex walking patterns.
cadena
A 'chain'. Any figure with repeatable links which progresses, turning, down the line of dance.
calesita
A 'carousel'. The follower pivots on the spot, feet together, as the leader walks around her.
close embrace
An embrace with chest-to-chest connection. Can be milonguero or salon (social) style.
colgada
A position/movement found mostly in tango nuevo, in which the couple 'leans outwards' with the upper bodies, each entrusting their balance to the other, thus creating a shared axis between them. Usually only taught at intermediate to advanced level.
collection / collecting the feet
Collection is the bringing together of the two feet, side by side. Followers: do not transfer your weight between the feet when they are collected; leave your weight fully on your standing leg and let your free leg hang loose, foot touching the floor. We prefer 'passing the feet', as it emphasises flow and continuity: you 'pass your feet' between steps.
Spanish word for 'walk'. For simple walks, most modern tango teachers prefer the English word 'walk'. Sometimes 'caminata' is used to refer to more complex walking patterns.
cadena
A 'chain'. Any figure with repeatable links which progresses, turning, down the line of dance.
calesita
A 'carousel'. The follower pivots on the spot, feet together, as the leader walks around her.
close embrace
An embrace with chest-to-chest connection. Can be milonguero or salon (social) style.
colgada
A position/movement found mostly in tango nuevo, in which the couple 'leans outwards' with the upper bodies, each entrusting their balance to the other, thus creating a shared axis between them. Usually only taught at intermediate to advanced level.
collection / collecting the feet
Collection is the bringing together of the two feet, side by side. Followers: do not transfer your weight between the feet when they are collected; leave your weight fully on your standing leg and let your free leg hang loose, foot touching the floor. We prefer 'passing the feet', as it emphasises flow and continuity: you 'pass your feet' between steps.
cross, back
Short for 'backwards crossed step'. This is a step taken in a backward direction, by leader or follower, which is 'crossed' in relation to the partner. Two back crosses in a row, with a pivot in between, create a backward ocho. There is one back cross in every giro turn.
cross, front
Short for 'forwards crossed step'. This is a step taken in a forward direction, by leader or follower, which is 'crossed' in relation to the partner. Two front crosses in a row, with a pivot in between, create a forward ocho. There is one front cross in every giro turn.
cross, the
Sometimes called 'cruzada' to distinguish it from the modern terms 'front cross' and 'back cross' (see above), but most tango teachers just call it by the English term 'the cross'. This is the position taken by the follower when she is led to cross her left foot in front of her right, hold the position, and change weight from her back (R) foot to her front (L) foot.
cross system / cross basic
See 'walk, cross-system', below.
cunita
A 'cradle'. Any short combination of steps used to 'rock' and create a change of direction.
disassociation
Crucial in tango: the ability to turn your upper body separately from your lower body. Sometimes called torsion. We isolate three levels of disassociation. See also 'spiral'.
enrosque
A smooth, speedy ornament in which the free foot (leg) wraps rapidly around the other. It can be performed by leaders or followers, but only the leader's enrosque can involve a change of weight in unchoreographed, social tango. We distinguish the leading-leg enrosque from the trailing-leg enrosque in our teaching, and emphasise the leader's enrosque as functional and the follower's as decorative.
Short for 'backwards crossed step'. This is a step taken in a backward direction, by leader or follower, which is 'crossed' in relation to the partner. Two back crosses in a row, with a pivot in between, create a backward ocho. There is one back cross in every giro turn.
cross, front
Short for 'forwards crossed step'. This is a step taken in a forward direction, by leader or follower, which is 'crossed' in relation to the partner. Two front crosses in a row, with a pivot in between, create a forward ocho. There is one front cross in every giro turn.
cross, the
Sometimes called 'cruzada' to distinguish it from the modern terms 'front cross' and 'back cross' (see above), but most tango teachers just call it by the English term 'the cross'. This is the position taken by the follower when she is led to cross her left foot in front of her right, hold the position, and change weight from her back (R) foot to her front (L) foot.
cross system / cross basic
See 'walk, cross-system', below.
cunita
A 'cradle'. Any short combination of steps used to 'rock' and create a change of direction.
disassociation
Crucial in tango: the ability to turn your upper body separately from your lower body. Sometimes called torsion. We isolate three levels of disassociation. See also 'spiral'.
