탱고용어정리(펌)

<STYLE>P{margin-top:2px;margin-bottom:2px;}</STYLE> 스페인어는 단어마다 남성형/여성형이 있어요. 그래서 앞에 붙는 정관사도 그에 따라 다르게 붙습니다. 1. 단어마다 남성/ 여성형의 다른 정관사가 붙어요 남성 단수 명사 앞에 붙는 정관사 : el 예) el tanguero(엘 땅(게)로/탱고 추는 남자) 여성 단수 명사 앞에 붙는 정관사 : la 예) la tanguera(라 땅(게)라/탱고 추는 여자) 2. 단수/복수 명사에 따라서도 다른 정관사가 붙어요 남성 복수 명사 앞에 붙는 정관사 : los 예) los tangueros (로스 땅게로스/탱고 추는 남자들) 여성 단수 명사 앞에 붙는 정관사 : las 예) las tangueras(라스 땅게라스/탱고 추는 여자들) 내기리(파르티잔님의 제안) Abrazo(Embrace) - 안기 Adelante(Forward) - 앞/앞으로 Atras(Backward) - 뒤/뒤로 Barrida(Sweep) - 발끌기 Caminada(Walking) - 걷기 Cortado(Cut) - 끊기 Cunita(Cradle) - 요람흔들기 Firulete(Decoration) - 꾸밈/꾸미기 Freno(break) - 깨다... 중단하다... 깨뜨리다...???? Gancho(Hook) - 걸리기 Giro(Turn) - 회전/돌기 Hamaca - 요람흔들기의 다른 이름 Lapiz(Pencil) - 원그리기 Media(Half) - 반/절반 Molinete(Windmill) - 풍차돌기 Morida(Bite) - 깨물기 Parada(Stop) - 멈추기 Pasada(Passing over) - 발넘기 Paso(Step) - 걸음 Sacada(weed) - 발걸기/다리걸기 Salida(Exit, Go to out) - 살리다 Sentada(Sit) - 앉기. Sobre Paso (Change walking) - 발바꾸기 Traspie(triple step) - 박자나누기 Voleo(throw) - 볼레오 초급에서 알아야 할 스페인/아르헨티나 용어: ● 숫자 0. cero ( 쎄로 ) 1. uno ( 우노 ) 2. dos ( 도스 ) 3. tres ( 뜨레스 ) 4. cuatro ( 꽈뜨로 ) 5. cinco ( 씽꼬 ) 6. seis ( 세이스 ) 7. siete ( 시에떼 ) 8. ocho ( 오쵸 ) 9. nueve ( 누에베 ) 10. diez ( 디에스 ) ● Salida (살리다) : 출구라는 뜻. 탱고의 기본적인 걸음이 되었다. ┏ 6 Salida : 일명 Box Step (박스스텝). 6 스텝만으로 이루어진다. ┗ 8 Salida : 5번째 (cinco - 씽꼬)에 여성의 크로스 스텝이 첨가되어 8 스텝으로 이루어진다. ● Ocho (오초) : 숫자 8 이라는 뜻으로, 스텝과 피봇 턴을 통해 여자의 경로가 옆으로 누운 8자 모양을 만든다. 기본적으로 2가지. ┏ ocho adelante (여자가 앞으로 전진하며 8자 모양을 그리는 스텝) ┃ ┗ ocho atras (여자가 뒤로 후진하며 8자 모양을 그리는 스텝). ● Cunita (꾸니따 ) : 요람 이라는 뜻으로, 음악에 맞춰 제자리에서 앞 뒤로 가볍게 흔드는 동작. ● Parada (파라다) : 멈춤, (주로 남자가) 상대를 자신의 발로 멈추는 동작. 꼭 발로 멈추지는 않는다고 한다. ● Boleo (볼레오) : 한쪽 다리로 반대 다리를 감는듯한 동작. 기본적으로 2가지 ┏ boleo adelante (front boleo), ┃ ┗ boleo atras (back boleo). ● Giro (히로) : 회전. 여성의 경우 프론트, 사이드, 백, 사이드 스텝을 반복적으로 하며 남성의 주위를 돌게 된다. ━ Medio Giro (메디오 히로) : Medio 는 절반이라는 뜻. 히로를 반바퀴만 도는 스텝이다. 스페인어-영어. 스페인 한글 발음중 ( )는 악센트(강세) 있는 모음을 표시함. 까미나다를 걷기라고 하고 안기는 아브라소라고 하죠. 안기에는 스테이지 스타일(누에보 스타일), 살롱 스타일, 밀롱게로 스타일이 있죠. Adelante(아델(란)떼) Forward. (중남미 Come on in 들어 오세요 뜻도 쓰임) Arrastre(아(라)스뜨레) From arrastrar - to drag. See Barrida. Atras (아뜨(라)스) Backward Balanceo (발란(쎄)오) A deep check and replace. See Cadencia. Barrida (바(리)다) A sweep 쓸기; 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. The technique is different for the inside and outside barridas. 한 파트너의 발은 다른 파트너의 발을 쓸고 접촉을 떼는 것 없이 그것을 옮긴다. 바리다는 받아들이는 파트너의 바깥쪽 또는 안쪽으로부터 행해진다. 안쪽으로 하는 것과 바깥쪽으로 하는 바리다의 기술은 다르다. Arrastre(아(라)스뜨레) From arrastrar - to drag. See Barrida 바리다는 아라스뜨레(끌기)와 같은 뜻으로 쓰입니다 See Arrastre, and Llevada(제바다) Boleo (볼(레)오) From bolear - To throw: A boleo may be executed either high or low. Keeping the knees together, with one leg back, swivel and return on the supporting leg with a whipping action of the working leg. Sometimes spelled Voleo. See Latigazo(라티(가)쏘). Cadena (까(데)나) The chain; enchainement: 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 (까(덴)씨아) 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 (까(이)다) 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 (깔레(씨)따) Carousel; the merry-go-round: A figure in which the man places the lady on one foot with a lifting action of his frame and then dances around her while keeping her centered over, and pivoting on, her supporting leg. Sometimes referred to as the Stork. Caminada (까미(나)다) The walking steps; a walking step. 