Guide to palos Index

Chano Lobato (Photo: Daniel Muñoz)

Alegrías is the best-known flamenco style from the cantiñas group. This cante originates from Cadiz, its rhythmical structure matching that of the soleá, with verses divided into four lines of eight syllables each. In fact, it is a hybrid of soleá and a traditional dance from Aragón called the jota. This process of ‘fusion’ took place during the resistance to the Napoleonic invasion of 1808, in the Peninsular War for Spanish independence. Actually this style was originally also known as jotas gaditanas, or jotillas gaditanas - the Cadiz jota - and lyrics often make allusions to times of freedom and struggles. Among those who earned a reputation for nurturing this style are Enrique Butrón, Rosario la del Colorao, Ignacio Espeleta (who introduced the common repeated opening sequence of "tiri-ti-tran"), Aurelio Sellés, Chaquetón, Chano Lobato... the list goes on. More melodic and somewhat more sedate in nature are Alegrías de Córdoba, credited to cantaor Onofre. Dance techniques associated with alegrías are among the most rich and vivacious to be seen. Traditionally this is considered a female dance piece, based on undulating movements of the body and of graceful arm movements (above all during the 'silencio', the sequence performed in a minor key) as well as on the intricate footwork during the so-called 'escobilla'. It is also characterized by bright, extroverted clothing such as the traditional long 'bata de cola' dress, or the manila silk shawl, the manipulation of which requires a course all on its own. Alegrías, and in fact the whole cantiñas group, were heavily influenced by the style Pastora Imperio laid down, leaving her mark on all that followed her in the Seville school of dance, such as Matilde Coral, Milagros Menjíbar, Pepa Montes... and even on more recent figures like Belén Maya and Rafael Campallo. .

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Audio clip
	Chano Lobato: 'Azúcar candé' (Alegrías)

Sample verse: