(Continued) Tango Dictionary - letter L-M-N-O

L – tango, dictionary of terms

Lápiz pencil 

Same as Rulo 

Latigazo whipping 

The whipping action of the leg during a boleo.

Lento slow 

In tango, refers to a dance or music that has a slow beat.

Liso smooth 

1. A smooth dance.
2. Tango Liso was the early term for Tango de Salon.

Llevada carrying 

Executed when when the lead uses his thigh or foot to carry the follower's leg to the next step.

Lunfardo

Buenos Aires slang. Many of the words are now used for tango.

Lustrada polish 

An embellishment executed by the follower lifting her free leg and caressing the supporting leg of the lead - either in an upward action, downwards, or very commonly both. The inside or outside of any part of the lead's leg, including his foot, may be caressed.

M – tango, dictionary of terms

Marcar mark 

To lead.

Media Luna half moon 

A half turn - the man creates a back, side, and forward for the women which makes the shape of a half moon.

Media Vuelta half turn 

Same as media luna 

Milonga 

1. The meeting place to dance tango.
2. A fast paced form of the tango with 2/4 beat.

Milonguero 

1. A tango fanatic, a person whose life revolves around tango, a title given to someone who has mastered tango.
2. Another name for Apilado style of tango - see for Apilado

Milonguita

An affectionate name for a woman attending a milonga.

Mina bird 

An informal name in Lunfardo for a woman.

Molinete windmill 

The woman dances around the man side-back-side-forward using forward and backwards ochos.

Mordida bite 

Same as Sandwich 

N – tango, dictionary of terms

Neo-Tango

A new form of the genre, with evolved music, embraces and moves. It consists of Tango Fusion (collaboration between contemporary tango and other music such as electronica) and Alternative Tango (non-tango music danced to Argentine tango steps).

Nuevo new tango 

1. A style of music, invented by Astor Piazzolla around 1955, that combines the sound of traditional tango with jazz.
2. A term coined around the mid 1990s to describe a style of tango dancing infused with new combinations of steps, embraces, combinations, changes of directions, use of the loose embrace, and the exploration of the space between the legs and around the body of the partner.

O – tango, dictionary of terms

Ocho eight 

The basic turn in tango, executed by a turn that is first one way, then reversed, wherein the torso is disassociated from the top of the body. An ocho can be either forward (Ocho Defrente) or backward (Ocho Para Atrás).

Ocho Cortado cut eight 

Performed when the action of the turn is interrupted and reversed. Upon reversal, the leader displaces the follower's space and pivots the follower, who then executes a cruzada (cross). Note that despite the name of this step, generally it is not the ocho that is interrupted but other turns such as the milonete.

Orillero

1. The historical outskirts of Buones Aires.
2. A style of tango synonymous with Canyengue. See Canyengue on this page.

Orquesta orchestra 

In tango, this is the orchestra playing the music. In the Golden Age of tango, the band was often referred to as the

Orquesta Tipica.

TANGO - CHILDREN - Important for docents sometime watch children world..

World Cup Argentine Tango, Italy Rimini category Children 02

(Continued) Tango Dictionary - Letters F-G-H-I-J

F – tango, dictionary of terms

Fanfarrón fanfare 

An embellishments in which the foot is rhythmically tapped in time to the music. It is also called Chiche.

Fantasia show tango

Same as Show Tango 

Faroliito small lantern 

Same as rulo 

Firulete embellishment

Same as Adorno 

Freno brake 

To stop on a step.

G – tango, dictionary of terms

Gancho hook 

The action of hooking one leg around the partner's leg.

Garcha screw-up 

A lunfardo term indicating bad luck or screw-up. In tango this refers to taking a bad step causing a collision.

Gaucho 

The Argentine Cowboy central to the development of tango.

Giro turn 

The turn in tango, generally performed by the follower stepping around the lead, who pivots in the centre.

Golden Age

The Golden Age of tango is the period between the 1930s and 1950s, when tango was at the peak of its popularity. 

Golpecito tap 

The golpecito is the most basic type of embellishment in tango, in which the free foot does one or more taps as part of a step or during a pause. It has a number of variations including the Punto, the Golpeteo, the Fanfarron, the Picado and the Zapatato.

