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Argentine tango

Terminology (mainly from the tango federation website http://www.tango-federation.com. Terms from other sources are in small print or italics)

Adornos

Jewelry. Graceful small movements of the legs, which, as a rule, are not shown by stamps. Partners are usually decorated more than partners. Adornos often enable dancers to express their music in a more subtle and sensual way than with simple steps.

Amague (Amague)

Fraudulent movement. Movement when the partner beckoned the lady, and he went the other way.

Arrastre

Hold, foot displacement on the floor.

Baldosa /Ceramic tiles/ Square figure

Barrida

Foot shift of partner's leg (or vice versa) along the floor, like sweeping with a broom. It can be performed in a straight line or in an arc, forcing the partner to rotate on one leg around her axis.

Base (Base)

Steps called "Foundation" include step forward, side, side

Boleo (Boleo)

A movement in which the partner, by changing direction, creates an impulse that causes the partner's free leg to oscillate along the floor (low boleo) or, if the impulse is given with more energy, upwards (high boleo). The change of direction can be done during a normal walk (resulting in a linear boleo) or with twisting of the body (circular boleo).

Cabeceo (Cabeceo)

In traditional milongas, men invite women to dance by catching their eye and nodding towards the dance floor. If the woman nods back, the man crosses the hall and approaches her. The woman remains in place, waiting for her partner to approach her. See also Codigos.

Cadena

A chain of steps forward-side-back-side, usually performed sideways along the line of dance.

Calecita

Steps in a partner's circle around a lady and vice versa

Caminada (Caminada)

Walk. Steps along the line of dance.

Corrida (Corrida)

Running, jogging, short forward step sequence

Corte (Korte)

Interrupted movement in any direction

Colgada

Off-axis movement of two partners with one axis in the middle. Partners, as it were, form the letter "V".

Comme Il Faut

In addition to being the name of a tango song, it is also a brand of expensive and, of course, beautiful women's tango shoes. Known for their dizzying heel heights (8 and 9cm), which has since been adopted by most other brands of tango shoes.

Cortina (Cortina)

See Tanda.

Cruze (Kruse) also Cruzada

Cross. Basic figure in tango. One leg crosses the other

Сunita (Kunita)

Swing. It is carried out according to the principle of a rocking chair, a step is taken with a return back

Dissociation

Conditional division of the dancer's body into two parts, upper and lower, which move independently of each other, and the movement is not transmitted from one part of the body to another. Whereas in classical dance ballerinas often spin as a unit, in tango dancers almost never spin as a unit. Instead, the dancer will initiate the turn by first twisting the torso and then allowing the lower body to follow, turning the hips and finally pivoting on the floor. This spiral movement is very characteristic of tango. The movement begins in the upper body, passing through the embrace from partner to partner.

Embrace

The partner hugs the partner with the left hand. Her left hand either "holds" her partner's shoulder blade or (usually in an open embrace) holds her partner's upper right arm. Her left arm can be anywhere from her neck to her lower back. The partner hugs the partner with his right hand. The breasts may touch. Most tangueros dance and perform simple steps in a close embrace, maintaining chest contact, but can also open their arms with giros and other similar steps. In the milonguero style, both sides of the partner's chest touch the partner. In other styles, typically only one side of the chest makes contact. The choice of hugs is primarily a matter of personal preference and comfort, all this is individual for each couple. Ideally, a tango hug should feel like a real hug, while still allowing freedom of movement.

Enrosque

A movement in which the legs rotate around each other. Usually held as a decoration on partners when performing a Giro.

Entrada

"Intrusion" into partner/ra territory

Firulete (Decoration)

Small foot movements that adorn the dance

Exhibition

Performances of the maestro at the milonga. Couples usually dance two dances, followed almost always by at least one, rarely two, encores. Performances can be staged or improvised. Tango performances at milongas usually have nothing to do with escenario tangos performed on stage.

Gancho (Gancho)

A movement in which one of the dancer's legs strikes the partner's leg and bends into a hook. This usually only happens when the dancer steps into the other partner's interior space. Some teachers feel that Gancho should not be marked by the partner, but should be performed when the leg position allows him to comfortably execute the figure (although this is extremely rare). This step is not often seen in milongas, but it is a common feature in tango escenario and in tango shows in milongas.

Giro (Hiro)

A spin in which the lady goes around the partner who, in turn, forms the center of the spin. However, the partner can also walk around the partner, or both of them can walk around the common center.

