C
Cabeceo (see also Codigos)
From la cabeza (f) -- head: Traditional technique for selecting dance partners from a distance at the milongas in Buenos Aires by using eye contact and head movements.
The cabeceo makes the invitation to dance less stressful as it allows the invited person to decline discretely.
Non-verbal cues are frequently used. So, as you are getting ready to ask someone to dance, try to catch their eye, smile and nod. You might raise your eyebrows in an inquiring expression or directing a nod towards the dance floor. Observe their body language. For instance, if you make eye-contact and the other person quickly turns away, pretends not to see you, or busies themselves in some way, it means they do not want to dance. On the other hand, if your potential partner returns your eye-contact with a smile and/or a nod, you are encouraged to invite them verbally (ie. "would you like to dance?").
When inviting a person who is in the presence of their significant other, it is courteous to ask their significant other for permission. Be friendly but not flirtatious and avoid dance moves that are sexually suggestive. Avoid monopolizing anyone’s partner with multiple tandas (see Tanda in The Tango Dictionary).
Cadena
The chain; enchainement: Three or four steps involving change of direction that repeats itself. An athletic and very theatrical turning figure which moves rapidly across the floor turning left, in which the couple alternate amagues (cuatros) or ganchos. Another variation involves the man stepping outside left in crossed feet and leading the lady in a change of direction to keep her in front of him as he turns to the left, alternately going around her and bringing her around him.
Cadencia (f)
Cadence, rhythm. 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, also Calesita (f)
Carousel; A movement in which the man leans the lady's axis on his and steps around her placing all his steps equidistant to her supporting leg. If he steps further away from her supporting leg during the calesita it creates a deeper angle and is often called Carpa (tent). Sometimes referred to as the Stork when the lady’s leg is lifted in the cuatro position.
Calle (f)
Street
Caminada
The walking steps; a walking step.
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.
Caminar
To walk: The walk is similar to a natural walking step, but placing the ball of the foot first instead of the heel. Sometimes taught that the body and leg must move as a unit so that the body is in balance over the forward foot. Another style requires stretching the working leg, placing the foot, and then taking the body over the new supporting foot regardless of direction. Walks should be practiced both forward and backward for balance, fluidity, and cat like gracefulness.
Candombe
A type of dance originally danced by the descendants of black slaves in the Rio de la Plata region and still performed in Montevideo, Uruguay. Music of African origin with a marked rhythm played on a "tamboril" (a kind of drum). It survives today as a rhythmic background to certain milongas such as Azabache by Miguel Caló, Carnavalito by Lucio Demare, Estampa del 800 by Francisco Canaro and the very popular recordings by Juan Carlos Cacérès.
Cangrejo
The crab: A repetitive pattern of walking steps and or sacadas in which the man advances turned nearly sideways to his partner.
Cantar
To sing
Canyengue
A very old style of tango from the 1900s to the 1940s. The music from this era had a faster or peppier 2/4 tempo so the dance had a rhythmic flavor similar to that of modern milonga. A very close embrace was used as well as some unique posture and footwork elements. The tango of the arrabal. A lunfardo word with several meanings. It refers to somebody or something from the slums, i.e. 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. Finally, it is a rhythmic effect created by Leopoldo Thompson by hitting the string of the contrabass with the hand or the arch of the bow.
Cara (f)
Face
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 Adorno, 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 as in calecita and then steps back away from her, causing her to lean at an angle from her foot to his frame. See Inclinada, Puente.
Castigada
From castigar: to punish; a 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.
Cierre
A three step sequence that ends with both feet together. Referred to as steps 6-7-8 (see Basico).
Cintura (f)
Waist
Club Style
See Milonguero Style.
Codo (m)
Elbow
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 (f)
A hanger - when the follower's axis is tilted (away from the leader). 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
A responsible, brave, well-behaved, and honourable man of the working class who dresses well and is very macho.
Compadrito
Dandy; hooligan; street punk; ruffian: They invented the Tango.
Compás (m)
Beat, as in the beat of the music. The walking count or impulse of each measure, the simplest element of each piece of music. See Ritmo.
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.
Conventillo
Boarding houses in the suburbs of Buenos Aires in which the immigrant population was housed. It consisted of many rooms around a central courtyard with a common cooking area. The space for Saturday night “jam sessions” and dances where the milonga and the tango were born. The cradle of Milonga!
Corazon (m)
Heart
Corrida
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, then pivot to face each other as they step together. May be repeated as desired.
Corte (m)
Cut: In tango, corte means cutting the music either by syncopating, or by holding for several beats. May refer to a position in which the torso is erect over a flexed supporting leg with the working leg extended forward to a pointe with the knees together which the man assumes when touching the lady’s foot with his in parada. The lady moves to the same position from parada as the man closes over her working foot in mordida, and pivots on her supporting foot in this position whenever the man leads an outside barrida. May also refer to a variety of dramatic poses featuring erect posture, flexed supporting legs, and extended dance lines by both dancers, used as a finale. See Quartas.
Cortina
Curtain: A brief musical interlude between tandas at a milonga.
Contrapaso
A step produced when you lock one foot behind the other. For instance right foot steps forward, left foot locks behind right. Now right foot steps forward again. This can be done in single or double time, in one instance or repetitively. Also see Rabona and Traspie.
Crossed Feet
Or cross step: 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.
Cruce
Crossed: positions where the legs are crossed such as after a back step.
Cruzada (f)
From cruzar - to cross; the cross: A cruzada occurs any time a foot is crossed in front of or in back of the other. The lady’s position at 5 of the 8 count basic. May also be called Trabada.
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
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; 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.
