{"id":5670,"date":"2015-10-30T10:45:00","date_gmt":"2015-10-30T10:45:00","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/el-cante-tiene-que-ser-una-fiesta\/"},"modified":"2019-03-01T00:38:16","modified_gmt":"2019-02-28T23:38:16","slug":"does-flamenco-need-to-be-a-party","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/does-flamenco-need-to-be-a-party\/","title":{"rendered":"Does flamenco need to be a party?"},"content":{"rendered":"<p>From the beginnings of flamenco, back in the dawn of the 19th century, there have always been\u00a0<i>palos<\/i>\u00a0that become popular. It happened with\u00a0<i>polo<\/i>\u00a0and\u00a0<i>ca\u00f1a<\/i>, with\u00a0<i>seguiriyas<\/i>\u00a0and\u00a0<i>serranas<\/i>, with\u00a0<i>soleares<\/i>\u00a0and\u00a0<i>peteneras<\/i>. Then came\u00a0<i>farrucas<\/i>\u00a0and\u00a0<i>guajiras<\/i>, and after that\u00a0<i>malague\u00f1as<\/i>, with a wide range of personal styles. In the days of the\u00a0<i>\u00f3pera flamenca<\/i>\u00a0in the early 20th century, came the so-called\u00a0<i>fandanguillos de autor<\/i>, which degenerated until they almost wiped out the true\u00a0<i>fandangos de ritmo<\/i>, which have now been forgotten in provinces such as Almer\u00eda, C\u00f3rdoba, M\u00e1laga or Granada.<\/p>\n<p><a href=\"http:\/\/www.expoflamenco.net\/#!Cuarenta-y-seis-a%C3%B1os-sin-Pastora\/c112t\/565548780cf2a1cf6d1811d5\">Pastora Pav\u00f3n<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Juanito-Mojama-%C2%BFredescubriendo-a-un-genio\/c112t\/5600abed0cf25fa7fe12dd39\">Juan Mojama<\/a>, el Ni\u00f1o Medina, el Gloria,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Manuel-Vallejo\/c112t\/56eb88420cf29acca8a2292d\">Manuel Vallejo<\/a>and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2016\/09\/25\/Isabelita-de-Jerez-una-joya-gitana\">Isabelita de Jerez<\/a>\u00a0made fashionable the\u00a0<i>buler\u00eda festera<\/i>\u00a0(\u201cparty buler\u00eda\u201d) and the\u00a0<i>cupl\u00e9 por buler\u00eda<\/i>. This is a\u00a0<i>palo<\/i>\u00a0which originally was performed in parties only, not whenever and wherever, like the\u00a0<i>tangos<\/i>, which were very popular in Triana and in La Cava, and also in Granada, Badajoz, C\u00e1diz and M\u00e1laga. These are the so-called\u00a0<i>cantes a comp\u00e1s<\/i>\u00a0(as if the other\u00a0<i>cantes<\/i>\u00a0didn\u2019t have\u00a0<i>comp\u00e1s<\/i>, or rhythm). Eventually the\u00a0<i>estilos festeros<\/i>\u00a0(\u201cparty styles\u201d) prevailed, and when the summer festivals appeared in the 1950s, whoever wasn\u2019t able to sing\u00a0<i>por buler\u00edas<\/i>, wasn\u2019t even considered a\u00a0<i>cantaor<\/i>.<\/p>\n<p>I\u2019ve seen\u00a0<i>cantaores<\/i>\u00a0dismissed for not being good in\u00a0<i>buler\u00edas<\/i>. In\u00a0<i>baile<\/i>\u00a0too, if a dancer fails to make a graceful and lively\u00a0<i>pata\u00edta<\/i>\u00a0(\u201clittle kick\u201d), they\u2019re not considered to be \u201cflamenco\u201d, basically. So it was. At that time, we thought it was just a fad, like when it was mandatory to sing\u00a0<i>malague\u00f1as<\/i>,\u00a0<i>marianas<\/i>,\u00a0<i>guajiras<\/i>,\u00a0<i>peteneras<\/i>\u00a0or\u00a0<i>fandanguillos<\/i>. Yet, it wasn\u2019t a fad:\u00a0<i>buler\u00edas<\/i>\u00a0came to stay, and they have become tiresome, as if there were no other (and more difficult) styles around, although some think it\u2019s the most difficult\u00a0<i>palo<\/i>\u00a0of them all. It certainly is not an easy one, but these days just about anyone sings\u00a0<i>por buler\u00edas<\/i>, with the obligatory\u00a0<i>pata\u00edta<\/i>, graceful or not.