You asked me to analyze more videos around here to better understand how flamenco dance works, so today I will deconstruct another bulerías of Pastora Galván. So here is a video (that you’re going to LOVE) followed by a breakdown of each component of the dance and when it happens:
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You've heard many examples of different artists singing cuplés in the previous four posts. Now it's time to see how one dances to a cuplé, and I've got one of the best possible examples for you, Carmen Herrera. Following the video I'll talk about how to dance bulerías to a cuplé then share one of the songs you'll hear and its translation.
Let's begin by watching Carmen as she dances to the singing of father and sons Alfonso Carpio "Mijita," Alfonso Carpio "Mijita Hijo," and José Carpio "Mijita." They are at a juerga at Peña de la Bulería in Jerez. The video is queued to begin where Carmen starts dancing at 4 minutes 30 seconds (though I'm pretty sure you'll want to go back and watch the whole thing at some point.) Today's song begins about five minutes in. The guys share in the singing, and it's kind of impossible not to get excited watching the interplay between them.
While you watch, notice how Carmen's dancing changes as the song progresses. Notice how she reacts to her three singers and where she puts her remates. Notice when she brings the energy up ...
Bulerías is arguably one of the hardest flamenco forms to dance due to it's improvisational nature, complex rhythm, and nuanced cante. But dancing bulerías is less mysterious than you may think. Once you understand the components of the dance and how they relate to the music (the singing and the compás) you'll be well on your way to obtaining bulerías freedom.
Below l explain the basic bulerías por fiesta structure and how it relates to the cante. After that you'll find a video of Pastora Galván along with an analysis describing where she dances each component of the structure. Finally I give you an activity to help you internalize the information.
The basic structure of bulerías
Bulerías, like other flamenco forms, has its own language. When we dance we are in conversation with the singer, the guitarist, and the palmeros. The structure offers a formula for clear communication, and it looks like this:
Today a bulerías by Luis de la Pica along with a video and a rhythm and coordination activity for you to do from home.
Luis de la Pica
Hoy tengo ganas de verte
echo de menos tus labios
del color del pino verde
Today I want to see you
I miss your lips
the color of green pine