nd2 Show 11:15 AM

Show Program

Welcome Introduction

Folklore EspañolAurresku- DanceMuñeira -Dance

Jota Aragonesa -DanceRumba “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 FlamencoIntro Percussion Dance & Live Music

Tangos - Dance & Live MusicJaleo Dance & Live Music

Martinete Dance & Live MusicTanguillos Dance & Live Music

Alegrias Dance & Live Music

Public Interaction“Tan Agustito” Ketama

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

follow instructions.

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Spain FolkloreLa 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 "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.

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

A Tuna is a group of un ive rs i ty s tudents w e a r i n g u n i v e r s i t y gowns, or cloaks, playing traditional instruments and singing serenades. The tuna has also become p o p u l a r i n t h e 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 th thGoliards of the 10 to13 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, b a n d u r r i a s , a n d 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!

La Tuna

Flamenco is a song, music and d a n c e s t y l e 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

t h e n e w c o m e r G y p s i e s , abandoning their lands because of their rel igious 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.

FlamencoFirst part

When the Castilians later ordered t h e e x p u l s i o n o r f o r c e f u l conversion of the Andalusian Moriscos, they took refuge among t h e G y p s i e s , b e c o m i n g 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.

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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, 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.

Bulerias, Alegrias, Soleares, Rumba

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.

FlamencoSecond part

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-string- and electric guitar, synthesizer and drums.

Solo Guitar, Instruments in modern flamenco

FlamencoThird part

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Interactivity Ketama

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.

Public Interaction(10 min) At this time artists will call on Teachers andStudents 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 atrásdonde 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 pasaráy 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 day yo luego acabo cantando,

en esta esquina me pongo a bailarmientras los primos me cantan,

griten la gente, que no hay que callar,que no nos roben el alma.

Se que todo en esta vida pasaráy yo nunca cambiaré.

Ahora que estamos tan agustito, tan agustito, tan agustito, tú ves...