<\/p>\n<p>This beautiful\u00a0<i>palo<\/i>\u00a0has been horribly vulgarized, being sung and danced in places where not even the birds sing. Through social media we can see how even people from Andalusia, Gypsy or not, sing and dance\u00a0<i>buler\u00edas<\/i>\u00a0even in airports and on the streets, since it\u2019s a\u00a0<i>palo<\/i>\u00a0well suited for showing off and being funny.<\/p>\n<p>I remember whenever the great choreographer and dancer\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Siete-a%C3%B1os-sin-Mario-Maya\/c112t\/5604c1250cf2375d99dbfea0\">Mario Maya<\/a>\u00a0watched a\u00a0<i>fiesta por buler\u00eda<\/i>\u00a0in a theatre, he would always say that this wasn\u2019t flamenco, but folklore. \u201cYo, look at the\u00a0<i>flamenquitos<\/i>\u00a0with their folklore\u201d he would say mockingly. He was a Gypsy, and a great\u00a0<i>bailaor por buler\u00edas<\/i>, but not the easy kind that\u2019s sung and danced by just anyone. Maya\u2019s buler\u00eda was a dance piece with an extraordinary artistic maturity.<\/p>\n<p>The tiresome\u00a0<i>buler\u00eda festera<\/i>, the \u201clittle party\u201d\u00a0<i>buler\u00eda<\/i>, would be more bearable if it wasn\u2019t pushing away into oblivion\u00a0<i>palos<\/i>\u00a0that are much older and solemn, such as\u00a0<i>ca\u00f1as<\/i>\u00a0or\u00a0<i>serranas<\/i>, the M\u00e1laga styles such as\u00a0<i>ronde\u00f1as<\/i>and\u00a0<i>jaberas<\/i>, the old\u00a0<i>granadinas<\/i>\u00a0or\u00a0<i>guajiras<\/i>,\u00a0<i>farrucas<\/i>, the\u00a0<i>garrot\u00edn<\/i>\u00a0or the so-called\u00a0<i>cantes mineros<\/i>\u00a0or\u00a0<i>de levante<\/i>. Let\u2019s not forget the universe of\u00a0<i>canti\u00f1as<\/i>, too, squashed by the\u00a0<i>alegr\u00edas gaditanas<\/i>, which have also been vulgarized since long ago.<\/p>\n<p>This happens a lot in\u00a0<i>baile<\/i>: the\u00a0<i>bailaor<\/i>\u00a0or\u00a0<i>bailaora<\/i>\u00a0comes out, starts a\u00a0<i>sole\u00e1<\/i>\u00a0and, without finishing it, just makes three or four half-rehearsed poses, immediately switches to\u00a0<i>buler\u00eda<\/i>. The same happens in the\u00a0<i>taranto<\/i>, with the tango finish. If it weren\u2019t for the contests, which still require the performance of the classic\u00a0<i>palos<\/i>, I bet they would have completely disappeared by now. The\u00a0<i>pe\u00f1as<\/i>\u00a0have also contributed to the preservation of the classic\u00a0<i>palos<\/i>, as they require the\u00a0<i>cantaores<\/i>\u00a0and\u00a0<i>cantaoras<\/i>\u00a0to perform eight or ten\u00a0<i>palos<\/i>\u00a0as a minimum, not just three like in the festivals. I don\u2019t want to panic, but this scarcity of repertoire is becoming really worrisome.<\/p>\n<p><span style=\"font-size: xx-small;\">Translated by P. Young<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>From the beginnings of flamenco, back in the dawn of the 19th century, there have always been\u00a0palos\u00a0that become popular.<\/p>\n","protected":false},"author":6,"featured_media":9362,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[],"class_list":["post-5670","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-archivo"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Does flamenco need to be a party? - 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\/blog-archivo\/does-flamenco-need-to-be-a-party\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Does flamenco need to be a party? 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