{"id":47725,"date":"2024-02-05T20:09:11","date_gmt":"2024-02-05T19:09:11","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=47725"},"modified":"2024-02-05T21:22:41","modified_gmt":"2024-02-05T20:22:41","slug":"bulla-burleria-bulerias","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/bulla-burleria-bulerias\/","title":{"rendered":"Bulla, burler\u00eda\u2026 \u00a1Buler\u00edas!"},"content":{"rendered":"

Ever since Paco de Luc\u00eda and Camar\u00f3n enhanced its popularity, surpassing the rumba, it’s rare to see any flamenco production that doesn’t include some buler\u00edas, and few flamenco singing or dance performances finish their final encore without a touch of festive buler\u00edas.<\/p>\n

 <\/p>\n

But it hasn’t always enjoyed such popularity. In fact, it’s a mere adolescent in the great flamenco family. At the beginning of the twentieth century, when other fundamental forms like ton\u00e1s, fandangos, siguiriya, or sole\u00e1 formed the backbone of flamenco singing, the buler\u00eda was barely in its infancy. With few exceptions, the oldest recordings showcase a rather rudimentary level of simple songs or folkloric themes.<\/p>\n

 <\/p>\n

Flamenco scholar Francisco Rodr\u00edguez Mar\u00edn, born in Osuna, Seville, in 1855, claimed not to have known buler\u00edas in his youth. In his book El Alma de Andaluc\u00eda<\/em>, published in 1929, he dismissed it as a “new and rare manifestation, without much value”. However, by then, not only had stars like El Pena, El Garrido de Jerez, or Jos\u00e9 Cepero already recorded variations of the buler\u00eda, but also the great Pastora Pav\u00f3n, “La Ni\u00f1a de los Peines”, had recorded at least half a dozen buler\u00edas with various titles. Rodr\u00edguez Mar\u00edn’s observation is also untimely, considering that in the same year of publication of his book other significant stars such as El Cojo de M\u00e1laga, El Gloria, Juan Mojama and the great Manuel Torre recorded buler\u00edas, basically marking the beginning of the reign of this immensely popular flamenco style. Musicologist and flamenco expert Hip\u00f3lito Rossy, born in 1897, also claimed to have known few references to the buler\u00eda until the second decade of the twentieth century, although he added, with a disdainful attitude, that “some” did indeed sing and dance it.<\/p>\n

 <\/p>\n

RHYTHM<\/p>\n

For music scholars, the rhythm of the buler\u00eda is the same as that of the sole\u00e1, although it’s more upbeat or brisk. In practice however, and for traditional performers, there’s barely any artistic relationship between the two forms. In its beginnings, the buler\u00eda followed a simple rhythmic cycle that repeated in measures of six. However, it gradually adopted what some call “amalgamated rhythm”, two measures of three and three of two, totaling twelve. But the custom of associating numbers with rhythm only takes us to a rudimentary level of understanding because flamenco interpreters work on the pulse or accents independently of any intellectualized perspective of sets of twelve. Specifically in buler\u00edas, the rhythm is felt like a merry-go-round with rings which are the accents hooked by singer, guitarist, or dancer, each in their own way, forming a powerful internal tension that gives the characteristic energy which is the essential dynamic of buler\u00edas.<\/p>\n

 <\/p>\n

Although the buler\u00eda rhythm serves as a universal framework within flamenco, there are unmistakable local variants. In Jerez, it’s more on the brisk side, in Utrera, it’s more leisurely, and in Lebrija, there’s a sway reminiscent of ancient ballads also cultivated in this region.<\/p>\n

 <\/p>\n

 <\/p>\n

\"\"<\/a>

Bernarda de Utrera canta y baila por fiesta con su sobrino Jose\u0301 en la Feria del Flamenco, 2001. Foto: Estela Zatania<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

DANCE<\/p>\n

If flamenco dance was cultivated in London and Paris, as some researchers suggest, the dance of buler\u00edas, that brief rhythmic bit of every singer, guitarist, or dancer, is indigenous and authentic. On the big international stages, we see elaborate choreographies, intricate footwork, extravagant costumes, beautiful women and handsome men executing technical feats with precision: sole\u00e1, siguiriya, tangos, alegr\u00edas, and taranto are among the most performed show dances at present. By contrast, buler\u00edas dancing has developed on-site in a non-commercial environment: neighbors’ houses, taverns, local stores… The best festive dancers are masters of minimalism, of subtly suggested gestures and grace. The much-admired Anzonini del Puerto (Manuel Berm\u00fadez Junquera, 1918-1983) used to say that those who dance buler\u00edas best are those who move the least.<\/p>\n