걷기 Caminando (까미(난)도) (Caminar) Valsiado(발시아도) 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 (까미(나)르) 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. 걷기는 자연스러운 걷기에 유사하다. 그러나 뒷꿈치 대신에 먼저 발의 볼을 놓는다. 예전에는 몸이 발이 앞으로 가는 중에 균형을 유지하기 위해 몸과 발이 하나로서(같이) 움직여야 한다고 가르쳤다. 다른 스타일은 움직이는 발은 발을 놓으면서 곧게 펴고 방향에 관계없이 새로 지탱하는 발에 몸을 이동시킬 것을 요구한다(발이 먼저 나아가고 몸이 나중에 따라가는 스타일을 말하는 것 같아요). 걷기는 앞으로 뒤로 균형을 유지하고 부드럽고 우아하게 걷도록 연습되어야 한다. Candombe (깐(돔)베) A type of dance originally danced by the descendants of black slaves in the Rio de la Plata region. Music of African origin with a marked rhythm played on a “tamboril”(땀보(릴)) (a kind of drum). Cangrejo (깡그(레)호) The crab: A repetitive pattern of walking steps and or sacadas in which the man advances turned nearly sideways to his partner. Caricias (까(리)씨아스) 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(아(도)르노), Firulete(휘룰(레)떼), and Lustrada(루스뜨(라)다). Carousel (까(로우)셀) 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 ((까)르빠) 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. Castigada (까스띠(가)다) 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. Corrida (꼬(리)다) From correr: to run. A short sequence of running steps. Corrida Garabito (꼬(리)다 가라(비)또) 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 ((꼬)르떼) 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(까르따스). Cortina (꼬르(띠)나) Curtain: A brief musical interlude between tandas at a milonga. Crossed Feet (크로스드 핕) 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. Cruzada (끄루(싸)다) 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(뜨라바다). 크로쓰는 발이 다른 발의 앞 또는 뒤에 크로스되어지는 것을 말한다. 여자의 8카운트 살리다에 다섯 번째 자세이다. Cuadrado (꾸아드(라)도) A square; A box step: Used mostly in Milonga and Club or Canyengue style tango. See Baldosa(발도사). Cuatro ((꾸아)뜨로) 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(아마게). Cucharita (꾸차(리)따) 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 ((꾸에)르뽀) Body; torso. Cunita (꾸(니)따) 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(아마까). 제자리에서 걷거나 작은 공간에서 방향을 바꾸는 데 유용한, 음악에 맞춰 앞뒤로 흔드는 스텝. 이 동작은 왼쪽 또는 오른 쪽 다리를 앞으로 하여 왼쪽 또는 오른 쪽으로 돌 수 있고, 원하는 만큼 반복될 수 있다. Derecho (데(레)초) Erect, straight. See Postura. Desplazamiento (데스쁠라싸(미엔)또) Displacement: Displacing the partner’s leg or foot using one’s own leg or foot. See Sacada(사까다). Dibujo (디(부)호) Drawing; sketch: A dibujo is done by drawing circles or other small movements on the floor with one’s toe. See Firulete, Lapiz(라삐스), and Rulo(룰로). Eje (pronounced ay-hay (에)헤) Axis or balance. See Postura(뽀스뚜라). Elevadas (엘레(바)다스) 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 street. 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". Enganche (엔(간)체) Hooking; coupling; the little hook: 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. Enrosque (엔(로)스께) From enroscar - to coil or twist: While the lady dances a molinete, the man pivots on his supporting foot, hooking or coiling the working leg behind or around in front of the supporting leg Espejo (에스(뻬)호) Mirror: To mirror the movement of ones partner as in "Ochos en espejo", a figure where the man and woman both do forward ochos at the same time. Fanfarron (환(화)으론) A rhythmic tapping or stomping of the foot in time with the music for dramatic and emotional effect. Boisterous behavior. See Golpecitos(골뻬시또스). Firulete (휘룰(레)떼) An adornment; a decoration; an embellishment: Complicated or syncopated movements which the dancer uses to demonstrate their skill and to interpret the music. See adorno, and lapiz. 