{"id":26918,"date":"2021-06-15T13:28:07","date_gmt":"2021-06-15T11:28:07","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=26918"},"modified":"2023-02-21T22:19:16","modified_gmt":"2023-02-21T21:19:16","slug":"buleria-por-solea-or-solea-por-buleria-sorting-it-out","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/buleria-por-solea-or-solea-por-buleria-sorting-it-out\/","title":{"rendered":"Buler\u00eda por sole\u00e1 or sole\u00e1 por buler\u00eda\u2026 sorting it out"},"content":{"rendered":"

When it comes to flamenco song-forms, few terms are more ambiguous than buler\u00eda por sole\u00e1, sole\u00e1 por buler\u00eda, buler\u00eda pa\u2019 escuchar <\/em>and buler\u00edas al golpe<\/em>. Spoiler alert: they\u2019re all the same family, not distant cousins but siblings, even though it may appear otherwise.<\/p>\n

To say that confusion, disagreement, misconceptions and contradictory theories abound, would be a limp understatement, even as the issue continues to evolve. Definitions only go as far as people choose to apply them, words do not possess inherent meaning. If \u201crape\u201d is a vile crime for English speakers, it\u2019s a tasty medium-sized fish for Spaniards. How do you tell one usage from the other?  The identity is in the context.<\/p>\n

In flamenco singing, when the word \u201cpor\u201d is used to name a song-form, it\u2019s taken to mean that the first word, for example \u201cfandango\u201d, is being sung to the rhythm and form of the second one, for example \u201csole\u00e1\u201d. Singer Manuel Vallejo<\/strong> worked artistic miracles with his \u201cfandango por sole\u00e1\u201d that cured fandangos of its occasionally histrionic delivery by adding the crisp discipline of comp\u00e1s<\/em>, or steady rhythm. The creation has remained a part of the flamenco repertoire, especially cultivated in Utrera and Lebrija where singers seem to dislike free-form singing, preferring the structure of a steady beat.<\/p>\n

Following the same system, if we refer to \u201csole\u00e1\u201d por<\/em> \u201cbuler\u00eda\u201d, it\u2019s logical to expect to hear standard sole\u00e1 verses and melodies sung to standard buler\u00edas rhythm and accompaniment. But such is not the case, thus, the confusion. Two variables, music and location, slice through the conventional practice described above leading to ambiguity.<\/p>\n

 <\/p>\n

\"\"<\/a>

Antonio N\u00fa\u00f1ez el Chocolate. Photo: Estela Zatania<\/p><\/div>\n

 <\/p>\n

The sole\u00e1 por buler\u00eda, or buler\u00eda por sole\u00e1 historically sung in the backrooms of Seville\u2019s Alameda de H\u00e9rcules in the first half of the last century, were not necessarily identical to what could be heard in Jerez, the city that has most actively cultivated these forms, although both repertoires were, and continue to be considered stylistic variations of the same \u201cpalo\u201d, or group.<\/p>\n

Now add the variable of the name. Well into the 20th<\/sup> century, recordings of these forms were labeled \u201csoleares\u201d, or sometimes, \u201cbuler\u00edas\u201d, despite clear differences in their respective characteristics, not to mention the loopy addition of interjections such as \u201cmare de mi alma\u201d or \u201ccompa\u00f1era m\u00eda\u201d among many others. These brief insertions seem to broadcast \u201cJerez!\u201d, whose singers may or may not have created the custom, but enjoy the resulting rhythmic displacement. Add a wooden table or bar for knocking out the comp\u00e1s, eliminate the musical accompaniment, add some Jerez wine (\u201csherry\u201d to you undocumented newbies), and the tableau is complete.<\/p>\n