enrosque
A smooth, speedy ornament in which the free foot (leg) wraps rapidly around the other. It can be performed by leaders or followers, but only the leader's enrosque can involve a change of weight in unchoreographed, social tango. We distinguish the leading-leg enrosque from the trailing-leg enrosque in our teaching, and emphasise the leader's enrosque as functional and the follower's as decorative.
free leg
The leg you are not standing on. For followers especially, your free leg is almost always completely free of weight. See also 'standing leg' and 'trailing leg'.
gancho, crossed
Or 'nuevo' gancho, because it is the newest variation. Here, 'crossed' refers to the follower's position in the gancho. This gancho is led differently from traditional ones (below).
gancho, open
A 'hook', most often performed by the follower around the leader's leg. Here, 'open' refers to the follower's position in the gancho and refers to the back-cross-to-side-step transition. Can be led via interruption of the follower's next natural step (older style) or 'wrapped' (newer).
gancho, internal
A gancho in which the follower's free leg hooks around one of the leader's legs, but 'across' and in front of her standing leg. This gancho interrupts the side-step-to-back-cross, in contrast to the more familiar 'open' gancho, which interrupts the back cross-to-side step.
giro
Now often referred to simply as a 'turn' (to the leader's left or right). This is the follower's 'natural series' of steps: front cross, open/side step, back cross, open/side step. The giro is very often executed by the woman around the man. This is the only 'sequence' the follower needs to learn. The leader can expect that if he continues to indicate a turn, an experienced follower will perform the 'natural series' unless and until he alters the lead.
leading leg
See 'trailing leg', below.
llevada
Similar to an arrastre, but here the leader 'picks up' the foot of the follower's free leg, and carries it to another position.
The leg you are not standing on. For followers especially, your free leg is almost always completely free of weight. See also 'standing leg' and 'trailing leg'.
gancho, crossed
Or 'nuevo' gancho, because it is the newest variation. Here, 'crossed' refers to the follower's position in the gancho. This gancho is led differently from traditional ones (below).
gancho, open
A 'hook', most often performed by the follower around the leader's leg. Here, 'open' refers to the follower's position in the gancho and refers to the back-cross-to-side-step transition. Can be led via interruption of the follower's next natural step (older style) or 'wrapped' (newer).
gancho, internal
A gancho in which the follower's free leg hooks around one of the leader's legs, but 'across' and in front of her standing leg. This gancho interrupts the side-step-to-back-cross, in contrast to the more familiar 'open' gancho, which interrupts the back cross-to-side step.
giro
Now often referred to simply as a 'turn' (to the leader's left or right). This is the follower's 'natural series' of steps: front cross, open/side step, back cross, open/side step. The giro is very often executed by the woman around the man. This is the only 'sequence' the follower needs to learn. The leader can expect that if he continues to indicate a turn, an experienced follower will perform the 'natural series' unless and until he alters the lead.
leading leg
See 'trailing leg', below.
llevada
Similar to an arrastre, but here the leader 'picks up' the foot of the follower's free leg, and carries it to another position.
milonga
There are several meanings: a) an occasion for tango social dancing; b) the venue in which a tango social dance is held; c) one of the alternative dances in the tango 'family', danced to milonga music, which we teach in specialist classes. For info on the last, click here.
milonguero-style tango
Or 'tango milonguero'. A style of tango which uses an extremely close, shared embrace. We teach this on specialist courses such as Tango Plus and Superboosts, as well as privately.
natural series (of steps)
The series of steps performed by the woman in her giro turn: front cross, open/side step, back cross, open/side step. The notion of a 'natural series' comes from tango nuevo, and is part of the structural conceptualisation of classical Argentine tango. We call the series 'natural' because this is the 'default' series of follower's steps whenever the leader indicates a turn. Of course, the leader can halt, reverse, change or interrupt this series at any time.
nuevo, tango
Tango nuevo is a 'new' way of thinking about and learning tango. It can lead to a distinctively innovative, modern style of dancing. Some of the more unusual and challenging moves are reserved for our specialist courses such as Tango Plus or Superboosts.
ocho, backward
A 'figure of eight', usually performed by the follower, consisting of back crosses (crossed steps) and pivots.
