Alegrías de Cádiz

• What is it?

It is one of the most famous palos (styles) of flamenco, belonging to the group called Cantiñas, a style that can also be danced. As its name suggests, it is a dance associated with the oldest city in the West; Cadiz. A land where some of the artists we work with in Cardamomo come from and which is characterized by its coastal atmosphere and joy.

• Why is it used?

Flamenco is capable of transmitting a very wide spectrum of emotions. That is why, depending on the mood of each performer and the feeling we want to achieve, we will perform different styles. In this case, we dance Alegrías (whose literal meaning is alegrías) because we want to recreate a feeling of grace and fun, celebrate successes and laugh at sorrows.

• Thematic

Within the wide variety of themes found in flamenco, in this style you will hear references to the sea and its trades, the coast, nature, love in a suggestive sense or the celebration of life. These themes will be supported by a series of refrains (also known as juguetillos) that reinforce the character of the style.

• Costumes

The costumes used are characterized by the use of bright and intense colors. The traditional feminine costume is the one that stands out the most, being able to use complements such as the bata de cola, the fan, the castanets or the shawl.

• How is it interpreted?

When we talk about a classic structure of the dance, we have to take into account that the artists, due to their wide knowledge and technique, can vary it, eliminating, shortening or changing parts of it. The interpretation of this dance will remind you of the rocking of a ship sailing on the waves of the sea.

In this performance you will observe a two-part structure. The alegrías will give way to another style; the bulerías de Cádiz, which will conclude the dance.

It all begins with the start of the guitar and singing, which will introduce us to the festive atmosphere, preparing the entrance of the dance. In this first part, the singing, falsetas (or phrases) of the guitar and the zapateado (footwork) alternate. The intensity increases progressively, looking for the last remate that gives way to silence, an intimate and lyrical moment between the guitar and the bailaora that divides both parts of the dance.

Subsequently begins a game between the guitar and the dancer’s feet whose speed will increase. Once finished, we give way to the Bulerías de Cádiz, moment in which the expressiveness and the celebration reach their highest point, putting an end to this dance by Alegrías.

• A little bit of history

It is one of the most important styles of flamenco, both for singing, playing and, above all, dancing, from which the rest of the dance styles have crystallized. The most recent studies [by researchers such as Guillermo Castro or Faustino Núñez] argue that this palo shares elements with the jota, a popular Spanish genre in effervescence from the second half of the 18th century to the first half of the 20th century. We also find antecedents in elements of other popular genres such as the panaderos gaditanos, the coplas romanceadas or, above all, the jaleos of the 19th century. We find the first news of Alegrías in 1867, being able to place them chronologically in the second half of the 19th century.

The alegrías dance has historically been associated with female dancing, more decorative and sinuous. Since the emergence of the cafés cantantes (1850-1920) there has been a development and aesthetic codification of the dance around the sexual division of the dance. Throughout the twentieth century and since the twenty-first this division of the dance by alegrías has been diluted, being able to observe both men and women dominating this style. We find very important figures of alegrías dancing such as María la Macarrona, Trinidad Huertas “La Cuenca” and Matilde Coral.

Enjoy!