• Cabeceó - (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. The Mirada is the meeting of the eyes. See Milonga, Confitería Bailable, Bailongo, Bailar, Ronda, Práctica, Orquesta, Piso, Pista, Bandoneón, Parejas, Abrazo, Pinta, Postura, Bien Parado, Códigos, Cortina, Bailamos and Tanda.

• Cabestrante (Winch) - A variation of Giro Inverso in Gold Vals.

• Cadena (Chain) - Key Pattern 6 in Bronze Milonga. Commonly refered to as the grapevine. Sometimes an athletic and very theatrical turning figure which moves rapidly across the floor turning left or right, in which the couple alternate Amagues (Cuatros) or Ganchos. Another variation involves the man stepping outside left or right in crossed feet and leading the woman in a change of direction to keep her in front of him as he turns, alternately going around her and bringing her around him.

• Cadencia (Cadence) - Key Pattern 3 in Bronze Tango. A deep check and replace, usually led by the man as he steps forward left, turning left. But can also be done as he steps forward with his right, turning right. 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 woman the rhythm he intends to dance and to ensure that she will begin with him on the correct foot. See Balanceo.

• Caída (La Caída) (The Fall) - Key Pattern 9 in Bronze Milonga. Also 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 woman to step forward in outside position, sink on her supporting leg and cross her working leg behind without weight. La Caida may be done to either side.

• Caiga (Drop Back) - A variation of Caminadita in Silver Pecho.

• Calesita (Carousel) - A variation of Mordida in Silver Pecho. A figure in which the man places the woman on one foot with a lifting action of his body and then dances around her while keeping her centered over, and pivoting on, her supporting leg. Sometimes referred to as the Stork when the woman’s leg is lifted in the Cuatro position. Can go either direction - Left or Right.

• Cambalache (Swap) - A variation of Caminadita in Gold Pecho.

• Cambio De Frente Antihorario (Change of Front Counterclockwise) - Key Pattern 9 in Gold Milonga.

• Cambio De Frente en Sentido (Change of Front Clockwise) - Key Pattern 10 in Gold Milonga.

• Cambio de Pies (Change of Feet)

• Cambio De Peso (Change of Weight) - Key Pattern 1 in Silver Milonga

• Cambio de Rumbo (Change of Courses) - Key Pattern 4 in Gold Vals. One from the forward Ocho, and one from the reverse Ocho. This figure interrupts the woman’s Ocho and leads her into a new direction by transferring the axis from the man to the woman.

• Camina de Costado (Side Walk) - A variation of Triple in Gold Vals.

• Caminada - The walking steps; a walking step. See Caminar, Contra Body Movement, Contra Body Movement Position, Corridata, Cross System, Elevadas,Entregarme, Giro, Junta, Lento, Liso, Marcar, Mira, Otra Vez, Parallel Feet, Paso, Pisar, Puente, Seguir and Suave.

• Caminata (Walk) - Key Pattern 5 in Bronze Tango. Forward walks with focus on inside steps and placing foot before weighting.

• Caminata Enganchada (Hooked Walk) - A variation of Caminando Para Atrás in Gold Tango.
Caminata Interna and Externa (Walk Internal and External) - A variation of Caminata in Bronze Tango and Caminando Valseando in Bronze Vals.

• Caminata Cruzada (Cross Walk) - Key Pattern 2 in Silver Tango.

• Caminadita (Clipped Walking) - Key Pattern 5 in Bronze Pecho.

• Caminando (Walking Rotation) - A variation of Giro Básico in Silver Pecho.

• Caminando Para Atrás (Walking Backward) - Key Pattern 1 in Gold Tango.