There are several meanings: a) an occasion for tango social dancing; b) the venue in which a tango social dance is held; c) one of the alternative dances in the tango 'family', danced to milonga music, which we teach in specialist classes. For info on the last, click here.
milonguero-style tango
Or 'tango milonguero'. A style of tango which uses an extremely close, shared embrace. We teach this on specialist courses such as Tango Plus and Superboosts, as well as privately.
natural series (of steps)
The series of steps performed by the woman in her giro turn: front cross, open/side step, back cross, open/side step. The notion of a 'natural series' comes from tango nuevo, and is part of the structural conceptualisation of classical Argentine tango. We call the series 'natural' because this is the 'default' series of follower's steps whenever the leader indicates a turn. Of course, the leader can halt, reverse, change or interrupt this series at any time.
nuevo, tango
Tango nuevo is a 'new' way of thinking about and learning tango. It can lead to a distinctively innovative, modern style of dancing. Some of the more unusual and challenging moves are reserved for our specialist courses such as Tango Plus or Superboosts.
ocho, backward
A 'figure of eight', usually performed by the follower, consisting of back crosses (crossed steps) and pivots.
ocho cortado / cortada
This means 'cut ocho'. Usually danced by the woman. Often confused or conflated with the 'ocho milonguero' (see below), these two are actually distinct from one another.
The cortado is a longer figure than the milonguero, and is usually danced more slowly. It involves a 'cut' side step after the first front cross, and then a small spiral turn in order to take the 'returning' front cross as a true forward step.
The difference between the cortada/o and the milonguero is fully led; followers should not simply choose between one or the other based on personal preference. We teach both moves and their differences to all recent beginners. If you're not sure, please just ask!
ocho, forward
A figure of eight, usually performed by the follower, consisting of front crosses (crossed steps) and pivots.
ocho, milonguero
Please see 'ocho cortado', above, with which this figure is commonly but incorrectly confused. Usually danced by the woman. A lovely rhythmic step usually danced in double time. The man's steps can vary.
'Milonguero' here refers to the style, indicating no disassociation for the woman. This is an ocho adapted to a very close 'milonguero' embrace. From the 'cut' side step, the woman simply returns to a regular cross. We call this 'heel first' to clarify the movement required.
off-axis
Describes positions in which the leader and follower entrust to each other their respective balances, creating a third, shared axis between them. In essence they 'lean' towards one another (apilado, which can create movements such as volcacas), or away from one another (colgadas). The former is found in all forms of tango, the latter primarily in tango nuevo.
open embrace
An embrace with no chest connection. Physical points of connection are the arms and hands.
This means 'cut ocho'. Usually danced by the woman. Often confused or conflated with the 'ocho milonguero' (see below), these two are actually distinct from one another.
The cortado is a longer figure than the milonguero, and is usually danced more slowly. It involves a 'cut' side step after the first front cross, and then a small spiral turn in order to take the 'returning' front cross as a true forward step.
The difference between the cortada/o and the milonguero is fully led; followers should not simply choose between one or the other based on personal preference. We teach both moves and their differences to all recent beginners. If you're not sure, please just ask!
ocho, forward
A figure of eight, usually performed by the follower, consisting of front crosses (crossed steps) and pivots.
ocho, milonguero
Please see 'ocho cortado', above, with which this figure is commonly but incorrectly confused. Usually danced by the woman. A lovely rhythmic step usually danced in double time. The man's steps can vary.
'Milonguero' here refers to the style, indicating no disassociation for the woman. This is an ocho adapted to a very close 'milonguero' embrace. From the 'cut' side step, the woman simply returns to a regular cross. We call this 'heel first' to clarify the movement required.
off-axis
Describes positions in which the leader and follower entrust to each other their respective balances, creating a third, shared axis between them. In essence they 'lean' towards one another (apilado, which can create movements such as volcacas), or away from one another (colgadas). The former is found in all forms of tango, the latter primarily in tango nuevo.
open embrace
An embrace with no chest connection. Physical points of connection are the arms and hands.
open / side step
Any step which is 'open' (not crossed) in relation to the partner. These are often symmetrical side steps, but they can also be forward or backward steps that are uncrossed.
parada
A 'stop'. The leader halts the woman by stopping his chest lead. This is often but not always embellished with a foot touch from the leader, to give the impression that he has halted the woman with his foot. The easiest paradas stop the woman with her weight between her feet (feet apart).
