Here’s a bulerías letra and an star saturated video from Tablao Cordobés in Barcelona. Some of the people you’ll see are: Pastora Galvan, Claudia Cruz, Farruquito, Jesus Carmona, and La Susi.
Viewing entries tagged
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:
Flamenco singer Manuel Moneo passed away earlier this week.
The huge mural of him that you see in the picture above was steps away from where we study bulerías on the Flamenco Tour to Jerez in the historic flamenco neighborhood of San Miguel. (You can see a video on the making of the mural below.)
Manuel was known for his siguiriyas and soleá. Here you can watch him singing martinete in Carlos Saura's movie, Flamenco.
To sing flamenco well one needs to be able to feel and to love,
~ Manuel Moneo
He talks about this concept in the video interview below where you'll not only hear some of his story but also learn about the importance of el Barrio San Miguel, La Plazuela, to flamenco.
But first, let's listen to him sing por bulerías (con mucho arte). Here is one of the letras you'll hear:
You're going to love listening to the tangos in the video below (Trrrrrust me). And the way it's filmed makes you feel like you're right there at the fiesta, so go ahead, play along with palmas. Here's one of the letras you'll hear:
Tú te colocas y en frente de mí,
que por si acaso yo me caigo pa' trás
empújale el columpio más
If you like exploring how letras can vary, if you're looking to practice bulerías to cante at a comfortable speed, or if you just want to get better at bulerías, then consider today's post a treat. You'll find a video with examples of one letra interpreted in two different ways along with a short activity to help you train your ear and get better at improvising.
First, the letra:
El sitio donde te hablé
ganas me dan de volverme
y sentarme un ratito en él
A letra por bulerías and a video of Pastora Galván dancing bulerías at the Feria de Utrera last year with Tomás de Perrate and Cristian Guerrero.
Ahí viene mi moreno
por la plazuela
y yo lo estoy esperando
tras la cancela
y es que en Triana,
los niños chiquititos cantando al alba
After today's letra you'll find that video I promised you of Mercedes Ruíz dancing at this year's Fiesta de la Bulería (and really getting into it) followed by an explanation of what's happening at the end between the dancer (Mercedes) and the singer (David Carpio) along with an important concept to understand that can help you when dancing bulerías por fiesta by yourself. (I've also included a short activity for you to do at the end.)
No sé por qué será
me duelen más que las mías
las penas de los demás
Lately I've had bulerías on my mind . . . I've been watching bulerías, listening to bulerías, dancing bulerías (in class, at home, in my head).
Naturally, the moves I'm currently working with during the 10-Day Dance Like You're In Class With Mercedes Ruíz Home Challenge are por bulerías.
So, today I offer you some bulerías inspiration via a video of Manuel Liñan dancing and a letra that David Carpio sings to him. There's also a quick activity for you at the end of the post. (I know, I'm big on activities this week.)
Last week I wrote about some challenges I experienced while dancing bulerías and eight lessons I learned in the process. I'm not about to let those lessons go to waste, so I'm holding myself accountable by reporting back to you: Below I share one simple way I've been actively applying those lessons. It's something you too can do, today, to improve your bulerías. (You'll also find a letra at the end of the post.)
So as you know, I learned that I needed to practice more and listen more. One thing I've been doing that addresses both at the same time is to squeeze them in while driving in the car.
Today I want to share a bulerías dancing tip with you along with a letra.
Let's start with the tip
Calidad antes que cantidad.
Quality before quantity
Sometimes it's so enticing. We're exposed to a bunch of cool steps. We can't stand to leave any of them out, so we try to squeeze them all into one pataita.
And things get sloppy.
A couple of weeks ago, Virigina, a Flamenco Tour alum, sent me the following account of her time on the Flamenco Tour to Jerez. If you're curious about what happens on the Flamenco Tour, read on...
My Trip to Jerez
by: Virginia O'Hanlon
I have danced and taught Afro Cuban, Haitian and Brazilian dance for many years. I'm the sort of explorer who likes to "go to the source" so I have gone to these countries many times on dance/study trips. There were a few great trips, some ok, and two really miserable experiences.
I'm fairly new to flamenco -had 2 years in at the time of this trip- but became intrigued by the "por fiesta" dances so I started looking around for ways to study in Spain, particularly Jerez. I discovered Laura's trips, and it seemed like a structure that would work well for me, so I went last October. It was without a doubt one of the best, richest experiences that I've had, and here are some reasons why.
Today I'm going to talk about how the same letra can (and definitely will be) interpreted in different ways by different singers. I'll also talk about why, as dancers, we need to pay attention to this. And finally, I'll share a tangos letra with you. (Oh, and at the end of the post I give you an activity to do from the comfort of your own home.)
How the same letra can vary
Depending upon who is singing, how they like to sing a given letra, and even how they are feeling at a given moment, one letra can be interpreted in many different ways.
Let's look at some examples:
Dancing to the cante. It is what every dancer from Jerez does, professional or non.
It is the dancer conversing with the singer.
In order to dance to the cante,
You must become familiar with the letras (song verses) and engage with the singer when dancing.
To gain familiarity with the letras:
1. Listen a lot.
2. Take a cante class, and study the letras.
To engage with the singer when dancing:
1. Observe what other good dancers do. (Hint: Notice the way Carmen responds to José in the video.)
Improvisation in flamenco. It's not as tricky as you may think.
Today I explain how to improvise in fiesta style flamenco dances.
The truth is, if you follow certain principles, you can improvise no matter what your level. So if you think you're not ready to do this, think again, and read on to find out how.
Improvisation Por Fiesta
In order to 'improvise' when dancing bulerías and tangos, you must understand the structure. And in order to truly have a conversation with the singer and the other musicians, you need to do a bit of improvising. Since flamenco is a conversation between the singer, dancer, guitarist, and palmeros, improvisation is an important skill to develop.
(Plus it's fun.)
But don’t worry,
Improvising por fiesta is not making up a dance from scratch as you go.
It is not coming up with brand new moves in the moment.
It’s actually much easier than that (as long as you know the structure).
This is a story about how doing less in bulerías can serve us well. It's the follow up to the previous post on observation. Read on, and find out how to simplify your bulerías and perhaps even your life a bit too.November 2013, Jerez de la Frontera, Spain
She said she was going to show them how to dance on a losa.
Y por fiesta.
And party style.
It was Ani who said that. Ana María López. She said it on a Monday morning in Jerez.