{"id":21237,"date":"2020-08-25T10:19:33","date_gmt":"2020-08-25T08:19:33","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=21237"},"modified":"2020-08-25T11:58:38","modified_gmt":"2020-08-25T09:58:38","slug":"fiesta-de-la-buleria-special-edition-2020","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/fiesta-de-la-buleria-special-edition-2020\/","title":{"rendered":"Fiesta de la Buler\u00eda, Special Edition 2020"},"content":{"rendered":"

\u201cSeven, eight, nine ten, one, two\u201d \u2026that\u2019s how the girl in the small dairy store near the original Amor de Dios studios in Madrid used to finish counting out a dozen eggs, never \u201celeven, twelve\u201d.\u00a0 I assumed it was the proximity to that flamenco breeding-ground just down the street from the Bar Moka in Madrid where flamenco artists rehearsed, taught and choreographed, and where the characteristic 12-beat measure was pounded out all day long.\u00a0 Amor de Dios wasn\u2019t a flamenco school at all, but rehearsal studios for rent, although tap dancers, opera singers and other performers would always tire of us noisy flamencos and find other places to practice.\u00a0\u00a0<\/strong><\/p>\n

Excuse the brief nostalgia trip, my actual intention is to give a broad overview of the Special Edition of the 2020 Fiesta de la Buler\u00eda which just came to an end.\u00a0 I think some beginning flamencos may not grasp the powerful domination of buler\u00edas comp\u00e1s that has been nearly everyone\u2019s favorite flamenco toy since about 1975 when two brilliant young musicians showed the rest of us what they could do with it.\u00a0 Of course, that\u2019s Paco and Camar\u00f3n we\u2019re talking about.<\/p>\n

 <\/p>\n

\"Juana

Juana la del Pipa. Foto: Estela Zatania<\/p><\/div>\n

 <\/p>\n

In 1966, in his book Teor\u00eda del Cante Jondo<\/em>, Hip\u00f3lito Rossy (Seville, 1897-Barcelona, 1975), one of the pioneering flamencologists, wrote that buler\u00edas was a \u201cfrivolous form, a passing fashion destined to disappear\u201d.\u00a0 He also wrote that in his youth, around 1915 perhaps, he never heard any mention of buler\u00edas.\u00a0 Less than one year after writing those words, and thanks to the initiative of Juan de la Plata in Jerez, the first Fiesta de la Buler\u00eda took place, a clean passing of the torch, and thus began the reign of buler\u00edas.<\/p>\n

As much as we all expect shows in tablaos, theaters and nightclubs to end with buler\u00edas, back in the 1960s and 70s rumba was overwhelmingly popular thanks to charismatic artists such as Peret and Bambino among others, and it was unusual to see any show that didn\u2019t end with rumba.\u00a0 The great Antonio el Bailar\u00edn, the stately elegant Manuela Vargas, the dashing Jos\u00e9 Greco, major stars of the era, would sign off with rumba, a form rarely heard nowadays.\u00a0 But buler\u00edas came into town and took over around 1980, with no sign of loosening its grip.\u00a0 Only in early festivals, where Antonio Mairena laid down the law, would buler\u00edas find its place for the customary fiesta finale, since the maestro did not approve of rumba.<\/p>\n

This year\u2019s Fiesta de la Buler\u00eda is tagged a \u201cSpecial Edition\u201d for reasons we all know by now, the public health issue has caused rigid measures to be enforced: face masks, social distancing and please remain seated.\u00a0 Few \u201coles\u201d were heard, despite some outstanding moments, and we all behaved for the two-hour duration of each night\u2019s offering.\u00a0 Only a few years ago the Buler\u00eda filled the Jerez bullring with 7000 people, and the show was still going strong at near five in the morning as spontaneous fiestas erupted continually in the packed bleachers.\u00a0 By contrast, some 200 people attended each of the three days of the 2020 Fiesta de la Buler\u00eda.<\/p>\n

Three terrific programs of this Special Edition had little to envy of the usual marathon event\u2026a clear case of \u201cless is more\u201d.\u00a0 On Thursday, with a balmy August breeze drifting through the lovely patio of the Cloisters of Santo Domingo as we waited for the show to begin, an idle thought came into my head: I wonder what it\u2019s like to look out at an audience of masked faces\u2026no smiles of approval or shouts of \u201cole!\u201d<\/p>\n

 <\/p>\n

\"Mercedes

Mercedes Ruiz. Foto: Estela Zatania<\/p><\/div>\n

 <\/p>\n

Gema Moneo, flamenco dancer from a noteworthy family of artists, was in charge of the first day\u2019s presentation.\u00a0 Her name has begun to shine brightly in recent years, after having worked with Farruquito. \u00a0Gema\u2019s style has picked up the ways of that illustrious line, and she is one of the few women who manages it in a credible way. Her dancing energized the show, and the guitar solo of buler\u00edas by her father, Jes\u00fas el Guardia, triggered the first ovation of the night. Singers Juan de la Mar\u00eda, Ezequiel Montoya\u00a0and\u00a0Miguel Lavi, the collaboration of Hugo L\u00f3pez in dance and direction, and the piano and electric base of Melchor Borja completed the backup.\u00a0 At the end Gema delighted the audience with a bit of her singing, pure San Miguel style of course.<\/p>\n

Day two began with veteran singers Mateo Sole\u00e1 and Juana la del Pipa accompanied by Manuel Valencia.\u00a0 The show was ostensibly devoted to honoring \u201cJerez con Par\u00eds\u201d, but the program was straightahead Jerez rounded out with dancer Mercedes Ruiz, and her sinuous silky movements, accompanied by Santi Lara on guitar, and singer David Lagos.<\/p>\n

The third and final day of this discreet edition of the historic festival was under the direction of Antonio Malena to honor the San Miguel neighborhood that has given so much to flamenco.\u00a0 His singing, and that of his daughter Saira, were accompanied by Antonio junior, and veteran singer Luis Moneo by his own son.\u00a0 Singers Antonio Pe\u00f1a Carpio El Tolo and Joaqu\u00edn Mar\u00edn Flores El Quini accompanied the intense compact dancing of Roc\u00edo Mar\u00edn.<\/p>\n

 <\/p>\n

\"Saira

Saira y Antonio Malena. Foto: Juan Maya<\/p><\/div>\n

 <\/p>\n

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

This year\u2019s Fiesta de la Buler\u00eda is tagged a \u201cSpecial Edition\u201d for reasons we all know by now, the public health issue has caused rigid measures to be enforced: face masks, social distancing and please remain seated.\u00a0 Few \u201coles\u201d were heard.<\/p>\n","protected":false},"author":9,"featured_media":21229,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[68],"tags":[174],"class_list":["post-21237","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-estela-flamenca","tag-jerez-en"],"yoast_head":"\nFiesta de la Buler\u00eda, Special Edition 2020 - Archivo Expoflamenco<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/fiesta-de-la-buleria-special-edition-2020\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fiesta de la Buler\u00eda, Special Edition 2020 - 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