The words, made simple.

Choose a comfortable distance together.

It is an embrace option, not a skill level.

Closeness should be comfortable and mutually welcome.

In “ocho adelante”, it identifies forward steps.

Either role can contribute; it should fit the shared movement, music and space.

Years of attendance alone do not establish suitability. Ask about the specific prerequisites.

A directional cue, rather than one compulsory sequence.

It may still assume some Argentine Tango experience; confirm whether complete beginners can join.

Some teachers also use the word for a small foot embellishment.

Some teachers mean any step that stays uncrossed relative to the partner, including forward or backward travel.

Some teachers mean a shared lean; others retain independent balance. Ask what is meant.

Usage overlaps with barrida; the same word also has a musical meaning.

Often useful when the available space changes.

The accent belongs on the final vowel: atrás.

Useful as class vocabulary; exact versions differ.

It has buttons rather than a piano-style keyboard.

Some teachers distinguish it from arrastre; others group them together.

A cultural word you may see in venue names and song titles.

Check whether you can start with no experience and whether earlier sessions are required.

Boleos may stay low; the name does not require a high kick.

It is not a synonym for leaders. Gender does not determine your dance role.

Wait for clear mutual agreement; looking away is not an invitation.

Some teachers also use it for a rocking or check-and-return action.

Both dancers need coordinated balance and movement.

You can change weight without travelling across the floor.

A fundamental skill in both roles, not merely a warm-up.

Check whether it is a group class or a private lesson.

Practices vary by organiser; ask the host when unsure.

Learn with guidance and mutual agreement; it is not simply pulling away.

In formal musical language it can mean a bar or metre; context matters.

Ask the teacher to clap the timing: counting conventions vary.

Quick does not mean rushing into other couples.

Usually a cue to finish, thank your partner and clear the floor.

Check whether the price covers the whole block, whether you can join late and what happens if you miss a session.

Either dancer can cross; it is not restricted to one gender.

Different teachers vary its direction and amount of turning.

It is not a synonym for followers. Anyone can learn either dance role.

Clarify whose right when partners face each other.

Useful when asking for a demonstration at a gentler pace.

It helps explain turning; forcing a twist is not the aim.

It can still require advance booking or previous experience.

It is a pricing condition, not a learning level or a measure of teaching quality.

Teachers may discuss your own axis or a deliberately shared balance.

You may see it within a turn.

It describes an approach, not the only way to dance socially.

Both partners contribute by staying aware, communicating and keeping movements appropriate to the available space.

Anyone can follow. Spanish labels vary; seguir means to follow.

Listening for its beginning and ending can help shape a dance.

Learn the coordination in class before using it on a social floor.

It can name the whole couple’s action, not one fixed sequence.

At a milonga it can signal that you are finishing the dance.

Leading is a role anyone can learn.

The expected skills and pace differ between schools; it is not automatically equivalent to intermediate.

Ask which movements and social-dancing skills the teacher expects; there is no universal threshold.

Clarify whose left when partners face each other.

Collecting the feet does not automatically mean changing weight.

An example of a decorative movement.

Anyone can lead. Spanish labels vary; guiar means to guide.

You may hear it contrasted with a more strongly marked sound.

A literal Spanish translation may miss the intended slang meaning.

In this feature, it means a contributing teacher; it is not an app-awarded ranking.

It describes communication rather than force.

Listen to the example: an orchestra can change character within one track.

Ask whose direction the teacher is describing: partners may face differently.

Different from milonga meaning a social event.

You may attend to watch and listen; you need not dance continuously.

It describes an approach to timing, not a compulsory sequence or separate event.

The word can also refer to a dance style; read it in context.

It often begins a cabeceo; either person can seek eye contact.

Often danced around a partner; starting point and timing can vary.

Both roles can interpret rhythm, melody, pauses and mood.

An ocho is movement vocabulary, not an eight-step routine.

The amount of turn varies with the embrace and the version taught.

It describes the dancer’s step direction, not the couple’s route around the room.

Teachers use this name for differing versions; ask to see their example.

The orchestra’s name and the singer’s name may both appear on a recording.

Exact instrumentation varies.

The foot contact does not mean forcibly blocking someone.

It does not necessarily mean a romantic couple.

Ask how rotation works and how the class accommodates preferences or a need to sit out.

Often follows a parada.

A teacher may use “paso” loosely for a whole taught figure.

A pause can be an active part of interpreting music.

Its role changes as you transfer weight.

“Free” describes its supporting role, not permission for an uncontrolled swing.

In an event description, “en la pista” means on the dance floor.

Often appears between steps of an ocho.

Either dancer can perform it; the pathway needs space.

The aim is comfortable, responsive movement, not a rigid pose.

Formats vary; check whether a teacher is present.

Check the listing: the amount and format of guidance vary.

Keep listening for it even when you choose to pause.

It need not be large or bouncy.

In a basic teaching sequence, it can mean its final steps.

More than just how fast the track goes.

Agree a change with your partner; it is not the same as changing partners.

Move with the room and leave space for neighbouring couples.

It can look like pushing a leg aside; timing and coordination matter.

Some teachers use it for a particular beginning, especially a side step.

It is a learning tool, not a routine you must repeat socially.

The sandwich image names the shape; it is not an instruction to squeeze or trap.

Following is an active role anyone can learn.

Do not confuse the system with the feet-crossing action called cruzada.

This describes foot coordination, not matching skill or posture.

Many partners stay together for the set, but you may stop at any time.

In a playlist, Argentine Tango also names a genre distinct from vals and milonga.

It is also a competition category; competition rules are not universal rules for every milonga.

Teachers use style labels differently; it is not a universal course level.

Stage material may require space and preparation unavailable at a social dance.

It is also used loosely as a style label; ask the teacher what they mean.

Check each organiser’s format; welcome is not limited to one identity.

A technique class may focus on balance, weight changes or coordination, rather than a sequence.

A common pattern fits three weight changes across two main beats; teachers also use other versions.

You do not have to step on every beat.

This glossary identifies it; learn the weight-sharing technique with a teacher.