• Elevación (Lift) - 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.
• Elevadas - Dancing without keeping the feet on the floor. This was the style before the turn of century when tango was danced on dirt surfaces in the patios of tenements, low-class taverns, and on the cobble stone streets. Once tango went uptown enough to actually be danced on floors (wood, tile, or marble) the dancers fell in love with the floor, thus we now refer to 'caressing the floor'. Characteristic of canyengue or orillero-style tango. See Caminada, Caminar, Contra Body Movement, Contra Body Movement Position, Corridata, Cross System, Entregarme, Giro, Junta, Lento, Liso, Marcar, Mira, Otra Vez, Parallel System, Paso, Pisar, Puente, Seguirv and Suave.
• El Rengo (The Lame) - A variation of Encadenada in Gold Milonga.
• Emboscada (Ambush) - A variation of Enganche in Gold Tango.
• Embutido (Inlaying, Filler) - A variation of Vueltecita in Silver Milonga. A foot swinging behind other foot after an Enrosque.
• Empujada (Pushed) - Key Pattern 7 in Bronze Milonga. Some key techniques is that the empujada is a push, not a cuna. So no rocking. The salida is a inside salida that helps direct the woman’s leg into a cross. The knees cross, not the ankles. 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 Girada, Contra Empujada, Doble Empujada, and Empujadita/Pisada.
• Empujada Girada (Turning Pushed) - A variation of Empujada Bronze Milonga. The start is similar to
Empujada, but only one Empujada is performed in a left circle motion followed by a man’s back step in a left circle motion. See Empujada, Contra Empujada, Doble Empujada, and Empujadita/Pisada.
• Empujadita/Pisada (Small Thrust/Tread) - A variation of La Caida in Bronze Milonga. Salida Cruzada into a single Empujadita followed by an Ocho. Second part is the Pisada, which is a Salida and Return, Promendade and Return, and the Fallaway and Return. See Empujada, Empujada Girada, Contra Empujada and Doble Empujada.
• Encadenada (Seesaw) - Key Pattern 5 in Gold Milonga.
• Enclavado (Nestled) - A variation of Lanzamiento y Arrojada in Silver Milonga.
• Energy – Scientific Term Applied to Dance. One (of two) of the most fundamentals properties of our universe (mass is the other). Fundamentally, everything in the universe is either a mass or an energy. Without going into discussion of the many different forms of energy, dancers are mainly focused on kinetic energy. Kinetic energy is the energy in a moving object, such as a dancer moving or spinning, or an arm swinging. The heaver the object, the more energy it will take to start or stop it. Hence, heavier objects with more energy generate more momentum and take more centripetal force to start and stop. See Axis, Centripetal Force, Centrifugal Force, Lead/Follow, Momentum (Angular) and Momentum (Linear).
• Enganchada (Hooked) - A variation of Ocho Cortado in Silver Pecho.
• Enganche (Coupling, Hooking, Hook) - Key Pattern 6 in Gold Tango. Occurs when a partner wraps a leg around the other’s leg, or uses a foot to catch and hold the other’s foot or ankle.
• Engaño (Delusion) - A variation of Contra Barrida in Silver Tango.
• Enredadas (Entangled) - A variation of Gancho y Herrero Gold Tango.
• Enrosque (To Coil) - Key Pattern 8 in Silver Tango. While the woman dances a molinete, the man pivots on his supporting foot, hooking or coiling the working leg behind or around in front of the leg.
• Entrada Trasera (Rear Entry) - A variation Ocho Atrás in Silver Tango.
• Entrada (Entrance) - Occurs when a dancer steps forward or otherwise enters the space between their partners legs without displacement. Ive used this in relation to Sacada (foot place near woman’s foot losing weight), Entrada (foot placed in middle of woman’s feet), and Colgada (foot placed on foot that is receiving weight). See Techniques video, 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.
• Entrecortado (Faltering) - Key Pattern 2 in Gold Vals.
• Entrecruzada (Criss-Crossed) - A variation of Repisadas in Gold Milonga.
• Entregarme (Surrender) - To give oneself up to the man’s lead. See Caminada, Caminar, Contra Body Movement, Contra Body Movement Position, Corridata, Cross System, Elevadas, Giro, Junta, Lento, Liso, Marcar, Mira, Otra Vez, Parallel System, Paso, Pisar, Puente, Seguirv and Suave.
• Envoltura (Covering) - A variation of Giro Voleando in Gold Tango.
Escalera (Stairs) - A variation of Baldosa in Bronze Milonga.
• Escalone (Stagger) - A variation of Ocho Cruzado in Gold Milonga.
• Espejo y Ocho de Espalda (Mirroring & Eight of Back) - A variation of Ocho in Bronze Milonga. An “L” shaped move that consist of the woman performing back ochos moving sideways than backwards.
• Espalda (Shoulder) - See Brazos, Cintura, Cuerpo, Dedo, Pecho, Pie, Pierna, and Rodillas.
• Espiral (Spiral) - A variation of Baldosa in Bronze Milonga. A three step movement to right, than left, with a cross if the man twists enough. Can be done backwards with a back start with twinkles and syncopations.
• Estocada (Stab) - Form of a Cuartas (Poses) in Silver Tango.
Entregarme (Gave me up)
Estructura Cruzada (Cross Structure) - A variation of Básico Academico in Gold Pecho.