Tango Terminology

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A

Abrazo - The embrace.

Adorno - Adornment, embellishment. Also see firulete.

Aficionado ­­- Amateur enthusiast, an admirer or follower; a devotee or a fan of something.

Agujas - Needles: An adornment for the man done with the working foot vertical with the toe into the floor while pivoting inside a molinete.

Al costado - To the side.

Amague - from amago – threat: An amague is used as an embellishment either led or done on one’s own, and may be used before taking a step.  An example of an amague may be a beat (frappé) before taking a step.  See cuatro.          

Apilado Style - Piled on: As used in tango, the reference is to the way a jockey is ‘piled on’ his horse, when racing—hugging the neck.  See milonguero style.

Arrabal - The poor outlying area (slums).

Arrastre - From arrastrar - to drag.  See also barrida.

Arrepentida - Repentant; To change one’s mind: A family of steps which allow a couple to back away from a collision or traffic jam in a minimal amount of space and on short notice.

Atrás - Backward.

B

Bailar - To dance.

Bailarin - A professional or very accomplished dancer.

Bailongo - A  lunfardo word to describe a place where people dance, i.e. a milonga.

Balanceo - A deep check and replace. See also cadencia.

Baldosa - A walking box figure named after the black & white checkerboard tile floors which are common in Buenos Aires.  See also cuadrado.

Barrida - A sweep - a sweeping motion: One partner’s foot sweeps the other’s foot without losing contact. Barridas are done from either the outside or the inside of the foot. The technique is different for the inside and outside barridas. See also arrastre  and levada. 

Bandoneón - An accordion like musical instrument adopted by tango musicians to create the mournful and soulful sound of modern tango music.

Barrio - A district or neighbourhood.

Basico - Basic pattern.  There are several basic patterns, the most common of which is the ‘basic eight’.

Bicicleta - Bicycle: A circular movement of both the followers and leaders foot led by the man in the vertical plane with the couples feet pressed together as in a barrida.

Bien Parado - ‘Well stood’, standing straight up elegantly and with good axis. See also pinta,  postura.

Boleo - from bolear - To throw: a boleo may be executed either high or low.  Keeping the knees together, with one leg back, swivel and return on the supporting leg with a whip like action of the working leg.  Sometimes spelled voleo.  See latigaze.

Brazos - Arms.

C

Cabeceo - from cabeza - head: Traditional technique for selecting dance partners from a distance at a milonga in Buenos Aires by using eye contact and head movements.  See also codiges.

Cadena - The chain: An athletic and very theatrical turning figure which moves rapidly across the floor turning left or right, in which the couple alternate   amagues, cuatros or  ganchos. Another variation involves the man stepping outside left or right in crossed feet and leading the lady in a change of direction to keep her in front of him as he turns, alternately going around her and bringing her around him. 

Cadencia — A deep check and replace, usually led by the man as he steps forward left.  Useful for avoiding collisions and making direction changes in small spaces.  May also refer to a subtle shifting of weight from foot to foot on the spot and in time with the music. Done by the man before beginning a dance to give the lady the rhythm he intends to dance too and to ensure that she will begin with him on the correct foot.  See also balanceo.

Caida - Fall: A step in which the man steps backward, sinks on his supporting leg and crosses his working leg in front without weight while leading the lady to step forward in outside position, sink on her supporting leg and cross her working leg behind without weight.  Caida may be done to either side.

Calesita - Little Carousel - the merry-go-round: A figure in which the man places the lady on one foot with a lifting action of his frame and then dances around her while keeping her centred and pivoting on her supporting leg. Sometimes referred to as the ‘ when the lady’s leg is lifted in the cuatro position.

Cambio - Change: as in ‘cambio parejas’ - change partners.

Caminada - Walking step or steps.

Caminando (Caminar) Valsiado - A crossing and walking step which the man initiates on step 3 of the ‘basic eight’ as he steps forward right in outside right position, pivoting to his right on his right foot and leading the lady to pivot on her left foot, stepping side left (side right for the lady) and drawing his right leg under him with weight (the lady mirroring with her left). The man then steps forward left in outside left position, pivoting to the left on his left foot, stepping side right and drawing his left foot under him with weight (as the lady dances the opposite). The man returns to the outside right position and either continues the figure or walks the lady into the cross. 

Caminar - To walk: The walk is similar to a natural walking step, but placing the ball of the foot first instead of the heel.

Cangrejo - The crab: A repetitive pattern of walking steps and or sacadas in which the man advances turned nearly sideways to his partner.

