<<Back These notes support the Spanish Dance Society’s DVD The Bolero School by Marina Keet de Grut, 2006, which can be obtained from the “Shop” section of this website in PAL (European) or NTSC (North American) format, for all regions of the world. The price is £39 plus packaging and postage. Payment can be done with credit card.
WHERE TO FIND THESE NOTES ON THE SDS WEBSITE
These notes are available on www.spanishdancesociety.org, in the section “Students’ Info”, then “Articles of Interest”, and then “DVD Notes”. Many have been distributed in hard copy, but the web version will always be the most up to date.
USE OF THE DVD’s “INDEX”
When navigating within the "Index" after watching an exercise or dance, press "Sub Menu" to return to the "Index" page.
CARE OF DVDs
Store them in a cool and dark place, because light and heat make them deteriorate fast. If you keep your DVDs in covers with glue, they corrode. Once information is on DVD it can be re-recorded over and over again on new media as they appear, without losing information each time, as one does on a video.
PURPOSE OF THIS DVD
The purpose of this DVD is to help in teaching and culture preservation, the Bolero School (Escuela Bolera) being a highly endangered art form. It is a demonstration, not a performance.
HOW THIS DVD CAME ABOUT
When I was asked by the International Board of the Spanish Dance Society to make a video or DVD of the exercises and dances that I had codified in my book The Bolero School (Dance Books Ltd, London, 2002, ISBN 1 85273 081 1), it enabled me to fulfil my own wish of preserving this almost lost cultural heritage. I had in the past asked others to do so, but nothing had materialised.
The DVD was made to celebrate the diversity of the today almost never seen Bolero School dances and the Pericet family who conserved this precious heritage within their family for generations. We who love the rich and beautiful range of music and dance of Spain benefit from this.
GENERAL ABOUT THE EXERCISES AND DANCES
The exercises and dances were filmed in a very restricted space which placed severe restraints on the dancers. However, that space was very much like the size of the stages where dancers performed when the Bolero School evolved. The dances are constructed so that they are in a way static and tailored for a small space. Nevertheless, if you have a large studio or theatre, the dances should be adapted to fill the full space available, and the dancing should use fluid body and arm movement.
I have added four “bonus dances” so that the difference between Flamenco on the one hand and stylised dances like Caracoles and the regional Fandanguillo on the other hand can be seen, as well as other versions of a Bolero and a Seguidillas. Note the advanced repertoire of steps of the Valencian Bolero from a bygone era, unaffected by ballet.
MUSIC, AND HOW TO PUT THE STEPS TO IT
Eloy Pericet gave advice on the music choice. The Escuela Bolera exercises are usually taught without playing castanet rhythms or music. Therefore, when the steps are put to music some of the combinations do not fit to the musical sequence. For example: "Sisol dos jerezanas bajas y dos altas" (Primer Curso, Grupo Tercero). Thus one has to have a pause somewhere. That is why two versions are given with alternate timing of the arms. The same applies to the exercise "Vuelta de Vals, Matalaraña (batararaña) y Vuelta Fibraltada". There the second version of "Vuelta de Vals", shown in the exercises, was used. Originally shown to demonstrate how the waltz is turned, not as a "step, step to side and close”, but with a "Vuelta Normal" starting the second one, and step to side and close. This allows for the extra music to be used, thus fitting the musical sequence. (The first time the word "matalaraña" – “to kill the spider” – was used in a printed source was in Orchésographie published in 1588 by Thoinot Arbeau, the approximate anagram of his original name Jehan Tabourot, canon of Langres in France.)
Another example is "Tijeras". This has to be performed across the music as is demonstrated, or else one has to pause at some stage in the step. Also in Tercer Curso, "Cuatro Assemblés con Pas de Bourrée (‘buret’)”, it has to be decided when to start the second section "Cuatro sostenidos en vuelta", whether to pause before it or to continue straight on and then pause. Interpretations differ.
SOMETHING SPECIAL
Eloy Pericet gave me the delightful ending to “Assemblé tres cuartas y cambiamento alto”. He also suggested the boys’ "bow" as an elegant alternative to the usual: Step to side, dig foot at side of supporting instep (or close and stand with feet together), hand on heart and bow.
NOTE the two versions of "Rodazán hacia dentro, rodazán hacia fuera, assemblé y fouetté" (Segundo Curso, Grupo Primero) where, in the exercise, the “entrechat trois” is done without a beat, whereas in the dance “Zapateado de Maria Cristina” it is done with a beat to heighten the performance.
