nd
2 Show
11:15 AM
Show Program
Welcome Introduction
Folklore Español
Aurresku- Dance
Muñeira -Dance
Jota Aragonesa -Dance
Rumba “Burruquito como tu” Live Music
Clasico Español
Asturias “Isaac Albeniz”- Dance
“La Tuna”
“Clavelitos , Compostelana, San Fermin” -Live Music
“Paso Doble - Viva el Paso Doble“.- Live Music
“Cua Cua Cua ”- Live Music
Fantasia Española - Dance
Tablao Flamenco
Intro Percussion Dance & Live Music
Tangos - Dance & Live Music
Jaleo Dance & Live Music
Martinete Dance & Live Music
Tanguillos Dance & Live Music
Alegrias Dance & Live Music
Public Interaction
“Tan Agustito” Ketama
(10 min) At this time artists will call on Teachers and
Students with tickets to come up to the stage and to
follow instructions.
2/15
Spain Folklore
La Jota: The Spanish Jota came to be in
the 1700's and is the National folk dance of
Aragon, Spain. It is a quick Spanish dance
in 3/8 time.
the Cagayan Valley, perform this fast
tempo dance which includes familiar
European steps, the mazurka, polka,
gallop and waltz.
The "Jota of Aragón" is the oldest of the
styles and corresponds with the ancient
carols, which in Chaucer's time meant a
dance as well as a song.
At the feast of La Virgen del Pilar, the Jota is
in great favor with the crowd which
assembles in Sargasso from outlying parts.
Funerals and wakes also afford
opportunities for the dance, which is often
performed in watching the dead.
The Jota brought by the Spaniards from
Southern Spain found its way into many
places in the islands. One such Jota is
named after the valley it adapted.
Though Filipinized in many other ways, the
Jota Cagayana still displays the fire and
fury of its European origin.
Until the turn of the century the Ibanag, of
The verses in the improvised couplets are
not always in true meters, the performers
not being very particular. They make up for
the loss of a syllable or two in one line by
adding it to the next, or they clap their
hands, twang the guitar string, or stamp
their feet to cover the defect.
The Aragonese in their pride in the dance
say that a pretty girl dancing the Jota sends
an arrow into every heart by each one of
her movements.
Sometimes the couples of the Jota indulge
in a satirical vein.
Clasico Español Dance
"SPANISH CLASSIC"
Classical Spanish Dance encompasses sophisticated choreography of
Classical Music by great Spanish composers such as Manuel de Falla,
Albéniz, Granados, and Turina. Dancers wear either Spanish dance shoes
or Ballet shoes, often while playing the castanets. The dance blends
Flamenco, Folklore, and Classical Ballet.
What is Spanish Dance?
Spanish Dance
La Tuna
A Tuna is a group
of university
students wearing
university gowns,
or cloaks, playing
t r a d i t i o n a l
instruments and
singing serenades.
The tuna has also
become popular in
the Netherlands,
Central and South
America and South
Florida. It is also
known as Tuna or
Tunas in the plural form. A Tuno is a member of a University
Tuna, or may also be called a Sopista, which is an ancient
appellation, or naming of the Tuno.
History
The origin of Tuna university music groups is derived by the
Goliards of the 10th to13th century, and medieval
troubadours and minstrels. The name tuna comes from
French Roi de Thunes, "King of Tunis," a title used by
leaders of vagabonds.
Spanish tunas; in order to return the favor, Ciudad de Luz
started inviting the Spanish tunas to Eindhoven in 1986
their 1986 certamen was the first ever held outside Spain.
One important garment of the tuno is the cloak which is
long and loose, without sleeves, open in front and it is worn
over the clothes. Over the cloak are displayed seals and
shields of the cities and countries that the tuno collected
from all over the world. Likewise multicolored ribbons and
shreds are worn on the cloak in a sign of affection,
expressing feelings or love. These can be presents from
their sweethearts, mothers or friends.
“Que cada cinta que adorna mi capa (Every ribbon that
decorates my cloak) Guarda un trocito de corazón. (saves a
piece of heart.) ” — "Tuna Compostelana", D. Martinez Pinto
& M. Menéndez Vigo
This applies to Spanish tunas. Portuguese tunas have more
standard trajes: black trousers, jacket, cape and shoes,
white shirt and black tie. Exceptions are the traje from the
Universities of Algarve (blue instead of black and with a
distinct hat, a nod to Henry the Navigator) and Minho
(which is more like the Spanish tunas' clothing described
above).
Musical instruments
In medieval poetry, from the 11th century, the Latin school
songs created a special genre characterizing the Tuna. The
students, known as "Goliards," appeared all over Western
Europe composing and interpreting songs, of which, the
subject matter did not fit in with the scale of values of the
society of that time. The songs were typically devoted to
wine and profane love, by defending the intellectual preeminence against the knights, using liturgical elements in
an opposite sense to how they were normally employed.