• Caminando (Caminar) Valsiado - A crossing and walking step which the man initiates at 3 of the 8-count basic as he steps forward right in outside right position, pivoting to his right on his right foot and leading the woman to pivot on her left foot, stepping side left (side right for the woman) and drawing his right leg under him with weight (the woman 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 woman dances the natural opposite). The man returns to outside right position and either continues the figure or walks the woman 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. See Caminada, Contra Body Movement, Contra Body Movement Position, Corridata, Cross System, Elevadas, Entregarme, Giro, Junta, Lento, Liso, Marcar, Mira, Otra Vez, Parallel System, Paso, Pisar, Puente, Seguir and Suave.

• Cangrejo (Crab) - A variation of Ocho Cruzada in Gold Milonga. A repetitive pattern of walking steps and or Sacadas in which the man advances turned nearly sideways to his partner.

• Cantor - Taking two steps in one measure of Vals. Reverse cantor is steping both on the first and second beats. Triple cantor is stepping on all three beats.

• Carena (Careen) - A variation of Cambio de Frente de Sentido in Gold Milonga.

• 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, Amague, Caricias, Carpa, Castigada, Chiche, Conclusion, Contrapaso, Cuartas, Cuatro, Cucharita, Dibujo, Elevación, Entrada, Fanfarron, Firulete, Frappé, Friccion, Gancho, Golpes, Latigo, Patada, Pausa, Picados, Punteo, Resolution, Ronde, Sacada, Salida, Saltito, Sandwiche, Sanguchito, Stork, Toque and Truco.

• Carpa (The tent) - A figure created when the man leads the woman onto one foot as in, or at the end of, Calesita and then steps back away from her, causing her to lean at an angle from her foot to his frame. See Adorno, Amague, Caricias, Carpa, Castigada, Chiche, Conclusion, Contrapaso, Cuartas, Cuatro, Cucharita, Dibujo, Elevacion, Entrada, Fanfarron, Firulete, Frappé, Friccion, Gancho, Golpes, Latigo, Patada, Pausa, Picados, Punteo, Resolution, Ronde, Sacada, Salida, Saltito, Sandwiche, Sanguchito, Stork, Toque and Truco.

• Carreritas (Little Race) - A variation of Encadenada in Gold Milonga.

• Castigada (A punishment) -  A lifting of the woman'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. See Adorno, Amague, Caricias, Carpa, Castigada, Chiche, Conclusion, Contrapaso, Cuartas, Cuatro, Cucharita, Dibujo, Elevacion, Entrada, Fanfarron, Firulete, Frappé, Friccion, Gancho, Golpes, Latigo, Patada, Pausa, Picados, Punteo, Resolution, Ronde, Sacada, Salida, Saltito, Sandwiche, Sanguchito, Stork, Toque and Truco.

• Centelleo (Twinkling) - A variation of Vuelta in Silver Pecho. Step backward bringing feet together, change weight, and then step forward. Can also be done with an initial step forward.

• Centripetal Force – Scientific Term Applied to Dance. In layman’s terms, centripetal force is the force that keeps a body on a curved path. Without centripetal force, the body would move on a straight path. Scientifically, centripetal force is a force that acts on a body moving in a circular path and is directed toward the center around which the body is moving. In dance, a force must be applied to the body to move in a curved motion. This force is generally applied by the standing leg. See Axis, Centrifugal Force, Energy, Lead/Follow, Mass, Momentum (Angular), and Momentum (Linear).

• Centrifugal Force - Scientific Term Applied to Dance. In layman’s terms, centrifugal force is an apparent force, and thus not a real force. It’s the apparent force a person would feel if the person was in a car that is turning, and the person is thrown next to the door. Actually, the car is on a curved path via centripetal force (friction of tires on road) and since the person is not tied down, the person continues to move straight. The door is applying centripetal force on the person to also force the person on the cars curved path. In dance, centrifugal force might be used to better understand why an arm is apparrenty thrown outward during a turn or rotation. See Axis, Centripetal Force, Energy, Lead/Follow, Mass, Momentum (Angular), and Momentum (Linear).

• Cepillo (Brush) - A variation of Enrosque in Silver Tango.