Canyengue - A very old style of tango from the 1900s to the 1940s. The music from this era had a faster 2/4 tempo so the dance had a rhythmic flavour similar to that in the milonga.  A very close embrace was used as well as some unique posture and footwork elements.

Carancanfunfa (also carancanfun): In the lingo of the compadritos, the dance of tango with interruptions (cortes) and also those who dance it that way in a very skillful manner.

Caricias - Caresses: A gentle stroking with the leg or shoe against some part of the partner's body.  They can be subtle or extravagant.  See also adome, firulete, and lustrada.

Carousel - A term used for molinete con sacadas to the man’s left, the lady’s right with  ochos and or ocho cortado to exit.     

Carpa - The tent: A figure created when the man leads the lady onto one foot such as at the end of calesita and then steps back away from her, causing her to lean at an angle from her foot towards his frame. See inclinada, puente. 

Castigada - from castigar - to punish or a punishment: A lifting of the lady's working leg followed by flexing at the knee and caressing the working foot down the outside of the supporting leg.  Often done as an adomo prior to stepping forward, as in parada or in ochos.

Chiches - Small ornamental beats done around the supporting foot with the working foot in time with the music, either in front or behind. See also adomo and firulete.

Cintura - Waist. 

Codigos - Codes: Refers to the codes of behavior and the techniques for finding a dance partner in a milonga in Buenos Aires. Civility, respectfulness, and consideration are the hallmarks of the true and dedicated milonguero. See also cabeceo.

Colgada - A spinning move executed by a couple at the end of an inside barrida in which both dancers lean out away from each other and spin rapidly until the man leads out with a back step.

Compadre – Buddy - A trustworthy, brave, and honourable man from the working class who dresses well and is also very macho. 

Compadrito – A dandy, a street punk or ruffian.  It was they who invented the Tango.

Compás - Beat, as in the beat of the music. See also ritmo.

Confiteria Bailable - A café like establishment where one can buy refreshments and dance tango.

Corrida - (also: corridita - a little run) from correr: to run.  A short sequence of running steps.

Corrida Garabito - A milonga step in which the couple alternately step through between each other, the man with his right leg and the lady mirroring with her left in  espejo, then pivoting to face each other as they step together and  may be repeated as desired.

Corte - Cut: In tango, corte means cutting the music either by syncopating or by holding for several beats. 

Cortina - Curtain: A brief musical interlude between tantas (sets of three songs) at a milonga. 

Contrapaso - A step produced by locking one foot behind the other.  For example, right foot steps forward, left foot locks behind right, now right foot steps forward again.  This can be done in single or double time, just once or repetitively. Also see rabona and traspie.

Crossed Feet - Occurs whenever the couple are dancing on right or left foot at the same time as each other regardless of the direction of dance, the opposite of 'parallel feet'. 

Cruzada - The cross: A cruzada occurs any time a foot is crossed in front or behind the other.  The lady’s position on step 5 of the ‘basic eight’ is a cross; it may also be called trabada.  

Cuadrado - A square; a box step, used mainly in  milonga. See also baldosa.

Cuartas - Poses: Dance stances held as dramatic flourishes at the end of a song.  Large dramatic poses are used for stage or fantasia tango, smaller softer versions occasionally in salon style. See also corta.  gancho.

Cuatro - A figure created when the lady flicks her lower leg up the outside of the opposite leg, keeping her knees together, and briefly creating a numeral 4 in profile.  This can be led with a sacada or with an arrested rotational lead such as with the boleo or it can be used at the lady’s discretion in place of a gancho. or as an adornment after a  gancho. See also amague.   

Cucharita - the spoon.  A lifting of the lady’s foot with a gentle scooping motion by the man’s foot to the lady’s shoe, usually led during forward ochos to create a flicking motion of the lady’s leg.

Cuerpo - Body or torso. 

Cunita - Cradle: A forward and backward rocking motion or 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.  See also hamaca. 

D

Dedo - Toe or finger.

Derecha - Right (the opposite of left). 

Derecho - Erect, straight, forward.  See also postura.

Desplazamiento - Displacement: Displacing the partner’s leg or foot using one’s own leg or foot.  See also sacada. 

Dibujo – Drawing or sketch: A dibujo is done by drawing circles or other small movements on the floor with one’s toe.  See also firulete, lapiz and rulo.

E

Eje - Axis or balance. See also postura.