From its origins to the present day, from and through of the
Tunas have continued the cultivation of popular
instruments such as the bandurria, lute, guitar and
tambourine, instruments which are named in the Spanish
book Libro del Buen Amor by Juan Ruiz (c. 1283 - c. 1350).
For these occupations, they took their guitars and
bandurrias and sang popular songs. The tunos or sopistas
also showed abilities for music, and in courting ladies that
they had been wooing to. The sopistas were poor students
that with their music, friendly personality and craftiness
scoured the cheap eating-houses, convents, streets and
squares for a dish of soup (in Spanish, sopa) from which
they derived their name sopista, and for a few coins which
help to finance their studies
In 1964, in Eindhoven, a number of students at the
Eindhoven University of Technology came up with a new
hazing prank: they had some incoming freshmen learn
some Spanish songs and serenade a society lady in
Eindhoven (possibly the lady in question was mrs. Tromp,
wife of the
then-director of Philips). The serenading group was a hit
and in 1964 the students founded Tuna Ciudad de Luz (Tuna
of the City of Light, in reference to the importance of Philips
Lighting to Eindhoven). Starting in 1965 Tuna Ciudad de
Luz was invited to Madrid regularly for certamina by several
As far as the music is concerned, there are two basic
instruments. One is the guitar which comes with the tuno
and his melody. The melody is created by voices and
singing. Musical instruments like lute and bandurria are
also used. (Portuguese tunas usually play instruments like
mandolin instead of bandurria and lute). The other
important instrument which characterized the student
music was the tambourine. Besides these basic
instruments, the use of others instruments gives the tuno's
music a very special richness. These elements were
blended thanks to the different cultures and people where
tunos perform. Among the distinguished instruments are
the timple canario and charango. It uses, moreover, the
Puerto Rican cuatro, accordion and double bass to increase
the variety of sonority.
We are sure that most
of you understand
what being a part of a
big family of such kind
is, and so the next
time that you come
around Spain, or see
these young men
playing their guitars,
bandurrias, and
tambourines, that
you remember that
they are fun loving
people which carry in
their sashes over 700
years of history, and that they keep on doing it for fun. So
join them in their songs, share with them a few minutes of
your life a n d l e t t h e i r e n t h u s i a s m energize you with
the ful love for life, color and overall passion! Viva la tuna!
Flamenco
First part
Flamenco is a
song, music and
dance style
which is strongly
influenced by the
Gitanos (Gipsy),
but which has its
deeper roots in
Moorish musical
traditions.
F l a m e n c o
c u l t u r e
originated in Andalucia (Spain), but has since
become one of the icons of Spanish music and
even Spanish culture in general according to
Blas Infante in his story "Orígenes de lo
flamenco y secreto del cante jondo”.
Etymologically, the word Flamenco comes
from the Arabic word “Fellahmengu,” "Peasant
without Land".
This is related
to the huge
amount of Ethnic
Andalusians who
decided to stay and
mix with the
newcomer Gypsies,
abandoning their lands
because of their
religious beliefs
(Moriscos).
After the Castilian
conquest of Andalusia,
the Reconquista, most of
t h e l a n d w a s
expropriated and given
to warlords and mercenaries who
had helped the Castilian kings
enterprise against Al-Andalus.
When the Castilians later ordered the
expulsion or forceful conversion of
the Andalusian Moriscos, they took
refuge among the Gypsies, becoming
fellahmengu in order to avoid death,
persecution, or forced deportation.
Posing as Gypsies they managed to
return to their cultural practices and
ceremonies including the singing.
Originally, flamenco consisted of
unaccompanied singing (cante).
Later the songs were accompanied by
flamenco guitar (toque), rhythmic
hand clapping (palmas), rhythmic
foot stamping and dance (baile).
The toque and baile are also often
found without the cante, although
the song remains at the heart of the
flamenco tradition. More recently
other instruments like the cajón (a
wooden box used as a percussion
instrument) and castanets
(castañuelas) have been introduced.
“Flamenco Modern", or New
Flamenco, is a recent variant of
Flamenco which has been influenced
by modern musical genres, like
rumba, salsa, pop, rock and jazz.
5/15
Flamenco
Second part
Bulerias, Alegrias, Soleares, Rumba
Bulería: Palo flamenco fast rhythm, habitually used as a vehicle by happy and festive singers. From
“burlería,” mockery, fun or from bullería, racket, shouting, din; a high-spirited song and dance from the
gypsy quarter of the city of Jerez de la Frontera. It has a fast and lively rhythm - indeed, the fastest in all
flamenco - and provides enormous scope for improvisation on the part of dancers, singers and guitarists
alike. It is wild, frenzied and lively, but nevertheless contains the germ of sorrow that is almost always
present in flamenco.
