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n. (context bullfighting English) A red flag used by bullfighters.


A muleta is a stick with a red cloth hanging from it that is used in the final third ( tercio de muleta or de muerte) of a bullfight. It is different from the cape used by the matador earlier in the fight (capote de brega).

The muleta obscures the sword, and as in his earlier work with the cape, the bullfighter uses it to attract the bull in a series of passes, demonstrating his control over it. The red color of the muleta is actually unnecessary, though, as bulls are dichromatic, meaning neither the cape nor the muleta color can be accurately discerned by the bull. The color is retained merely for tradition.

There are a number of distinct styles of pass, each with its own name. With the cape, for instance, the verónica is a pass in which the matador slowly swings the cape away from the charging bull while keeping his feet in the same position. The faena is the final series of passes before the kill, in which the matador uses the muleta to manoeuvre the bull into a position to stab it between the shoulders, cutting the aorta. If this fails he must then cut the bull's spinal cord with a second sword, killing it instantly. The task of killing the bull is given to the matador alone; his title means literally "killer".

Muleta (song)

"Muleta" is a Pop song written and recorded by Chilean singer and songwriter Francisca Valenzuela and this song is the fifth official single from her first solo debut studio album, Muérdete La Lengua, released in Chile on October 2, 2008.

Usage examples of "muleta".

Manolecito, who caused the bull to charge time after time at the small red cloth of the muleta, the horns missing only by inches the firm-standing, glittering green, insolent, lean figure, now blood-splashed, of the matador.

He also admired the courage and skill of Manolecito, the way he held his body straight without flinching back as the horns almost brushed his chest or thigh, confident in his judgment that this time the beast would not suddenly hook his horns sideways, away from the muleta and into the man.

Then, as if the palm of his hand were a tiny muleta, Tarzan drew it abruptly down and two feet to the right.

In caping the bull, he worked within inches of the animal, while with the muleta he reduced inches to their fractions.

  Paulus held his muleta with one hand, jiggling the cloth, and snatched out one of his barbed banderillas.

Paulus held his muleta with one hand, jiggling the cloth, and snatched out one of his barbed banderillas.

Corto y derecho, he drew the sword out of the muleta, profiled on the splintered left horn, dropped the muleta across his body, so his right hand with the sword on the level with his eye made the sign of the cross, and, rising on his toes, sighted along the dipping blade of the sword at the spot high up between the bull’s shoulders.