passing step / pasada
A step in which (usually) the follower has to step over the leader's foot, which is placed next to her standing leg. This happens in the sandwich and from many paradas.
passing the feet
The free leg and foot should always, if possible, pass through the 'collected' position ie. under your body and glancing your standing leg, on its way to its next position.
planeo
A figure reminiscent of show tango in which the follower pivots on one foot with the other leg extended outwards, whilst the leader walks around her. The leader must lead the extension of her leg as well as the pivot. The planeo can be performed by the leader, who must simultaneously lead the follower to walk (or turn) around him.
rock
There are many kinds of rocking step, which all take the form of a back & forth motion. Great for adding double time and rhythmic variations to your dance.
Any step which is 'open' (not crossed) in relation to the partner. These are often symmetrical side steps, but they can also be forward or backward steps that are uncrossed.
parada
A 'stop'. The leader halts the woman by stopping his chest lead. This is often but not always embellished with a foot touch from the leader, to give the impression that he has halted the woman with his foot. The easiest paradas stop the woman with her weight between her feet (feet apart).
passing step / pasada
A step in which (usually) the follower has to step over the leader's foot, which is placed next to her standing leg. This happens in the sandwich and from many paradas.
passing the feet
The free leg and foot should always, if possible, pass through the 'collected' position ie. under your body and glancing your standing leg, on its way to its next position.
planeo
A figure reminiscent of show tango in which the follower pivots on one foot with the other leg extended outwards, whilst the leader walks around her. The leader must lead the extension of her leg as well as the pivot. The planeo can be performed by the leader, who must simultaneously lead the follower to walk (or turn) around him.
rock
There are many kinds of rocking step, which all take the form of a back & forth motion. Great for adding double time and rhythmic variations to your dance.
sacada
The displacement of the follower's or leader's trailing foot by the leading foot of the partner. The person doing the sacada takes up the position on the floor that the person receiving the sacada has just left. Sacadas can be created using front crosses, open steps and back crosses (the last is rare in salon tango but common in tango nuevo, which also has the '4th' sacada).
salon-style tango
Or salon tango. This just means 'tango for social dancing' and is a very broad category. It is what we teach in our weekly classes. This is the most commonly danced style of authentic Argentine tango, worldwide.
shared-axis turn
This is essentially a small, close-embrace colgada, in which the couple pivot together.
soltada
'Breaking the embrace' - found primarily in tango nuevo.
spiral
We use this term frequently. It refers to fundamental technique for creating pivots essential to tango: initiating with disassociation in the upper body, the dancer 'spirals', deepening the turn as it travels down the body. A vital element of technique.
spiral turn
A turn in which either leader or follower spirals the upper body and pivots on both feet, whilst keeping feet apart and weight distributed between them.
standing leg
The leg on which you stand; the leg that bears your weight.
trailing leg
The free leg as it moves from its most recent position (as weight transfers onto the other foot), towards the point of collection/passing. After collection/passing point, it then extends towards the next position and becomes your 'leading leg'.
vals
Argentine tango 'waltz', danced to vals music. One of the alternative dances in the tango 'family', which we teach in specialist classes. To read more about vals please click here.
The displacement of the follower's or leader's trailing foot by the leading foot of the partner. The person doing the sacada takes up the position on the floor that the person receiving the sacada has just left. Sacadas can be created using front crosses, open steps and back crosses (the last is rare in salon tango but common in tango nuevo, which also has the '4th' sacada).
salon-style tango
Or salon tango. This just means 'tango for social dancing' and is a very broad category. It is what we teach in our weekly classes. This is the most commonly danced style of authentic Argentine tango, worldwide.
shared-axis turn
This is essentially a small, close-embrace colgada, in which the couple pivot together.
soltada
'Breaking the embrace' - found primarily in tango nuevo.
spiral
We use this term frequently. It refers to fundamental technique for creating pivots essential to tango: initiating with disassociation in the upper body, the dancer 'spirals', deepening the turn as it travels down the body. A vital element of technique.
spiral turn
A turn in which either leader or follower spirals the upper body and pivots on both feet, whilst keeping feet apart and weight distributed between them.
standing leg
The leg on which you stand; the leg that bears your weight.