We still need to deal with \u201cbuler\u00eda pa\u2019 escuchar\u201d. This label is most often used by singers from the San Miguel neighborhood of Jerez, in particular the Agujetas family of singers. The quirky \u201csole\u00e1 de Carapiera<\/strong>\u201d, which is in the major mode of alegr\u00edas, is not a sole\u00e1 at all, but a member of the sole\u00e1 por buler\u00eda, buler\u00eda por sole\u00e1<\/em> family of forms, commonly sung by interpreters from the Plazuela who call it \u201cbuler\u00eda pa\u2019 escuchar\u201d.<\/p>\n

Consider too that in the interior, Lebrija, Utrera and Mor\u00f3n, sole\u00e1 is usually interpreted with a rhythmic trot that is little different from standard buler\u00eda por sole\u00e1, as opposed to the laidback phrasing preferred by Jerez interpreters. Some years ago an attempt was made to apply the label sole\u00e1 r\u00edtmica <\/em>to sole\u00e1 as interpreted in this interior zone, but that clumsy name hasn\u2019t prospered.<\/p>\n

\u201cBuler\u00edas al golpe\u201d, as if the issue weren\u2019t complicated enough, in the towns of Seville province is often, but not always, taken to mean the short-form buler\u00edas comp\u00e1s of TAC-TAC-rest-TAC-TAC, as opposed to the standard 12-beat rhythm. Elderly guitarists also remember the term \u201cal golpe\u201d being used to describe the terse choppy guitar-playing typical of Manolo de Huelva<\/strong> and Ni\u00f1o Ricardo<\/strong>. In Jerez however, \u201cbuler\u00edas al golpe\u201d is yet another label for this group of song-forms we\u2019re trying to pin down.<\/p>\n

The bottom line is, yes, a different spin may be given in different locations, as happens with any other flamenco form, and diverse labels may or may not be applied, but it\u2019s all one big family, open to improvisation as buler\u00edas is (the expansive Capullo de Jerez<\/strong> makes good use of this liberty), not to be confused with sole\u00e1, nor thrown into the same sack.<\/p>\n

To savor the peculiar feel of these forms, listen to T\u00edo Borrico, Ni\u00f1o Gloria, Manuel Agujetas, Ni\u00f1a de los Peines, Tom\u00e1s Pav\u00f3n, Antonio Nu\u00f1ez “Chocolate”, Luis Zambo<\/strong> and the great Manuel Soto \u201cSordera\u201d<\/strong> who did so much to define and enrich them.<\/p>\n

Top image: Manuel Agujetas. Photo: Estela Zatania<\/h6>\n

 <\/p>\n

\"\"<\/a>

Capullo de Jerez. Photo: Estela Zatania<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Luis El Zambo.<\/p><\/div>\n

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

When it comes to flamenco song-forms, few terms are more ambiguous than buler\u00eda por sole\u00e1, sole\u00e1 por buler\u00eda, buler\u00eda pa\u2019 escuchar and buler\u00edas al golpe.<\/p>\n","protected":false},"author":9,"featured_media":26920,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[68],"tags":[3769,3773,3768,1625,3772,3774,3770,3771],"class_list":["post-26918","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-estela-flamenca","tag-buleria-por-solea","tag-capullo-de-jerez-en","tag-diferencia","tag-flamenco-en","tag-luis-el-zambo-en","tag-manuel-agujetas-en","tag-solea-por-buleria","tag-tecnica-en"],"yoast_head":"\nBuler\u00eda por sole\u00e1 or sole\u00e1 por buler\u00eda\u2026 sorting it out - Archivo Expoflamenco<\/title>\n<meta name=\"description\" content=\"When it comes to flamenco song-forms, few terms are more ambiguous than buler\u00eda por sole\u00e1, sole\u00e1 por buler\u00eda, buler\u00eda pa\u2019 escuchar and buler\u00edas al golpe.\" \/>\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\/buleria-por-solea-or-solea-por-buleria-sorting-it-out\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Buler\u00eda por sole\u00e1 or sole\u00e1 por buler\u00eda\u2026 sorting it out - 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Cantaora, guitarrista, bailaora y escritora. Flamenca por los cuatro costados. 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