• Chassé Izquierdo (Left Chassé) - A variation of Construccion Básica with Básico in Bronze Milonga.

• Chassé Derecho (Right Chassé) Construccion Básica with Paseo in Bronze Milonga.

• Chiche (Delicate Ornament) - 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, Amague, Caricias, Carpa, Castigada, Chiche, Conclusion, Contrapaso, Cuartas, Cuatro, Cucharita, Dibujo, Elevacion, Entrada, Fanfarron, Firulete, Frappé, Friccion, Gancho, Golpes, Latigo, Patada, Pausa, Picados, Punteo, Resolution, Ronde, Sacada, Salida, Saltito, Sandwiche, Sanguchito, Stork, Toque and Truco.

• Chilena (Football Jump) - A variation of Contra Intrusión in Gold Vals.

• Cierre Derecha (Right Closure) - A variation of Caminata in Bronze Tango.

• Cintura (Waist) - See Brazos, Cuerpo, Dedo, Espalda, Pecho, Pie, Pierna, and Rodillas.

• Círculo Derecho (Circle to the Right) - A variation of Ocho in Bronze Milonga.

• Círculo Izquierdo (Circle to the Left) - A variation of Ocho in Bronze Milonga.

• Clichés (A cliché is an element of an artistic work, saying, or idea that has become overused to the point of losing its original meaning or effect.

• Coda - A ballet and music term referring to the conclusion of the performance for musical composition.

• Códigos (Codes) - Refers to the codes of behavior and the techniques for finding a dance partner in the milongas in Buenos Aires.
Civility, respectfulness, and consideration are the hallmark of the true and serious milonguero. The Milonga has a lot of traditions and courtesies - look on line for “Milonga Etiquette”. See Milonga, Confitería Bailable, Bailongo, Bailar, Ronda, Práctica, Orquesta, Piso, Pista, Bandoneón, Parejas, Abrazo, Pinta, Postura, Bien Parado, Cortina, Bailamos, Tanda and Cabeceó.

• Cola (Tail) - Form of a Cuartas (Poses) in Silver Tango.

• Cola de Pescado y Orugas (Fishtail & Caterpiller) - A variation of Corrida in Gold Milonga.

• Colgada Básica (Basic Hanging) - A variation of Mordida in Gold Pecho. 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. The Colgada is an off-axis move, where the couple is leaning back, as opposed to the Volcada (also Carpa and Apilada), which is also off-axis and the couple is leaning forward.

• Coletazo (Lash) - A variation of Boleo y Voleo in Silver Tango.
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• Colgadero (Hanger) - Variation of Recortes in Gold Tango.

• Caminando Valseando (Waltzing Walk) - Key Pattern 5 in Bronze Vals.

• Comodín (Joker) - Man 5th step of a Basic Construction. Included in a variation of Construcción Básica in Bronze Tango.

• Compadre (Friend) - A responsible, brave, well behaved, and honorable man of the working class who dresses well and is very macho. See Tanguero, Lunfardo, Milonguera, Milonguita, Bailarín, Aficionado, Vareador, Compadrito, Grelas, Guapo, Portranca, Mina, Paicas, Pebeta, and Planchadoras.

• Compadreada (Godfather's Move) In a variation of Ocho Cortado in Gold Pecho.
Compadrito (Dandy; hooligan; street punk; ruffian) - They invented the Tango. See Tanguero, Lunfardo, Milonguera, Milonguita, Bailarín, Aficionado, Compadre, Vareador, Grelas, Guapo, Portranca, Mina, Paicas, Pebeta, and Planchadoras.

• Compás (Beat, as in the beat of the music) - Music and Dance Term. The walking count or impulse of each measure, the simplest element of each piece of music. See Beat, Compás, Improvisational, Lead, Legato, Musicality, Ostinato, Phrase, Ritmo, Rubato, Staccato and Syncopation.

• Compuesto (Compound Rotation) - A variation of Giro Básico in Silver Pecho.