Golpeo strike 

Same as Punto 

Golpeteo drumming 

This is embellishment in which lead or follower taps the underside of the free foot - in other words the heel or the ball.

Grelas woman

A Lunfardo term for woman.

Guapo handsome 

A handsome and desirable man. Also denotes a compadre

H – tango, dictionary of terms

Habanera 

An Afro-Cuban dance which contributed to tango.

Hamaca hammock 

Same as Cunita 

I – tango, dictionary of terms

Inclinado inclined 

Same as Apilado 

intrusión intrusion 

The intrusión is executed by briefly placing the free foot between the partner's legs, often in the form of a 'quick kick'.

It takes two to tango. A phrase, coined as a result of the 1952 song by Al Hoffman and Dick Manning named Takes Two to Tango, implying that some activity cannot be successfully completed unless both parties are united in a common objective.

Izquierda left

The left side of the body.

J – tango, dictionary of terms

Junta close 

The essence of elegant tango is ankles and knees that pass by each other closely between each step.

Just for your relax and -why not?- having idea on what to do Saturday evening!

Tango as a science to be studied, not only to be danced

Alla luce di migliaia di studi e ricerche fatte in campo della danza, tra i quali la ricerca sull'utilizzo del Tango come terapia per l'autismo, la depressione e il morbo di Parkinson, possiamo dire che mai come in questo caso una danza ha suscitato così vasto e profondo interesse. In questo posto vogliamo evidenziare un passo del lavoro di ricerca svolto dal Dipartimento di Matematica e Informatica dell'Università di Palermo (Sicilia, Italia), nella quale è stato studiato il movimento dei ballerini da un punti di vista geometrico. 

Torneremo spesso su questo argomento, assieme alla ricerca della Columbia University sulla valutazione di usare il Tango in talune affezioni psico-motorie.

Questo ballo esprime amore e passione ed è caratterizzato dalla “vicinanza dei ballerini”, dal “controllo dell’uomo” e dalla “seduzione della donna”. I ballerini eseguono le figure dalla vita in giù cercando un’interessante interazione tra di loro.

Questa interazione tra i partner è dettata dalla musica. I ballerini dovrebbero interpretarla mostrando la melodia attraverso il loro movimento. La bellezza del Tango nasce dall’osservare una coppia che balla, con una buona posizione, una buona estensione delle gambe, con i piedi che quasi sempre si accarezzano e accarezzano il pavimento, che si muove o si ferma all’interno delle note musicali, con un senso del ritmo che dovrebbe essere chiaro a coloro che guardano.

L’armonia della coppia deve essere percepita, dagli osservatori, come frutto di spontaneità e non come risultato di elaborazioni artificiose. Perché ciò avvenga la musica deve essere sentita e vissuta dai due partners come il ritmo di una passionalità interiore, autenticamente esplosiva ma pur sempre interpretata secondo i canoni della danza sportiva.

La musica e la passionalità del tango oltre che l’emozione legata alla presenza dell’uomo e della donna sono gli elementi primari utili al coinvolgimento dello spettatore attraverso un viaggio sensibile che lo induce ad “apprendere per imitazione”. L’evoluzione ha permesso che nel nostro cervello fosse presente un meccanismo imitativo in grado di reagire ai movimenti eseguiti da altri esseri umani e di copiarli, incamerandone lo schema motorio. In alcune aree cerebrali deputate al movimento alcuni neuroni (neuroni specchio) si attivano quando noi osserviamo gli altri compiere un movimento, anche quando non abbiamo nessuna intenzione di muoverci. Essi permettono di ripercorrere i movimenti appena visti, anche se non sono mai stati fatti, all’interno di sequenze motorie ben definite.

In the light of thousands of studies and researches done in the field of dance, such as research in the use of the Tango as a therapy for autism, depression and Parkinson's disease, we can say that never as in this case has a dance aroused so vast and deep interest. In this place we want to highlight a passage from the research work carried out by the Department of Mathematics and Computer Science of the University of Palermo (Sicily, Italy), in which has been investigated movement of the dancers from a geometrical point of view.

We will come back often on this topic, together with the research at Columbia University on the evaluation of the use Tango in certain psycho-motor disorders.

This dance expresses love and passion and is characterized by the "proximity of dancers ", the" human control "and the" seduction of women. " The dancers running the figures from the waist down looking for interesting interaction between them. 

