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The Soleá’s tempo is slow and round, allowing the dancer to display her movements, the undulations of her arms and hip rotations. The sung Soleá originates at the beginning of the XIX century in order to accompany jaleos dance, but as it spread, it became a style of singing with its own identity until it developed into one of flamencos most profound and deeply rooted styles. Its lyrics broach all types of subjects, some inconsequential and others that are much more tragic, covering life, love and death. One of the principal centers of the Soleá is the Triana neighborhood in Seville, the home of María ‘La Andonda’, the first known singer of soleares. Since then many important artists have performed this style, among the most recent and renowned are La Niña de los Peines, Tomas Pavón, Antonio Mairena and El Lebrijano. |
Soleá, from popular lyrics to the pen of poets
Tengo un querer y una pena.
La pena quiere que viva;
el querer quiere que muera.
-Manuel Machado
The Soleá is in and of itself poetry. Poetry in three octosyllabic verses typical of the popular Andalusian lyricism that reached the pens of the most famous poets. Poetry in the majestic dance of a woman. Poetry in its melodic richness, profoundness and solemnity that make this style a basic pillar of flamenco. Its twelve beat timing has transitioned to other styles, in fact, Alegrías are also twelve beats, however, each style transmits a completely different emotion...