10 Tango Steps You Must Know To Speak Tango
Argentine tango is often compared to a conversation — and for good reason.
While tango doesn’t necessarily use any verbal language, many of its aspects and features point to a constant state of interaction.
The dance becomes the medium of exchange, and the steps represent a dialogue not only between two dancers but also between individuals and their environment.
The blog In Search of Tango offers an explanation for this phenomenon:
“Most people do not think of tango as a language, but in fact tango is a language, which can be taught, learned, understood, and used to convey intentions, feelings, musicality, and movement traits such as step type, variation, size, direction, speed, pause, syncopation, rhythm, etc. [...]”
“Like any language, tango has its own alphabet, vocabulary, grammar, and composition. The body parts, including the head, arms, hands, torso, waist, hips, legs, and feet, can be seen as the alphabet of tango. We use these elements to make movements or steps, which are the tango vocabulary. Musicality and communication are like grammar, according to which steps are improvised to form a dance. Choreography is the composition of the dance.”
In a way, tango being compared to a conversation can make it easier to learn. After all, different people from different cultures can enjoy a good conversation when they speak a common language.
Tango can be considered a universal language that requires the same amount of diligent study as any of its verbal counterparts.
A post from Contact Milonguero describes the similarities between studying tango and studying language:
“As with language, before you can interact physically with another body, you need to do some preparatory work. You need to get a sense of how your own body moves and some of its possibilities through some drill and repetition.”
Thus, if one wants to study the language of tango, it pays to know at least 10 steps to speak its “language.”
Getting acquainted with and practicing the following steps can help beginners gain fluency in tango, while more advanced dancers can further improve their knowledge and repertoire:
1. Basic to the Cross
The Basic to the Cross, also known as the Basic 8-Count to the Cross, is often one of the first lessons taught in tango schools. Teaching methods may vary between instructors, but
this step generally involves a sequence of eight steps that begins with the leader.
Traditionally, the Basic to the Cross begins with a back step, but because of space limitations — especially in milongas — instructors may choose to completely forego the back step or suggest taking a smaller back step to avoid colliding with other dancers.
This video from Howcast demonstrates how to do the Basic to the Cross from the individual perspectives of both the leader and the follower, and then together. Whether one is practicing alone or with a partner, this video can be a helpful reference.
2. Baldosa
The Baldosa — or the Short Basic — is a sequence similar to the 8-Count Basic, except it doesn’t include the cross step.
This sequence likely resulted from the space limitations in many of Buenos Aires’ dance halls.
This 12-second video from Basispas Argentijnse Tango shows two variations of the baldosa — one with a silent step and the other with a back step.
3. Ocho
Ocho — which means “eight” in Spanish — is a basic move in tango that is typically taught starting with two variations: the forward ocho and the back ocho.
Most lessons about ocho begin after students have become acquainted with the Basic to the Cross sequence.
Individual posts from Fredosaurus provide simple definitions for both the forward ocho and the back ocho:
● Forward ocho: Also known as front ocho, ocho adelante, or inside ocho, the forward ocho “consists of a front cross step (follower steps between and perpendicular to the line between the partners), followed by a half-turn pivot to repeat a front cross with the other foot in the opposite direction.”
● Back ocho: Also known as backward ocho, ocho atrás, or outside ocho, this step “consists of a back cross step (follower steps perpendicular to the line between the partners), followed by a half-turn pivot to repeat a back cross with the other foot in the opposite direction.” Simply put, the back ocho is a reverse of the forward ocho, but it’s more difficult to follow.
Because ochos involve pivots, having good balance is a must. Learning the ochos simply through description may prove to be confusing, so it’s best to refer to some video tutorials that can demonstrate how forward and back ochos can be done effectively. Consider these videos from Tango Space when it comes to practicing the two basic ocho variations:
How to do the forward ocho
Tango Technique: 5 tips to practice the back ocho correctly (follower technique)
4. Giro and Molinete
In Argentine tango, giros and molinetes typically go together. Not only are they essential steps, but they also allow dancers to exercise numerous variations that can be done with other dance steps. The list of terminologies from Tango Argentino de Tejas provides definitions for the giro and molinete:
● “Giro — Turn: A turning step or figure
● “Molinete — Windmill; wheel: A figure in which the lady dances a grapevine on a circumference around the man, stepping side-back-side-forward using forward and back ocho technique and footwork, as the man pivots at the center of the figure. This is a very common figure in tango which challenges both the man and the lady to maintain good posture, balance, and technique in order to perform it well. One of the central codes of tango.”
A more advanced version of the molinete is called the molinete con sacadas, which opens up many possible combinations. In this step, the leader moves into the follower’s space by displacing the latter’s leg. After which, the leader pivots on a new center to face the follower as the latter continues to move around the leader.
