• Dance Embrace (Abrazo) - Argentine tango dancing consists of a variety of styles that developed in different regions and eras and in response to the crowding of the venue and even the fashions in clothing. It is danced in an embrace that can vary from very open, in which the dancers connect at arm’s length, to very closed, in which the connection is chest-to-chest, or anywhere in between. Styles of dance are not predefined by the embrace itself and many figures of tango salon style are danced in an open embrace, it is also possible to dance tango nuevo in close V-shape embrace. The milonguero and apilado style is an exception; its close embrace without V-shape and emphasis on maintaining this embrace throughout the dance predetermines range of possible movements and their shape . In general Tango's focus is inward, more intimate, toward the partner. The chest is not pushed outward but more inward, allowing for more space to perform the dance. The arms are close to the body. The man’s left arm is held more vertical and close to the body, such that a woman’s purse can hang on the elbow. The man’s eyes look seven feet in front of him -- not toward the audience nor line of dance. The upper body in tango also has a “Stillness”, which implies the lower body does the main movement, but the upper body has minimal movement that creates the “Tango Look”. See Dance Embrace, Dance Body Rise, Dance Feet Positions, Dance Positions, and Weight Changes.

1. Abrazo Abierto (Open Embrace) - In open embrace, there can be as much space as desired between the partners, but there should always be complete contact along the embracing arms to give optimum communication. Argentine tango dancers do not hold their upper bodies arched away from each other; each partner is over their own axis. Whether open or closed, a tango embrace is not rigid, but relaxed, like a hug. Danced in Salon and tango Nuevo.

2. Abrazo Cerrado (V-Shape Close Embrace) - The dancers' chests are closer to each other than their hips, and often there is contact at about the level of the chest (the contact point differing, depending on the height of the man and the closeness of the embrace). In close embrace, the man and the woman's chests are in contact and they are dancing with their heads touching or very near each other. Danced in Salon and tango Nuevo.

3. Abrazo Apilado (Square Close Embrace) - Milonguero style of embrace is danced in closed position, chest-to-chest, with the partners leaning - or appearing to lean - slightly toward each other to allow space for the feet to move. The woman's left arm position on the man's shoulder is a style issue. It originates and is used in crowded milongas where crowds of dancers are literally dancing in a "square". In those places the lifted arm avoids touching and accidentally hurting other people during turns. Close embrace, no V-shape. Danced in Milonguero.

• Dance Body Rise - There are generally seven body rises associated with argentine tango. See Dance Embrace, Dance Body Rise, Dance Feet Positions, Dance Positions, and Weight Changes.

1. Body Rise With Foot Rise - Raising the body and spine but also standing on balls of feet. Not used very often in Argentine Tango.

2. Body Rise With No Foot Rise – Raising the body and spine but standing on heels. Used to lead the woman into a stop, or to bring her feet together.

3. Standing – A normal standing position.

4. Alert – Height when a person stands in alert position, which is often associated with an athlete preparing for action, such as a tennis player ready to accept a serve. This is the normal position to dance Argentine Tango.

5. Low - Knee is in line slightly inward in front of big toe.

6. Down – Knee is 2” in front of toe.(Demi Plié) Used for stopping the body progression.

7. Ground - One Partner or both down to the floor (Grand Plié)

• Dance Feet Position - There are generally five feet positions, mainly attributed to ballet.But Tango dance as Six Positions. See Dance Embrace, Dance Body Rise, Dance Feet Positions, Dance Positions, and Weight Changes.

1. First Position - Feet together. Not necessarily pointed straight.

2. Second Position - Feet apart, side by side. Not necessarily pointed straight.

3. Third Position - Heel to instep. It is ‘closed’ if heel touches instep, ‘open’ if there is a separation.

4. Fourth Position - Feet apart, one foot in front of the other.

5. Fifth Position - Feet together, one foot in front of the other, toe to heel.

6. Sixth Position - Feet apart sideways, under each hip, with an inward tendency, weight in the middle.

Every step will pass by Position Six.

• Dance Position - The positional relationship of the torso between the man and the woman. The direction of movement (forward or back) and the position of the feet can help establish the position. The man and woman may not necessarily be in the same position. And the couple may be in either parallel or the cross system. The Dance Position is extremely important in that the man established a dance position for every step, generally establishing the position before the feet are moved, or quickly thereafter the feet start moving. Each dance position has an appropriate line of dance. There are 20 fundamental dance positions.

