{"id":10016,"date":"2026-01-02T16:03:51","date_gmt":"2026-01-02T15:03:51","guid":{"rendered":"https:\/\/www.tablaosflamencos.com\/?page_id=10016"},"modified":"2026-01-02T17:28:00","modified_gmt":"2026-01-02T16:28:00","slug":"flamenco-dictionary","status":"publish","type":"page","link":"https:\/\/www.tablaosflamencos.com\/en\/flamenco-dictionary","title":{"rendered":"Flamenco dictionary"},"content":{"rendered":"<section class=\"l-section wpb_row tf-hero tf-hero-diccionario height_huge color_primary with_img with_shape\"><div class=\"l-section-img\" role=\"img\" aria-label=\"Diccionario flamenco | Tablaos Flamencos\" data-img-width=\"1920\" data-img-height=\"1072\" style=\"background-image: url(https:\/\/www.tablaosflamencos.com\/wp-content\/uploads\/diccionario-flamenco-01.webp);\"><\/div><div class=\"l-section-overlay\" style=\"background:rgba(0,0,0,0.45)\"><\/div><div class=\"l-section-shape type_zigzag pos_bottom\" style=\"height:3vmin;\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 64 8\" preserveAspectRatio=\"none\" width=\"100%\" height=\"100%\">\r\n\t<path fill=\"currentColor\" d=\"M64 8 L0 8 L0 0 L20 7.9 L40 3 L48 5 L64 0 Z\"\/>\r\n<\/svg><\/div><div class=\"l-section-h i-cf\"><div class=\"g-cols vc_row via_flex valign_top type_default stacking_default\"><div class=\"vc_col-sm-12 wpb_column vc_column_container\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><h1 class=\"w-post-elm post_title align_center entry-title color_link_inherit\">Flamenco dictionary<\/h1><div class=\"wpb_text_column\"><div class=\"wpb_wrapper\"><p style=\"text-align: center;\">A clear, practical glossary to understand flamenco: palos, singing, guitar playing, dance, and the most common jargon in a tablao.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section><section class=\"l-section wpb_row height_huge\"><div class=\"l-section-h i-cf\"><div class=\"g-cols vc_row via_flex valign_top type_default stacking_default\"><div class=\"vc_col-sm-12 wpb_column vc_column_container\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"wpb_text_column\"><div class=\"wpb_wrapper\"><div style=\"text-align: center; max-width: 900px; margin: 0 auto;\">\n<p>This <strong>flamenco dictionary<\/strong> brings together essential terms to better understand what happens in a live show. If you\u2019ve ever wondered what <em>comp\u00e1s<\/em> means, why someone shouts <em>ol\u00e9<\/em>, or what the difference is between <em>sole\u00e1<\/em> and <em>buler\u00eda<\/em>, here you\u2019ll find clear definitions and expanded explanations.<\/p>\n<p>The aim of this flamenco dictionary is to help you listen and watch with new eyes: recognize styles, understand guitar resources, identify the language of dance, and above all, enjoy live flamenco more\u2014whether you\u2019re an aficionado or it\u2019s your first time in a tablao.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section><section class=\"l-section wpb_row height_small with_shape\"><div class=\"l-section-overlay\" style=\"background:#f5f5f5\"><\/div><div class=\"l-section-shape type_zigzag pos_top hor_flip\" style=\"height:3vmin;\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 64 8\" preserveAspectRatio=\"none\" width=\"100%\" height=\"100%\">\r\n\t<path fill=\"currentColor\" d=\"M64 8 L0 8 L0 0 L20 7.9 L40 3 L48 5 L64 0 Z\"\/>\r\n<\/svg><\/div><div class=\"l-section-shape type_zigzag pos_bottom\" style=\"height:3vmin;\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 64 8\" preserveAspectRatio=\"none\" width=\"100%\" height=\"100%\">\r\n\t<path fill=\"currentColor\" d=\"M64 8 L0 8 L0 0 L20 7.9 L40 3 L48 5 L64 0 Z\"\/>\r\n<\/svg><\/div><div class=\"l-section-h i-cf\"><div