OPENINGMusicians & Dancers

Folklore EspañolMuñeira & Jota Aragonesa - Dancers

Rumba“Burriquito como tu” - Live Music

Clásico EspañolAsturias “Isaac Albeniz” - Dancers

LA TUNAIntroducción a la tuna

“Paso Doble - Paso doble te quiero” - Live Music & Dance“Cua Cua Cua” - Live Music

Tablao FlamencoWelcome to Madrid “chotis flamenco”Caracoles “por las calles de Madrid”

Poesía a Madrid “Madrid mi hometown”Solo palmas

Buleria “el café de chinitas”Seguiriya Alegrías

Sevillanas “sevillanas del lavapies”Zapateado por Tangos

Rumba “vente pa Madrid”

Public Interaction“La Macarena” Los del Rio ft Gente de Zona

Saludos y despedida Presentación de los artistas y despedida final

2nd

11:15

Spain FolkloreMUÑEIRA

Dentro de la variedad de danzas típicamente gallegas, como son la jota, la pandeirada, el fandango, el maneo, etc., es la muñeira la más resonada de todas. Como género mu-sical, se distingue principalmente por su compás de 6/8, rápido y vivo, del cual existen algunas variantes depen-diendo de la comarca.

La muñeira es una danza folclórica gallega de ritmo rápido. Su origen es discutido, pero comúnmente se afir-ma que fue en los molinos (muiños) donde se molía el trigo y el maíz donde nace este baile; haciendo más

llevadero el tiempo de espera de la molienda. Para algunos estudiosos es un baile de asimilación reciente, no habiendo testimonios escritos anteri-ores al siglo XIX.

Como baile tradicional se interpre-taba en fiestas, romerías y en cada reunión social donde se permitiese. Si se disponía de gaita, se prefería; pero, si no, un grupo de percusión más o menos improvisado bastaba. Algunos de los instrumentos de percusión podían ser: el bombo, el tamboril, la pandereta, el charrasco, conchas, etc.

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 “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.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 Cagayan Valley, perform this fast tempo dance which includes familiar European steps, the mazurka, polka, gallop and waltz.At the feast of La Virgen del Pilar, the Jota is in great favor with the crowd which assembles in Sargasso from outlying parts.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.

Spain FolkloreLa Jota

RumbaRumba is one of the most popular rhythms of flamenco on a social level. It is danced in parties and discos. Despite these festive qualities, flamenco rumba is a legitimate flamenco club.In the tree of flamenco, the rumba belongs to the Cantes de Ida y Vuelta. It originated from the inflaming of Cuban rhythms such as guaracha, son and guaguancó.

Origin of flamenco rumbaIn the 19th century there was a very active trade exchange between the ports of Cadiz and Seville and the ports of Havana. Traders, workers, bull-fighters and cantaores traveled from Spain to Cuba and from Cuba to Spain frequently.In this exchange, not only food, but also rhythms were transported. songs and dances. The flamenco rumba is born of this cultural exchange. It arises from the aflamencamiento of the Cuban rhythms that the Spaniards took to Spain.The flamenco rumba is beginning to form as a flamenco stick towards the end of the 19th century. The singers and guitarists translate the sounds of guara-cha, son and rumba guaguancó to guitar and palmas.

Burriquito como tú

Borriquito como tu. Tu-Ru-Ru Que no sabes ni la U Tu-Ru-Ru Borriquito como tu Tu-Ru-Ru

Yo se mas que tu.

A=A E=E I=l O=O U=U

A----E I O U!

Borriquito como tu. Tu-Ru-Ru. Que no sabes ni la U Tu-Ru. Ru Borriquito como tu Tu-Ru-Ru

Yo se mas que tu.

Sing with usYo soy el cantante Yo soy el poeta Soy el mas querido Soy el preferido De la juventud . . . Con solo seis letras H ago mil canciones Y todos aplauden Con gran entusiasmo Mis inspiraciones.

Les canto a las chicas Canto al tabernero. Canto a la portera Canto a lo que sea Canto al mundo entero. Y con este acento Parezco extranjero Pero soy de vigo Me hago Ilamar Peter Y mi nombre es Pedro.

Borriquito como tu. Tu-Ru-Ru…

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.

Spanish Classic

La 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 Flor-ida.It is also known as Tuna or Tu-nas in the plural form.A Tuno is a member of a Uni-versity Tuna, or may also be called a Sopista, which is an ancient appellation, or nam-ing of the Tuno.

HistoryThe 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 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 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 dis-tinct hat, a nod to Henry the Navi-gator) and Minho (which is more like the Spanish tunas’ clothing described above).

Musical instrumentsAs 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 nexttime that you comearound 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 he ful love for life, color and overall passion! Viva la tuna!

La Tuna

Tablao FlamencoMadrid, Madrid, Madrid

This new flamenco production is inspired in Madrid with the objective of transferring the students to the capital of Spain.

A tour of its streets using flamenco as the main language will transport the viewer to the joy of a Castilian and Castilian Madrid.

