TANGO DE PISTA OPEN (T/T/T)

An elegant close embrace tango using round techniques in flow. This form allows moving from one side of the chest to the other, a small variation of space between the couple for efficiency, various musical interpretations and longer sequences while always following the line of dance.

TANGO DE PISTA RISING STARS  (T/T/T)

Note: Any couple winning the Rising Star Competition at one event, cannot dance in the Rising Star Competition at that event again. If either partner of a couple has won a U.S. Championship, the couple is no longer eligible for Rising Star Status in that Division or Style. Any foreign couple who has won of their own country's national championship is ineligible to dance in Rising Star events in the U.S.

An elegant close embrace tango using round techniques in flow. This form allows moving from one side of the chest to the other, a small variation of space between the couple for efficiency, various musical interpretations and longer sequences while always following the line of dance.

SUMMIT GRANDE (T/V/Mil)

Blending three dances in one event or "tanda", and at one level, dancers have the chance to enjoy and express themselves in tango's three distinctive forms, showing diversity and musical timing! 

TANGO DE PISTA ROLE REVERSED (T/T/T)

WOMAN LEADING A WOMAN ROLE REVERSED
An upcoming style that increasingly showcases a woman's skills, this new category welcomes a woman leading a woman in the style of Salon Tango. In this genre, ladies have a chance to show their leading or following skills together, keeping the same rules and regulations as the traditional Salon Tango.

MAN LEADING A MAN ROLE REVERSED
Recalling the roots of tango, this new category welcomes a man leading another man, also in the style of Salon Tango. Holding those same rules and regulations, two men may showcase the history of Tango, in its original form, with their leading, following and navigation skills. Please note that it is not necessary for either partner to wear heels, as the judges will be looking at the dance in its historical context when the art was danced by two men. 

STAGE TANGO (Escenario)
(T or V or Mil)

Tango Stage offers couples and competitors the opportunity to challenge themselves both physically and artistically. Express yourself to the music (either traditional or non-traditional) of your choice. 

MILONGUERO (T/T/T)

A traditional form of tango where the bodies are fully connected at the chest, using smaller moves (typically rhythmic but not exclusively so) and occasionally embodying a leaning form. Dancers seek the traditional, deeper embrace that is held throughout the dance in its turns and sequences. In this style, variations of the molinete are used to accommodate dancing in a small space. 

TANGO FANTASIA (T/T/T)

A form encompassing the style of salon tango but allowing for the larger and expressive movements such as barridas, colgadas, volcadas, high boleos, wraps, releases and ganchos now displayed in exhibitions. Combinations of close and open embrace are used to allow more freedom of movement, and an actual release of an embrace is acceptable.  Lifts, slides, kicks and open breaks are allowed. For a complete list of rules, please see our Rules & Regulations page.  This is comparable to the theatre arts, cabaret or exhibition category in dancesport championships. 

MILONGA (Mil/Mil/Mil)

The milonga, Tango’s rhythmic parent, influenced by single, double, traispe (triple) and up rhythms, is featured as its very own category. Soulfully dance three milongas in the line of dance while connected to your partner. Traditional milonga “steps” may be incorporated (see syllabus), but the composition of your dance is all your own.

VALS (V/V/V)

With its own timing and style, danced in 3/4 time, vals is making its solid return. The art of the vals, danced on accenting the 1-3, 3-1 or 1-2-3 in circular motion, is beautiful and refined. Competing in this category will showcase your smooth and flowing sequences, allowing the incorporation of traditional vals elements, vals cruzada and more.

CHAMPIONSHIPS

As a professional you can participate in any of the Championship events detailed above. Each organizer will be offering a different combination of the Championships. Each Championship includes a Tanda of 3 dances. Depending on the number of competitors there will be a Qualifying, Semifinal and Final offered. 

TITLES

Depending on the competitive event you can receive a title. USNATA organizes the United States National Argentine Tango Championship awarding the United States National Professional Champion.  With the United Argentine Tango World Federation (UATWF), the USNATA is the co-organizer of the Annual World Argentine Tango Championships, awarding the title of the World Argentine Tango Professional Champion as well as World titles in Amateur and Pro-Am categories. 