댄서가 그들의 기술을 보이거나 음악을 해석하기 위해 사용하는 복잡하거나 싱코페이션의 동작들. 아도르노라고도 함 Freno (ㅍ흐(레)노) To stop and hold; brake. Gancho ((간)초) The hook 갈고리: Occurs when a dancer hooks a leg sharply around and in contact with their partners leg by flexing the knee and releasing. May be performed to the inside or outside of either leg and by either partner. 댄서는 그들의 파트너의 다리에 접촉하여 무릎을 구부리고 펴는 것에 의해 그 다리 주위를 민첩하게 건다. 각 다리의 안쪽 또는 바깥쪽에서 각 파트너(땅게라 또는 땅게로)에 의해 행해질 수 있다. . Giro ((히)로) Turn: A turning step or figure. Golpecitos (골뻬(시)또스) Little toe taps: Rhythmic tapping done with a flat foot on the ball or underside of the toe as an adorno. See Fanfarron and Zapatazo(싸빠따쏘). Golpes ((골)뻬스) Toe taps: With a tilted foot tap the floor with the toe and allow the lower leg to rebound keeping the knees together. See Picados(삐까도스). Grelas (그(렐)라스) A lunfardo term for woman. See mina. Guapo ((구)아뽀) Handsome: A respectable and desirable man. A compadre. Habanera (아바(네)라) A side together side together stepping action entered with a side chasse, commonly used by the man as he leads backward ochos for the lady in crossed feet. An Afro-Cuban dance from the mid 19th century which contributed to Tango. Hamaca (아(마)까) Another term for Cunita. 제자리에서 걷거나 작은 공간에서 방향을 바꾸는 데 유용한, 음악에 맞춰 앞뒤로 흔드는 스텝. 이 동작은 왼쪽 또는 오른 쪽 다리를 앞으로 하여 왼쪽 또는 오른 쪽으로 돌 수 있고, 원하는 만큼 반복될 수 있다. Junta ((훈)따) From juntar - to join or bring together (as in, one’s feet or knees); close: In Tango it is essential that the ankles and knees should come together or pass closely by each other between each step to create an elegant appearance, preserve balance, and to communicate clearly the completion of the step to one’s partner. This applies equally to the man and the lady. Lapiz ((라)삐스) Pencil: Tracing of circular motions on the floor with the toe or inside edge of the working foot, while turning or waiting on the supporting foot. These may vary from small adornments done while marking time to large sweeping arcs which precede the lady as she moves around the man in molinete. See Dibujo, Firulete, and Rulo. Latigazo (라띠(가)쏘) Whip. Describes a whipping action of the leg as in a boleo. Llevada (제(바)다) From llevar - to transport; a carry; to take with: 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. Lustrada (루스뜨(라)다) From lustrar - to shine or polish; the shoe shine: A stroking of the man’s pant leg with a shoe. May be done by the lady or by the man to himself but is never done to the lady. Marcar (마르(까)르) From Marque; to plot a course; guide: To lead. (la marca = the lead) Media Luna ((메)디아 (루)나) Half moon: A sweeping circular motion of the leg similar to a ronde in ballroom but always danced in contact with the floor, never lofted. Usually danced by the lady and often led with a sacada to the lady’s leg. May be used to bring the lady to an inside gancho. Media Vuelta ((메)디아 부(엘)따) Half turn: Usually done when the man’s right foot and the lady’s left foot are free. The man steps forward outside