Ana Sayfa >> Tango Hakkýnda >> Tango Terimleri
TANGO TERÝMLERÝ
| ÝSPANYOLCA | ÝNGÝLÝZCE | AÇIKLAMA | |
| CABECEO | From cabeza; head: Traditional technique for selecting dance partners from a distance at the milongas in Buenos Aires by using eye contact and head movements. See also Codigos. | ||
| CADENA | CHAIN | Same Movement done several times continuously in a circular motion | |
| CADENCIA | RHYTHM | Any steps done in a rhythm of syncopation. 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 in place and in time with the music done by the man before beginning a dance to give the lady the rhythm he intends to dance and to ensure that she will begin with him on the correct foot. See 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. | |
| CALECITA | CAROUSEL | Merry go round, happens at the quebrada | |
| CAMINAR, CAMINADA | WALK | To walk; important part of Argentine tango dancing | |
| CAMINANDO (Caminar) VALSIADO | A crossing and walking step which the man initiates at 3 of basico 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 natural opposite). The man returns to outside right position and either continues the figure or walks the lady to the cross. May be danced in tango or vals. | ||
| CANDOMBE | 1. A type of dance danced by (originally) the descendants of black
slaves in the Rio de la Plata region. 2. A type of african-origin music with a marked rhythm played on a "tamboril" (kind of drum) 3. The place where the blacks congregated to dance. |
||
| CANGREJO | THE CRAB | A repetitive pattern of walking steps and or sacadas in which the man advances turned nearly sideways to his partner. | |
| CANTE | SING | ||
| CANYENGUE | 1. Arrabalero, of low social status. 2. A way of interpreting or dancing tango 3. A reunion (party) where the people from the arrabal (the slums) dance. 4. The sound obtained from the double bass when the strings are hit rhytmically with the hand and the bow. |
||
| CARANCANFUNFA, 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 Adorno, Firulete, and Lustrada. | |
| CAROUSEL | The lead steps in a circle around the follower - keeping them on their own axis | ||
| CARPA | THE TENT | A figure created when the man leads the lady onto one foot as in calecita and then steps back away from her, causing her to lean at an angle from her foot to his frame. | |
| CASTIGADA | PUNISHMENT | A lofting 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 adorno prior to stepping forward, as in parada or in ochos. | |
| CHICHE | Small ornamental beats done around the supporting foot with the working foot in time with the music, either in front or in back as desired. See adorno, firulete | ||
| CINTURA | THE WAIST | ||
| CLUB STYLE | See Milonguero Style. | ||
| CODIGOS | CODES | Refers to the codes of behavior and the techniques for finding a dance partner in the milongas in Buenos Aires. See Cabeceo. | |
| COLGADA | HANGING | He steps away from his partner leaving her in a hanging position (leaning) when she cannot move from one spot on the floor.
This is only for those who have strong backs and is for exhibition or stage performances. A colgado has no place in social tango since it stops the flow of dancing. Unless you are pursuing a stage career or have been asked to be a Gavito stand-in, you can forget it. |
|
| COLGAR | TO HANG | ||
| COMPADRE | A responsible, brave, well behaved, and honorable man of the working class who dresses well and is very Macho. | ||
| COMPADRITO | Dandy; hooligan; street punk; ruffian: They invented the Tango. | ||
| COMPAS | BEAT | as in the beat of the music. | |
| CONFITERIA BAILABLE | A café like establishment with a nice atmosphere where one can purchase refreshments and dance tango. A nice place to meet friends or a date for dancing. | ||
| CONFITERIA STYLE | May refer to a smooth and simple Salon Style as in Tango Liso or to Milonguero Style. | ||
| CORRIDA (correr) | RUN | run, implies a short sequence of forward steps, rather than a basic | |
| 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, then pivot to face each other as they step together. May be repeated as desired. | ||
| CORTE | CUT | Cutting the music either by syncopating or by holding several beats. Quartas | |
| CORTINA | CURTAIN | A brief musical interlude between tandas at a milonga. | |
| CRUZADA | CROSSING | To cross - left foot over right | |
| CROSSED FEET | Occurs whenever the couple are stepping together on his and her right feet and then on his and her left feet, regardless of direction. The opposite of parallel feet. | ||
| CUADRADO | A square; A box step: Used mostly in Milonga and Club or Canyengue style tango. See Baldosa. | ||
| 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 like a boleo, or it can be used, at the lady’s discretion, in place of a gancho or as an adornment after a gancho. See Amague. | ||
| CUCHARITA | 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. | |
| CUEORPO | BODY, TORSO | ||
| CUNITA | CRADLE | A forward and backward rocking step done in time with the music and with or without chiches, which is useful for marking time or changing direction in a small space. This movement may be turned to the left or right, danced with either the left or right leg forward, and repeated as desired. See Hamaca. |
Pronunciation Key:
In Buenos Aires ‘ll’ or ’y’ is pronounced ‘zh’, almost an English
‘j’;
a ‘qu’ sounds like the ‘c’ in cat;
a ‘z’ is pronounced like ‘s’;
and a Spanish ‘j’ is a hard, throaty ‘h’ sound.