If we look for the origin of bulerías, we have to look at another flamenco style: the soleá. The flamenco bulería derives from the soleá, a style that takes the structure of a compass, although with some variation due to a faster rhythm.

Flemish art historians point out that it was in the 19th century that singers such as El Loco Mateo and El Gloriadecided to print an entity of their own to the bulerías and, in this way, to separate it from the soleá. An example of the link that exists between one and another stick are current cantes such as the “soleá por bulerías” or the “bulería por soleá”.

As we have anticipated, bulerías has its roots in Jerez de la Frontera, but the evolution and popularity of this flamenco styke also has the contribution of artists from other Andalusian corners, such as La Niña de los Peines or Manuel Vallejo, as well as the influences of other flamenco songs.

These influences and the work of various flamenco artists have led to different styles of bulerías such as the Bulerías de Jerez, the Cádiz, the Lebrija, the Utrera and the Triana, styles that, as can be seen in their name, bear the seal of the where this stick has evolved.

Although at first the flamenco bulería was a song for the dance, little by little this flamenco style was making its mark as an essential song in the interpretations of the cantaores or the musical recordings, thanks to artists such as Camarón de la Isla or Paco de Lucía, who made bulería a reference point for flamenco.