right (3 of 8 count basic), leading the lady to step back left, then side right across his right leg, and forward left around him as he shifts weight first to his center, then onto his right foot as he then pivots on both feet ½ turn with his partner, the lady pivoting on her left foot. Media Vuelta is used by itself to change direction or maneuver on the dance floor and as an entrance to many combinations. Milonga (밀(롱)가) May refer to the music, written in 2/4 time, or to the dance which preceded the tango, or to the dance salon where people go to dance tango, or to a tango dance and party. 2/4의 곡, 땅고 이전에 추어졌던 춤, 땅고를 추는 장소 Milonguero (밀롱(게)로) (feminine; Milonguera 숙녀: 밀롱(게)라) Refers to those frequenting the milongas from the early 1900s to the present who were or are tango fanatics. A person whose life revolves around dancing tango and the philosophy of tango. A title given by other tango dancers to a man (woman) who has mastered the tango dance and embodies the essence of tango. 1900년대에서 현재까지 밀롱가에 자주 가는 땅고 매료자들을 일컫는 말. 땅고와 땅고 철학에 몰입하여 사는 사람. 땅고를 마스터하고 땅고의 본질을 이해한 사람에게 다른 땅고 댄서에 의해 주어진 명칭. Molinete (몰리(네)떼) 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. Mordida (모르(디)다) From morder: to bite; the little bite: One partner’s foot is sandwiched or trapped between the other partner’s feet. If the other partner’s feet are also crossed it may be referred to as Reverse Mordida. Sometimes called Sandwiche(산드(위)체), or Sanguchito(상구(치)또). 한 파트너의 발은 다른 파트너의 발 사이에 샌드위치되거나 잡힌다. 다른 파트너의 발이 클로스 된다면 그것은 리버스(역방향) 모르리다라고 불려진다. Sometimes called Sandwiche(산드(위)체), or Sanguchito(상구(치)또). Sandwiche (산드(위)체) See Mordida. Sanguchito (상구(치)또) See Mordida 때때로 그것은 산드위체, 상구치또등으로 불린다. Mordida Alto (모르(디)다 (알)또) A variation in which a dancer catches a partners knee between both of their own. Ocho ((오)초) Eight (pl. ochos); Figure eights: A crossing & pivoting figure from which the fan in American tango is derived. Executed as a walking step with flexed knees and feet together while pivoting, ochos may be danced either forward or backward and are so designated from the lady’s perspective. El Ocho is considered to be one of the oldest steps in tango along with caminada, the walking steps. It dates from the era when women wore floor length skirts with full petticoats and danced on dirt floors. Since the lady’s footwork could not be directly observed the quality of her dancing was judged by the figure she left behind in the dirt after she danced away. 오쵸는 걷기와 함께 땅고의 가장 오래된 동작의 하나라고 생각된다. 그것은 여자들이 풍성한 속치마를 가진 긴 플로어 스커트를 입고 더러운 바닥에서 춤췄던 시기로부터 시작되었다. 여자의 발동작은 직접적으로 관찰될 수 없었기 때문에 그녀의 춤의 솜씨는 그녀가 떠난 후 그녀가 먼지 속에 남긴 자취에 의해 판단되어졌다 Ocho Cortado ((오)초 꼬르(따)도) Cut eight: Occurs when a molinete or an ocho-like movement is stopped and sent back upon itself. Typical in club style where many such brakes are used to avoid collisions. Ocho Defrente ((오)초 데프(렌)떼) Ocho to the front: Forward ochos for the lady (i.e., crossing in front). Ocho Para Atras ((오)초 (빠)라 (아)뜨라스) Ocho to the back: Back ochos for the lady (i.e., crossing behind). Ochos Cortados ((오)초스 꼬르(따)도스) Cut eights: A common figure in Milonguero or Club Style Tango which is designed to allow interpretation of rhythmic music while dancing in a confined space. Ochos en Espejo ((오)초스 엔 에스(뻬)호) Ochos in the mirror: The man and the lady execute forward or back ochos simultaneously, mirroring each others movement. Palanca (빨(랑)까) Lever; leverage: Describes the subtle assisting of the lady by the leader during jumps or lifts in stage tango. Parada (빠(라)다) 멈추기 From parar - to stop; a stop: The man stops the lady, usually as she steps crossing back in back ochos or molinete, with pressure inward at the lady’s back and at her balance hand and with a slight downward thrust, preventing further movement. When properly led the lady stops with her feet extended apart, front and back, and her weight centered. The man may extend his foot to touch her forward foot as an additional cue and element of style or he may pivot and step back to mirror her position (fallaway). 남자는, 보통 그녀가 백 오쵸(오쵸 아뜨라스) 또는 몰리네떼에서 등을 뒤로 방향전환하며 갈 때, 그녀의 등과 남은 팔을 안으로 막고 다소 아래로 밀면서, 더 이상의 동작을 막으며 여자를 정지시킨다. 정확하게 리드되었을 때, 여자는 그녀의 발은 앞 뒤로 간격을 두고 떨어진 채 멈추고, 그녀의 무게중심은 중간에 있을 것이다. 남자는 추가적인 신호와 기본적인 형태로서 그녀의 앞쪽 발에 접촉하기 위해 그의 발을 뻗거나 그가 피봇(방향전환)하여 그녀의 위치와 마주보며 뒤로 걸을 수 있다. Parallel Feet (패(럴)렐 핕) The natural condition when a couple dance in an embrace facing each other, the man stepping on his left, the lady on her right foot, and then the man stepping on his right, the lady on her left foot, regardless of direction. The opposite of crossed feet. Pasada (빠(사)다) 넘기 Passing over. Occurs when the man has stopped the lady with foot contact and leads her to step forward over his extended foot. Used frequently at the end of molinete or after a mordida. The lady may, at her discretion, step over the man’s foot or trace her toe on the floor around its front. Pasada provides the most common opportunity for the lady to add adornos or firuletes of her own and a considerate leader will give the lady time to perform if she wishes. 남자는 발을 접촉하여 여자를 멈추게 하고 그녀를 그의 뻗은 다리위로 지나 앞으로 걷도록 리드한다. 여자는, 그녀의 결정으로, 남자의 발을 넘거나 또는 그 발 주위의 바닥에 그녀의 토우를 끌 수 있다(엄지발가락부분으로 포인하여 바닥을 끌며 지나가기). 빠사다는 여자들에게 그녀의 휘롤레떼(장식동작)을 할 가장 일반적인 기회를 제공하고 사려깊은 리더는 그녀가 원하는 동작을 할 수 있는 시간을 줄 것이다. * 빠사다를 리드하면 반드시 여자가 넘어가야 하는 것이 아니라 넘기 싫으면 남자의 발 주위로 포인하여 지나갈 수 있다고 하네요. 그렇지만 우리나라에서 그렇게 동작하면 잘 모르는 걸로 오해할 수도 있으니까 그냥 넘어가세요^^. 그리고 남자가 여자가 휘롤레떼할 때에 충분히 기다려야 한다는 것도 중요하구요. Paso ((빠)소) A step. Patada (빠(따)다) A kick. Pausa ((빠)우사) Pause; wait: Hold a position for two or more beats of music. See titubeo. Pebeta (뻬(베)따) A lunfardo word for young woman or girl. See mina or paicas. Picados (삐(까)도스) A flicking upward of the heel when turning or stepping forward. Usually done as an advanced embellishment to ochos or when walking forward. See Golpes. Planeo (쁠라(네)오) Pivot; glide: Occurs when the man steps forward onto a foot, usually his left, and pivots with the other leg trailing (gliding behind) as the lady dances an additional step or two around him. May also occur when the man stops the lady in mid stride with a slight downward lead and dances around her while pivoting her on the supporting leg as her extended leg either trails or leads. Can be done by either the man or the lady. 