GENERAL RULES OF COMPETITIONS

Competitors of any nationality may enter USNATA sanctioned competitions. U.S. residents must provide a legal and valid form of photo identification (e.g., state issued identification card or driver’s license, passport, resident alien card). Foreign participants (including holders of employment authorization cards or student visas) must provide a legal and valid form of documentation (passports, employment authorization card, student visas, etc.).

All participants must provide accreditation information at the time of registration on the appropriate forms. Photocopies of official documents must be received within 14 days of the registration date via mail, email, express mail or in person. The same official documents, including photo identification, must be presented when picking up registration materials at the competition. Competitors who do not present these documents will not be allowed to enter the competition. Exceptions will be evaluated in special circumstances such as force majeure. One member of the couple may present documents for both partners. Third party accreditations are not permitted.

Group Entries – The person in charge of managing/training the group (teacher/choreographer) is responsible for providing accreditation documentation for each group member when picking up registration materials.

Competitors must review and adhere to each category’s Evaluation Criteria during the competition.

0.   Competitors must conduct themselves in a respectful and sportsmanlike manner toward judges, monitors, fellow competitors, spectators, and any personnel at USNATA sanctioned events. Any conduct to the contrary, written or verbal, may incur legal consequences. USNATA reserves the right to rescind awarded titles and prizes, and future attendance at USNATA sanctioned events from the offending parties.

1.  Spectators are welcome to watch all competition rounds.

2.  By entering the competition, competitors agree to participate in events and ceremonies organized by the USNATA (press conferences, interviews for radio stations and television channels, demos, etc.) as requested by the USNATA.

3.  With the exception of the Junior Exhibition category, competitors must be at least 18 years old by the first date of the competition. Juniors must be under the age of 18 by the first date of the competition.

4.  USNATA may choose to or is currently engaged in the business of creating media, which includes but is not limited to engaging in the following activities for personal and commercial gain: filming, film/video editing, and film/video production; photography, photo editing, and total production; digital photography, digital photo editing, and digital photo production; documentary production and editing; sound recordings; sound manipulation and music productions; television production; and web design and production. By registering for the competition, competitors give consent to the ATWC to capture images and video/sound recordings for use in media, without implicit or explicit compensation.

5.  By registering for any USNATA sanctioned competition and participating, each competitor acknowledges having read and accepted these General Rules.

Rules and guidelines for competing at USNATA sanctioned Events have been established to guide dancers by level and treating and judging all competitors with impartiality. The effort put forth by the USNATA is to encourage dancers to compete in various categories so as to challenge themselves and grow in their tango journey. Judges have been trained to look for specific elements and requirements in each category. A panel of monitors has been enlisted to ensure that elements are performed specific to each category, maintaining the appropriate level and style.

TANGO De Pista & Free Style

Embrace

• Elegant, closed embrace that allows moving along the chest from one side to the other
• The couple is not allowed to break the embrace, where the man’s right arm is wrapped around the woman’s back and his left hand is holding her right hand palm to palm.

Connection

• (Physical) – The couple’s energy moves toward each other and away from each other with smooth transition between these changes of connection
• (Emotional) – Relatability between partners, working as a team, listening to one another, answering one another and responding to one another

Musicality

• Three basic rhythms: 1 and 3; 1-2-3 (double time); on the 1;

• Depending on the level, judges will be looking at the usage of these three basic rhythms; up rhythms, uneven rhythms and síncopas are allowed
• The use of phrasing and how the dancer understands the variation at the end depending on competency level
  • Crescendo at the end varies depending on style danced

Recommended Elements

• Recommended elements are found in the Syllabus of the ATWC
• Entry and exit out of specific elements; please note that these elements are guidelines; varying executions of elements are permitted

Technique

• Presenting the leg or body weight step
• Transfer of body weight
• Cadencia of the hips/lower body
• Rise and fall over period of sequence
• Ochos
  • Forward and back ochos: how the couple transfers body weight regardless of presentation step or body weight step
• Execution of follower’s molinete in terms of tempo and timing