Elevadas - Dancing without keeping the feet on the floor. This was the style before the turn of century when tango was danced on dirt surfaces in the patios of tenements, low-class taverns, and on the cobble stone streets. Once tango went upmarket enough to be danced on wooden, tiled or marble floors the dancers began to dance 'caressing the floor' with their feet. Characteristic of canyengue or orillero-style tango.

Embutido - Filler or inlay: one foot swinging behind other foot after an enrosque.

Enganche - Hooking or coupling; the little hook: Occurs when a partner wraps a leg around the other’s leg or uses a foot to catch and hold the other’s foot or ankle.

Enrosque - From enroscar - to coil or twist: While the lady dances a molinete, the man pivots on his supporting foot, hooking or coiling the working leg behind or around the supporting leg. 

Entrada - Entrance: Occurs when a dancer steps forward or otherwise enters the space between their partner’s legs without displacement.

Entregarme - Surrender: To give oneself up to the leader’s lead. 

Espejo - Mirror: To mirror the movement of ones partner as in"ochos en espejo", a figure where the man and woman both do forward ochos at the same time.

F

Fanfarron - A rhythmic tapping or stomping of the foot in time with the music for dramatic and emotional effect. Boisterous behaviour. See also golpecitos.

Firulete - An adornment; a decoration; an embellishment: Complicated or syncopated movements which dancers use to demonstrate their skill and to interpret the music. See also adomo and lapiz.

Freno - To stop and hold; brake. 

G

Gancho - Hook: Done by a dancer hooking a leg around and in contact with their partner’s leg, performed by flexing and releasing the knee with a sharp staccato movement. May be performed to the inside or outside of either leg and by either partner.

Giro - Turn: A turning step or figure performed clock-wise or anti-clockwise.

Golpecitos - Little toe taps: Rhythmic tapping done with a flat foot on the ball or underside of the toe as an adomo. See also fanarron and zapatazo.

Golpes - Toe taps: With a tilted foot tap the floor with the toe and allow the lower leg to rebound keeping the knees together.  See picados and punteo.

Grelas - A ‘lunfardo’ term for woman. See also mina.

Guapo – Handsome or good looking: A respectable and desirable man, a  compadre.

H

Habanera - A side together; side together stepping action entered with a side chasse, commonly used by the man as he leads back ochos for the lady in crossed feet.  An Afro-Cuban dance from the mid-19th century which contributed to tango.

Hamaca - Another term for  cunita. 

I

Inclinada - Tilt, tilting. See also carpa and puente.

Izquierda - Left. (A la izquierda: on the left).  

J

Junta - from juntar - to join or bring together : In tango bringing one’s feet or knees together. 

L

Lapiz - Pencil: The tracing of circular motions on the floor with the toe or inside edge of the working foot, while turning or waiting on the supporting foot. These may vary from small adornments done while marking time to large sweeping arcs which precede the lady as she moves around the man in molinete.  See also dibujo, firulete and rulo.

Latigazo - Whipping. Describes a whipping action of the leg as in a boleo.

Latigo - The whip; also used to describe the whipping action of the leg in boleo. to front or back when led with energy and speed.  See also latigazo and boleo.

Lento — Slowly. 

Liso - Smooth, as in  Tango Liso, an early term for Tango de Salon.

Llevada - From llevar - to transport; to carry; to take: Occurs when the man uses the upper thigh or foot to ‘carry’ the lady’s leg to the next step.  Barridas interspersed with walking steps in which the man takes the lady with him across the floor.

Lunfardo - A colorful slang of the Buenos Aires underworld which is common in tango lyrics and terminology. It refers to somebody or something from the slums, i.e. of low class. It also describes a gathering where people from the slums dance.  It is also a certain way to perform or dance the tango with a slum attitude. 

Lustrada - From lustrar - to shine or polish; the shoe shine: A stroking of the man’s pant leg with a shoe. May be done by the lady or by the man to himself but is never done to the lady.

M

Marcar or Marca, from Marque: To plot a course, to guide or to lead. La marca is the lead.

Media Luna - Half moon: A sequence of steps (usually forward and back ochos) danced in a semi-circle (half moon) and performed by the woman around the man.

Media Vuelta - Half turn: Usually done when the man’s right foot and the lady’s left foot are free. The man steps forward outside right (step 3 of the basic eight), leading the lady to step back left and collect, then side right across his centre, and forward left around him as he shifts weight first to his centre, then onto his right foot as he pivots on both feet half turn with his partner, the lady pivoting on her left foot. Media Vuelta is used by itself to change direction or manoeuvre on the dance floor and as an entrance to many combinations.