동영상 <A href="http://users.pandora.be/Tango-E-Vita/book/gallery_planeoswf.htm" target=nlink>http://users.pandora.be/Tango-E-Vita/book/gallery_planeoswf.htm</A> Quartas ((까)르따스) 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 Salon style, and not used in Milonguero style at all. See Corte. Quebrada (께브(라)다) Break; broken: A position where the lady stands on one foot with the other foot hanging relaxed behind the supporting foot. Sometimes seen with the lady hanging with most of her weight against the man. Also a position in which the dancer’s upper body and hips are rotated in opposition to each other with the working leg flexed inward creating a broken dance line. Rabona (라(보)나) A walking step with a syncopated cross. Done forward or backward the dancer steps on a beat, quickly closes the other foot in cruzada, and steps again on the next beat. Adopted from soccer. See traspie(뜨라스삐에). Resolucion (레솔(루)시온) Resolution; tango close: An ending to a basic pattern similar to a half of a box step. 6, 7, and 8 of the 8 count basic. Rulo (룰로) A curl: Used frequently at the end of molinete when the man, executing a lapiz or firulete ahead of the lady, curls his foot in around the lady and extends it quickly to touch the her foot. An older term for lapiz. Sacada (사(까)다) The most common term for a displacement of a leg or foot by the partner’s leg or foot. Occurs when a dancer places their foot or leg against a leg of their partner and transfers weight to their leg so that it moves into the space of and displaces the partner’s leg. See Desplazamiento(데쓰쁠라싸(미엔)또). Salida (살(리)다) From salir - to exit; to go out: The first steps of dancing a tango, or a tango pattern, derived from “¿Salimos a bailar?” {살(리)모스 아 (바일)라르? Shall we (go out to the dance floor and) dance?}. Salida de Gato (살(리)다 데 가또) A variation on the basico in which the man steps side left, forward right outside the lady, diagonal forward left, and crossing behind right with a lead for forward ochos for the lady. The lady is led to step side right, back left, diagonal back right, and crossing forward left, beginning ochos on her left foot. This figure enters ochos without using cruzada. Saltito (살(띠)또) A little Jump. Sandwiche (산드(위)체) See Mordida. Sanguchito (상구(치)또) See Mordida. Sentada (센(따)다) From sentar - to sit. A sitting action: A family of figures in which the lady creates the illusion of sitting in, or actually mounts, the man’s leg. Frequently used as a dramatic flourish at the end of a dance Tanguero (땅(게)로) (feminine; Tanguera 여자: 땅(게)라) Refers to anyone who is deeply and seriously passionate about any part of tango, such as its history, music, lyrics, etc. In Argentina most tangueros are scholars, of lunfardo, music, orchestrations, Gardel, etc. One can be a tanguero without being a milonguero and a milonguero without being a tanguero (very few milongueros would be referred to as tangueros). And of course one can be an extremely good tango dancer without being either, such as stage dancers, who are quite disdained by real milongueros and tangueros, unless they go the extra distance and become milongueros by going to the milongas, and/or tangueros as well. An aficionado(아휘시오나도). Tijera (띠(헤)라) Scissor: A movement, usually danced by the man, in which an extended leg is withdrawn and crossed in front of the supporting leg without weight so that it remains free for the next step or movement. May also refer to a figure in which the man steps forward in outside position (left or right) caressing the outside of the lady’s leg with his leg (as