Download STUDY GUIDE Spring2016 Spain

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
traditional 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.
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 pre-eminence 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 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
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 the land was
expropriated and given to
warlords and mercenaries
who had helped the Castilian
kings enterprise against AlAndalus.
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.
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-stringand 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...
This study guide is designed to facilitate learning in the classroom
and compliment our performance. Education administration and
teachers may use this to construct lesson plans to teach students
who will attend the show.