This interaction between partners is dictated by the music. The dancers should show interprets the melody through their movement. The beauty of the Tango comes from observing a couple dancing, with a good location, good extension of the legs, feet which almost always fondle and caress the floor, moving or stops within musical notes, with a sense of rhythm that should be clear to those who look.

The harmony of the couple must be perceived by observers as the result of spontaneity and not as a result of artificial processing. For this to happen the Music has to be felt and lived by the two partners as the pace of an inner passion, truly explosive but still interpreted according to the canons of the dance sport. 

The music and the passion of the tango as well as the emotion related to the presence men and women are the primary elements useful to the involvement of sensitive viewer through a journey that leads him to "learn to imitate ". The evolution has allowed that in our brain, there was an imitative mechanism capable of reacting to the movements executed by other human beings and copying, copying the motor schema. In some brain areas to move some neurons (mirror neurons) are activated when we observe the others make a move, even when we have no intention of move. They allow to trace the movements just seen, though not They have never been made, within well-defined motor sequences.

(Continued) Tango Dictionary - Today letter D and E

D – tango, dictionary of terms

Dedo finger 

The finger of the tango dancer.

Derecha right 

The right side of the body or the dance.

Derecho upright 

To stand upright.

Despacio slowly 

A slowing of music or dance.

Desplazamiento displacement 

Same as sacada 

Dibujo sketch 

Same as Rulo 

Doble Tiempo double time 

Tango danced at twice the musical beat.

E – tango, dictionary of terms

Eight Count Basic

The basic step sequence - also known as the 8CB - is taught to beginner-level students:
1. lead backward R during follower forward L
2. lead side L during follower side R
3. lead forward R (outside R) during follower backward L
4. lead forward L during follower backward R
5. lead feet together (1/2 step) during follower cross L over R
6. lead forward L during follower backward R
7. lead side R during follower side L
8. lead closes his L to his R while follower closes her R to her L
Steps 1 through 3 (sometimes 1 through 5) are known as the salida. Steps 3 through 5 are known as 'walking the follower to the cross'. Steps 6 through 8 are known as resolución.

Eje axis 

The physical axis of the dancer, along which the posture and balance are formed. Both lead and follower have their own axis, though in certain styles of tango the axes may align into the one.

Elevada elevated 

Dancing without keeping the feet close to the floor. This was the style in the early 1900s when tango was danced on dirt surfaces and on cobble stone. When tango went to smooth surfaces, such as polished wood, dancers began to 'caress the floor'.

Embutido inlaid work 

A foot swinging behind other foot.

Enganche hook 

Same as gancho .

Enroscar corkscrew 

The man pivots on his supporting leg whilst his free leg is either held behind him, or is hooked onto his working leg. Generally performed as the follower executes a molinete.

Entrada entrance 

The man puts his leg between the woman's legs, without moving her or causing her to shift weight.

Entregar surrender 

Denotes that the follower has surrendered herself to the lead.

Espalda back 

The back of the dancer.

Espejo mirror 

Executed when the lead and follower do mirror image steps of each other.

Maurizio El Tano e Carla Tango canyengue

Tango on street Emiliano arriba en todo el mundo!

STREET TANGO PER IL NEPAL - PIAZZA DUOMO MILANO

WE PROCEED WITH TANGO DICTIONARY, EVERY DAY ONE LETTER - TODAY LETTER "C "

C – tango, dictionary of terms

Cabeceo invitation 

A non-verbal invitation to dance from man to woman - the man looks at the woman and indicates with a movement of his head that he would like to dance; if she accepts she will move towards him, if she refuses she will look away.

Cabeza head 

The head of the dancer.

Cadena chain 

A turning figure in which the man steps 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.

Cadencia rhythm 

1. A series of forward-and-left series of steps executed by the lead to to change direction, usually to avoid collisions.
2. A subtle shift of weight to and fro at the start of a dance to synchronize on rhythm and ensure both dancers begin on the correct foot.

Caída fall 

Executed by the lead such that he steps backward and crosses his free leg in front of the supporting leg without a weight transfer, while the follower is led to the outside position to cross her free leg behind her supporting leg also without a weight transfer.

Calesita carousel, merry-go-round 

The lead ensures the follower is upright on her axis, and dances around her whilst she pivots on her supporting leg. The follower's free leg is generally held in the Cuatro position.

