Presentando Bulerías los viernes de flamenco

The bulerías have been defined by the flamenco students Blas Vega and Ríos Ruiz as a perfect synthesis of jonda expression and a sort of regulating ordago of the most outstanding characteristics of the cantes. The bulería is one of the most modern styles of flamenco and since its origins has enjoyed great acceptance by artists and the public.Antonio Machado Demófilo mentions solitudes of four verses or couplets of jaleos, that possibly are the premención of this sort, related without a doubt with the cantes and dances called of racket or chuflas. About the etymology of the name that receives this genre, there are several theories: de mocking (burlería), bulla (bullería), bolero (bolería), bulero (cheating, bulería) and fulero (fulería).

In a genre as malleable and versatile as the bulerías, it is possible to distinguish three main ways of dealing with them: the first one points to those born in the atmosphere of Nueva and La Cantarería streets in the neighborhood of Santiago de Jerez de la Frontera, perhaps as a declaration burlesque of the great cantes, and points out the Jerez-born cantaor Loco Mateo as the main cultivator of this style, when around 1870 he finished the soleá with a light and redoubled compass. This modality, perhaps the most popular of all, is considered to be of marked gypsy character. The second type is born from the versions created by some flamenco singers who interpret their own tonás using bulerías as a rhythmic-harmonic support for their inspirations. The third type corresponds to all those pieces that adapt any type of music to the beat of the bulerías, the so-called cuplés por bulerías or songs por bulerías. Among the numerous variants of the bulerías we highlight the so-called bulerías al golpe or bulerías por soleá. The Andalusian geography of bulerías is usually divided into three zones: Jerez, Cádiz and Triana. In Jerez the thirds are lengthened or cut according to the interpreter and the Jerez spirit of interpreting flamenco. In Cádiz, the bulería, as Blas Vega indicates, becomes curved, that is, it cuts the thirds and precipitates the compass; and as Fernando Quiñones points out, the bulería in Cádiz has a slight indian contribution, always present in the spirit and musical aesthetics of this city. In Triana and the province of Seville (Lebrija, Utrera, Morón de la Frontera, etc.) they round out and stylize the genre. On the other hand, the bulerías of the Ports are slower and more jumped than those of Jerez, perhaps according to Aurelio Sellés, as a reaction to the cheerful version of Cádiz. González Climent adds, as regional variants, those of Granada and the malagueñas. A list of variants that we could include in the third group mentioned above would be: fiesta por bulerías, bulerías with fandangos, bulerías with joy, tango por bulerías, fado por bulerías, villancicos por bulerías, bolero por bulerías, zambra por bulerías, bulerías , Colombian for bulerías, bulerías criollas, blues for bulerías.

http://canteytoque.es/bulerias.htm

https://www.youtube.com/watch?v=-QCv96hUDcc&list=PLF183036912DCA301&index=2&t=0s