• Conclusion - The very last step in the resolution, where the dancer’s two feet come together and the dancers rise to a stop. See Adorno, Amague, Caricias, Carpa, Castigada, Chiche, Conclusion, Contrapaso, Cuartas, Cuatro, Cucharita, Dibujo, Elevacion, Entrada, Fanfarron, Firulete, Frappé, Friccion, Gancho, Golpes, Latigo, Patada, Pausa, Picados, Punteo, Resolution, Ronde, Sacada, Salida, Saltito, Sandwiche, Sanguchito, Stork, Toque and Truco.

• Confitería Bailable (Danceable Confectionery) - 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. See Milonga, Bailongo, Bailar, Ronda, Práctica, Orquesta, Piso, Pista, Bandoneón, Parejas, Abrazo, Pinta, Postura, Bien Parado, Códigos, Cortina, Bailamos, Tanda and Cabeceó.

• Congelada (Frozen) - A variation of Pasadas in Gold Tango.

• Construcción Básica (Basic Contruction) - Key Pattern 1 in Bronze Tango and Bronze Milonga and Bronze Vals. See Academic Basic. The first figure usually taught to beginning students. See Básico.The 8-count basic includes elements which are used throughout the dance. The name refers to counts in music and 8 Positions; however, the man is not constrained to rigidly mark a step on each count or beat of the rhythm. He is free to hold or to syncopate, or cut the beat, as the music moves him or as space on the floor around him allows. The figure may be danced into or out of at various points and is not always entered at the beginning and there are shortcuts within the 8-count basic.

• Contornos (Surroundings) - A variation of marches in Bronze Milonga.

• Contra Académico (Counter Academic Rotation) - A variation of Counter Giro Básico in Silver Pecho.

• Contra Aguja (Counter Needle) - A variation of Aguja in Silver Vals.

• Contra Arrastre (Counter Drag) - Key Pattern 9 in Silver Tango.

• Contra Barrida (Counter Sweep) - Key Pattern 10 in Silver Tango.

• Contra Cadena (Counter Chain) - A variation of Cadena in Bronze Milonga.

• Contra Body Movement (CBM) - Dance term. A body action. The turning of the opposite side of the body toward the moving foot, which is moving forward or back, generally to initiate turn. See Caminada, Caminar, Contra Body Movement Position, Corridata, Cross System, Elevadas,Entregarme, Giro, Junta, Lento, Liso, Marcar, Mira, Otra Vez, Parallel System, Paso, Pisar, Puente, Seguirv and Suave.

• Contra Body Movement Position (CBMP) - Dance Term. A body position follow by a foot position where the foot is placed on or across the line of the supporting foot, either in front or behind, to maintain body line. See Caminada, Caminar, Contra Body Movement, Corridata, Cross System, Elevadas,Entregarme, Giro, Junta, Lento, Liso, Marcar, Mira, Otra Vez, Parallel System, Paso, Pisar, Puente, Seguirv and Suave.

• Contra Caminando (Counter Walking Rotation) - A variation of Counter Giro Básico in Silver Pecho.

• Contra Caminata Cruzada (Counter Cross Walk) - A variation of Caminata Cruzada in Silver Tango.

• Contra Carena (The Counter Careen) - A variation of Cambio de Frente Antihorario in Gold Milonga.

• Contracorto (Contraction) - A variation of Vuelta Abierta in Silver Vals.

• Contracortado (Counter Cutting) - A variation of Ocho Cortado in Silver Pecho.

• Contra Compuesto (Contra Compound Rotation) - A variation of Contra Giro Básico in Silver Pecho.

• Contra Destorcimiento (Counter Untwisting) - Key Pattern 7 in Silver Tango and a variation of Contra Trabada in Silver Vals.

• Contra Embutido/Culdado (Counter Inlaying/Watch Out) - A variation of Contra Vueltecita in Silver Milonga.

