The design, materials and patterns of the garments have evolved over time. On the one hand, influenced by fashion, such as shortening the lengths of the skirts in the 1970s. But also in favour of the quality and expressiveness of the performances, allowing dancers greater movements without losing its role as accompaniment.

Those long robes were left aside as the standard because, at times, instead of enhancing the performance, they became a burden for the flamenco dancers. Today, closely fitting garments predominate; costumes that make it possible to admire the beauty of the movement of the dancers’ arms; long skirts, that are wide and glossy that the bailaora dominates with grace to accompany the taconeo (heel tapping). Occasionally, they may wear a dress with a train that has been specifically designed for a dancer and performance.

Fabrics and prints

Although the most typical would be polka dots, flowers have always been a favourite element, as well as combinations of colours. Lace is also used as an adornment and accessory or also as the main fabric of the costume.

In addition to the fashions and the personal taste of the artist, the dresses and accessories depend on the style being performed, as this will affect the choice of colours and accessories.

Thus, for an Alegría, the dancer will choose happy colours, extensive frills, and colourful ornaments and accessories. For a Soleá, on the other hand, the clothing will be more sober and dark to adapt to the feeling of the piece.

In the case of men, garments have evolved toward a more neutral colours. Male dancers usually wear two or three-piece suits, that are tight at the waist and short. The three piece suit allows them to vary during the performance, wearing a jacket, a waistcoat, or simply a shirt.

The predominant colours are neutral tones, black and white or dark grey and ochre, although it is also common for men to wear red.

Male dancers often use their garments as accessories during the dance. For example, there are frequent bullfighting movements using the garments by way of cape.

Accessories and adornments

In addition to the garments, accessories and ornaments are very important in the performance, and can even be used as part of the movements.

Accessories are understood to be other elements that complement the clothes and that the artists use as props during certain movements. The mantón (large shawl) or the mantilla or piquillo (small shawl), jackets, waistcoats and even aprons in the case of women, neckerchiefs or scarves, long and short jackets or waistcoats among men.

In the case of women, their appearance is often complemented with ornaments; colourful earrings and richly adorned combs that accompany head movements, flowers in their hair, frills and occasionally fans, as well as other items.

Mantón (large shawl)

The mantón must be large enough to comfortably cover the dancer’s outstretched arms. It should not be confused with the small pañoleta (neckerchief) used with “faralaes” dresses. It is also important that does not weigh too much so that it can be easy to handle.

Fan

The type of fan used for dancing is larger than traditional fans, and is known as a “pericón”. They tend to display plain colours, without pictures. They require study and practice in order to use them correctly.

Footwear for dancing

For all dancers, footwear is a crucial item. However, it is even more important in the case of flamenco, because the footwear of the dancers is also an instrument.

Flamenco shoes feature a nails in the toes and heels so that when the come into contact with a wooden floor, they increase the sound and power of the “taconeos” (heel tapping) on the stage.

Both men and women use shoes with a short heel that enhances the power of the footwork, and shoes with laces so that they do not move during the energetic movements of the dance.

In the case of men, the models vary between the shoe with laces and boots. Women use closed shoes, tied with shoelaces or a clasp to ensure they do not move during the dance.

Both men and women often use coloured shoes, a particularly striking detail when the rest of the costume is very sober.

Therefore, flamenco has an impact that is especially visible in children, these small people who on so many occasions dance or play an instrument, even before knowing how to speak or read or do math.

Aware of this, Cardamomo attested to this in a documentary, “Cardamomo in the family”, which included unusual performances by children for children, accompanied by famous artists.

The recording reflected the true nature of a way of life, which is transmitted from generation to generation from the cradle.

During the performance, they are simply another instrument. They are based, above all, on rhythmic parameters, which is developed within the concept of “measure”, i.e. the rhythmic cycles characteristic of flamenco music.

The basic grasp of this form of accompaniment and the knowledge of the different rhythms are the fundamental aspects for dancers, singers, guitarists and percussionists, making it an ideal and essential part of their training.

The “palmeros” (clappers) who accompany the singing, dancing or guitar have to monitor the following aspects constantly: keep the beat, accompany the verses with their quiet or loud clapping as required, respond to the singing or dancing, respond to the verses, accompany the “escobillas” (extended footwork section) and accelerate (the tempo) of the dance, accompany the various guitar “falsetas”, and also highlight the end or closures of a song or dance.

Thus, learning how to hand clap requires a lot of practice and time, not only to acquire the reflexes to change and adapt to the beat, but to learn to combine all these functions that take place during the singing, the dancing and the guitar playing, assisting the overall performance.

Types of “Palmas” (hand clapping)

• Muted: Muted hand clapping is often used to accompany basic types of songs, such as the Soleá and Tientos. These are Palmas with a moderate volume that serve to mark the beat at times when you want to give prominence to the “cante” (singing).

• Loud: This type of “Palmas” known as “sonoras” or “abiertas” are used in festive songs, such as Bulerías, Alegrías…

Other rhythmic Palmas accompaniments

The “Golpe” (Tap)

This is used to accompany or set the beat by tapping your knuckles on a table or tapping a cane on the floor. It is a way of marking the beat, while the teacher gives directions to the students.