1. Closed Position - Close Position

2. In Line - Inside -Outside

3. Open Position (Upper Body) - Apart Position (Lower Body)

4. Outside Partner on Right Side (3 locations)

5. Outside Partner on Left Side (3 locations)

6. Promenade Position Left and Right Foot (3 directions)

7. Counter Promenade Position Left and Right Foot (3 directions)

8. Fallaway Position Left and Right Foot (3 directions)

9. Counter Fallaway Position Left and Right Foot (3 directions)

10. Opposition Position

11. Wing Position

12. Right Parallel Position (3 locations)

13. Left Parallel Position (3 locations)

14. Right Contra Position

15. Left Contra Position

16. Right Retro Contra Position

17. Left Retro  Contra Position

18. Lady Cross Body Position

19. Man Cross Body Position

20. Intermingle Position

Notice that this list does not include other dance positions that are not generally found in Argentine Tango, such as shadow positions (Doble Frente or Al Reves) where the man is behind the woman in a shadow position, right hand to right hand, left hand to left hand. Nor does it include the sweetheart or wrap positions. See Dance Embrace, Dance Body Rise, Dance Feet Positions, Dance Positions, and Weight Changes.

• Dash – A side step taken to to side at the end of a resolution. Used in the Double Start.

• Deambulo (Wandering) - A variation of Cambio de Frente de Sentido in Gold Milonga.

• De Costado (Sideways) - A variation of Sacada Inversa with Zancada Inversa in Gold Tango.

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

• De Ida y Vuelta (Back & Forth) - A variation of Alas Abierta in Silver Vals.

• Dentro y Fuera (In & Out) - A variation of Corrida in Gold Milonga.

• Derechazo (Forehand) - A variation of Zarandeo in Silver Vals.

• Derecha (Right, the opposite of left) See Izquierda, Adelante, Al Costado, and Atrás.

• Desenrollo (Unwind) - A variation of Caminadita in Gold Pecho.

• Desenrosque/Paso Colibri (Unscrew/Hummingbird) - A variation of Atornillo in Gold Vals.

• Desplazamiento (Displacement) - A variation of Repisadas in Gold Milonga. Displacing the partner’s leg or foot using one’s own leg or foot. See Sacada.

• Deslizamiento (Gliding) - Variation of Contra Vueltecita in Silver Milonga.

• Despedidas (Fallaways) - Variation of Recortes in Gold Tango. Paradas y Despedidas in Bronze Tango
Man moves the woman into a Fallaway or Contra Fallaway position.

• Destorcimiento (Untwisting) - A variation of Contra Destorcimiento in Silver Tango and Contra Trabada in Silver Vals.  Back start and then half turn left into the cross system.

• Destornillado (Unscrewed) - A variation of Atornillo in Gold Vals.

• Detenidas/Inversion (Detained/Inversion) - A variation Básica Cruzado in Silver Tango.

• Dibujo (Drawing; sketch) - A Dibujo is done by drawing circles or other small movements on the floor with one’s toe. 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.

• Doble (Double Start) - A variation of Constuccion Básica in Bronze Tango.

• Doble Caida (Double Fall) - A variation of La Caida in Bronze Milonga.

• Doble Corte (Double Cut) - A variation of Contra Vuelta in Silver Pecho.Turning forward corte with step along line of dance, and the backward corte with step along line of dance, but turning and moving. Requires strong turn on first step of corte, and close embrace makes this move easier.

• Doble Cruzada (Double Cross) - A variation of Ocho in Bronze Tango.

• Doble Empujada (Double Pushed) (Varied Beat Count) - A variation of Empujada 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 man should stay close to the woman so she cannot step outside him. This is a crab walk, not a lock step. Another variation is the second part of this move can be executed from a Lanzamiento. See Empujada, Empujada Girada, Contra Empujada and Empujadita/Pisada.

• Doble Frente (Double Front) - The woman is in front of the man, as in shadow position (see Tango Al Reves Style). Not common in Argentine Tango.

• Doble Lápices (Double Pencil) - A variation of Lápiz in Silver Tango.

• Doble Ocho (Double Eight) - A variation of Ocho in Bronze Tango.

• Doble Quinta/Tres Ochos (Double Fifth/Three Eights) - A variation of Ocho Quebrado in Bronze Vals. This is a two part sequence, and could be danced as two separate figures.

• Doble Sentada (Double Sitting) - A variation of Contra Giro Básica in Bronze Tango.