• Contra Empujada (Counter Pushed) - A variation of Empujada Bronze Milonga. Some key techniques is that the empujada is a push, not a cuna. So no rocking. The routine starts with a Salida Cruzada, then the Contra Empujada, then a Resolution. Keep the outside Salida tight. The Man should stay close to the woman so she cannot step outside him. This is a crab walk, not a lock step. See Empujada, Empujada Girada, Doble Empujada, and Empujadita/Pisada.

• Contra Enredadas (Counter Entangled) - A variation of Gancho y Herrero Gold Tango.

• Contra Enrosque (Counter Coil) - A variation of Enrosque in Silver Tango.

• Contra Giro Básico (Basic Counter Rotation) - Key Pattern 9 in Bronze Tango and a variation of Giro Básico in Bronze Milonga and Key Pattern 9 in Bronze Vals and Key Pattern 8 in Bronze Pecho. 2018. See Molinete.

• Contra Giro Balanceado (Counter Balanced Rotation) - A variation of Contra Giro Básica in Bronze Vals.

• Contra Giro Brincando (Counter Bouncing Rotation) - A variation of Contra Giro Corriendo in Gold Milonga.

• Contra Giro Caminando (Counter Walking Rotation) - A variation of Giro Caminando in Silver Tango.

• Contra Giro Corriendo (Counter Running Rotation) - Key Pattern 8 in Gold Milonga.

• Contra Giro Frenando (Counter Breaking Rotation) - A variation of Contra Giro Valseando in Silver Vals.

• Contra Giro Inverso (Counter Reverse Rotation) - A variation of Giro Inverso in Gold Vals.

• Contra Giro Marchando (Counter Marching Rotation) - Key Pattern 7 in Silver Milonga.

• Contra Giro Muescado (Counter Notching Rotation) - A variation of Giro Básico in Bronze Milonga. Two full rotations are performed. Starts with a Lanzamento to left followed by cuna, then directly into the molinete for the final turn. The man has crossed feet in the last turn.

• Contra Giro Quebrado (Counter Breaking Rotation) - A variation of Contra Giro Básico in Gold Pecho.

• Contra Giro Reboteando (Counter Rebounding Rotation) - A variation of Contra Giro Básico in Tango.

• Contra Giro Remando (Counter Paddling Rotation) - A variation of Counter Giro Valseando in Silver Vals.

• Contra Giro Retrasado (Counter Delayed Rotation) - A variation of Contra Giro Marchando in Silver Milonga.

• Contra Giro Valseando (Counter Waltzing Rotation) - Key Pattern 5 in Silver Vals.

• Contra Giro Voleando (Counter Volleying Rotation) - A variation of Giro Voleando in Gold Tango.

• Contra Interrupción (Counter Interruption) - A variation of Contra Giro Básico in Gold Pecho.

• Contra Intrusión (Counter Intrusion) - Key Pattern 7 in Gold Vals.

• Contra Lápiz (Counter Pencil) - A variation of Lápiz in Silver Tango. See Lápiz for more discussion on this figure.

• Contra Medio Galope (Counter Canter) - A variation of Contra Vuelta Abierta in Silver Vals.

• Contra Ocho (Counter Eight) - Key Pattern 2 in Gold Tango. Also compared the Contra Traveling Ocho and Contra Compact Ocho, which are variations of Contra Ocho.

• Contra Parada (Counter Stop) - Form of a Cuartas (Poses) in Silver Tango.

• Contra Paseo (Counter Promenade) - A variation of Cadena in Bronze Milonga.

• Contra Péndulo (Counter Pendulum) - A variation of Péndulo in Bronze Milonga.

• Contrapaso (Counter Step) - A step produced when the dancer locks one foot behind the other. For instance right foot steps forward, left foot locks behind right. Now right foot steps forward again. See Adorno, Amague, Caricias, Carpa, Castigada, Chiche, Conclusion, Contrapaso, Cuartas, Cuatro, Cucharita, Dibujo, Elevacion, Entrada, Fanfarron, Firulete, Frappé, Friccion, Gancho, Golpes, Latigo, Patada, Pausa, Picados, Punteo, Resolution, Ronde, Sacada, Salida, Saltito, Sandwiche, Sanguchito, Stork, Toque and Truco.

