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In fact, a high point, a climax in the dance at which the dancer pauses and the audience applauds desplazamiento: see marcar diapasón the neck or fingerboard of the guitar ducas, duquelas Caló (Romany or Gypsi) word for "sorrows" duende literally, "spirit" of "demon"; suggesting possession. Flamencos may prefer the word ángel or el age
El Olé, the Spanish national dance," with image of Pepita de Oliva. Sheet music, 1850s. In flamenco music and dance, shouts of "olé" often accompany the dancer during the performance as encouragement or praise, and at the end of the performance. A singer in cante jondo may also emphasize the word "olé" with melismatic turns. [2] [12]
Eighteenth century Castilian fandango dancers (by Pierre Chasselat) (1753–1814) Fandango rhythm. [1]Fandango is a lively partner dance originating in Portugal and Spain, usually in triple meter, traditionally accompanied by guitars, castanets, tambourine or hand-clapping.
Aragonese jota dancers. The jota (pronounced [1]) is a genre of music and the associated dance known throughout Spain, most likely originating in Aragon.It varies by region, having a characteristic form in Aragon (where it is the most important [1]), Mallorca, Catalonia, León, Castile, Navarre, Cantabria, Asturias, Galicia, La Rioja, Murcia and Eastern Andalusia.
Compás is the Spanish word for metre or time signature (in classical music theory). It also refers to the rhythmic cycle, or layout, of a palo. The compás is fundamental to flamenco. Compás is most often translated as rhythm but it demands far more precise interpretation than any other Western style of music.
In flamenco, zapateado also refers to a style of dancing which accents the percussive effect of the footwork (zapatear is a Spanish verb, and zapato means "shoe"). [ 1 ] [ 2 ] In the footwork of particular zapateado , "the dancer and the guitarists work together in unison, building from simple foot taps and bell-like guitar tones to rapid and ...
The dance emerged shortly after the Spanish conquest of the Aztec Empire. It is based on the old "mitote" dance, but modified to include Catholic symbolism as a means of preserving ancient ritual. [3] [4] While the Spanish tried to eliminate as much indigenous culture as possible, total eradication was not possible. In the case of dance, that ...
Castanets were used to evoke a Spanish atmosphere in Georges Bizet's opera, Carmen. They are also found in the "Dance of the Seven Veils" from Richard Strauss' opera Salome and in Richard Wagner's Tannhäuser. An unusual variation on the standard castanets can be found in Darius Milhaud's Les Choëphores, which calls for castanets made of metal.