Golpes /Kick/ Decoration, toe tapping on the floor

Golpecitos /Gentle blow/decoration tapping with the base of the shoe on the floor

Lápiz (Lapis)

An ornament in which the free leg describes a circle on the floor.

Llevada

Figure, when the partner on the thigh "carries" the partner's leg

Media giro

Half turn around the partner (woman)

Mordida (Mordida) or Sandwich

Sandwich. The foot of one partner is between the two feet of the other. If his feet are crossed, then this is an upside down sandwich.

Miolonga

Meaning 1. Dance evening where tango, tango waltz and milonga are danced. Meaning 2. A style of music related to the tango, but with a more discontinuous main rhythm and usually (though not always) a faster tempo. It is believed that the milonga dance is the progenitor of tango. Almost everyone who dances the tango also dances the milonga, although usually with slightly different steps.

Milonguero

Meaning 1. A person whose life is entirely devoted to tango and its philosophy; carrier of authentic Argentine tango. Mealing frequenter. Meaning 2. Dance style. See tango milonguero.

Ocho (Ocho)

Turn steps similar to 8. Ocho back and forth. Step to the side with turning the torso towards the partner and turning the hips in the direction of the step (see Dissociation). Performed by both partners, it is one of the most characteristic movements in tango.

Ocho cortado (Ocho Cortado)

Interrupted eye. Stopping the ocho and leading back through the cross.

Orquesta Tipica (Tipica Orchestra)

Traditional tango orchestra, consisting of four bandoneons, four violins, piano and double bass. In tango, music is usually distinguished not by the composer, but by the orchestras that perform it. Different orchestras have different, special manners of performance. Each orchestra is named after its conductor. Thus, the tango “according to Biaggi” is the music played by the Rodolfo Biaggi orchestra (and Biaggi himself was their pianist). Many tangos are performed by singers, and it is also customary to determine the singer when defining the music. Tanturi-Campos, for example, is the orchestra of Rodrigo Tanturi and the singer Enrique Campos, while Tanturi-Castillo is the same orchestra, and the voice of Alberto Castillo.

Parada

Stopping the lady's leg with the man's leg. Often used at the end of a Giro. As a rule, the partner gives the mark to the partner when to resume the movement. The parade may often enable the woman to wear adornos (decorations).

Piernazos (Piernasos)

A high gancho done around the partner's back or thighs with the free leg.

Planeo (Planeo)

Circular movement of lady with free leg gliding along the floor or slightly in the air

Practice

Informal class in which students work out the learned figures in the presence of teachers. Designed for independent work. Teachers only correct, prompt and give advice on working out the studied material.

Sacada

Steps in which one of the partners invades the space of the other, thereby displacing his leg. This often results in the partner's free leg making an arc along the floor.

Salida (Salida)

Basic step, first steps in tango, from "Salimosa bailar" - "Shall we dance?" Eight basic steps.

Soltadas

The breaking of the embrace.

Tanda (Tanda)

In the milonga, the music is usually played in sets of three to five pieces, separated by short Cortinas. Tracks in tanda are almost always joined by the same orchestra, from the same period of composition (if the orchestra covers different periods and styles) or by the same singer. As a rule, dancers leave the dance floor during Cortina and change partners at the beginning of the next tanda.

Tango Escenario (Stage tango)

As the name suggests, the stage show tango is characterized by large, bright figures. Often includes acrobatic moves, lifts and jumps, and sometimes blends tango with other genres such as classical ballet and modern dance. Some of the movements are adapted to the space of the stage as the social tango is danced counterclockwise around the dance floor. May also include a degree of theatricality. Very different from the traditional tango in the milongas. Tango escenario, as a rule, was staged, while social tango was improvisation.

Tango Milonguero (Tango milonguero)

Style in which partners dance in a very close embrace

Tango Nuevo (Tango Nuevo)

Style characteristic of the dancers Gustavo Naveira and Chicho Frumboli. As a rule, they dance in open arms, and often with more elastic movements. Some steps are especially popular among nuevo dancers: movement features in which the partner is off-axis, leaning against each other (volcada) or away from each other (colgada).

Tango Salon (Tango Salon)

A style in which the couple gently opens and closes their arms as they dance. One hallmark of a tango salon is the pivot. A striking example is the Giro, in which the lady walks around her partner in an open embrace while he stays in place, often adorned with enrosques and planeos.