• Contra Piernazos (Counter High Wraps) - A variation of Piernazos in Gold Tango.

• Contra Planeo (Counter Glide) - Key Pattern 8 in Gold Vals.

• Contra Planeo Inverso (Counter Reverse Glide) - A variation of Contra Planeo in Gold Vals.

• Contrapunto (Counterpoint) - Key Pattern 3 in Gold Milonga. Performed directly in front of the Marinero /  Barajada and starts from a conclusion, the Contrapunto also a kick to the right with the man’s left foot behind the woman as the woman follows and also kicks with her right foot behind her.

• Contra Ranuras (Counter Groves) - A variation of Piernazos in Gold Tango.

• Contra Rebote (Counter Rebound) - A variation of Rebotes in Silver Pecho.

• Contra Rotonda (Roundabout) - A variation of Contra Giro Corriendo in Gold Milonga.

• Contra Sacada (Counter Removal) - A variation of Contra Ocho in Gold Tango.

• Contra Sacada Inversa (Counter Reverse Removal) - A variation of Sacada Inversa in Gold Tango.

• Contra Salida (Counter Exit) - A variation of Caminando Valseando in Bronze Vals.

• Contra Trabada (Counter Lock) - Key Pattern 6 in Silver Vals and a variation of Media Vuelta in Silver Pecho. In crossed system, man performs Salida and crosses with woman, and leads woman around in Molinete as they unwind, then repeats, then repeats but exits.

• Contra Voleo (Counter Volley) - A variation of Boleo Básico in Bronze Vals. See Boleo Básico for more info. This routine takes the woman to the basic cross, and she is the led into a front left Voleo after she comes out of the cross, by a strong counter promenade movement from the man.

• Contra Vuelta (Counter Turn) - Key Pattern 9 in Bronze Pecho. (Left Turn). Notice a Giro is a turning step around an axis, while the Vuelta or a turning step does not have an axis (one person replaces the other). ‘Contra’ implies a left turn (Reverse turn) while the figure without the ‘contra’ prefix is a right turn (Natural). An ‘open turn’ (abierta means open) implies open feet when the turn completes, whereas a closed turn (cerrada means closed) implies closed feet when the turn completes. Heel positions in turns can be open, heel, or heel turn. ‘Open’ heel position is an open foot position (feet are not together during the turn), a ‘heel’ implies the heels are together but the turn could be done on the balls of the feet, while a ‘heel turn’ implies the turn is done on the heels of the feet.

• Contra Vuelta Abierta (Counter Open Turn) - Key Pattern 9 in Silver Vals. Notice a Giro is a turning step around an axis, while the Vuelta or a turning step does not have an axis (one person replaces the other). ‘Contra’ implies a left turn (Reverse turn) while the figure without the ‘contra’ prefix is a right turn (Natural turn). An ‘open turn’ (abierta means open) implies open feet when the turn completes, whereas a closed turn (cerrada means closed) implies closed feet when the turn completes. Heel positions in turns can be open, heel, or heel turn. ‘Open’ heel position is an open foot position (feet are not together during the turn), a ‘heel’ implies the heels are together but the turn could be done on the balls of the feet, while a ‘heel turn’ implies the turn is done on the heels of the feet. This is both an open turn and also as an open compact turn. The compact turn uses a ‘heel turn’.