The "Chassé" in Escuela Bolera is the exact version of the Cecchetti way of dancing it. Gillian Hurst does it beautifully, so go to that section and watch how she does it! Prof. Gianandrea Poesio of Surrey University is doing research on Maestro Enrico Cecchetti, going through correspondence by the latter which has never before been seen publicly, and according to Prof Poesio, Cecchetti writes in letters about going to Spain to find inspiration there for new steps, which confirms my findings in that connection.
POINTS REFERRING TO SEVERAL EXERCISES AND DANCES
USE OF ARMS:
The arms are very soft, especially on taking them up to 5th.
PERICET CASTANETS on Paso de Vasco (pas de basque):
"Pam, Ta, Ria" - Both, L, Roll.
This rhythm is also used in Lisada por Atras. The Pericet family say: "Pam, 'A', Ria", and not "Ta" as is usual.
When taking the arm down on an assemblé in an exercise, use an outward circle.
STAMPS, as in the Peteneras, should never be jumped.
VUELTAS
VUELTA DOBLADA (Développé):
The arm is brought down from 5th only AFTER the height of the leg has been reached. This is a general rule.
VUELTA FIBRALTADA:
The arms remain in 5th on the jump and only descend on the turn.
POSITION OF THE HEAD ON THE POINTS TO THE SIDE
VUELTA DE VALSE:
Look to the R when L is pointed to the side before closing the foot in front, and vice versa.
VUELTA FIBRALTADA:
Look to the front when pointing to the side, end with the head to the front, and vice versa.
GIRADA and VOLADA:
Look towards the corner of the raised foot, with the body leaning over the raised leg in girada.
PIRUETAS:
When going forward each turn starts on a lunge in 4th front (en dedans)
When going back each turn starts on a plié in 4th (en dehors)
The arms pass through the sides of the body as you turn.
EXERCISES
1st Vuelta de Valse is the actual step.
2nd Vuelta de Valse shows how it is constituted with a "Vuelta Normal, step and close the foot" on the second part. This is used in the "Matalaraña" step, because it then fits in musically, otherwise there is too much music in the phrase..
3rd Vuelta de Valse is simply a combination of Vuelta de Valse and Vuelta Girada, showing how they can be combined.
LISADA POR DELANTE: chassé
LISADA POR ATRAS (DETRAS): Glissade jeté.
When executing the exercise you face the front, but in the dances, for example the Sevillanas Boleras, you move in a "media luna" or half circle, not changing places with the partner but only a quarter of the way from the starting place, and then return to the position started from. The castanets are usually: Both, Left, Roll (Pam, Ta, Ria)
RETORTILLE:
This step is counted in sixes. The counting starts on the phrase before the count of (1): stamp coupé (4) raise foot (5) toe heel step (&, a, 6). The step is in the dance La Macarena.
ESCOBILLA HACIA DELANTE:
This step goes into the 1, 2, 3 phrase for the turn, which is unhurried.
PIFLA Y PAS DE BURET (Bourrée):
Step to side on toe for pas de bourrée not a chassé as is often done.
SISOL DOS JEREZANAS BAJAS Y DOS ALTAS:
As mentioned above under “Music”: To fit this step to music there has to be a pause somewhere, therefore two examples have been given. The same musical problem arises in VUELTA DE VALS MATALARAÑA Y VUELTA CON DESTAQUE.
TRES PASE DE VASQUE ECHAPPE Y DOS STEP:
If you start the step on the R ft., it is the R leg that is lifted first on the jtés in front; L ft. when repeating the pas de basque on the L.
RODAZÁNES EN VUELTA:
It starts with a sostenido, a dig step, but to the other side, on the repeat, it is just a step into it. To fit this to the music with 3 rounds of the leg on the first part, it may be necessary to start at once and not wait for an introduction or to add an extra musical introduction.
CUATRO BALONES (BALLONNÉS) Y DOS PAS DE BASQUES:
The ballonné is not danced as in ballet, under the knee, but closes into 5th as in the Cecchetti method.
ASAMBLE (ASSEMBLÉ) TRES CUARTAS Y CAMBIAMENTO ALTO:
The step ends with entrechat trios, coupé assemblé behind to repeat the exercise with the other foot.
TAMDECUIP (TEMPS DE CUISSE):
The arms go from 3rd to 3rd, with one arm circling. The body leans away from the working leg.
BALONE (BALLONNÉ) y PIRUETA (PIROUETTE): From corner to corner:
On the pirouettes, which are double turns, the arms change from 4th front to 4th front (not at sides as in the first exercise of pirouettes in VUELTAS), then quickly up to 5th before the exercise is repeated to the left.