Milonga - Refers  to the music written in 2/4 time, to the dance which preceded the tango, to the dance salon where people go to dance tango or to a social tango party/dance. 

Milonguero - (feminine; Milonguera) - Refers to those frequenting the  milongas from the early 1900s to the present who are tango fanatics or a person whose life revolves around dancing tango and the philosophy of tango.

Milonguero Cross - A step in which the man leads the lady to step side left around him, reverses before she completes the step and leads her back into the cross, also known as ochos cortados.

Milonguero Style - A style of dancing; danced in a very close embrace with full upper body contact, the dancers leaning into each other (but never hanging on each other) while using simple walking and turning steps, also referred to as confitena style, club style and apilado style.

Milonguita - Possibly an affectionate diminutive for the milonga.  Milonguita was also a name used for the young girls brought from Eastern Europe to South America at the beginning of the ninetieth century with the promise of marrying a rich Argentinean, also the poor girls from the conventillos, all of whom ended up as a hostesses or prostitutes in the tango bars. 

Mina - A'lunfardo' word for woman.  See also grelas, paicas and pebeta.

Mira - From mirar - to look; to see; to observe or to  take notice:  ¡Mira! -  Look at this! 

Molinete – Windmill or wheel: A figure in which the lady dances around the man, stepping side-back-side-forward using forward and back ochos as the man pivots at the centre of the figure. 

Molinete con Sacadas - An exciting and more complicated form of molinete ‘with sacadas’, in which the man steps into the lady’s space, displacing her leg with his and pivots on a new centre to face her as she continues around him.

Mordida - The little bite; from morder - to bite: One partner’s foot is sandwiched or trapped between the others feet.  If the other partner’s feet are also crossed it may be referred to as Reverse Mordida, sometimes called  El sandwich or sanguchito.

Mordida Alto - A variation of mordida in which a dancer catches their partners knee between their own knees. 

O

Ocho – Eight; Figure eights: A crossing and pivoting figure executed as a walking step while pivoting, ochos may be danced either forward or backward.  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.

Ocho Cortado - Cut eight; change of direction: Occurs when a  molinete or an ocho- like movement is stopped and sent back upon itself.  This is typical in salon style tango where many such brakes are used to avoid collisions.  It describes a movement done on either foot, pivoting forward of backward and going either left or right. 

Ocho Defrente - Ocho to the front; Forward ocho.

Ocho para Atrás - Ocho to the back; Back ocho.

Ochos Cortados - Cut eights: A common figure in   Milonguero - or Salon style tango which is designed to allow interpretation of rhythmic music while dancing in a confined space. See milonguero cross.

Ochos en Espejo - Ochos in the mirror: The man and the lady execute forward or back ochos simultaneously, mirroring each others movement.

Orillero - Outskirts; suburbs. 

Orillero Style - The style of dance which is danced in the suburbs of Buenos Aires, characterized by the man doing many quick syncopated foot moves and even jumps. See also seguidillas.

Orquesta - Orchestra: A large tango band such as those of the ‘Golden Age’ of tango; often referred to as ‘Orquesta Tipica’.

Otra vez - Another time; repeat; do again. 

P

Paicas - A 'lunfardo' word for girl.  See also mina and pebeta.

Palanca – Lever or leverage: Describes the subtle assisting of the lady by the leader during jumps or lifts in tango fantasia (stage tango).   

Parada - From parar - to stop; a stop: The man stops the lady, usually as she steps back in back ochos or molinete, with inward pressure at the lady’s back and with a slight downward push, preventing further movement. When properly led the lady stops with her feet extended apart, front and back and her weight centred. The man may also extend his foot to touch her forward foot as an additional cue and element of style or he may pivot and step back to mirror her position.

Parallel Feet or Parallel System - The natural condition when a couple dance in an embrace facing each other, the man stepping on his left, the lady on her right foot, and so on and so forth; the opposite of ‘Crossed Feet’ or ‘Crossed System’.

Parejas - Couple: The two partners in a tango. 

Pasada - Passing over. Occurs when the man has stopped the lady with foot contact and leads her to step forward over his extended foot. Used frequently at the end of  molinete or after a mordida. The lady may, at her discretion, step over the man’s foot or trace her toe on the floor around the front. Pasada provides the most common opportunity for the lady to add  adomos or firuletes of her own. 

Paso - A step.

Patada - A kick. 

Pausa - Pause; wait: Hold a position or pose for two or more beats of music.  See also titubeo.