Tangotonin (Tangonin)

A hormonal neurotransmitter that dancers release in large quantities when performing a particularly beautiful tango. Although scientists have not yet been able to determine its chemical structure and find its receptors in the brain, empirical evidence shows that its action is powerful, dangerous and addictive.

Tango Vals (Tango Waltz)

Based on an Italian waltz. This is a style of tango music with a 3/4 rhythm (the tango itself is traditionally written in 2/4 and is often called Dos por Cuatro for this reason).

Tango show

Performances by the maestro. As a rule, the tango dance is escenario. The cost of such performances is high, but the level of tango performance is also inimitably high.

Traspie (Traspi)

From a word that literally means "to stumble. " Traspié is widely used in milongas and can also serve as a decoration.

Volcada (Volkada)

Lady moving off axis, weight given to partner. Partners, as it were, form the letter V.

Lesson one

Music

Every dance has its own music, and you can't become a good dancer without developing a feel for that music. Other pages have enough information about what kind of music is suitable for Argentine tango and where to find it.

But you can start learning tango right now with the music you have. Choose something with a slow and steady rhythm. Listen to the music and count the beats: ONE two THREE four ONE two THREE four. The ONE and THREE counts mark the strong beats of the music and should be about a second apart.

You can use American tango, slow foxtrot, rumba, and even slow rock or symphonic music if their characteristic rhythm is subtle enough to be ignored in relation to Argentine tango.

Steps

Steps are the basis of most tango figures. Therefore, it is quite simple to start dancing right away, although behind this simplicity lies an unexpected complexity.

First, turn on the music, close your eyes and mark each main beat. Then start stepping in place on each main beat. When you feel the natural movement in this rhythm, open your eyes and walk along the perimeter of the room, trying to step on each main beat. Don't worry about anything else, just try this SLOW SLOW rhythm for a few minutes. This rhythm is the basis for tango, although as you learn you will learn how to diversify your dance by changing this basic rhythm.

Now walk a little more. This time, move counterclockwise along the edge of the dance floor. This is called a "line dance"; she helps the dancers avoid collisions. (If other couples make it impossible or dangerous to move along the dance line, you can briefly move against it or even cross the free center of the dance floor and then continue along the dance line. ) Place obstacles in your path representing other couples (or imagine them ), and change your direction left or right to avoid them.

Style

Argentine tango uses some of the step patterns found in other dances, such as free foxtrot, paso doble, quickstep and even the Texas two step! But you can instantly tell these dances from tango by the way the dancers move and interact with their partners.

Try to walk around the room without music, starting from the front of the foot, and not from the heel, as is usually the case when walking and in other dances. This will make you feel like a big jungle cat. Imagine this cat while working on various aspects of the tango style, and soon your body will automatically move correctly as soon as you remember this image.

Now try to move BACK along the dance line. Turn your head to the side so you can see where you are going. Women should look to the right, men to the left. Straighten your leg a little more than you normally would and move back a little further than seems natural at first glance. This will help you avoid hitting your partner's knees while dancing. It will also add "cat-like" to your steps.

Whether you're walking forward or backward, keep your weight over the front of your feet. You can try walking on your toes to develop the stabilizing muscles in your fingers, feet, and ankles more quickly. It will also help you develop the habit of dancing so that your weight is shifted forward. But when you're actually dancing, don't do it on your toes, it's too tiring and won't let you get used to using heels, which is necessary when doing the more difficult parts of tango.

Hug

No other dance brings people closer than the Argentine Tango, both emotionally and physically. Part of that is the dance position. Your faces are turned in the same direction (female to the right, male to the left), so that you are dancing almost cheek to cheek. You hug each other throughout the dance.

Stand with your partner (real or imaginary) in standard dance position. Keeping your body straight, shift your weight to the front of your feet. This one will bring you slightly closer to your partner, helping to pair you up.

The partner pulls the partner towards him with his right hand embracing her back. The partner lowers her left hand to the upper part of the partner's arm above his biceps and pushes away from him. Both attraction and repulsion should be as gentle as possible, while remaining tangible.

Extend the other hand (for women - right, for men - left) to the side, as is usually done in ballroom dancing. Don't let your hand "drain" like it's filled with lead, or dangle like wet pasta. Instead, apply very light pressure to your partner's arm. During practice, you can keep the palm of your "balance" hand flat against your partner's palm, rather than squeezing it. Then each loss of pressure will cause your hands to move relative to each other, giving you the opportunity to instantly feel the problem and correct it.