Composition

• How the couple combines all of the previous criteria
• How the couple connects to each other and the music depending on the level of competency

• How the couple links one element to another
• Timing
  • Could be slow, over time or immediate
  • Looking for how timing relates to structure of music; it should hit beginning and end of phrase
• For beginners, composition is very clean and structured
• Intermediate/advanced dancers should show moments of opening, closure and in between movements

MILONGUERO Style 

Embrace

• Closer embrace than Salon Tango; left arm of follower can be wrapped more around leader
• Body connection is between left side of follower and right side of leader; no rolling technique from side to side
• Embrace does not open up; no variation of space. This changes the style of some elements

Connection

• (Physical) – Shared axis/center, deeper contact in embrace, very forward; can be weight bearing or apilado
• (Emotional) – Relatability between partners, working as a team, listening to one another, answering one another and responding to one another

Musicality

• Similar to Salon Tango, but a bit more rhythmic

Elements

• Particular style: crossed ochos instead of rotating ochos
• Follower’s molinete to the left and right in traditional milonguero style
• Shorter stride, more compact movements, limited travel

Technique

• Presenting the leg or body weight step
• Transfer of body weight
• Cadencia of hips/lower body
• Rise and fall over period of sequence
• Ochos
  • Forward and back ochos: how the couple transfers body weight regardless of presentation step or body weight step
• Execution of follower’s molinete in terms of tempo and timing
• Especially on forward step, movement originates more from the top instead of an evenly horizontal movement

Composition

• How the couple combines all of the previous criteria
• How the couple connects to each other and the music depending on the level of competency

• How the couple links one element to another
• Timing
  • Could be slow, over time or immediate
  • Looking for how timing relates to structure of music; it should hit beginning and end of phrase.
• For beginners, composition is very clean and structured
• Intermediate/advanced dancers should show moments of opening, closure and in between movements.

TANGO FANTASIA 

General

• The dance can encompass both Salon Tango and Milonguero Style, but it also allows for the larger and more expressive movements such as barridas, colgadas, volcadas, high boleos, wraps, releases and ganchos now displayed in exhibitions in accordance with the Syllabus criteria.

Embrace

• Combinations of close and open embrace are used to allow more freedom of movement and fluid transitions
• An actual release of one or both arms of an embrace (e.g., releasing a single arm for a turn or releasing both arms for a brief period and coming back together) is acceptable for a brief moment. 

Connection

• (Physical) – Varying connections: merging, opposing, neutral
• (Emotional) – Relatability between partners, working as a team, listening to one another, answering one another and responding to one another

Musicality

• Variations are used from rhythmic to lyrical. Couples do not have to adhere to a particular musical style; it’s more about interpretation of the music
• Using different tempo and timing within the same tango is permitted and encouraged

Elements

• See the Syllabus for each level’s permitted elements

Technique

• Presenting the leg or body weight step
• Transfer of body weight
• Cadencia of hips/lower body
• Rise and fall over period of sequence
• Ochos
  • Forward and back ochos: how the couple transfers body weight regardless of presentation step or body weight step
• Execution of follower’s molinete in terms of tempo and timing
• Especially on forward step, movement originates more from the top instead of an evenly horizontal movement
• Couples may not have both feet off the floor. Therefore, jumps, sits, lifts and double ganchos are not permitted.

Composition

• How the couple combines all of the previous criteria
• How the couple connects to each other and the music depending on the level of competency

• How the couple links one element to another
• Timing
  • Could be slow, over time or immediate
  • Looking for how timing relates to structure of music; it should hit beginning and end of phrase.
• For beginners, composition is very clean and structured
• Intermediate/advanced dancers should show moments of opening, closure and in between movements.

VALS

Embrace

• The embrace is based on the style danced (Salon Tango or Milonguero Style); either style is acceptable, including the transition from one to the other. The majority of the time, the embrace has to be closed.

Connection

• (Physical) – Same forward connection as Salon Tango or Milonguero Style, merging or opposing; could be very fluid (soft, neutral). Looking at smoothness and flow of connection in the embrace; embrace cannot be released
• (Emotional) – Relatability between partners, working as a team, listening to one another, answering one another and responding to one another.