in 3 of basico), then crosses behind himself which pushes the lady’s leg to cross in front. May also refer to a jumping step from stage tango where the lady swings her legs up and over with the second leg going up as the first leg is coming down (frequently seen as an aerial entry to sentadas). Titubeo (띠뚜(베)오) Hesitation. See pausa. Trabada (뜨라(바)다) Another term for Cruzada. Traspie (뜨(라)스삐에) Cross foot; triple step: A walking step with a syncopated cross. Using two beats of music the dancer does step-cross-step beginning with either foot and moving in any direction. See rabona. Vals (발스) Argentine waltz: Sometimes referred to as Vals Criolo(끄(리올)로, or Vals Cruzado(끄루(싸)도), and danced to what is arguably the most beautiful dance music anywhere (editorial bias ) 안녕하세요? 루사예요 탱고 용어에 대해 질문이 있으셔서 초급에서 알아두면 좋은 용어들을 간단하게 정리해 보았습니다. 물론 아직 안배우신것들도 있지만, 참고 삼아 한번 보세요.. (영문은 다음까페 미국춤님이 작성하신 내용에서 발취하였습니다) 1. 밀롱가 : 처음에 음악 종류는 크게 탱고와, 밀롱가와 발스가 있다고 말씀 드렸죠? 탱고는 4/4 박자, 밀롱가는 2/4 박자의 빠른 음악을 말하는 것이고요. 또한 탱고를 추는 장소를 "밀롱가"라고 합니다. Milonga : May refer to the music, written in 2/4 time, or to the dance which preceded the tango, or to the dance salon where people go to dance tango, or to a tango dance and party. ※ 참고로 탱고와 밀롱가의 기원으로 거슬러 올라가서 살펴 보면, 탱고의 기원 중 하나인 `밀롱가 (Milonga)"는 19세기의 후반 부에노스 아이레스 빈민 지역에 성행한 2박자의 음악과 춤이었고 새로운 세대의 전환에 앞서 오늘날과 같은 완전한 탱고의 면모를 갖추며 변화 되어갔는데, 1870 년대에 탱고를 완성시키는데 기여한 인디오와 니그로 그리고 스페인의 혼혈인 콤빠드리토 (Compadrito)들은 밀롱가를 바탕으로 해서 탄생한 새로운 춤과 음악을 `탱고"라는 이름으로 불 렀고, 역설적인 것은 흑인들이 춤을 추는 장소를 부르는데 썼던 탱고라는 용어를 밀롱가가 변화 된 춤의 이름으로 사용하고, 탱고를 추는 장소를 `밀롱가"라 부르기 시작했다고 합니다. (아르헨티나 탱고의 특성에 관한 이론적 고찰 / 정호진) 2. 땅게로 / 땅게라 : 흔히 탱고를 추는 사람이라는 뜻으로 많이 사용하고 있는데, 땅게로는 남자, 땅게라는 여자를 뜻하 고 있습니다. 그런데 아래의 원문을 보시면 밀롱게로와 구분하여 정의 내리고 있죠. 암튼 탱고와 관 련된 어떤 분야 (역사, 음악, 노래 등등..)라도 지대한 열정을 가지고 참여하는 사람을 뜻한다고 보시 면 될것 같습니다. Tanguero (feminine; Tanguera) : Refers to anyone who is deeply and seriously passionate about any part of tango, such as its history, music, lyrics, etc. In Argentina most tangueros are scholars, of lunfardo, music, orchestrations, Gardel, etc. One can be a tanguero without being a milonguero and a milonguero without being a tanguero (very few milongueros would be referred to as tangueros). And of course one can be an extremely good tango dancer without being either, such as stage dancers, who are quite disdained by real milongueros and tangueros, unless they go the extra distance and become milongueros by going to the milongas, and/or tangueros as well. 3. 밀롱게로 / 밀롱게라 : 말 그대로 밀롱가에 자주 등장하는 사람이죠. ㅋㅋ 또한 탱고의 정신에 살고 탱고에 추는데에 전념 하는 그야 말로 라이프 스타일 자체가 탱고인 사람, "탱고의 일상화"를 실현 한 사람이라고 할까... 위에서 탱고와 밀롱가의 어원을 살펴보면 땅게로와 혼용하는부분이 이해가 쉽게 되는 부분이죠. Milonguero (feminine; Milonguera) Refers to those frequenting the milongas from the early 1900s to the present who were or are tango fanatics. A person whose life revolves around dancing tango and the philosophy of tango. A title given by other tango dancers to a man (woman) who has mastered the tango dance and embodies the essence of tango. 4. 발스 : 3/4 박자의 아르헨티나 왈츠로 이해 하시면 빠를듯 싶습니다. Vals : Argentine waltz: Sometimes referred to as Vals Criolo(끄리올로, or Vals Cruzado(끄루 싸도), and danced to what is arguably the most beautiful dance music anywhere (editorial bias ) 5. 