class=\"g-cols vc_row via_flex valign_top type_default stacking_default\"><div class=\"vc_col-sm-12 wpb_column vc_column_container\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"wpb_text_column\"><div class=\"wpb_wrapper\"><div class=\"tf-az\" style=\"text-align: center; padding: 10px 0 24px 0;\">\n  <a href=\"#letra-a\">A<\/a> \u00b7 <a href=\"#letra-b\">B<\/a> \u00b7 <a href=\"#letra-c\">C<\/a> \u00b7 <a href=\"#letra-d\">D<\/a> \u00b7 <span style=\"opacity: .45;\">E<\/span> \u00b7 <a href=\"#letra-f\">F<\/a> \u00b7 <a href=\"#letra-g\">G<\/a> \u00b7 <span style=\"opacity: .45;\">H<\/span> \u00b7 <span style=\"opacity: .45;\">I<\/span> \u00b7 <a href=\"#letra-j\">J<\/a> \u00b7 <span style=\"opacity: .45;\">K<\/span> \u00b7 <span style=\"opacity: .45;\">L<\/span> \u00b7 <a href=\"#letra-m\">M<\/a> \u00b7 <a href=\"#letra-n\">N<\/a> \u00b7 <span style=\"opacity: .45;\">\u00d1<\/span> \u00b7 <a href=\"#letra-o\">O<\/a> \u00b7 <a href=\"#letra-p\">P<\/a> \u00b7 <span style=\"opacity: .45;\">Q<\/span> \u00b7 <a href=\"#letra-r\">R<\/a> \u00b7 <a href=\"#letra-s\">S<\/a> \u00b7 <a href=\"#letra-t\">T<\/a> \u00b7 <span style=\"opacity: .45;\">U<\/span> \u00b7 <a href=\"#letra-v\">V<\/a> \u00b7 <span style=\"opacity: .45;\">W<\/span> \u00b7 <span style=\"opacity: .45;\">X<\/span> \u00b7 <span style=\"opacity: .45;\">Y<\/span> \u00b7 <span style=\"opacity: .45;\">Z<\/span><\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section><section class=\"l-section wpb_row height_huge\"><div class=\"l-section-h i-cf\"><div class=\"g-cols vc_row via_flex valign_top type_default stacking_default\"><div class=\"vc_col-sm-12 wpb_column vc_column_container\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"wpb_text_column\"><div class=\"wpb_wrapper\"><h2 id=\"letra-a\">A<\/h2>\n<h3 id=\"a-palo-seco\">A palo seco<\/h3>\n<p>Singing performed without guitar, supported\u2014if at all\u2014by minimal percussion such as handclaps or simple beats marking the comp\u00e1s. It often sounds raw and direct, placing all the focus on the voice, the aire, and intention.<\/p>\n<h3 id=\"aire\">Aire<\/h3>\n<p>The \u201catmosphere\u201d or personality an interpretation conveys. When someone says an artist \u201chas aire,\u201d they mean their way of phrasing, standing, entering and leaving the comp\u00e1s, and transmitting emotion.<\/p>\n<h3 id=\"alborea\">Albore\u00e1<\/h3>\n<p>A song form traditionally linked to Gitano celebrations, especially weddings. It sits close to the world of sole\u00e1 in sound and accompaniment, and is recognized for its ceremonial character.<\/p>\n<h3 id=\"alegrias\">Alegr\u00edas<\/h3>\n<p>A palo associated with C\u00e1diz, with a bright, lively comp\u00e1s\u2014very rewarding for dance and guitar. Although it sounds festive, it can have a very defined traditional structure, with clearly shaped sections and endings.<\/p>\n<h2 id=\"letra-b\">B<\/h2>\n<h3 id=\"bailaora-bailaor\">Bailaora \/ Bailaor<\/h3>\n<p>A flamenco dancer (female \/ male). Their work combines technique (footwork, arms, turns), musicality (comp\u00e1s and accents), and stage presence.<\/p>\n<h3 id=\"braceo\">Braceo<\/h3>\n<p>The set of arm and hand movements in flamenco dance. It isn\u2019t just \u201cdrawing\u201d in the air: it also defines character, style, and dialogue with the singing and guitar.<\/p>\n<h3 id=\"buleria\">Buler\u00eda<\/h3>\n<p>A fast, highly popular palo with deep roots in Jerez. It is one of the most demanding compases due to speed, shifts, and accent play; in fiestas and tablaos it often serves as an explosive finale, with plenty of room for improvisation and jaleo.