Tango Dictionary A-Z
I spent my first months in tango nodding along when people said words I did not understand. Cabeceo. Cortina. Molinete. Here is every term I wish someone had explained to me. 42 words, plain English, no jargon about the jargon.
A
Abrazo
ah-BRAH-soThe embrace — the way partners hold each other while dancing. In close embrace (abrazo cerrado), chests touch. In open embrace (abrazo abierto), there is space between the torsos. The quality of the abrazo defines the quality of the dance.
Adorno
ah-DOR-noA decoration or embellishment — a small, non-led movement added by the follower (or leader) for musical expression. Foot taps, toe flicks, and leg wraps are all adornos.
Arrastre
ah-RRAS-trehA dragging movement where one partner's foot sweeps or drags the other's foot along the floor.
B
Barrida
bah-REE-dahA sweep — the leader's foot appears to push the follower's foot across the floor. In reality, the follower moves voluntarily; the contact is decorative, not forceful.
Boleo
bo-LEH-ohA whip-like movement of the follower's free leg, caused by a sudden change of direction in the lead. Can be high (the leg flies up) or low (the foot stays near the floor). Low boleos are preferred in crowded milongas.
C
Cabeceo
cah-beh-SEH-ohThe traditional way to invite someone to dance: eye contact across the room, followed by a nod. If the other person nods back, you walk over. If they look away, no harm done — nobody is publicly rejected. The cabeceo is the foundation of milonga etiquette.
Cadena
cah-DEH-nahA chain — a sequence where partners take turns stepping over or around each other's legs, creating a weaving pattern.
Calesita
cah-leh-SEE-tahA carousel — the leader walks in a circle around the follower, who pivots in place on one foot. A beautiful figure that works well with lyrical music.
Cambio de peso
CAHM-bee-oh deh PEH-soA weight change — shifting from one foot to the other without taking a step. One of the first things you learn in tango and one of the most useful.
Caminata
cah-mee-NAH-tahThe walk — the most fundamental element of tango. Two people walking together in embrace. Great dancers make the walk look effortless and musical. A beautiful caminata is worth more than a hundred fancy figures.
Colgada
col-GAH-dahA figure where both partners lean away from each other, connected by their arms, creating a shared axis. Requires trust and good technique.
Cortina
cor-TEE-nahA short musical interlude (30-60 seconds) played between tandas. The cortina signals that the current set is over and dancers should return to their seats. It is considered rude to stay on the floor during a cortina.
Cruce
CROO-sehThe cross — a position where the follower crosses one foot in front of the other, typically the left foot crossing in front of the right. One of the first patterns beginners learn.
Cunita
coo-NEE-tahA small rocking motion — the couple rocks forward and back without advancing, like a cradle (cuna). Useful for pausing in tight spaces or marking time musically.
E
Enrosque
en-ROS-kehA corkscrew — the leader wraps one foot behind the other ankle while pivoting, creating a spiraling motion. An adorno for the leader.
Enganche
en-GAHN-chehA hook — one partner hooks their leg around the other's leg. Similar to a gancho but with a wrapping rather than a kicking action.
Entrada
en-TRAH-dahAn entry — the leader steps between the follower's feet. Also called a sacada when it displaces the follower's leg.
G
Gancho
GAHN-choA hook — a sharp, hooking movement where one partner's leg wraps around the other's leg and snaps back. Dramatic and fun, but should only be done when there is plenty of space.
Giro
HEE-roA turn — the follower walks around the leader in a circle, using a specific pattern of steps (forward, side, back, side). One of the core building blocks of tango vocabulary.
L
Lapiz
LAH-peesPencil — the dancer draws circles or patterns on the floor with the toe of the free foot. A musical embellishment.
Lustrada
loos-TRAH-dahA shoe-shine — one partner brushes their foot up and down the other's leg or shoe, as if polishing it. A playful adorno.
M
Milonga
mee-LONG-ahThree meanings: (1) A social tango dance event, the place where tango lives. (2) A style of music that is faster and more rhythmic than tango. (3) The dance done to milonga music — more playful, less dramatic than tango.
Milonguero/a
mee-long-GEH-roA person who frequents milongas — a dedicated social tango dancer. Being called a milonguero/a is a compliment; it means you are part of the tango community, not just a student.
