Last Friday in Jerez we went to see Tía Juana del Pipa. WOW. You can see a video I took from her performance below. Here is something she sang:
Desde que te fuiste
de la vera mia
yo tengo el alma triste
muy triste noche y dia
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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 ...
Today I share with you a video of Manuel Lombo doing his thing at a juerga in Spain. While the previous posts in the flamenco cuplé series have featured more polished videos, this one is completely raw. Not only in its quality but in the nature of the singing. It takes place at a juerga, spontaneous and natural. Manuel begins singing letras then moves to cuplés, with plenty of dancing in-between. He is backed by a chorus of jaleos and palmas that help us to feel the energy in the room.
But before we watch anything, here are the words to the final song, written by Mexican composer and songwriter Álvaro Carrillo. I love the part of the video where Manuel sings this song. From the collective olés upon hearing his first line, to the crowd joining him in singing at the end to the part where he dances himself off ...
You've now learned what a cuplé por bulerías is, you've seen the transformation of popular song to cuplé, and today I want to show you one more example. It's Adela la Chaqueta's interpretation of Voy a Perder La Cabeza Por Tu Amor. (I know you'll enjoy her opening and closing dance moves, and if dancing is your thing, stick around because the next two posts will have plenty of that.)
Voy a Perder La Cabeza Por Tu Amor
Manuel Alejandro (music) /Ana Magdalena (lyrics)
Voy a perder la cabeza por tu amor
porque tú eres agua, porque yo soy fuego
y no nos comprendemos.
For this second installment of the flamenco cuplé series, I want to show you the transformation of a song from its original form into a cuplé por bulerías. So here is a song famously interpreted by Rocío Jurado. First watch her sing it directly to Lola Flores (watch it all the way through to see what happens between the two of them at the end) then see how Fernanda de Utrera adapts it as a cuplé por bulerías.
Se Nos Rompió El Amor
Maria Alejandra Alvarez-Beigbeder Casas / Manuel Alvarez-Beigbeder Perez
Se nos rompió el amor
de tanto usarlo.
De tanto loco abrazo
In the first installment of the flamenco cuplé series I'll explain what a cuplé is and show you a video example. But let's begin by looking at this one that Ani sang one day during bulerías class on the Flamenco Tour to Jerez. It was so pretty, so I asked her to tell me the words:
¿Quién se ha llevao mi amor?
¿Quién me ha dejao sin nada?
¿Quién se ha llevao todo el sol
que entraba por mi ventana?
Today's letra(s) comes from Cuatro Soneto de Amor by Rafael de León. This is the second part, which you can see Mayte Martín sing live (Ten Cuidao) in the video below.
Me avisaron a tiempo: ten cuidado,
mira que miente más que parpadea,
que no le va a tu modo su ralea,
que es de lo peorcito del mercado.