Siguiriyas is one of flamenco’s most exciting and difficult dance forms, and a dancer’s first job is to master the compás.

Mastering this dance also requires an understanding of how the letras are performed. Most singers stretch the compás of a single letra or all letras, and many singers change tempos, speeding up and slowing down throughout a letra for dramatic effect.

​Throughout it’s performance history, theatrical dancers have often used props in siguiriyas, including mantons and castanets.

​The structure for a danced siguiriyas usually includes the following sections:

1. Guitar falseta,followed by the singer’s salida/temple.

2. Entrada: A dancer can enter slowly and lyrically to a guitar falseta, or may choose to enter with driving footwork, culminating with a sharp, dramatic remate and/or llamada to cue the singer. Dancers often combine these two elements.

3. The letra, which includes dramatic remates interspersed throughout the verse. Similar to the Tarantos in character, the dancer pays strict attention to the singer’s letra, which dictates the mood, tempo and choreographic content. Given the somber lyrics and dramatic music for siguiriyas letras, dancer’s will match this mood with extravagant gestures, turns, footwork, and facial expressions.

4. 1st escobilla often performed to a rhythmic falseta.

5. 2nd letra which is similar to the 1st letra.

6. A danced falseta, performed rhythmically or arhythmically (this could also be included after the 1st letra).

7. Final escobilla The tempo will increase here, and the dancer can either perform a salida, exiting the stage with dramatic gestures and/or footwork, or transition to Bulerías or Tangos, changing the compás and mood to finish the dance.