Baile por Caña!
Regarding the musical form that the Caña presents, we can find certain similarities with the Soleá in terms of compass, verse and tonality. La Caña's melancholic cante begins with a long and courageous quejío, “ay!” followed by a first paseíllo of woes. The paseíllos de ayes that are repeated six times, and are interpreted in perfect agreement with the corresponding guitar chords. In the current form, The cante por cañas begins with an octosyllabic couplet of four verses which is followed by a quejío, which is expressed simply with the "a" or the "y" of the "ay", which is repeated several times, ending with a macho. Molina and Mairena believe that the cane presents analogies with other cantes such as: the alboreá, serrana, soleares, polo, etc... there are great similarities with the polo, in fact there was a time when the cante of the reed then the polo was sung, resulting in the link of both songs, heavy and monotonous for those who listened to them. That is why the caña has been a song that has been transformed over time, tending to become a more direct and light song. Regarding dance, according to Manuel de Vargas it was the dancer Antonio de Juana Porrote who danced the Caña, in the first third of the 20th century. However, it was the guitarist Perico el del Lunar, who disseminated this style, adapting it to dance and offering it to the great bailaora Carmen Amaya in 1935 so that she would premiere it in her debut in Madrid. On the other hand, the dancer Pilar López, built a magnificent choreography for a couple based on this cante. Normally the dance of the cane is interpreted with Mantón de manila, Bata de Cola, and Castanets, therefore adding greater complexity to this dance with such melancholic features, which by itself requires great "weight" to interpret it.