So you want to better understand how to dance bulerías with the cante?
I have an idea for you,
But first, here’s a letra.
(You can watch Carmen Herrera dance to this as José Mijita sings in the video to follow.)
Viewing entries tagged
observation
Can you name one thing a dancer can do that shows they’re in tune with the singer?
Below Carmen Herrera demonstrates how to dance respecting the cante in our class with José Mijita on the last Flamenco Tour to Jerez.
We studied a few letras with José.
Do you know how to dance a bulería corta? And do you know when it’s appropriate to do so?
Find out exactly which components you need to include in your short dance, see four examples (each deconstructed to help you better understand the structure), then practice doing one of your own!
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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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![Bulerías Made Simple [The Structure of a Bulerías Dance & How It Relates to the Cante]](https://images.squarespace-cdn.com/content/v1/568079e7bfe873f15c115eee/1499384968842-1S9JWZZSPQYMQOEAEMVX/Umi%27s+shoes+dancing.jpg)
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.
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During last weekend's Flamenco Retreat at the Oregon Coast (which I'm still on a high from by the way and which you can see pictures of below) we all agreed that flamenco teaches us about life and about ourselves.
So, today I share with you fifty life lessons I've gleaned from flamenco.
Fifty Lessons:
(This list is full of links in case you'd like to dive deeper into some of the lessons.)
- Listen to your intuition, and trust your instincts.
- Express your true feelings.
- Be present.
- Stand beautifully in your power.
- Prepare. (Really prepare.)
- Take risks.
- Focus.
- Act with intention.
- The answers are in the mirror, so look.
- Show up.
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You already know about the two main settings for flamenco.
Today I want to discuss the five main elements of flamenco,
- cante
- baile
- guitarra
- palmas
- jaleos
I’ve chosen to share one video and discuss the five main elements of flamenco within it.
Let’s take a closer look:
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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.)
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Woo-hoo, you’ve made it to day three of the Dancing with David Even Though We’re Not With David Challenge! Today's task won't take long, so read on to find a new exercise to help you become a better dancer from home . . .
Learning by observation is one of my favorite ways to learn, and I've learned quite a bit from observing David Romero, noticing both how he dances and how he approaches dancing and teaching.
Today we're going to focus on the approach.
Presence
David gives 100% (if not more) when teaching.
He, the teacher, is there with you, the student, completely.
Which inspires you to be there with him. And to give all that you have to give during those moments.
Sooooo, when you’re in the studio,
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This week I learned about daylilies. And as it turns out the process I went through in learning about this flower led me to a mini-formula that is perfect for learning to dance por fiesta palos like bulerías. (I'll share that with you in a moment.)
But first, my lesson on daylilies
On Monday morning Stefani and I were on a walk when we happened upon bunches and bunches of bright golden daylilies. I’ve been noticing them everywhere this summer, including in my garden. I did not know what these flowers were called, and I’d never bothered to find out. I didn’t even bother to notice that their petals and shape look very much like ‘regular’ lilies. I guess because their colors, golden, yellow, red, orange, peach . . . are so distinct.
“I have those flowers in my garden,” I said to Stefani, “I cut some and put them in a vase, and the next day they were dead.”
“Well yeah, those are daylilies,” she responded. “They only live for a day.”
And this is how I came to learn why the ones in my vase at home had lasted, well, one day.
She proceeded to tell me more about the flower, information I won’t bother sharing with you because learning about flowers is not the point of this story.
(I’m getting to the point.)
Before I became aware of their name and the whole one day of life thing, I had already decided that I was not going to go around cutting more of these flowers and putting them in vases inside my house. Before Stefani told me about their life span, I had discovered on my own through trial and error that these flowers would be better enjoyed in the garden.
For the time being at least . . .
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A story on the value of observation from a past Flamenco Tour (followed by four bulerías take-aways):
Sunday night I was writing
About flamenco and Jerez and what I'm doing here and what I want to learn here.
And I set some intentions for the week.
I had a few.
One was to Observe
To observe people dancing bulerías. Especially people whose dancing I liked. In class and out. Anywhere and everywhere.
To watch them, really watch them. And to notice what was happening.
To notice how they responded to the cante.
To notice how they danced with the compás.
To notice when they did what they did.
To notice the things I liked.
To notice the things that worked.
Maybe even to notice the things I didn't like.
And to notice the things that didn't work.
On Monday morning I went to bulerías class
That was the day Ani taught the ladies about dancing on a floor tile. I'll tell you about that in the next post.
It was also the day she read my mind.
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I enjoyed spending the last week of the year with you during the Dance as if You Were in Class With Mercedes Holiday Challenge. Today I share with you one small way you can keep the challenge going (along with a video of Mercedes Ruíz) ...
Great artists tell me
that they spend enormous amounts of time watching those they admire.
Studying their every move and learning by observation.
So, I invite you to enjoy some time observing one of your favorite artists this week.
And since we've been focusing on Mercedes:
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From Jerez last fall ...
Sunday night I was writing
About flamenco and Jerez and what I'm doing here and what I want to learn here.
And I set some intentions for the week.
I had a few.
One was to Observe
To observe people dancing bulerías. In class and out. Anywhere. Especially people whose dancing I liked.
To watch them, really watch them. And to notice what was happening.
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Today one of my favorite videos of Rocío Molina dancing tangos and some thoughts on the importance of watching flamenco dance.
Watching is a must. We talk a lot about listening, which is importantísimo. Absolutely essential.
But so is watching.
We are lucky. We have YouTube. We have Vimeo. We have Did Somebody Say Flamenco?
We have access to all kinds of good flamenco.
In our kitchens. In our bedrooms. In our offices. (Don't worry I won't tell.)
So watch.
It's pleasure.
It's study.
It's inspiration.
It's necessary.
I know you do this. And in a minute I want to hear about a favorite video of yours.