{"id":10166,"date":"2019-03-13T12:38:34","date_gmt":"2019-03-13T11:38:34","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=10166"},"modified":"2019-03-13T12:38:34","modified_gmt":"2019-03-13T11:38:34","slug":"festeros-the-flamenco-dancing-that-didnt-come-from-paris","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/festeros-the-flamenco-dancing-that-didnt-come-from-paris\/","title":{"rendered":"Festeros, the flamenco dancing that didn\u2019t come from Paris"},"content":{"rendered":"

There\u2019s something about buler\u00edas that makes flamenco interpreters, professional or otherwise, singers, guitarists and also \u201cserious\u201d dancers, want to jump up and dance. I don\u2019t know for sure, but I think this is relatively uncommon in other genres. Pl\u00e1cido Domingo was versatile enough to sing popular music with John Denver, but did he ever dance? Does Julio Iglesias wrap up his concerts with improvised dancing? For that matter, does Rosal\u00eda have a pata\u00edta <\/em>(buler\u00edas dance bit)?<\/p>\n

If in the first half of the twentieth century the fandango was the centerpiece of the flamenco repertoire, no one can deny that since the nineteen-eighties, bulerias, with all its variants, has become the focus of flamenco gatherings. The rumba catalana enjoyed a relatively brief reign before buler\u00edas took over, and now, por fiesta\u00a0<\/em>has come to mean just that, a freewheeling improvised moment when anyone can take a crack at showing off their creativity within the liberating confines of the rhythm or comp\u00e1s\u00a0<\/em>that carries, inspires and delights us all.<\/p>\n

I know what you\u2019re all thinking: she lives in Jerez, what else is new? But long before settling in this self-styled flamenco mecca, the relaxed Seville comp\u00e1s of Lebrija, Utrera and Mor\u00f3n was pushing my mental buttons.<\/p>\n

The Festival de Jerez just wrapped up its 23rd edition. \u00a0We saw some brilliant artists and great shows. But I can\u2019t stop longing for the kind of effervescent improvised flamenco that seduced me in the first place so many years ago. Particularly the kind of artfully impish dancing that comes out at buler\u00edas moments.<\/p>\n

The great fiesta dancer and singer Anzonini del Puerto once told me that the best buler\u00edas dancer is the one who moves the least.\u00a0Fifty years ago I wasn\u2019t sure what he meant, but now I know he was describing the elegant subtle dancing that comes from perfectly internalized comp\u00e1s.\u00a0 Oldtimers will remember his fake pirhouettes danced<\/em>with a single twirling finger.<\/p>\n

Paco Valdepe\u00f1as was another of the greats with his jacket pulled off one shoulder and all the swagger he was capable of.\u00a0Miguel Funi from Lebrija is probably the best-known fiesta dancer\/singer, with his white scarf and minimalist posing. Another beloved veteran is the quirky Antonio el Marsell\u00e9s, laidback flamenco wit and grace personified.\u00a0 Surprisingly, the normally sedate singer Diego Clavel from La Puebla de Cazalla has a delightful dance style that recalls the folky jokey rag-doll moves of country people you\u2019d never expect to see coming from him. Young Javier Heredia brilliantly captures the fiesta style of his father\u2019s generation.<\/p>\n

Mor\u00f3n de la Frontera has given us the great Andorrano and his nephew, Pepe Torres, not to mention Manolito Flores with his understated style that he says to have learned from his family.\u00a0 From Utrera, the amazing Enrique Montoya and the talented Luis Marquesito among others.<\/p>\n

Great singers and guitarists have been great buler\u00edas dancers, or even started out as dancers, notably Terremoto de Jerez, Juan Habichuela and Jos\u00e9 Merc\u00e9 as well as the highly original and terminally flamenco Tomasito. Going just a little further back, we have the legendary singer Juan Mojama who was also known as a fine dancer: Antonio Mairena was said to have reproduced many of Mojama\u2019s moves. \u00a0And let\u2019s not leave out the beloved Jos\u00e9 Vargas \u201cEl Mono\u201d who raised the art of the festero to unprecedented heights or Jos\u00e9 Jim\u00e9nez Bobote who says more with a single movement of the hip than many of the artists for whom he does backup.<\/p>\n

So so many, and so underestimated\u2026 From Jerez, El Zorri, El Gran Roqui and Juanenri and the lovable Bo, in addition to our very own Juan Garrido here at Expoflamenco with his traditional moves.\u00a0And let\u2019s not forget the Pa\u00f1ero brothers from Algeciras, Perico and Jos\u00e9.<\/p>\n

Pantomime has always been an important element in these dance bits: pretending to pick fruit and put it in an imaginary basket, crossing oneself as if praying (Carmen Amaya used to ham this up with her eyes crossed), cradling a baby, bouncing an imaginary ball (El Zorri\u2019s specialty which the late Manolo Soler also pulled off), jumping rope, hiking up the back of the shirt collar as if being thrown out by a bouncer, dusting off the shoes or getting jostled on a bus, the famous routine of La Coreana from M\u00e1laga that was later spectacularly developed by Fina Ortega.<\/p>\n

Among guitarists who are gifted fiesta dancers are Rafael Rodr\u00edguez El Cabeza, Paco del Gastor and Diego Carrasco among others.\u00a0Some singers whose dancing I\u2019ve enjoyed are Capullo de Jerez, Pepe Le\u00f3n el Ecijano, David Palomar, Jos\u00e9 Valencia and of course, the humorous and talented Cancanilla de Marbella.<\/p>\n

 <\/p>\n

\"Miguel

Miguel Funi. Foto: Pili Garc\u00eda<\/p><\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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