On the other hand, giros — which are also called grapevines — can be done either clockwise or counterclockwise. According to Fredosaurus, “When a half molinete (medio giro) is danced and the direction is reversed at the end with a front ocho, it is typically called a media luna (half moon).”
5. Barrida
Argentine Tango Lab defines the barrida as a “sweeping motion
[…] One partner’s foot sweeps the other’s foot and places it without losing contact. Barridas are done from either the outside or the inside of the foot of the receiving party.”
Often, the barrida is closely connected to the arrastre, which is a dragging motion. When combined with walking, a barrida can result in a llevar, which the same post defines as “to transport; a carry; to take with. [It] 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.”
Like other tango steps, the barrida can open opportunities for fun, creative combinations to flourish.
The sacada is the term used for when one dancer’s leg or foot is displaced by their partner’s leg or foot. The parada will be discussed further down.
This instructional video from Howcast can get beginners started on how to do giros and molinetes.
how to combine the sacada and barrida
how to combine the parada and the barrida.
6. Sanguchito
Though it might seem like a mouthful, the sanguchito — or sandwich — is another basic step in tango.
Students typically get acquainted with the sanguchito after they have learned the Basic to the Cross, and the forward and back ochos. An alternative term for sanguchito is mordida.
Explaining the sanguchito, Endre Tango states:
“The name [sanguchito] comes from the position of the feet. As soon as you understand why, you have half-learned the step! …[T]he [follower’s] foot is in between the two feet of the leader, forming a sandwich. The position can be changed, in this case the leader’s foot is positioned in between the two feet of the [follower].”
Helpful reference videos to further study this technique include:
Tango Steps: How to do the Sandwich — Tips and technique from Miriam Leonardo Tango
Tango interactions » Sanguchitos — from simple to creative from Tanguito, Argentine Tango Academy
7. Parada and Pasada
Paradas and pasadas are one letter away from being interchanged with each other, but these two are different steps that often go together.
Notes from Fredosaurus define paradas and pasadas as such:
“The parada (stop) is a figure unique to tango. The leader places a foot against a follower's foot and leads them to stop. There are a number of places this can be done, choices of feet, choices in sides of feet to use, etc.
“A pasada (stepover) often follows a parada. The follower steps over the leader's foot that is making the parada, most often to come in front of the leader.”
The most common combinations for paradas and pasadas can either start from the forward ocho or a back ocho with sanguchito.
Depending on one’s skill level, here are some video references that can help in further understanding and practice of paradas and pasadas:
Tango Elements: walk to the parada from Los Angeles Tango Academy
Paradas-Pasadas & Embellishments - Do's & Don'ts - Mini Practice ( #59) from Tango Practice by Vanessa Gauch
Tango axis » Pasadas and paradas from Tanguito, Argentine Tango Academy
8. Boleo
Boleos are embellishments often done either from a back ocho or a forward ocho.
While this can look like an easy move to accomplish, boleos require balance and control. Escuela Tangoba defines boleos as follows:
“Since our legs move like pendulums, a back and forth movement of the leg without change of weight is possible. We call this ‘boleo.’ This pendular movement of the free of weight leg is more often combined with the spiral movement of the leg described above in relation to pivoting.”
The most common boleo tend to be boleos from back ochos, which are often done by followers.
This video from Howcast demonstrates the cooperation needed between leader and follower when attempting an elegant boleo.
9. Calesita
Calesita — which means “carousel” — is a more intermediate step.
Endre Tango elaborates on the calesita:
“There are numerous ways to get into this figure: from side steps, forward steps or from different step combinations. In calesita, the man slightly ‘lifts’ the woman and walks around her. The actual execution depends on style and technique and a number of other factors: how much does the man soften the step with his breathing? How much does he ‘lift’ the woman? To what extent is the woman standing on her own axis and to what extent is she leaning on the man? These all lead to different calesitas!”
A versatile step, the calesita can lead to many variations.
This video from Helen Wang Tango shows different types of calesita that can be learned.
10. Cruzada
The cruzada, or cross, is simply defined by So Tango as such:
“A cruzada occurs anytime a foot is crossed in front or in back of the other.”
To properly perform the cruzada, timing and balance are crucial as it involves shifting weight or crossing on a beat.
This video from Tangology 101 explores the cruzada in the first part of a three-part video series.
The Universal Language of Tango
As with most conversations, tango requires an honest and open exchange between both parties.
The beauty of tango’s language lies in the fact that improvisation is what makes it exciting and enjoyable. Nothing is orchestrated, yet beauty and elegance are always possible.
By knowing some of the basic steps, one can learn the universal language of tango and share it with others.