Cambio change 

The lead executes a cambio when he pivots both feet in the same direction (either clockwise or anticlockwise), usually as the follower performs a molinete. Often called Cambio de Frente (Change of Front).

 Caminada walk 

Series of steps that walk forward.

Caminado Valseado carried walk

A sequence of steps, as part of step 3 of the Eight Count Basic (see it), wherein the lead steps forward right, forward left and continues the the follower to the cross.

Caminar to walk Similar to a natural step, with the ball of the foot placed first instead of the heel; the body is in balance over the forward foot.

Candombe 

A drum based dance which originated from the descendants of black slaves in the Rio de la Plata region and still performed today.

Cangrejo crab 

A pattern of dance steps where the lead advances turned nearly sideways to the follower.

Canyengue 

An old-guard style of tango from the early 1900s, still danced today.

Carancanfun

Dance of tango with many interruptions or cortes.

Caricia caress 

Stroking with the leg or shoe part of the partner's body.

Carpa tent 

Same as Apilado 

Castigada seduction 

An embellishment in which the follower caresses her supporting leg with her free leg.

Chiche delicate ornament 

An embellishment in which small beats are executed by the free foot in time with the music.

Cintura waist 

The waist of the tango dancer.

Código code 

The code of behavior, such as cabeceo, in the milongas of Buenos Aires.

Colgada hanging 

Fast turns which takes the woman off her axis or plays with her axis.

Compadre honorable man

A responsible, macho and honorable working class man.

Compadrito punk

A street punk. Compadritos originally invented the tango.

Compás beat 

The musical beat to which tango is danced to.

Connection

A beautiful and sensual communication between lead and follower, established during a tango dance when everything fits just right: the music, the style, the rhythm, the ambience. In a milonga situation, all tango dancers strive for this.

Contrapaso contra step 

A step in which one foot is locked behind the other.

Corrida run 

A syncopated walk which will look like a run. The dancers take a series of short double-time steps so the feet appear to run while the bodies move at the same pace.

Corrida Garabito covered run 

A milonga step in which the couple alternately step between each other.  

Corte cut 

A sudden turn in direction, generally done by holding for several beats (or syncopating) - often in a back-and-forth action to double time.

Cortina curtain 

A musical interlude in between a tanda at a milonga.

Contrapaso backstep 

Cross System

A dance in which the man steps in the same way as the women (right foot to right, left to left).

Cruzada cross 

Executed when a step leads to the free foot being crossed in front of or in back of the supporting foot, almost always by the follower.

Cuadrado square 

Cuatro four 

An embellishment in which the follower flicks one of her lower legs backwards, keeping her knees together, creating a numeral 4 in profile.

Cucharita spoon 

The lifting of the follower's foot with a gentle scooping motion. Usually led in forward ochos to create a flicking motion of the follower's leg.

Cuerpo body 

The body of the tango dancer.

Cunita crib 

The rocking back and forth that can be done in order to mark time or change direction.

Un ottimo esempio di Milonga Candombe!

This is an example of cadombe modified....

Una delicata performance di Canyengue

Second part of Tango Dictionary

B – tango, dictionary of terms

Bailamos shall we dance?

A question a man may ask of a follower: shall we dance?.

Bailar dance 

The tango dance itself.

Bailarín dancer 

1. A term for any dancer.
2. A very accomplished dancer.

Bailongo local dance 

A Lunfardo word for a milonga.

 Balanceo rocking 

Same as Cadencia 

Baldosa floor tile 

A step sequence in the shape of a square.

Bandoneón 

An accordion-like musical instrument to create the mournful sound of modern tango music.

Barrida sweep 

The foot (normally of the woman) is swept with a swift movement - interchangeable with the terms Arrastre and Llevada.

Barrio neighbourhood 

A district or neighbourhood.

Básico basic 

The basic tango pattern, the most common of which is the 8-count basic.

Bicicleta bicycle 

A circular movement of the feet executed by the lead.

Bien Parado well stood

Elegant posture.

Bloque block

A step where the motion of one dancer's feet are blocked by the other dancer. Normally executed by the lead.

Boleo whip 

The women’s ocho is swiftly changed direction, producing a whip action from her leg.

Brazo arm 

The arm of the tango dancer.