• Contra Vuelta Básica (Basic Counter Turn) - Key Pattern 10 in Bronze Tango and Bronze Milonga and Bronze Vals. Notice a Giro is a turning step around an axis, while the Vuelta or a turning step does not have an axis (one person replaces the other). ‘Contra’ implies a left turn (Reverse turn) while the figure without the ‘contra’ prefix is a right turn (Natural turn). An ‘open turn’ (abierta means open) implies open feet when the turn completes, whereas a closed turn (cerrada means closed) implies closed feet when the turn completes. Heel positions in turns can be open, heel, or heel turn. ‘Open’ heell position is an open foot position (feet are not together during the turn), a ‘heel’ implies the heels are together but the turn could be done on the balls of the feet, while a ‘heel turn’ implies the turn is done on the heels of the feet.

• Contra Vuelta Cerrada (Counter Closed Turn) - A variation of Contra Vuelta Básica in Bronze Tango and Bronze Milonga and Contra Vuelta in Silver Pecho. (Left Turn). Notice a Giro is a turning step around an axis, while the Vuelta or a turning step does not have an axis (one person replaces the other). ‘Contra’ implies a left turn (Reverse turn) while the figure without the ‘contra’ prefix is a right turn (Natural turn). An ‘open turn’ (abierta means open) implies open feet when the turn completes, whereas a closed turn (cerrada means closed) implies closed feet when the turn completes. Heel positions in turns can be open, heel, or heel turn. ‘Open’ heel position is an open foot position (feet are not together during the turn), a ‘heel’ implies the heels are together but the turn could be done on the balls of the feet, while a ‘heel turn’ implies the turn is done on the heels of the feet.

• Contra Vuelta Cruzada (Counter Crossed Turn) – A variation of Cambio de Frente Antihorario in Gold Milonga and Contra Vuelta Abierta in Silver Vals.

• Contra Vuelta Trabadas (Counter Locked Turn) - A variation of Contra Vuelta Básica in Bronze Vals.

• Contra Vueltecita (Counter Compact Turn) - Key Pattern 8 in Silver Milonga. Man steps to the right of the woman with a right step, leading her (holding her from stepping) into a heel turn (the axis), and then brings his feet together (new axis) as both step to her right and his left after the heel turn. The last part should be turned as much as possible.

• Contra Zancada (Counter Reverse Stride) - A variation of Sacada Inversa in Gold Tango.

• Coqueta (Flirt)

• Cosidas (Sewn) - A variation of Atrapada in Gold Tango.

• Corredizo (Sliding) - A variation of Triple in Gold Vals.

• Corrida (Run) - Key Pattern 6 in Gold Milonga. A short sequence of running steps.

• Corrida de Garabito (Hobo’s Run) - A variation of Ocho Cruzado in Gold Milonga. Can be done also in  milonga step in which the couple alternately step through between each other, the man with his right leg and the woman mirroring with her left in Espejo, then pivot to face each other as they step together. May be repeated as desired.

• Corrida de Pies (Feet Race) - A variation of Corrida in Gold Milonga.

• Corrida Reversa con Chiche (Reverse Run With Toy) - A variation of Triple in Gold Vals.

• Corridita (Little run) - Similar to Corrida. See Caminada, Caminar, Contra Body Movement, Contra Body Movement Position, Cross System, Elevadas,Entregarme, Giro, Junta, Lento, Liso, Marcar, Mira, Otra Vez, Parallel System, Paso, Pisar, Puente, Seguir and Suave.

• Corta Jaca (Cut the Jack) - A variation of Contra Giro Corriendo in Gold Milonga.

• Cortavuelta (Cutting Turn) - A variation of Contra Vuelta Básica in Bronze Vals and Vuelta in Silver Pecho.

• Cortes (Cuts) - A variation of Básica Cruzado in Silver Vals. 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 woman’s foot with his in Parada. The woman 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 Cuartas.

• Cortina (Curtain) - A brief musical interlude between tandas at a milonga. A nice place to meet friends or a date for dancing. See Milonga, Confitería Bailable, Bailongo, Bailar, Ronda, Práctica, Orquesta, Piso, Pista, Bandoneón, Parejas, Abrazo, Pinta, Postura, Bien Parado, Códigos, Tanda and Cabeceó.