Try to dance with an imaginary partner with your hands and palms correctly positioned. This will strengthen your muscles and create the habit of holding a good hug without thinking about it.

Now try to move along the line of dance with your (real or imaginary) partner, the man forward, the woman back. Try it without music first, trying to keep a good connection with your partner. Keep your head up and slightly turned to the side, paying attention to your surroundings and to your partner. Now turn around so that the man is moving backward and the woman is moving forward, and practice some more.

Finally, turn on the music and move to the beat. Try to do everything the way you've learned, but don't push yourself too hard. Instead, try to have fun. The fact is that you dance, and learning to have fun is also part of learning to dance.

Figure elements

If you study with several teachers and go to tango evenings in a big city, you see literally hundreds of figures. It can be daunting if you don't realize that these complex shapes are made up of simple combinations of just a few simple shapes.

The simplest and most basic tango figure is la Caminata (The Walk), you have already done it. Now you will see how it enters the system of dance figures. Knowing this system, you can quickly learn new shapes and create your own.

Shapes can be modified in many ways. One of them is by changing the length of each step.

Try each of the four two-step walks for a minute or two, taking breaks in between to make sure each is done correctly. Concentrating each time on some one option, you can quickly master them.

Improvisation

In Argentine tango you don't have to do the standard figures in the standard sequence. Instead, you create new shapes and combine them in ways that are new to you. Creativity and improvisation are more important to good dancers than getting the figures right. (At the beginning of learning tango, only the partner, i.e. the one who leads, improvises, but when the partner becomes more skillful, she can also start to improvise)

Because all two-step variations start and end with the weight on the same foot, you can combine them in any number and in any order. Try to do it. For example, two "walks", a "chasse", a "walk" with a 90 degree turn to the left (as if following the turn of the dance floor boundary) and another "walk".

End with three or four or five "rocking" steps, turning left on each step to make a total 360 degree counterclockwise turn. This figure is called las Cunitas (cradle rocking step). It can be used when other dancers are blocking your path (you can also rotate clockwise, turning right at each step).

Note the feeling each shape creates. "Walking" allows you to move smoothly and creates a feeling of fluidity. "Chasse" creates a harsher feel. It can be used to mark the end of a musical phrase, just like you use a comma or space when writing. The "rocking the cradle" figure can express tenderness, as it gives the gentle sensation of rocking the baby in the cradle.

El Circulo ("Circle") is another simple figure made up of two steps. Just do two (or three or four) "walks", turning to the left after each step, thus completing the circle where you started it. (You can also turn right). Like the "swinging" figures, the "circle" allows you to continue dancing if you are blocked in all directions, but it gives you a different physical and emotional experience.

Dance

So far you have been learning to understand tango better and have practiced the technique. But tango is not only a mental or physical activity. It also has an aesthetic, emotional and social side. To understand this, you must dance, at least alone with yourself, even if you only have an imaginary partner.

So put on some music that you and your partner like, or wait for it if you're in a milonga. Hug your partner, but don't move right away and don't wait for the movement to start. Open up the space within you and let the music fill it up so that it becomes part of you. Let your body bounce very slightly to the beat of the music. Enjoy the melody and singing, if any.

Also focus on your partner and your connection with him. Try, but not too hard, to create a good hug. Listen to his body language and imagine how he might be feeling right now. Enjoy the feeling of your arms around him and his arms around you.

If you are leading a dance, start moving when you feel it is time to do so, not before. If you are a wingman, don't worry about getting started. Resist (as weakly and gently as possible) the leader's efforts. This will actually help him lead you and make it easier for you to follow him.

Keep your head straight and pay attention to obstacles and others, but do not concentrate too much on this. You've trained all your life to protect yourself and others. If you happen to run into another couple or partner, say "Sorry!", but don't make too much of it - after all, you didn't kill or maim anyone!

When you or someone else makes a mistake - and it happens to everyone, regardless of skill - do not try to analyze or correct it. You came to dance, not to analyze or practice technique. Just get out of the situation as discreetly and beautifully as possible, and continue to dance. When you get better at getting out of erroneous situations, you will be less afraid of them. At the same time, you may even find new steps for yourself.

In the process of dancing, imagine yourself as a big cat, and your body will automatically begin to move in the correct style for tango. Imagine yourself as strong, graceful and beautiful as a cat. Often people begin to feel, move and even look the way they imagine it to be.

Soul of tango

Each dance has its own unique taste. Over time, as you learn, practice and dance tango, things will become easier and more automatic. Then you can feel better el alma del tango - the soul of tango.