The Alegrias is one of the oldest of
Spanish Gypsy dances and is often called
the "Queen" of Flamenco dances. It is the
purest and more refined of the repertoire.
It suggests the movements of the bullfight.
Soleares: Soleares means
'solitude'; cante jondo, (a
profound song covering both the
dark and serious aspect of
flamenco), the mother of flamenco
songs. It is a solemn dance that is
very appropriate for bailaoras
because its main elements are
movements of a feminine nature.
"Soleares", or "soleá" is one of the
most basic forms of Flamenco
music, probably originating around
Cádiz in Andalusia, the most
Southern region of Spain. Normally
played in the key of El Phrygian, the
tones are reminiscent of old
Moorish melodies.
Rumba Flamenca : is a combination of rumba style from southern Spain.
The word Rumba is a generic term, covering a variety of names (i.e., Son, Danzon, Guagira, Guaracha,
Naningo), for a type of Cuban and West Indian music and dance. The exact meaning varies from island
to island. There are two sources of the dances: one is Spanish and the other African. Although the main
growth was in Cuba, there were similar dance developments which took place in other Caribbean
islands and in Latin America generally. The "rumba influence" came in the 16th century with the
black slaves imported from Africa. The native Rumba folk dance is essentially a sex pantomime
danced extremely fast with exaggerated hip movements and with a sensually aggressive attitude
on the part of the man and a defensive attitude on the part of the woman. The music is played with
a staccato beat in keeping with the vigorous expressive movements of the dancers.
Accompanying instruments include the maracas, the claves, the marimbola, and the drums.
Instruments in flamenco: The three main instruments are (in order of importance) singing,
dance and guitar. Everything started with only singing and dancing (with some hand clapping,
known as "palmas"), the guitar came later. The extensive use of footwork common today is a
development of this century. The most complete form of flamenco is where these three basic
components are used. There are however a number of songs that are done without dancing, and even a
few dances that (at least traditionally) are done without singing. Also, any form that can incorporate
dance can also be done without dance. Finally there are some songs that are done without any
accompaniment.
6/15
Flamenco
Third part
Solo Guitar, Instruments in modern flamenco
Flamenco solo guitar
Flamenco solo guitar is a special case: it can in itself not be
considered representative of flamenco as a whole, but it is a
manifestation of the continual development of flamenco guitar.
Flamenco guitarists have a need to demonstrate their ability and
creativity. The result is instrumental flamenco, which is very nice,
and since dance doesn't come across very well on an audio-only
recording, it is one of the two most common ways flamenco
reaches the public (the other being singing and guitar).
In flamenco solo guitar, singing and dancing can be used as an
extra, but always in service of the guitar (in normal circumstances
the guitar serves the singing and the dancing).
Solo flamenco guitar can be very useful when learning flamenco
(for listening as well as playing), just don't forget that it's actually
the singing and dancing that it's all about (even when you don't
understand what they are singing about)
Instruments in modern flamenco
In modern flamenco there are more instruments that are
used: fairly common are bass guitar and "caja" or "cajon",
basically a box with a loose front panel, that is played while
sitting on it. A variety of percussive sounds can be produced
with this instrument.
In addition, sax, flute and other percussion instruments can
be used. Occasionally you can hear strings (a complete
orchestra sometimes) or even something exotic like a sitar
(Middle East string instrument). Extremes in this respect are
metal-string- and electric guitar, synthesizer and drums.
8/15
Interactivity
Ketama
Public Interaction
(10 min) At this time artists will call on Teachers and
Students with tickets to come up to the stage and to
follow instructions.
“Tan Agustito:” Lyrycs
Toma ke tama ke tama toma ke tama,
Toma keta ma ketama ke toma ke tama,
Toma ke tama ke tama toma ke tama,
Toma ke tama ke tama toma ke tama,
Soy de la calle y la puerta de atrás
donde está el ritmo caliente,
aquí todo el mundo quiere gozar,
ya sé que ésta es mi gente.
El humo de un joy me hace volar,
aquí no hay noches ni día,
nos reiremos en la tempestad;
no quiero vida tranquila,
sé que todo en esta vida pasará
y yo nunca cambiaré.
Ahora que estamos tan agustito,
tan agustito, tan agustito, tú ves...
Soy de la calle y la puerta de atrás,
esto no puedo negarlo;
me rompo la camisa si el punto me da
y yo luego acabo cantando,
en esta esquina me pongo a bailar
mientras los primos me cantan,
griten la gente, que no hay que callar,
que no nos roben el alma.
Se que todo en esta vida pasará
y yo nunca cambiaré.
Ahora que estamos tan agustito,
tan agustito, tan agustito, tú ves...
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