trailing leg
The free leg as it moves from its most recent position (as weight transfers onto the other foot), towards the point of collection/passing. After collection/passing point, it then extends towards the next position and becomes your 'leading leg'.
vals
Argentine tango 'waltz', danced to vals music. One of the alternative dances in the tango 'family', which we teach in specialist classes. To read more about vals please click here.
volcada
A 'tipping' movement, in which the leader tips the woman forwards towards him, off her axis and into a forward leaning position (apilado), and then replaces her back onto her axis through a smooth movement. The volcada is expressed vividly through the falling of the follower's free leg along the floor, in the direction of the lead. Most commonly seen as a 'circular' motion drawn by the follower's free foot.
This move is often misunderstood and (sadly) taught incorrectly. You should not lead this unless you have learned how to do it properly, and your follower has learned how to respond, or you can injure the follower's back. That said, if executed properly, it is actually simpler than it looks.
voleo
Alternative spelling of 'boleo' (see definition above).
walk, cross basic (cross system)
This is when we walk 'offset', in three tracks. The couple walks on 'non-parallel' feet, eg. leader walks forward with L, follower walks back with L.
Tip: this means that the couple walk alternately 'open to crossed' and 'crossed to open' ie. one takes an open steps as the other takes a crossed step, on each beat.
walk, outside
We use this term in beginners' classes to refer to a simple parallel walk but with the man positioned on the outside of his partner (usually to her right). It is not really a tango term, just a useful, informal way to refer to the second kind of walk learned by beginners.
walk, parallel
The most basic walk, with the couple positioned directly in front of each other and walking 'in each other's line' ie. they share two tracks. The leader walks forwards, the follower backwards, in parallel ie. he steps with his L when she steps with her R, and vice versa.
Tip: this means that the couple walk 'open to open' and 'crossed to crossed' ie. both leader and follower take open steps - or crossed steps - at the same time.
wrap
This is essentially a gancho, in which one of the follower's legs wraps around the leg or body of the leader. The difference from the gancho is that the wrap is performed not with the closing/trailing leg but with the 'going' or 'leading' leg, which is deflected from its trajectory by means of a 'stop' or rebound led by the leader. We describe the wrap as a movement created on the way out, not on the way in. Followers should be careful not to 'assume' a wrap or lift their leg unled.
A 'tipping' movement, in which the leader tips the woman forwards towards him, off her axis and into a forward leaning position (apilado), and then replaces her back onto her axis through a smooth movement. The volcada is expressed vividly through the falling of the follower's free leg along the floor, in the direction of the lead. Most commonly seen as a 'circular' motion drawn by the follower's free foot.
This move is often misunderstood and (sadly) taught incorrectly. You should not lead this unless you have learned how to do it properly, and your follower has learned how to respond, or you can injure the follower's back. That said, if executed properly, it is actually simpler than it looks.
voleo
Alternative spelling of 'boleo' (see definition above).
walk, cross basic (cross system)
This is when we walk 'offset', in three tracks. The couple walks on 'non-parallel' feet, eg. leader walks forward with L, follower walks back with L.
Tip: this means that the couple walk alternately 'open to crossed' and 'crossed to open' ie. one takes an open steps as the other takes a crossed step, on each beat.
walk, outside
We use this term in beginners' classes to refer to a simple parallel walk but with the man positioned on the outside of his partner (usually to her right). It is not really a tango term, just a useful, informal way to refer to the second kind of walk learned by beginners.
walk, parallel
The most basic walk, with the couple positioned directly in front of each other and walking 'in each other's line' ie. they share two tracks. The leader walks forwards, the follower backwards, in parallel ie. he steps with his L when she steps with her R, and vice versa.
Tip: this means that the couple walk 'open to open' and 'crossed to crossed' ie. both leader and follower take open steps - or crossed steps - at the same time.
wrap
This is essentially a gancho, in which one of the follower's legs wraps around the leg or body of the leader. The difference from the gancho is that the wrap is performed not with the closing/trailing leg but with the 'going' or 'leading' leg, which is deflected from its trajectory by means of a 'stop' or rebound led by the leader. We describe the wrap as a movement created on the way out, not on the way in. Followers should be careful not to 'assume' a wrap or lift their leg unled.
Updated 30th March 2015