Pebeta - A  'lunfardo' word for a young woman or girl.  See also  mina or paicas.

Pecho - Chest.

Picados - A flicking upward of the heel when turning or stepping forward. Usually done as an advanced embellishment to ochos or when walking forward.  See also golpes.

Pie - Foot. 

Pierna - Leg.

Pinta — Appearance; presentation: Includes clothes, grooming, posture, expression, and manner of speaking and relating to the world.  See also bien parado.

Pisar - to step. 

Pista - The dance floor. 

Planchadoras - The women who sit all night at the milongas without being asked to dance.  The main reason for this is because they don't know how to dance well enough. The lyrics of one tango song actually says "let them learn as a consequence of sitting all night".  

Planeo – Pivot or glide: Occurs when the man steps forward, usually onto his left foot and pivots with the other leg trailing (gliding behind) as the lady dances an additional step or two around him. May also occur when the man stops the lady in mid stride with a slight downward lead and dances around her while pivoting her on the supporting leg as her extended leg either trails or leads.

Porteño (feminine; Porteña) - An inhabitant of the port city of Buenos Aires.

Postura – Posture.

Potranca - A young female racehorse: Sometimes used to refer to a beautiful long-legged Argentine woman.

Práctica - An informal practice session for tango dancers. 

Puente - Bridge; See also carpa and inclinada.

 Punteo - Point; with the point; peck: Rhythmic toe taps to the floor done with the toe or point of the shoe while the foot is moving over the floor in a sweeping movement as in boleo or planeo. See also  golpes.

Q

Quebrada - Break; broken: A position where the lady stands on one foot with the other foot hanging relaxed behind the supporting foot; sometimes seen with the lady hanging with most of her weight against the man.  Also a position in which the dancer’s upper body and hips are rotated in opposition to each other with the working leg flexed inward creating a broken dance line. 

R

Rabona - A walking step with a syncopated cross. Done forward or backward the dancer steps on a beat, quickly closes the other foot in cruzada, and steps again on the next beat. See also contrapaso and traspie.

Resolución – Resolution: An ending to a basic pattern such as in steps 6, 7, and 8 of the basic eight.

Ritmo - Rhythm: Refers to the more complex rhythmic structure of the music which includes the beat or   compas as well as the more defining elements of the song.  See also compas.

 Rodillas - Knees. 

Ronda - (La ronda) Line or direction of dance: Refers to the etiquette of dancing in the line of dance by moving counter clockwise around the dance floor, and using concentric lanes in the traffic to facilitate dancing in close proximity with one another. See also codigos. 

Rulo - A curl: Used frequently at the end of molinete when the man, executing a  lapiz or  firulete ahead of the lady, curls his foot in around the lady and extends it quickly to touch her foot; an older term for lapiz.

S

Sacada - The most common term for a displacement of a leg or foot by the partner’s leg or foot. It occurs when a dancer displaces the partner’s leg by placing their foot or leg against the leg of their partner transferring weight to their own leg and moving into the space of their partner’s leg. See also desplazamiento.

Salida - from salir - to exit; to go out: The first steps of a dance, derived from “¿Salimos a bailar?” (Shall we go onto to the dance floor and dance?) 

Salida de Gato – (exit of the cat). A variation on the basico in which the man steps side left, forward right outside the lady, diagonal forward left, and crossing behind right with a lead for forward ochos for the lady.  The lady is led to step side right, back left, diagonal back right, and crossing forward left, beginning ochos on her left foot.  This figure enters ochos without using  cruzada.

Saltito - Little jump. 

Sandwiche - See mordida.

Sanguchito - See mordida.

Seguidillas - Tiny quick steps, usually seen in orillero style. They may also be called corridas.

Seguir - To follow.  

Sentada - from sentar: to sit. A sitting action; A family of figures in which the lady creates either the illusion of sitting in or actually sits on the man’s leg. Frequently used as a dramatic flourish at the end of a dance.

Stork - Refers to a position of the lady where the working leg is held with the lower leg lifted and horizontal in a figure four or cuatro position. See Calesita. 

Suave - Smooth, steady and gentle, soft, stylish. 

Suelo - Floor.

Syncopation – (Spanish – Sincope): A musical term adopted by dancers but used in a way which is technically incorrect musically and leads to endless arguments between dancers and musicians. Musically it refers to an unexpected or unusual accenting of the beats such as the two and four beats of swing music, rather than the more common accent on one and three beats. Dancers have come to use the term to describe cutting the beat or stepping on the half-beat.