Musicality

• ¾ time: looking at basic vals tempos/vals criollo, dancing on 1 and 3, 3 and 1, 1-2-1-2, 2-3-2-3, 3-1-3-1 and doubles in 1-2-3

Elements

• Traditional vals elements such as calecitas, rotating rocks, switch steps, changes of direction and vals cruzado are encouraged and will be evaluated.
• Stage tango elements (open embrace, releasing embrace, lifts, slides, kicks, splits, exaggerated off-axis moves and comical moments) are not allowed.

Technique

• Flow between elements, which style is being used (Salon Tango, Milonguero Style or both).

Composition

• Combination of all previous criteria.
• Vals elements and how they’re interpreted to the music.

MILONGA

Embrace

• Close connection in style of Salon Tango or Milonguero Style; looking at the flow/harmony of the connection
• The embrace is flexible (Salon Tango, Milonguero Style or slightly open). However, the majority of the embrace should be in a closed position.

Connection

• (Physical) – Same forward connection as Salon Tango or Milonguero Style, merging or opposing; could be very fluid (soft, neutral). Looking at smoothness and flow of connection in the embrace
• (Emotional) – Relatability between partners, working as a team, listening to one another, answering one another and responding to one another.

Musicality

• 2/4 time
• Milonga lisa (single beat); double time; traspie; up rhythms; síncopas
• Judges will give special regard to the various milonga rhythms that identify this category.

Elements

• Evaluate style and integration of traditional milonga elements such as crosses, switch steps, vaivén, rotating walks, cangrejos, changes of direction and side steps.
• Stage tango elements (open embrace, releasing embrace, lifts, slides, kicks, splits, exaggerated off-axis moves and comical moments) are not allowed.

Technique

• Smooth, flowing steps (gliding in the rhythm, not bouncing) or from the top down; both are ok, both will be evaluated; technique is catered by the style used (Salon Tango vs. Milonguero Style).

Composition

• Combination of all previous criteria; transitions in musicality and transitions of connection.
• Can be danced on down beat or up beat; looking at the transition of the two.
• Can be in line with the music or opposite of the music; both are ok as long as movements are well executed.

STAGE TANGO

General

• 60% of dance should consist of Tango elements
• 40% can include other dance elements (see below)
• Traditional music is required; looking at art of expression to traditional music
• The dance can be creative or portray a traditional Tango style
• Judges will evaluate the use of the stage space

Connection

• (Physical) – Looking at which type of connection is used and transitions; during tricks as well
• (Emotional) – Relatability between partners, working as a team, listening to one another, answering one another and responding to one another, both when facing and not facing each other; touching/reaching/relating to the audience

Musicality

• Looking at phrasing and how accents are used; overall rhythm, dancing on melody or in rhythm

Elements/Technique/Embrace

• 60% of dance should consist of Tango elements
• 40% can include open embrace, releasing embrace, lifts, slides, kicks, splits, aerial tricks exaggerated off-axis moves, comical moments and movements characteristic of other dances; releases are allowed
• Choreographic elements

Composition

• How the couple combines all of the previous criteria
• How the couple connects to each other and the music depending on the level of competency
• Overall interpretation of music, story told or expression of feeling

TANGO DE PISTA, MILONGUERO, MILONGA, VALS, Tango-Milonga-Vals

Traditional elegant Tango wear is required for the ladies, and suits with a tie, bow tie or ascot tie are required for the gentlemen. Pocket handkerchiefs are optional.

Salon Tango Reversed – Woman Leading a Woman

The woman in the leading position may choose to wear elegant Tango wear or a pantsuit.

The woman in the leading position may choose to wear a heel or flat shoe.

Tango Salon Reversed – Man Leading a Man

Suits with a tie, bow tie or ascot tie are required for the gentlemen. Pocket handkerchiefs are optional.

The man in the following position does not have to wear a heel.

STAGE TANGO

Costumes may be elaborate, but elegant wear is acceptable