It is a mixture of several essences: the flow of creativity that comes from the extraordinary freedom of improvisation in tango, the fluidity and precision cultivated by the style of tango, the almost operatic intensity of tango music and the emotional intimacy with a partner.

These sensations, more than the mastery of the movements, are the essence of the Argentine tango dancer. And when you start feeling it, you will become it.

Lesson two

Music

At the beginning of its popularity in Argentina, tango orchestras played with a very pronounced, unchanging rhythm. To this music, for example, you can only dance all the time la Caminata , a tango step. By the 1940s, the "Golden Age" of tango, when this music and this dance became very popular in Argentina, orchestras began to play more complex versions.

For example, musicians can mark the beginning and end of a piece of music by changing the volume or tempo. You can respond to this in a variety of ways. One of them is to use basic figures that convey the feeling of beginning and ending.

Salida

The figure marking the beginning is called Salida . The commonly used Salida is a two-part U-shaped figure.

Start in a neutral position (feet connected) with weight on BOTH feet. In tango, you can start a new figure on any foot and in any direction. Distributing the weight on both feet will help you do this.

Tango ending

After Salida you can make several other figures. Then, when necessary in accordance with the music, complete the series of figures you are performing with the final one.

The most commonly used three-step figure is called la Resolucion (Resolution). It is also often referred to as "the Tango Close" because it is similar to the European Tango figure of that name.

It is very important to complete the figure so that the weight is distributed on BOTH legs. This prepares you for the next series of figures, which can start on any foot and in any direction.

Practice and variations

Now start practicing these figures. Do a U-shaped Salida , stopping for a moment in a neutral position after a back step and after an L-shaped step. This will help you remember that these are two different figures. Then do Resolution and stop again. Now repeat this several times without stopping inside Salida . Do a few more repetitions, this time stopping only after Resolution . Do not forget that you need to start and finish the figures by distributing the weight on both legs.

Now repeat the figures several times without any pause at all. You will start to approach the edge of the dance floor and other obstacles, so you will have to change direction to avoid collisions. You can do this by turning left or right. You can turn before or after any step (as well as AND before AND after).

Practice with the following example. Before the first step Resolucion Turn 45 degrees (an eighth of a full turn) to the left (counterclockwise). Immediately after the first step, turn another 45 degrees to the left. In general, you will turn 90 degrees. Now do the last two steps Resolution . This variation can be useful, for example, when you come to the right corner of the dance floor.

Experiment with rotations at different moments Salida and Resolucion , and with different rotation angles. You may find that turning more than 45 degrees is more difficult and requires extra effort to stay connected with your partner. Don't let that stop you from trying big angles, just be prepared to put in more effort to do it well.

Other variations

In addition to rotations, you can modify complex shapes by adding or deleting some of the simpler ones that make them up. For example, when you start dancing at the beginning of a new piece of music, you usually don't want to take a step back in a U-shaped Salida because other couples are already dancing and may not notice this movement of you against the line of dance.

Try also to eliminate L-pacing by only stepping back and Resolution . Turn 45 degrees to the left after stepping back and another 45 degrees when starting the first step Resolucion . This will rotate you 90 degrees, making a U-shaped rectangular shape. This figure is needed for rounding corners. You can also make several of these shapes if you want to turn at large angles.

You can also add shapes to complex compositions. For example, between Salida and Resolucion , you can add any number and combination of two-step passes, as they all start and end on the same foot. These include L-shaped pacing, "Walk" ( Paseo ), "Cadencia Counting Step" ( Cadencia ), "Chasse" ( Caza ) and "Swinging" Step ( Cunita ) that you learned in the first lesson.

Dangerous step back

It is dangerous for the leader to take a step back, especially against the line of the dance. There are several ways to neutralize this danger. One of them is to be especially attentive when the host takes a step back and be ready for a collision. This applies to both women and men. Following the leader should not be passive, and if you see that the leader may collide with someone or something, you must resist. The leader, if he understands anything, will appreciate your help.

Sometimes you may not step back into Salida , but not always; it is too widespread. And besides, it is useful for performing complex figures in the small space left to you when many couples are dancing. As you already know, often when starting a movement with a new piece of music, this step is skipped. You can also change it to a single step forward, with the partner walking back with the left foot and the partner walking forward with the right. Try this now a few times, changing the start Salida from one step back to one step forward and vice versa.

Another way to take a safe step back is to start from a position where the partner is turned against the line of dance.

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