Sube y Baja - Literally, to go up and down: A milonga step in which the couple dance forward-together and back-together in the outside right position with a pendulum action of the hips. See also Ven y Va.

T

Tanda - A set of three to five pieces of tango dance music, of similar style, if not by the same orchestra played at milongas. The tandas are separated by a brief interlude of non-tango music called a ‘cortina’ (or curtain) during which couples select each other. It is customary to dance the entire tanda with the same partner unless the man is rude or very disappointing as a dance partner, in which case the lady may say gracias (thank you) and leave. See also Codigos and Cortina.

Tango - Popular music from the Rio de la Plata region of Argentina and Uruguay dating back to 1885-95, defined by a 2/4 rhythm until the 1920s when a 4/4 rhythm became common.  From the music it became a popular dance in the mid-19th century and it is said to descend from the Candombe, Habanera, Milonga, and, according to some tango scholars, the Tango Andaluz.  The exact origins of Tango are somewhat of a mystery. 

Tango de Salon - a tango style characterized by slow, measured, and smoothly executed moves. It includes all of the basic tango steps and figures including sacadas, giros and boleos.  The emphasis is on precision, smoothness, and elegant dance lines. The couple do not embrace as closely as in older styles of tango and the embrace is flexible, opening slightly to make room for various figures and closing again for support and poise. 

  Tango Fantasia or Show Tango - This is a hybrid tango, an amalgam of traditional tango steps, ballet, ballroom, and gymnastics etc. There is no following or leading, it is all choreographed. This is what you will see when you buy tickets for a tango show. 

Tango Liso - smooth tango: A way of dancing tango characterized by its lack of fancy figures or patterns. Only the most basic tango steps and figures, such as caminadas, ochos, molinetes, etc, are used. Boleos, ganchos, sacadas, sentadas, other fancy moves and acrobatics are not performed. It is a very early term for Tango de Salon.

Tanguero - (feminine; Tanguera) Refers to anyone who is passionate about any part of tango, such as its history, music, lyrics, etc.  In Argentina most tangueros are scholars of lunfardo, music, orchestrations etc. One can be a tanguero without being a milonguero and a milonguero without being a tanguero.

Tijera - Scissor: A movement usually danced by the man in which an extended leg is withdrawn and crossed in front of the supporting leg without weight so that it remains free for the next step or movement. It may also refer to a figure in which the man steps forward in an outside position (left or right) caressing the outside of the lady’s leg with his leg (as in step 3 of the basic eight) then crosses behind himself which pushes the lady’s leg to cross in front. May also refer to a jumping step from tango fantasia (stage tango) where the lady swings her legs up and over with the second leg going up as the first leg is coming down (frequently seen as an aerial entry to sentadas).

Titubeo - Hesitation. See also Pausa.

Trabada - Another term for cruzada.

Traspie - Cross foot or triple step: A walking step with a syncopated cross. Using two beats of music the dancer performs step-cross-step beginning with either foot and moving in any direction. See also Contrapaso and Rabona.

Truco - Literally, trick or stunt: May be used to describe fancy athletic movements in addition to lifts for stage tango.

V

Vals - Argentine waltz: Sometimes known to as Vals Criollo, or Vals Cruzada.

Vareador - from horse racing: a man who walks the horses but is never allowed to ride them. In tango it refers to a man who dances and flirts with all the ladies but never gets involved with anyone. May also refer to a man who is a clumsy or inconsiderate lead who might just as well be walking a horse.

Vén y Va - Come and go.  See also Sube y Baja.

Viborita - The little snake: A figure in which the man places his right leg between his partners legs and takes a sacada to first her left and then her right legs in succession using a back and forth slithering motion of the right leg and foot.

Volcada - from Volcar - to tip-over or to capsize; a falling step: The leader causes the follower to tilt or lean forward and fall off her axis before he catches her again.  The process produces a beautiful leg drop from her.  The movement requires the support of a close embrace.

Voleo - see Boleo.

Y

Y – And.

Yumba - A phonetic expression that describes the dramatic and driving musical accent of a moderate or slow tempo tango, this is characteristic of the music of Osvaldo Pugliese; 'La yumba' is a tango created by Osvaldo Pugliese in 1946.

Z

Zapatos - Shoes.

Zapatazo - Shoe taps: A dancer taps their own shoes together.  See Adorno,  Fanfarron, and Golpecitos. 

Zarandeo - A vigorous shake to and fro; a swing; a push to and fro; to strut about:  In tango, it is swinging back and forth, pivoting on the spot on one foot in time with the music.