Alegrías de Cádiz
Level: Initiated and Intermediate

During these two workhops Maria José is going to teach you the alegrías palo.
This palo is rich in rythmnics and expresivity as well as challenging footworks.
If you are familiar with the 12-beat structure and would like to explore the special flavour of th alegrías of Cádiz then this class is for you.
Maria José will enhance your flamenco dance since she is a very talanted and thorough teacher.

Date: Saturday 27 November
Time: 10 - 11.30 h
Date: Sunday 28 November
Time: 10 - 11.30 h

Guajiras
Level: Intermediate

Improving the technique and developing the expressivity when dancing por guajiras.
Like all flamenco palos, the guajira has a clear structure and consists of beginning, middle and end. The guajira usually begins with an introductory section (falseta) by the guitar which is based on the basic guajira harmony. The guitar resolves into the characteristic guajira chord pattern, over which the singer will sing the instantly recognizable salida. The dancer enters during the guitarist’s falseta or during the salida. The fluid nature of the choreography also allows for improvisation within the structure, including danced falsetas, and escobillas performed a palo seco.
This we will have the privilege to get served by Maria José.

Date: Saturday 27 November
Time: 11.40 - 12.40 h
Date: Sunday 28 November
Time: 11.40 - 12.40 h

Bulerías de Jerez
Level: Intermediate/advanced

The bulería de Jerez coming directly from its original source.
In these two Master classes Maria José will share with us the main secrets of the enchanting style: Bulería de Jerez.
We are going to get some special instruction in how to dance to the singing (bailar al cante). Which makes the big difference when dancing builería de Jerez.
A lot of energy, temperament and above all art in her dance will we have the chance to receive during the Flamenco 100% weekend.
Bulería technics and rythmics and of course ”pataitas por bulerías” are the main ingredienses in the cocktail she is preparing specially for us.

Date: Satuyrday 27 November
Time: 13-14.30
Date: Sunday 28 November
Time: 13-14.30

Compass, flamenco palmas and stumps.
All levels.
In these workshops you will get the oportunity to explore the flamenco rythmics and to exercise the coordination of the flamenco palmas and stumps (pies)

Dag: Fredag 20:e jan.
Time:18-19.30 h

Mantón - technique
Level: intermediate/advanced

Date: Saturday 27 November
Time: 16.40-17.40 h
Date: Sunday 28 November
Time: 16.40-17.40 h

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.