Pitos (finger snapping)

This is a sound made by snapping one’s fingers. It is used by the teacher to mark the rhythm, and by dancers to beautify their dance.

Palillos – Castañuelas (castanets)

These are percussion instruments made of wood, and known by the Phoenicians three thousand years ago. The rhythm must be initiated with the right hand, cutting off the last note with the sound of the left-hand castanets.

Frequently, poems by authors such as Miguel Hernández, Calderón de la Barca, Miguel de Cervantes, Jorge Manrique, Lope de Vega, Antonio and Manuel Machado, Rafael Alberti or Federico García Lorca, among others, are played.

The “cante” has always been quite rigid, respecting the structure, but today, a bit of leeway is allowed for improvisation or the interpretation of the artist.

In addition, many evolutions and even the fusion of flamenco singing coexist with the most traditional type of flamenco. We can listen to it intermingling with African or eastern rhythms; or with Afro-American music such as blues and salsa, among others.

THE STRUCTURE OF A PIECE.

With respect to the role of the cantaor (singer), a piece consists of 2 parts: the Temple (or tuning) and the verses.

Temple (or tuning): The cantaor tempers his voice to ensure it is in the tone of the guitar, adorning it with melismas -a technique used to change the musical height of a syllable in the lyrics of a song while singing-.

Verses (Letras): Verses are each one of the lyrical parts of some songs. On the Tablao, it is customary to sing the starting verse, plus 2 more verses per cantaor (singer). However, if the cantaor (singer) feels that the dance or “toque” (music), or both, convey some emotion, improvisation (“El Duende” (The Spirit) as Camarón called it) begins and could continue. The bailaor (flamenco dancer) may also claim the occasion to improvise if he or she is inspired.

The structure of the verses of a song, in order of appearance, are: the Starting Verse (Salida), the First Verse (Primera), the Second Verse (Segunda) or Strong Verse (Valiente), and the Final Verse (Remate or Salida).

Formally, flamenco dancing is very complex, with multiple variations, steps, and rhythms, the fruit of the many existing styles. It is characterized by the transmission of feelings through smooth and elegant movements of arms and hands which contrast with vibrant and passionate foot movements.

The choreographies are a combination of a deep knowledge of flamenco art and the free expression of the artist who literally interprets the piece, also leaving room for improvisation.

Dancing on the tablao

The tablao is the small stage where a flamenco performance takes place. The limited size of this space gives rise to a unique connection between artists and the audience; they are so close to the stage they can even hear the artist breath or watch as beads of sweat fall to the floor.

In a tablao, all the choreography of the show includes improvisation, although based on the characteristic structure of each style. This is the greatest spell of the Tablao. Flamenco on a tablao usually features a minimalist stage setting; it is mainly based on expressing feelings.

On a tablao, the dancers usually perform individually and their dancing consists of their dancing steps and how they use the space, the sound of the floor as a percussion instrument, and the movement and handling of their costumes.

In addition to individual performances, duos are also frequent. In this case, the dancers stage a duel while looking at each other constantly. When two dancers perform, the main aspects are their understanding, connection and communication.

Basic structure of a dance

A dance is usually based on a structure. In most flamenco styles, there are two distinct parts based on a different rhythm, style and accompaniment, which are also danced differently; the second being faster and more energetic than the first.

First part

1. Arrival: this is the moment when the dancer comes out on to the stage and starts dancing.
2. Call: The dancer performs a short “taconeo” (heel tapping) to introduce the singing.
3. Verse or verses: During the part that focuses on the singing, the dancer marks time and walks, dances and expresses feeling using his/her body but does not interfere with the cantaor’s voice. You can hear the singing.
4. Conclusion of the verse: The dancer executes a short “taconeo” (heel tapping) to introduce the guitar.
5. Escobilla: part dedicated to the “zapateado” (tap dance) which the dancer usually improvises.

Second part

1. Finale (Macho, Estribillo, Ida). The dance is at its peak. This last verse is played in the flamenco style; this is usually vibrant, fast and energetic. The name will depend on each style.

For example, the use of the thumb is characteristic of flamenco playing. The guitarists place it on the guitar’s soundboard, and the index and the middle fingers on the string above the one they are playing. This produces a louder and more powerful sound. The pickguard used as a percussion element provides great forcefulness to flamenco music.

The structure of guitar playing

A song is divided into several parts or variations, which are the interludes of the flamenco guitar between the verses (letras) of a song.

1. Introduction: After tuning, the guitar starts the piece to be played in the corresponding tone and style. The guitarist chooses the introduction freely in a personal manner or goes directly to the beat, at his discretion.

2. Guitar variations and starting verse: the first verse chosen is usually the one whose melody falls within the singer’s register.

3. Falsetto: before the strong verse the guitar plays a main section of music that creates or recreates a composition with an independent musical sense of composition or recreating one from a repertoire.

4. Guitar variations and strong verse: the second part of the song can be in a higher register.

5. Guitar finish: this can be a small variation of finishing touches that increase in speed and intensity.