In traditional cuadro flamenco and theatrical performances, bulerías is presented with each dancer performing a short variation and returning back into the cuadro flamenco formation as another dancer enters the performance area. Dancers often try to “out-dance” one another, dance teasingly about each other, spoof the audience, or dance one’s mind. Intricate combinations of palmas and jaleo (shouts of encouragement, including “Olé”) are provided by the other performers, and often by knowledgeable aficionados.

Though open to much variation and interpretation, the generally accepted skeletal framework for the dance includes:

​Entrada/Salida – The dancer enters while the guitarist plays. The dancer can also enter during a song.

Llamada – A movement cue to the guitarist and singer that the dancer is about to perform a new letra.

Letras – The singer sings a letra while the dancer dances. A dancer can insert a remate (flashy punch of percussion and movement) between the 1st and 2nd lines of the song, while the singer pauses for 12 counts (respira).

​Desplante llamada – A one- or two-compás footwork and movement break.

​Dance variation/s-  A number of things can occur at this point.

​Choreography – The primary dance variation, often including codified movement patterns of counter- clockwise circles and diagonal patterns traveling across the floor. Many of these patterns are traditional, and have been passed down from artist to artist for generations.

​Contra tiempo palmas

​A second llamada leading to a second letra.

​An escobilla  – Long sets of footwork sequences

​Closing desplante llamada – The final cue for an exit

​Salida/Cierre  – A closing dance pattern, generally moving across stage. Often also called the cierre.