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Olé is a Spanish interjection used to cheer on or praise a performance commonly used in bullfighting and flamenco dance. [2] In flamenco music and dance, shouts of "olé" often accompany the dancer during and at the end of the performance, and a singer in cante jondo may emphasize the word "olé" with melismatic turns.
More particularly, in flamenco jaleo includes words of encouragement called out to the performers, as individuals or as a group, [3] as well as hand-clapping. Among common jaleo shouts to cheer on the singers, the guitarists or the dancers, are olé and así se canta or así se baila ("that's the way to sing," or "that's the way to dance").
¡Ole! or ¡olé! is a Spanish interjection used to cheer on or praise a performance, especially associated with the audience of bullfighting and flamenco dance. The word is also commonly used in many other contexts in Spain, and has become closely associated with the country; therefore it is often used outside Spain in cultural representation ...
Sargent's painting Capri (1878) depicts Rosina Ferrara dancing the tarantella, and anticipates the flamenco of El Jaleo. [6] Crystal Bridges Museum of American Art. Almost 12 feet (3.7 m) wide, El Jaleo is broadly painted in a nearly monochromatic palette, but for spots of red at the right and an orange at left, which is reminiscent of the lemons Édouard Manet inserted into several of his ...
Siguiriyas (Spanish pronunciation: [seɣiˈɾiʝas]; also seguiriyas, siguerillas, siguirillas, seguidilla gitana, [1] etc.) are a form of flamenco music in the cante jondo category. This deep, expressive style is among the most important in flamenco. Unlike other palos of flamenco, siguiriyas stands out for being purely Romani in origin.
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You can also keep your mouth open a bit while you blow, says Phillip Purnell, M.D., Ph.D., an otolaryngologist at Rutgers Robert Wood Johnson Medical School. “That helps to reduce some of the ...
By 1951, he was a bookkeeper. [5] Around 1954, he intended to work as an accountant for a company in Saudi Arabia. [6] Inspired by Henry Fonda's performance in the Broadway play Mister Roberts, Colasanto applied for American Academy of Dramatic Arts but was rejected, so he joined a small theater company instead in Phoenix, Arizona.