 <\/p>\n

VOICE<\/p>\n

There are only a handful of styles that could be called “classic”, but buler\u00eda enjoys a unique condition in the flamenco singing repertoire: one can sing buler\u00edas or sing in the style of<\/em> buler\u00edas. When Pastora Pav\u00f3n sings “Cielito Lindo”, Pepe Marchena his “Cuatro Muleros”, Bambino\u2019s “El Poeta Llor\u00f3”, Porrinas de Badajoz “Ojos Verdes”, Lole\u2019s “La Mariposa”, Camar\u00f3n “La Leyenda del Tiempo”, they are singing in the style of buler\u00edas. That is, they are adapting a song, whether it’s original, folkloric, or popular, to the festive rhythm of buler\u00edas. Traditional singers use these “derivatives” to add more variety to their performance, often interspersing some classic short-form buler\u00edas.<\/p>\n

 <\/p>\n

There have been many singers specialized in buler\u00edas, but one figure casts a giant shadow over all the rest: Francisca M\u00e9ndez Garrido, “Paquera de Jerez” (1934-2004), due to her rhythm, power, and ability to deeply move audiences with a style that some dismiss as “lesser”. Her disappearance in 2004 has left a difficult void to fill. Other names to consider, besides those already mentioned, are Bernarda de Utrera, Terremoto de Jerez and Perla de C\u00e1diz, among many others.<\/p>\n

 <\/p>\n

GUITAR<\/p>\n

The solo or concert guitarist, when playing buler\u00edas, utilizes a wide range of musical options, and there are no limits other than those of his own imagination. Paco de Luc\u00eda pioneered new paths in buler\u00edas, and nowadays, young prodigies are exploring unknown territory. Manuel Moreno Jim\u00e9nez “Manuel Morao” (Jerez de la Frontera, 1929) and Manuel Fern\u00e1ndez Molina “Parrilla de Jerez” (Jerez de la Frontera, 1945-2008) have been great creators of the Jerez sound in buler\u00edas. Nor can we overlook the Granada school which reached its peak with Juan and Pepe Habichuela (1933-2016 and 1944 respectively) and Juan Santiago Maya “Marote” (1936-2002).<\/p>\n

If the other flamenco forms are full glasses where interpreters go to drink, buler\u00eda is a great empty glass that each one fills as they please.<\/p>\n

 <\/p>\n

Top image: Baila T\u00eda Juana la del Pipa, canta Terremoto. Archivo: Diego Alba<\/h6>\n

 <\/p>\n

 <\/p>\n

\"\"<\/a>

El Nani de C\u00e1diz, por fiesta. Foto: Estela Zatania<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Juana la del Pipa, con Terremoto hijo por buleri\u0301as en 2003. Pe\u00f1a Terremoto. Foto: Estela Zatania<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

La Tana, por buleri\u0301as. Feria de Utrera. Foto: Estela Zatania<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Luis Marquesito, por buler\u00edas. Potaje de Utrera 2011. Foto: Estela Zatania<\/p><\/div>\n

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

Of the immense variety of flamenco singing styles, it\u2019s clear that the absolute and unconditional winner in terms of popularity, variety, versatility, and volume of recordings is\u00a0buler\u00edas.<\/p>\n","protected":false},"author":9,"featured_media":47713,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[68],"tags":[76,1625,5469],"class_list":["post-47725","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-estela-flamenca","tag-flamenco","tag-flamenco-en","tag-flamenco-en-2"],"yoast_head":"\nBulla, burler\u00eda\u2026 \u00a1Buler\u00edas! - Archivo Expoflamenco<\/title>\n<meta name=\"description\" content=\"Of the immense variety of flamenco singing styles, it\u2019s clear that the absolute and unconditional winner in terms of popularity, variety, versatility...\" \/>\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\/bulla-burleria-bulerias\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bulla, burler\u00eda\u2026 \u00a1Buler\u00edas! 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Cantaora, guitarrista, bailaora y escritora. Flamenca por los cuatro costados. 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