Molinete
mo-lee-NEH-tehA windmill — another name for the giro pattern (forward-side-back-side steps around the leader). The term is used interchangeably with giro in many communities.
Mordida
mor-DEE-dahA bite — the leader traps the follower's foot between both of their feet. Also called a sandwich.
O
Ocho
OH-choA figure-eight traced on the floor by the follower's feet. Forward ochos (stepping forward with a pivot) and back ochos (stepping backward with a pivot) are fundamental tango movements taught in every beginner class.
Ocho cortado
OH-cho cor-TAH-doA cut eight — an ocho that is interrupted and redirected. The follower begins an ocho but is led to change direction before completing it. A staple of milonguero-style tango.
P
Parada
pah-RAH-dahA stop — the leader blocks the follower's foot with their own, creating a pause. Usually followed by a sandwich or a step-over.
Pasada
pah-SAH-dahA step-over — the follower steps over the leader's foot after a parada. Can be done elegantly forward, sideways, or with an adorno.
Planeo
plah-NEH-ohA glide — the follower extends one leg and glides it in a sweeping arc while pivoting on the other foot. A dramatic, beautiful movement for spacious moments.
Practica
PRAC-tee-cahAn informal practice session where dancers work on technique, try new things, and dance without the social formality of a milonga. Practicas are the best place for beginners to get comfortable.
R
Rebote
reh-BOH-tehA bounce or rebound — a quick change of direction, like bouncing off a wall. The couple steps in one direction and immediately reverses.
Ronda
RON-dahThe line of dance — couples move counterclockwise around the floor in lanes. Respecting the ronda is essential floorcraft. Never cut across the floor, walk backward against traffic, or block the flow.
S
Sacada
sah-CAH-dahA displacement — the leader steps into the space occupied by the follower's leg, causing the follower's free leg to swing out. Looks dramatic but is actually gentle when done correctly.
Salida
sah-LEE-dahThe opening sequence of a tango — literally 'exit' (as in leaving your standing position). The basic salida is the first pattern most beginners learn: a series of steps that ends in the cross.
Sandwich
Also called mordida. The leader places both feet on either side of the follower's foot, 'sandwiching' it. A common figure after a parada.
Sentada
sen-TAH-dahA sitting figure — the follower sits briefly on the leader's thigh. Primarily a stage/performance figure, rarely used in social tango.
T
Tanda
TAHN-dahA set of 3-4 songs of the same style and orchestra, played in sequence at a milonga. You dance the entire tanda with one partner, then the cortina plays and you return to your seat. Leaving a partner mid-tanda is considered very rude.
Traspie
trahs-pee-EHA quick double-time step — syncopation with your feet. Used to play with the rhythm of the music, especially in milonga and vals.
V
Vals
vahlsArgentine tango waltz — danced to waltz-time (3/4) tango music. The feel is lighter, more flowing, and more romantic than tango. The couple glides and turns rather than pausing dramatically.
Volcada
vol-CAH-dahA figure where the follower leans into the leader, creating a shared off-axis position. The opposite of a colgada (leaning away). Requires a strong, confident lead.
Z
Zapatazo
sah-pah-TAH-soA foot stomp — a sharp, rhythmic strike of the foot on the floor, often at the end of a phrase. An adorno for the leader that punctuates the music.
Frequently Asked Questions
What is a cabeceo in tango?
The cabeceo is the traditional way to invite someone to dance at a milonga. You make eye contact across the room, and if the other person nods in agreement, you walk over. If they look away, no one is publicly rejected. It is the foundation of milonga etiquette.
What is a tanda and cortina?
A tanda is a set of 3-4 songs played together at a milonga, all from the same orchestra and style. You dance the entire tanda with one partner. A cortina is a short musical interlude between tandas that signals the set is over and dancers should return to their seats.
What is the difference between tango, vals, and milonga music?
Tango is in 4/4 time and can be dramatic, lyrical, or rhythmic. Vals (tango waltz) is in 3/4 time and has a lighter, flowing quality. Milonga is faster and more rhythmic, with a playful, upbeat feel. A typical milonga event plays all three styles in rotating tandas.
What does ronda mean in tango?
The ronda is the line of dance — couples move counterclockwise around the floor in lanes. Following the ronda is essential floorcraft etiquette. You should never cut across the floor, walk backward against the flow, or block other couples.
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