• Cross System (also called Crossed Feet) - Occurs whenever the couple is stepping together on his and her right feet and then on his and her left feet, regardless of direction. Ballroom, Latin, Swing and Country also use this system, but there is not a specific name associated with the system in those genres - they will generally just refer to the man taking an extra step or holding a step. Contrast this to Parallel System. See Caminada, Caminar, Contra Body Movement, Contra Body Movement Position, Corridata, Elevadas, Entregarme, Giro, Junta, Lento, Liso, Marcar, Mira, Otra Vez, Parallel System, Paso, Pisar, Puente, Seguirv and Suave.

• Cruceta (Crosstree) - A variation in four directions of a Milonga Traspié.

• Cruzada (To cross or the cross) - A variation in Construccion Básica in Bronze Tango. A cruzada occurs any time a foot is crossed in front of or in back of the other. The woman’s position at 5 of the 8-count basic. May also be called Trabada when turning left.

• Cuadrado Izquierdo/Derecho (Square, left/right) - A variation of Baldosa in Bronze Tango and in Bronze Vals.

• Cuadro (Quadrate) - A variation of Traspié in Silver Milonga.

• Cuarta Sacada (Fourth Removal) - A variation of Contra Ocho in Gold Tango.

• Cuartas (Poses) - Dance lines struck and held as dramatic flourishes at the end of a song. Large dramatic ones are used for stage or fantasia dancing, smaller softer versions occasionally in Tango style, and not used in Milonguero style at all. See Adorno, Amague, Caricias, Carpa, Castigada, Chiche, Conclusion, Contrapaso, Cuartas, Cuatro, Cucharita, Dibujo, Elevacion, Entrada, Fanfarron, Firulete, Frappé, Friccion, Gancho, Golpes, Latigo, Patada, Pausa, Picados, Punteo, Resolution, Ronde, Sacada, Salida, Saltito, Sandwiche, Sanguchito, Stork, Toque and Truco.

• Cuatro (Four) - A figure created when the woman 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 woman’s discretion, in place of a Gancho or as an Adornment after a Gancho. See Adorno, Amague, Caricias, Carpa, Castigada, Chiche, Conclusion, Contrapaso, Cuartas, Cuatro, Cucharita, Dibujo, Elevacion, Entrada, Fanfarron, Firulete, Frappé, Friccion, Gancho, Golpes, Latigo, Patada, Pausa, Picados, Punteo, Resolution, Ronde, Sacada, Salida, Saltito, Sandwiche, Sanguchito, Stork, Toque and Truco.

• Cuatro Rodillas (Four Knees) - Key Pattern 3 in Silver Milonga.

• Cucharita (The Spoon) - A lifting of the woman’s foot with a gentle scooping motion by the man’s foot to the woman’s shoe, usually led during forward ochos to create a flicking motion of the woman’s leg. See Adorno, Amague, Caricias, Carpa, Castigada, Chiche, Conclusion, Contrapaso, Cuartas, Cuatro, Cucharita, Dibujo, Elevacion, Entrada, Fanfarron, Firulete, Frappé, Friccion, Gancho, Golpes, Latigo, Patada, Pausa, Picados, Punteo, Resolution, Ronde, Sacada, Salida, Saltito, Sandwiche, Sanguchito, Stork, Toque and Truco.

• Cuerpo (Body; Torso) - See Brazos, Cintura, Dedo, Espalda, Pecho, Pie, Pierna, and Rodillas.

• Culebra (Grass Snake) - A variation of La Caida in Bronze Milonga.

• Cuna Cruzada (Cross Cradle) - A variation of Cambio de Rumbo in Gold Vals.

• Cunas (Rocks) - A variation of Cadencia in Bronze Tango. When turning, can be done in either direction.
Cunita (Cradle) - A variation of Cadencia in Bronze Tango and a variation of Balanceo in Bronze Vals. 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.