The moon is almost full, so I've included a lunar themed letra for you. (Though this one would make more sense on a new moon...) And since yesterday's video analysis was a hit, I decided to do another. Below you'll find a video of Beatríz Morales dancing to today's letra and giving many clear examples of what it looks like to dance to the cante along with my description of where each component of the structure occurs within her dance. Check it out, and find out what the ultimate bulerías goal is.

Bulerías

Esta noche la luna a mí no me acompaña
Me voy solo pa' casa
No espero al alba
La luna se ha enfadado por no llevarla
anoche a la verbena de Santa Ana
No me enfades luna, tú no me enfades.

Tonight the moon does not accompany me
I go home alone
I don't wait for the dawn
The moon is mad, for I did not take her
to the Festival of Santa Ana last night
Don't get mad at me, Moon.

Below watch Beatríz Morales dance as Enrique El Extremeño sings today's letra. Can you recognize the structure and its different parts? (If not, see below for my analysis.)

We don't see the whole piece, only the end of it, but notice how the setting here is different from that of yesterday's example. This is the fín de fiesta of a larger show, and you can tell that this is an encore because of the way the audience is giving jaleos and clapping.

Let's take a closer look:

Notice Beatríz's many remates and where she puts them in relation to the singing. This is an advanced skill and the ultimate bulerías goal, dancing to the cante. It shows that the dancer is listening to and in tune with the singer. Don't get distracted by the remates, for all of the elements of the basic structure are still present. (I will go into detail about remates and where to place them in a future post.)

Because she is already on stage and transitioning from another dance (or more bulerías), we do not see a typical salida. You can see her do a series of marcajes (and remates with the cante) then at 1:18 as soon as he finishes the second letra, she goes into her paso de bulerías as he goes into a coletilla. She then calls out her other dancers, and they do the llamada together at 1:24 followed by the final. (They don't need to go to the corner to signal the end because she has already signaled that by calling the other dancers out.) Notice there is only one llamada and no patá here.

Now, you try!

Here's another bulerías for you to pick apart. Take a peek, and see if you can identify the different parts. (Hint: It's another with just one llamada and no patá.) I assure you this exercise will serve you in demystifying bulerías. The more you do it, the better your understanding will be. So, have at it, and let me know what you come up with in the comments.

By the way, you can hear Talegón de Córdoba sing today's letra in the following way here:

Esta noche la luna no me acompaña
Yo me voy de la verbena
Ya no espero al alba

Tonight the moon does not accompany me
I'm leaving the festival
I'm not waiting for dawn

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