<\/p>\n<h2 id=\"letra-c\">C<\/h2>\n<h3 id=\"cafes-cantantes\">Caf\u00e9s cantantes<\/h3>\n<p>Historic venues where flamenco became professionalized and was presented regularly to the public. They were key from the late 19th to the early 20th century, and are considered a direct predecessor of the modern tablao.<\/p>\n<h3 id=\"cajon\">Caj\u00f3n<\/h3>\n<p>A box-shaped percussion instrument played while sitting on it, striking the front panel with the hands. In flamenco it helps hold the pulse and reinforce comp\u00e1s accents, especially in more contemporary settings.<\/p>\n<h3 id=\"cantaora-cantaor\">Cantaora \/ Cantaor<\/h3>\n<p>A flamenco singer (female \/ male). Their role is central: they set the emotional climate and often drive changes in intensity for both dance and guitar.<\/p>\n<h3 id=\"cante\">Cante<\/h3>\n<p>The vocal side of flamenco and, by extension, the whole universe of sung styles. To speak of cante is to speak of forms, melodies, lyrics, phrasing, and the art of placing emotion.<\/p>\n<h3 id=\"cante-chico\">Cante chico<\/h3>\n<p>A family of lighter, more festive song forms. Themes are often everyday life, love, or joy, and it fits naturally in celebratory contexts.<\/p>\n<h3 id=\"cante-grande-jondo\">Cante grande \/ cante jondo<\/h3>\n<p>Deep, solemn song forms, with intense lyrics and melismatic singing. It is associated with themes such as sorrow, loss, and anguish, and demands great interpretive authority.<\/p>\n<h3 id=\"cante-intermedio\">Cante intermedio<\/h3>\n<p>A broad, flexible middle ground that includes styles that don\u2019t fit neatly into cante chico or cante grande. It can lean serious or light depending on the performer and context.<\/p>\n<h3 id=\"cantes-libres\">Cantes libres<\/h3>\n<p>Song forms in which melody and phrasing lead and the rhythm is not \u201clocked\u201d into a fixed pattern. When accompanied, the guitar tends to breathe with the voice, following intention more than a strict beat.<\/p>\n<h3 id=\"cantinas\">Canti\u00f1as<\/h3>\n<p>A group of styles linked mainly to C\u00e1diz (with variants and branches), with a quick comp\u00e1s and a very recognizable flavor. They are staples on stage and in tablaos thanks to their energy and natural connection to dance.<\/p>\n<h3 id=\"carcelera\">Carcelera<\/h3>\n<p>A song form with themes linked to prison life, born from lyrics and environments where confinement shaped everyday reality. It retains a narrative tone and a distinctive emotional weight.<\/p>\n<h3 id=\"cartageneras\">Cartageneras<\/h3>\n<p>A style related to fandangos from the mining-influenced Levante tradition. It has a distinctive melodic color and expression, associated with Cartagena and its surroundings.<\/p>\n<h3 id=\"castanetas-castanuelas\">Casta\u00f1etas \/ casta\u00f1uelas<\/h3>\n<p>A percussion instrument used in traditional Spanish dance. It may appear in \u201caflamencado\u201d or bolero-school repertoire, but it is not considered an essential element of orthodox flamenco.<\/p>\n<h3 id=\"colombianas\">Colombianas<\/h3>\n<p>An \u201cida y vuelta\u201d style inspired by popular music from the Americas. It has a lighter, melodic feel and is often performed with a clear, friendly cadence.<\/p>\n<h3 id=\"compas\">Comp\u00e1s<\/h3>\n<p>The rhythmic foundation of flamenco: the pattern that organizes pulse and accents. Comp\u00e1s can be supported by palmas, guitar, caj\u00f3n, knuckle taps, or even by the way singing and dance phrase and breathe.<\/p>\n<h3 id=\"copla\">Copla<\/h3>\n<p>It can refer to the verse or stanza of a lyric. There is also \u201ccopla andaluza\u201d as its own genre\u2014culturally close, but different from flamenco.