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The structure is similar to most Flamenco dances and can be broken down as follows: ENTRADA/SALIDA (ENTRANCE): The dancer enters the stage via marking steps (marcando) LLAMADA: This is the call for the singer to sing the first letra. FIRST LETRA: The singer sings 7-12 sets of 12 count phrases
It is among the most popular and dramatic of the flamenco forms and often ends any flamenco gathering. The name bulerías comes from the Spanish word burlar, meaning "to mock" or bullería, "racket, shouting, din". It is the style which permits the greatest freedom for improvisation, the metre playing a crucial role in this.
One of the structurally strictest forms of flamenco, a traditional dance in alegrías must contain each of the following sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section) zapateado (literally "a tap of the foot") and bulerías. This structure though, is not followed when ...
As with any dance form, many different styles of flamenco have developed. In the 20th century, flamenco danced informally at gitano (Roma) celebrations in Spain was considered the most "authentic" form of flamenco. There was less virtuoso technique in gitano flamenco, but the music and steps are fundamentally the same.
close of a series of steps or a line of song coba flattery, often with something false in it coletilla a short form of estribillo compás a measure or bar; flamencos use the word to mean both (a) the name of the type of twelve-count and (b) the rhythmic skill of a performer contratiempo cross-rhythms; including syncopation and rubato copla
The origin of the bamba/bambera is ascribed to the flamenco singer known as Niña de los Peines (real name Pastora María Pavón Cruz 1890 – 1969), considered one of the most important voices in the history of the art. This song form was further developed by Naranjito de Triana who imposed the distinctive rhythmic pattern of 12 count soleá.
This two-person dance form has the man performing as the bullfighter and the woman as the cape. [9] It is known as one of the fastest Latin ballroom dances because dancers make around 120 to 130 beats/steps per minute. Flamenco-like qualities infuse the dance as the man and woman challenge each other. Amparito Roca being played by a wind band
The dance for siguiriyas was first introduced by Vicente Escudero in 1940. [10] The dance is solemn and ceremonious, involving an introduction performed by guitar and singer, followed by an entrada, letra (dictated by the singer), escobilla, 2nd letra, a danced falseta and final escobilla performed by the dancer.