To the taste of their verbenas, to the mischief of the sellers of flowers and windmills, the young pimp seducing the chulapas, the gallant couple seduced by the great city. Several stories intertwine to invite and make known this precious and influential capital.

The sound of the guitar, the poetry, the palms, the fury of the zapateado, the vibrant flamenco voice, shawls, cloaks, castanets .... all the flamenco culture will be made available to the viewer to be taken to an unforgettable stroll through the streets of Madrid and its secrets.

FlamencoFirst 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 lamenco cultu re 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 And alusians who decided to stay andmix with the newcomer Gypsies,abandoning theirlands because of theirreligious 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 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.

FlamencoSecond 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.

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, Gua-gira, 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 Caribbeanislands and in Latin America generally. The “rumba influence” came in the 16th century with the black slaves imported from Af-rica. The native Rumba folk dance is essentially a sex pantomime danced extremely fast with exaggerated hip movements and with a sensually aggressive attitudeon 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) sing-ing, 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 incorpórate dance can also be done without dance. Finally there are some songs that are done without any accompaniment.

FlamencoSecond part

Bulerias, Alegrias, Soleares, Rumba

Flamenco solo guitarFlamenco 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 circumstancesthe 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)

FlamencoThird part

Solo Guitar, Instruments in modern flamenco

Instruments in modern flamencoIn 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.

InteractivityPublic Interaction

(10 min) At this time artists will call onTeachers andStudents with tickets to come up to the stage and to

follow instructions.

Dale a tu cuerpo alegria, MacarenaQue tu cuerpo es pa’ darle alegria y cosa buena

Dale a tu cuerpo alegria, MacarenaEy Macarena, ¡ay!

Dale a tu cuerpo alegria, MacarenaQue tu cuerpo es pa’ darle alegria y cosa buena

Dale a tu cuerpo alegria, MacarenaEy Macarena, ¡ay!

Ay, yo no sé lo que es la pena (ay, yo no sé)Y vivo hoy contigo alegría

Que tengo una novia morenaQue se llama Andalucía

Ay, yo no sé lo que es la pena (ay, yo no sé)Y vivo hoy contigo alegría

Que tengo una novia morenaQue se llama Andalucía

¿Dónde vas?

Caminando por la HabanaA Macarena yo me la encontré

Le dije que me bailara música cubana, tú vesAy, Macarena, ese movimiento tuyo

No hay quien lo pueda parar (descomunal)Ay, Macarena, mira, yo te lo juro

Yo te quiero enamorar

Macarena tiene un novio que se llama(¿Cómo se llama?)

Que se llama de apellido Vitorino(¡Motiv!)

Que en la jura de bandera el muchachoSe la dio con dos amigos

Macarena tiene un novio que se llamaQue se llama de apellido Vitorino

Que en la jura de bandera el muchacho (¡olé!)Se la dio con dos amigos

Dale a tu cuerpo alegria, MacarenaQue tu cuerpo es pa’ darle alegria y cosa buena

Dale a tu cuerpo alegria, MacarenaEy Macarena, ¡ay!

Dale a tu cuerpo alegria, MacarenaQue tu cuerpo es pa’ darle alegria y cosa buena

Dale a tu cuerpo alegria, MacarenaEy Macarena, ¡ay!

Ay yo no sé lo que es la penaY vivo hoy contigo alegría

Que tengo una novia morenaQue se llama Andalucía

Ay yo no sé lo que es la penaY vivo hoy contigo alegría

Que tengo una novia morenaQue se llama Andalucía

¿Dónde vas?

Yo quiero vivir mi vidaYo no quiero más problemas

Yo quiero vivir mi vidaYo no quiero más problemas

Y quiero morirme en CubaBailando la macarena

Y quiero morirme en CubaBailando la macarena

Dale a tu cuerpo alegria, MacarenaQue tu cuerpo es pa’ darle alegria y cosa buena

Dale a tu cuerpo alegria, MacarenaEy Macarena, ¡ay!

Dale a tu cuerpo alegria, MacarenaQue tu cuerpo es pa’ darle alegria y cosa buena

Dale a tu cuerpo alegria, MacarenaEy Macarena, ¡ay!

Gente de ZonaDirectamente de la Habana pa Madrid

Sing with UsFarewell and Final greeting

Rumba Volare

This Study guides are designed to teach students who will attend the HFB’s shows.The Study guides information source has been provided by:

Pienso que un sueño parecido no volverá más y me pintaba las manos con cara d’ azul y de improviso el viento rápido me llevó

y me hizo volar en el cielo infinito.

Volaré oh oh Cantaré oh oh oh oh Nel blu dipinto di blu felice di stare lassu

Y volando, volando feliz, yo me encuentro más alto, más alto que el sol,

mienstras el mundo se aleja despacio de mí una música dulce tocada sólo para mí.

Volaré oh oh Cantaré oh oh oh oh Nel blu dipinto di blu felice di stare lassu