<\/p>\n<h2 id=\"letra-d\">D<\/h2>\n<h3 id=\"duende\">Duende<\/h3>\n<p>That moment when something \u201copens up\u201d and the performance goes beyond technique. The word is used for an intense connection between artist, song, and audience that moves you without needing explanation.<\/p>\n<h2 id=\"letra-f\">F<\/h2>\n<h3 id=\"falseta\">Falseta<\/h3>\n<p>A melodic phrase or passage played by the guitarist between accompaniments, endings, or vocal breaths. It showcases personal language, builds tension, gives the voice space, or prepares a dance entrance.<\/p>\n<h3 id=\"fandango\">Fandango<\/h3>\n<p>A major family of styles with many regional variants. In flamenco it can appear with a marked comp\u00e1s or in freer forms, and over time it has generated highly recognizable sub-styles by place and approach.<\/p>\n<h3 id=\"farruca\">Farruca<\/h3>\n<p>A palo with a sober air and firm character, closely linked to dance with a \u201cserious\u201d aesthetic. It is performed with a straight pulse and a guitar-and-choreography language that aims for elegance and contained strength.<\/p>\n<h2 id=\"letra-g\">G<\/h2>\n<h3 id=\"golpe\">Golpe<\/h3>\n<p>A flamenco guitar technique that creates percussion by tapping the soundboard with the hand (or finger) while playing. It reinforces comp\u00e1s accents and adds a very physical rhythmic feel.<\/p>\n<h3 id=\"guajira\">Guajira<\/h3>\n<p>An ida y vuelta palo with Cuban influence and a singable melody, mixing lightness and elegance. On stage it shines thanks to its open aire and the refined work of guitarist and singer.<\/p>\n<h2 id=\"letra-j\">J<\/h2>\n<h3 id=\"jondo\">Jondo<\/h3>\n<p>\u201cHondo\u201d (deep), said the flamenco way. It refers to profound, rootsy singing\u2014intense emotion where interpretation matters as much as the melody.<\/p>\n<h2 id=\"letra-m\">M<\/h2>\n<h3 id=\"malaguena\">Malague\u00f1a<\/h3>\n<p>A song form born from fandango in the M\u00e1laga area and transformed into a flamenco style with its own personality. It often moves in a freer phrasing, with space for the voice and for guitar ornamentation.<\/p>\n<h3 id=\"martinete\">Martinete<\/h3>\n<p>An a palo seco song form within the world of ton\u00e1s, with powerful expressive force. It is often associated with labor and metalworking (anvil, hammer) as rhythmic and social imagery.<\/p>\n<h3 id=\"minera\">Minera<\/h3>\n<p>A mining-area style from the Levante tradition, with a very distinctive melodic color and a serious feeling. Performances usually seek depth, sustained line, and a contained dramatic intensity.<\/p>\n<h2 id=\"letra-n\">N<\/h2>\n<h3 id=\"nuevo-flamenco\">Nuevo Flamenco<\/h3>\n<p>A contemporary current that expands flamenco with outside influences (jazz, rock, Latin and global music), without necessarily abandoning its core keys. It can range from a very natural evolution of guitar and singing to more obvious fusions in arrangement and production.<\/p>\n<h2 id=\"letra-o\">O<\/h2>\n<h3 id=\"ole\">Ol\u00e9<\/h3>\n<p>A shout of encouragement and approval, typical of jaleo. It isn\u2019t \u201cnoise\u201d: when said at the right moment, it reinforces the mood, a remate, or a rise in intensity.<\/p>\n<h2 id=\"letra-p\">P<\/h2>\n<h3 id=\"palmas\">Palmas<\/h3>\n<p>Handclapping used to hold the comp\u00e1s and highlight accents. It can be sharper or more open depending on the style, speed, and the color you want.<\/p>\n<h3 id=\"palos\">Palos<\/h3>\n<p>The different styles of flamenco, defined by comp\u00e1s, melody, character, origins, and performance practice. Knowing the palos helps you understand why a song \u201casks for\u201d a certain kind of guitar or dance.<\/p>\n<h3 id=\"paso\">Paso<\/h3>\n<p>An individual movement within a choreography. In flamenco, a paso matters for where it sits in the comp\u00e1s and how it dialogues with singing and guitar.