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TANGO TERÝMLERÝ
| ÝSPANYOLCA | ÝNGÝLÝZCE | AÇIKLAMA | |
| TANDA | A set of dance music, usually three to five songs, of the same dance in similar style, if not by the same orquesta. 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 Codigos, Cortina. | ||
| TANGO | 1. Popular music from the Rio de la Plata region dating back to
the middle of the XIX century. It was defined by a 2 x 4 beat until
the decade of the '20s in the XX century, and a 4 x 8 beat thereafter. 2. A type of african-origin music with a marked rhythm played on a "tamboril" (kind of drum). dance where an embraced couple perform a series of (sometimes intricate) patterns primarily with their legs, to the rhythm of tango music 3. Direct descendant of the Candombe, Habanera, Milonga, and (by some tango scholars) the Tango Andaluz. 4. The place where the blacks congregated to dance to the rhythm of drums. (Note: entire books and lives have been dedicated to the search for the ultimate definition or origin of the word "tango", i.e., this is only a minimal subset of the available definitions.) |
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| TANGO LISO | A way of dancing tango characterized by its lack of fancy figures or patterns. Only the most "basic" tango steps and figures are utilized, e.g., caminadas, ochos, molinetes, etc. Ganchos, sacadas, boleos and other fancy moves (such as leaps, sentadas, and all acrobatics in general) are not done. | ||
| TANGO DE SALON | 1. A way of dancing tango characterized by slow measured moves.
It includes all of the "basic" tango steps and figures plus some sacadas,
giros, and low boleos. The emphasis is on precision. The dancing couple
remains at a "proper" distance from each other, i.e., their bodies
are *not* in a close embrace. This is what happened to the tango when
the French and the English got a hold of it in the early part of the
century (pre-World War I) :^) This is the style of dance that most
people who run milongas wish people did, and the style most dancers
wish the *other* dancers did... :^) 2. The terms 'Tango de Salon' and 'Tango Milonguero' seem to be interpreted differently by different dancers and teacher, so one should be aware that other people might think of something different when they talk about 'Tango de Salon' |
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| TANGO DANZA | TANGO DANCE | ||
| TANGO FOR EXPORT | A way of dancing tango much derided by the milongueros of Buenos Aires. It's a tango without soul. This is a tango that plays well in the cabarets of Paris, New York, Berlin, or Tokyo because most of what made it a Porte~no dance (one that spoke directly to the soul of the Argentino) has been stripped away, leaving only the fancy moves and pseudo passion for the enjoyment of an exotic- loving public. | ||
| TANGO FANTASIA | This a hybrid tango. An amalgam of traditional tango steps and ballet, ballroom, gymnastics, ice-skating figures, etc. This is what most people see when they buy tickets for a tango show. The moves include all of the basic tango moves plus, ganchos, sacadas, boleos of every kind, sentadas, kicks, leaps, spins, and anything else that the choreographer and the performers think they can get away with. The music played might not even be a "real" tango, i.e., it can be Jazz, a bastardized classical piece, etc. Alas, this is the style of dancing most prevalent at the milongas outside of the Rio de la Plata region. Usually badly performed by ill-behaved tango dancers and frustrated tango performers who insist in getting their money's worth at the milonga even if they have to kick, step, bump into, or trip every other dancer on the floor. | ||
| TANGO ORILLERO | Orillero means "of the outskirts". Thus, this was a style of dancing tango that was "outside" of the prevalent way of dancing. Nowadays, is more defined by its quick moves, kicks, and acrobatics | ||
| TANGUERO (femine TANGUERA) | Refers to anyone who is deeply and seriously passionate about any part of tango, such as its history, music, lyrics, etc. In Argentina most tangueros are scholars, of lunfardo, music, orchestrations, Gardel, etc. One can be a tanguero without being a milonguero and a milonguero without being a tanguero (very few milongueros would be referred to as tangueros). And of course one can be an extremely good tango dancer without being either, such as stage dancers, who are quite disdained by real milongueros and tangueros, unless they go the extra distance and become milongueros by going to the milongas, and/or tangueros as well. An aficionado. | ||
| 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. May also refer to a figure in which the man steps forward in outside position (left or right) caressing the outside of the lady’s leg with his leg (as in 3 of basico), then crosses behind himself which pushes the lady’s leg to cross in front. May also refer to a jumping step from 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 pausa. | |
| TRABADA | TRAPPED | To lock. A cruzada - also called lock step | |
| TRASPIE | TRIPLE STEP | Cross Foot. A walking step with a syncopated cross. Using two beats of music the dancer does step-cross-step beginning with either foot and moving in any direction. See rabona. |
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.