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flamenco dancer (male, female), as opposed to 'bailarin', which is any other dancer. baile flamenco dance; other (non-flamenco) types are referred to as 'danza' baile de mantón a dance with a shawl balanceo y vaivén swaying of the body and hips. Balanceo is gentle; vaiven is violent bamberas song form for swings bata de cola
Historically, the term Flamenco was used to identify the Romani people of Spain. [8] The English traveller George Borrow who travelled through Spain during the 1830s stated that the Gitanos were also called Flemish (in Spanish, 'flamenco') due to German and Flemish being erroneously considered synonymous. [9]
Duende or tener duende ("to have duende") is a Spanish term for a heightened state of emotion, expression and authenticity, often connected with flamenco. [1] Originating from folkloric Andalusian vocal music (canto jondo) [2] and first theorized and enhanced by Andalusian poet Federico García Lorca, [1] the term derives from "dueño de casa" (master of the house), which similarly inspired ...
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 ...
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.
Siguiriyas (Spanish pronunciation: [seɣiˈɾiʝas]; also seguiriyas, siguerillas, siguirillas, seguidilla gitana, [1] etc.) are a form of flamenco music in the cante jondo category. This deep, expressive style is among the most important in flamenco. Unlike other palos of flamenco, siguiriyas stands out for being purely Romani in origin.
Palmas is a handclapping style which plays an essential role in flamenco music. It used to help punctuate and accentuate the song and dance.Palmas can be a substitute for music, such as in the corrillo at the end of a show, and palmistas can assist the musicians by keeping a strong tempo, or the dancer by accentuating the end or beginning of a phrase.
The first known flamenco singer, Tío Luis el de la Juliana, who lived in Jerez de la Frontera in the last third of the 18th century, was said to have excelled in this palo. [3] Other cantes a palo seco, such as martinetes and debla, are sometimes classified under tonás, [4] [5] while at other times they are referred to as palos on their own.