<\/p>\n<h3 id=\"pena\">Pe\u00f1a<\/h3>\n<p>A flamenco association or club where flamenco is listened to, learned, and often programmed. Many pe\u00f1as have been shelters for aficionados, training grounds for artists, and spaces of oral transmission.<\/p>\n<h3 id=\"peteneras\">Peteneras<\/h3>\n<p>A palo surrounded by stories and controversy about its origins, with a very recognizable melodic air. Its performance often aims for a contained atmosphere and a distinctive way of phrasing.<\/p>\n<h3 id=\"pitos\">Pitos<\/h3>\n<p>Finger snaps used as rhythmic support. They\u2019re useful for marking pulse in informal settings or reinforcing a pattern when there are no palmas.<\/p>\n<h3 id=\"polo\">Polo<\/h3>\n<p>A rare, singular palo, related in pulse and air to sole\u00e1 and to older forms. It is valued for its \u201cclassic\u201d flavor and the interpretive challenge it presents.<\/p>\n<h2 id=\"letra-r\">R<\/h2>\n<h3 id=\"rasgueo\">Rasgueo<\/h3>\n<p>A guitar technique in which the fingers sweep across the strings to create chords with percussive character and energy. It is one of the signature sounds of flamenco guitar, key to lifting the comp\u00e1s.<\/p>\n<h3 id=\"rumba-flamenca\">Rumba flamenca<\/h3>\n<p>A popular style with Afro-Cuban flavor reinterpreted in Spain, very present in festive and export-friendly repertoire. It usually relies on palmas, guitar, and percussion, and works especially well in light, participatory atmospheres.<\/p>\n<h2 id=\"letra-s\">S<\/h2>\n<h3 id=\"sacromonte\">Sacromonte<\/h3>\n<p>An emblematic neighborhood of Granada, known for its cave tradition and for shows linked to Gitano-Andalusian imagery. In flamenco, it\u2019s a mythic place associated with experience, history, and scene.<\/p>\n<h3 id=\"saetas\">Saetas<\/h3>\n<p>A traditional religious song, especially linked to Holy Week, performed a cappella like a sung prayer. Its power comes from vocal intensity, devotion, and a \u201ccalling\u201d style reminiscent of Mediterranean traditions.<\/p>\n<h3 id=\"seguiriya\">Seguiriya<\/h3>\n<p>One of the pillars of cante jondo, solemn and emotionally weighty. On stage it requires authority: comp\u00e1s, silence, and intention become protagonists, and the whole cuadro often \u201cbreathes\u201d with it.<\/p>\n<h3 id=\"sevillanas\">Sevillanas<\/h3>\n<p>A popular Andalusian song-and-dance form, strongly associated with fairs and celebrations, especially in Seville. Although it isn\u2019t a \u201cjondo\u201d flamenco palo, it often appears in shows for its festive character and deep social roots.<\/p>\n<h3 id=\"solea\">Sole\u00e1<\/h3>\n<p>A fundamental flamenco palo, serious and deep, with a great wealth of variants. It is a school of comp\u00e1s and phrasing: mastering sole\u00e1 often signals artistic maturity and knowledge of tradition.<\/p>\n<h2 id=\"letra-t\">T<\/h2>\n<h3 id=\"tablao\">Tablao<\/h3>\n<p>A venue dedicated to live flamenco, heir to the caf\u00e9s cantantes, designed for singing, dance, and guitar at close distance. In a good tablao, the audience feels the comp\u00e1s \u201cin the body.\u201d<\/p>\n<h3 id=\"taconeo\">Taconeo<\/h3>\n<p>The dancer\u2019s rhythmic footwork, with taps and combinations that dialogue with the music. When done well, it\u2019s not only speed: it\u2019s clarity, accent, and control of comp\u00e1s.<\/p>\n<h3 id=\"tocaora-tocaor\">Tocaora \/ Tocaor<\/h3>\n<p>A flamenco guitarist (female \/ male). Their role goes far beyond accompanying: they hold the comp\u00e1s, cue entrances, create moods, and add personality through falsetas and remates.