살리다 : 단어의 뜻은 "나가다"라는 뜻이라는데, 탱고 패턴(댄스)의 첫 스텝을 말한다고 하니 "스타트" 정도로 이해하면 되나요???? Salida : From salir - to exit; to go out: The first steps of dancing a tango, or a tango pattern, derived from “Salimos a bailar?” {살리모스 아 바일라르? Shall we (go out to the dance floor and) dance?}. 6. 오초 : 오초는 8 이라는 뜻인데, 말그대로 크로스와 피봇을 통해 8자 모양을 그리는 스텝을 말합니다. 보통 앞으로 하는것을 오초 아델렌떼(Adelante: Forward), 뒤로 하는 것을 오초 아뜨라스(Atras: Backward) 라고 하는데, 여기에서는 오초 데프렌떼, 오초 빠라 아뜨라스라고 되어있네요. 그리고 참고로 남녀가 동시에 마주보고 하는 것을 오초스 엔 에스뻬호라고 하는데,, 여기까지는 많이 사용 하는 말은 아닙니다. 오초 아델렌떼, 오초 아뜨라스를 더 많이 사용하고 있죠. Ocho : Eight (pl. ochos); Figure eights: A crossing & pivoting figure from which the fan in American tango is derived. Executed as a walking step with flexed knees and feet together while pivoting, ochos may be danced either forward or backward and are so designated from the lady’s perspective. El Ocho is considered to be one of the oldest steps in tango along with caminada, the walking steps. It dates from the era when women wore floor length skirts with full petticoats and danced on dirt floors. Since the lady’s footwork could not be directly observed the quality of her dancing was judged by the figure she left behind in the dirt after she danced away. -Ocho Defrente (오초 데프렌떼) Ocho to the front: Forward ochos for the lady (i.e., crossing in front). -Ocho Para Atras (오초 빠라 아뜨라스) Ocho to the back: Back ochos for the lady (i.e., crossing behind). -Ochos en Espejo (오초스 엔 에스뻬호) Ochos in the mirror: The man and the lady execute forward or back ochos simultaneously, mirroring each others movement. 7. 히로: 라운드로 회전하는 스텝이나 피겨를 말합니다. 여성의 경우 남성의 주위를 프론트 크로스, 오픈, 백 크로스, 오픈을 반복적으로 하게 됩니다. Giro : Turn: A turning step or figure. 8. 라삐스 : 한쪽 발로 플로어에 라운드를 그리는 동작을 말하는데, 원래 뜻은 "연필"인가봐요..하긴..바닥에 그 리는 것이니... Lapiz : Pencil: Tracing of circular motions on the floor with the toe or inside edge of the working foot, while turning or waiting on the supporting foot. These may vary from small adornments done while marking time to large sweeping arcs which precede the lady as she moves around the man in molinete. 9. 볼레오: "던지다"라는 뜻의 한쪽 다리로 반대 다리를 감는듯한 장식 동작인데요. 무릎은 붙이고 한쪽 다리를 회전 시켰다 제자리로 가져오는 동작입니다. Boleo : From bolear - To throw: A boleo may be executed either high or low. Keeping the knees together, with one leg back, swivel and return on the supporting leg with a whipping action of the working leg. Somtimes it spells voleo. 10. 간초 : "고리’라는 뜻으로 상대방의 다리를 본인의 허벅지와 종아리로 재빠르게 걸었다가 놓는 장식 동작 입니다. Gancho : The hook: Occurs when a dancer hooks a leg sharply around and in contact with their partners leg by flexing the knee and releasing. May be performed to the inside or outside of either leg and by either partner. 11. 사까다 : 상대방의 다리 밑으로 본인의 다리를 넣으면서 걷어 내는듯한 동작입니다. Sacada : The most common term for a displacement of a leg or foot by the partner’s leg or foot. Occurs when a dancer places their foot or leg against a leg of their partner and transfers weight to their leg so that it moves into the space of and displaces the partner’s leg. 12. 모르디다 : "깨물기"란 뜻이라는데. 모르디다라는 말보다 주로 샌드위치라고도 불리는 동작으로 (주로 남자 가) 상대의 발을 자신의 두발로 양쪽에서 잡는 동작입니다. Mordida : From morder: to bite; the little bite: One partner’s foot is sandwiched or trapped between the other partner’s feet. If the other partner’s feet are also crossed it may be referred to as Reverse Mordida. Sometimes called Sandwiche(산드위체), or Sanguchito (상구치또).