I have commented here before on the transfer of genres in traditional Andalusian music, which one day decided to embark on a path that invited them to abandon their more folkloric aspect and don the costume of flamencos, thus distancing itself from its origin to become engrossed in the not always easy path of flamencoizing their accentI explained it in two articles that you can read. here y here, which I titled Cantes that were songsI even wrote this other in which he raised the question Has he had a snack? flamenco Andalusian folklore? A topic I return to this time, focusing on an aspect I've been observing for some years now, which marks a difference compared to the journey traditional styles usually take in their evolution over time. I'm referring to a style of the flamenco which started as a traditional genre like the jaleo and the chufla, became flamenco Originally known as bulerías, it began its transformation in the 20th century, eventually returning to traditional music in its most emblematic home, Jerez. How bulerías have become the folklore of Jerez de la Frontera, making the return journey; from being a style, today the most appreciated of the flamenco...to become part of Jerez's traditional music, eventually becoming the main style of Andalusian popular music. Now, almost everyone can play, sing, or dance bulerías. Because it wasn't always like this; bulerías were something... flamencoYes, however many there were in the Gypsy neighborhoods of Jerez. But today What true Jerez native doesn't know how to dance a little dance at the fair, or at least keep time playing the... palmas or strum the strings of a guitar?
I am writing this after seeing some videos on social media where groups of women, mostly sitting in a doorway in the Santiago neighborhood, are showing off their... canteand dances to the bulerías rhythm, duly cheered, clearly demonstrating one of the main functions of traditional music: to ease sorrows, to sing of joys, to nourish the soulAnd, incidentally, the result is more than optimal. I understand that for many, this is the most appropriate context for listening to bulerías. Given the power of social media to spread, I'm already seeing groups of tourists who, after disembarking from the many cruise ships that arrive in Cádiz, follow some experienced guide and, for a modest price, board a bus, visiting the salt flats of Los Puertos, a sherry winery with a snack included, until, "to see" the city walls, they reach the Arco de Santiago and enjoy a grand finale. flamenco In its most authentic context, on the street, with those ladies singing and tapping out their graceful little feet. And long live the Virgin! A lucrative business indeed.
"How bulerías have ended up becoming the folklore of Jerez de la Frontera, making the return journey; from being a style, today the most appreciated of the flamenco...to become part of Jerez's traditional music, becoming the main style of Andalusian popular music. When, more or less, everyone is able to play, sing or dance bulerías."
The origin of bulerías remains hotly debated. In Jerez, no one doubts that it originated there, although they still don't know whether it was in Santiago or La Plazuela. The evidence points to Cádiz, since most of the earliest recordings, even those that were just jokes, are in a major key, like those recorded by... Garrido de Jerez, what many call bulerías from Cádiz, only a few of these accompanied by a medium, in the tone flamenco Definitive. Not surprisingly, the first mention was made in Cádiz, attributed to the repertoire of the wise man from Cádiz. Chiclanita, according to news found by a friend Javier OsunaThe first recordings labeled as bulerías date from 1910, those recorded by The Girl with the Combs and the guitar of Ramon Montoya, with letters and canteIt has a distinctly Cadiz aroma. We know because Manuel Bohorquez that the press, specifically the Madrid newspaper Time, gave a good account of those early recordings, that of «Empress of cante "The greatest gypsy of all time," as they cheered him then. He was referring to his twenties. cantes registered with these charming words: «The famous flamenco singer Niña de los Peines has impressed a collection of records, that a good gramophone with the Ureña, Prim, 1 brand, is the best gift for the pepes and the pepas» (March 15, 1910, four days before Saint Joseph's Day).
However, and no one can deny it, it is the people of Jerez who have ended up carrying the torch of bulería, with their unmistakable six-step rhythm, their flamenco dance full of flavor, and their signature touch of Grills, Ceperos and Moraos, the unmistakable commotion of the longed-for Bo (Run!), rightfully holding the scepter of bulerías. A vast group of artists, blow by blow, verse by verse, long ago reached the summit. The very essence of flamenco knew how to hit its stride, and that was the ultimate. Just listen to the now classic recording. Party in the Santiago neighborhood, with six aces from flamenco Jerez native: Sernita, BorricoEarthquake, Deafness, Black Diamond and RomeritoIn that neighborhood we also have the Guru of the rhythm, our "Tato Diego who art in Santiago." Who can top that?
In many Andalusian towns, folk songs have stopped being performed since they were first created. canteYes, especially fandangos, which, in their folk version, were sung and danced on every corner of that blessed land, and today it is very difficult to hear them in their original version, since they have been diluted in the flamenco variant, like sugar in coffee, the original song passing on to a better life after having embraced the artistic variant, after having succumbed to the powerful attraction of the flamenco...never to return. Who wouldn't want to sing like that? Juan Breva, Cayetano Muriel o Antonio Rengel?
But what was unprecedented was the return journey of a style, the bulerías, which went from being songs, jokes, to canteThe bulerías, a type of flamenco dance, emerged around 1910 and, a few decades later, became the hallmark of Jerez, so faithfully representing the ideals of that community that there is no neighborhood, square, or street where you cannot hear them today. palmasthat the grace of the steps and arm movements of pure Jerez lineage not be seen, or to intone a cante on the lips of any Tom, Dick, or Harry, whether he is or not flamenco, full of feeling and to the rhythm of some lyrics steeped in fine wine, palo Cortado, oloroso or Pedro Ximénez, to the rhythm of bulerías. ♦