<\/p>\n<h3 id=\"tonas\">Ton\u00e1s<\/h3>\n<p>A set of very old a palo seco song forms, where the voice leads without guitar. It\u2019s a territory of essence: tuning, intention, silence, and interpretive truth.<\/p>\n<h3 id=\"toque\">Toque<\/h3>\n<p>The art of playing flamenco guitar and, by extension, a guitarist\u2019s personal style. To speak of toque is to speak of comp\u00e1s, sound, resources, accompaniment, and a way of \u201cspeaking\u201d through the strings.<\/p>\n<h3 id=\"traje\">Traje<\/h3>\n<p>Flamenco attire, especially visible in dance and festive contexts. It can refer both to the flamenca dress (fairs) and to stage wardrobe adapted for performance.<\/p>\n<h2 id=\"letra-v\">V<\/h2>\n<h3 id=\"verdiales\">Verdiales<\/h3>\n<p>A style related to fandango, strongly linked to the province of M\u00e1laga. It has a marked folkloric flavor and a distinctive pulse, with its own identity within the Andalusian map.<\/p>\n<h3 id=\"villancicos\">Villancicos<\/h3>\n<p>Traditional Spanish Christmas songs that, in some approaches, can be performed with a flamenco color. Even so, their origin is popular and seasonal, and they do not belong to the core set of flamenco palos.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section><section class=\"l-section wpb_row height_small with_shape\"><div class=\"l-section-overlay\" style=\"background:#f5f5f5\"><\/div><div class=\"l-section-shape type_zigzag pos_top hor_flip\" style=\"height:3vmin;\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 64 8\" preserveAspectRatio=\"none\" width=\"100%\" height=\"100%\">\r\n\t<path fill=\"currentColor\" d=\"M64 8 L0 8 L0 0 L20 7.9 L40 3 L48 5 L64 0 Z\"\/>\r\n<\/svg><\/div><div class=\"l-section-shape type_zigzag pos_bottom\" style=\"height:3vmin;\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 64 8\" preserveAspectRatio=\"none\" width=\"100%\" height=\"100%\">\r\n\t<path fill=\"currentColor\" d=\"M64 8 L0 8 L0 0 L20 7.9 L40 3 L48 5 L64 0 Z\"\/>\r\n<\/svg><\/div><div class=\"l-section-h i-cf\"><div class=\"g-cols vc_row via_flex valign_top type_default stacking_default\"><div class=\"vc_col-sm-12 wpb_column vc_column_container\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"wpb_text_column\"><div class=\"wpb_wrapper\"><div style=\"text-align: center; max-width: 900px; margin: 0 auto; padding-top: 16px;\">\n<p>If you\u2019ve made it this far, you already have a solid foundation for understanding live flamenco. This <strong>flamenco dictionary<\/strong> is meant to return to whenever a new word comes up in a show, a lyric, or a conversation among aficionados.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>\n","protected":false},"excerpt":{"rendered":"Flamenco dictionary A clear, practical glossary to understand flamenco: palos, singing, guitar playing, dance, and the most common jargon in a tablao. This flamenco dictionary brings together essential terms to better understand what happens in a live show. If you\u2019ve ever wondered what comp\u00e1s means, why someone shouts ol\u00e9, or what the difference is between...","protected":false},"author":1,"featured_media":10015,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"ai_generated_summary":"","_ayudawp_aiss_exclude":false,"_ayudawp_aiss_exclude_summary":false,"footnotes":""},"class_list":["post-10016","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v28.1 (Yoast SEO v28.1) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Flamenco dictionary: Terms, palos &amp; jargon explained | Tablaos Flamencos<\/title>\n<meta name=\"description\" content=\"Explore our flamenco dictionary with clear definitions of palos, cante, toque, baile and tablao jargon. 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