The turn can also end in a lunge in 4th position.
DANCES
PETENERAS:
STYLE: Eloy Pericet says "Think of Bulerias".
DESPLANTE: Stamped, not jumped or bounced as in all beats.
PASSES: The timing of the passes in various dances is particular to the dance. For example in the Peteneras (which should be counted in sixes) the "choque" ("choqueteo") is in front on one count and the arm moves up with the raising of the leg in front, on the next two counts.
INTRODUCTIONS OF BOLERO DANCES:
The introductions are always identical to the one shown in Boleras de Medio Paso.
BOLERAS DE LA CACHUCHA:
For the way to join the Cachucha sections demonstrated here, to the Bolero verses in Boleras de la Cachucha, see the book "The Bolero School", where it is described in detail.
SEGUIDILLAS MANCHEGAS (counted in sixes and danced high on demi-pointe):
There are two alternative ways of dancing:
A: VERSE 2, Step no 2, where the dancers point the foot in front, can be done with the castanet of the top arm clicking onto the partner's castanet playing "Choque" on his castanet on:
Lift L leg (6) point front (choque with partner on R castanet) (1)
Hold (2, 3)
Lift foot, play (R, L), (4, &) on the pause as foot is lifted, and click (Choque) onto the partner's castanet again on point front (Choque) (5)
Lift foot (6)
Next six beats do close 5th behind, close 5th behind and step and stand, to repeat it on the other side with R.
B: This step can also be done with three points in the front, when there will be three "Choque's" on each point in front on counts (1), (3) and (5), with the (R, L) beats between each one.
DESCRIPTIONS OF NAMES OF STEPS
ESCOBILLA:
Describes the rond de jambe (rodazán) brought across the front on the floor. Do not overcross it in 4th in the front. Escobilla also describes the step from corner to corner in e.g. Peteneras: Step, swish dig (front); step, swish dig (front), step, tip-toe, step; pas de bourrée.
PASO DE FANDANGO:
Step, escobilla over, step (or stamp) with coupé of the front foot.
STEP or ESTEP:
Lifting the leg in front in attitude as in Peteneras: step to the side and lift the leg in front in attitude.
CLASSICAL SPANISH PAS DE BASQUES
TRAVELLING FORWARD in 4 counts:
Start with the feet and arms in 5th position. The L arm circles outwards:
Step R foot to side (not on point) (l)
Place the L foot into 1st with a slight bend of the knees to facilitate the next movement (2)
Slide the L foot through into 4th on demi-pointe (3)
Close the R foot behind in the 5th on demi-pointe (4)
Repeat to the L, coming down from the demi-pointe as you step to the left.
TRAVELLING BACKWARD in 4 counts: The L arm circles outwards:
Step R foot to the side (1)
Place the L foot into 1st with a slight bend of the knees to facilitate the next movement (2)
Slide the L foot back onto demi-pointe in 4th (3)
Close the R foot in 5th on demi-pointe (4)
These are all danced with a small pause after each movement from counts 1 - 4.
THE SAME PAS DE BASQUES BUT IN 3 COUNTS:
TRAVELLING FORWARD:
Step R foot to the side (1)
Swing L leg through 1st to 4th on demi-pointe (2)
Close the R foot on demi-pointe in 5th.
TRAVELLING BACKWARD: THIS IS DIFFERENT:
Step up on demi-pointe at side with R (1)
Drop across in front on L foot with R leg lifted at the back behind the knee (2)
Coupé under with the R on the toe at the back (3)
PAS DE BASQUES in SEVILLANAS:
ON PLACE: Step to the side, drop across and coupé under.
TRAVELLING: Step to the side, bring leg through 1st to 5th, close in 5th.
PERICET PAS DE BASQUES IN THE OLÉ DE LA CURRA:
TRAVELLING FORWARD:
As above but the arms are:
On one pas de basque with the R leg: take the arms from 5th, down and up to 5th (1, 2, 3)
On the next pas de basque with the L leg take the arms from 5th down to left side, onto the L hip (1, 2, 3)
Keep repeating the same arm movements.
TRAVELLING BACKWARD:
Use the arm in a circle: R arm when the L foot steps back.
Step slightly to corner with L (1)
Close R in front (2)
Step in place behind with L (a coupé) (3)
Repeat with the R foot taking it to other back corner (3)
ALTERNATE SALUDO:
The man stands with his feet together
He steps to the right and places his feet together again
He places his right hand with his fingers extended, across his chest, on his heart
He bows
He then straightens upright.
ESCUELA BOLERA EXERCISES AT THE BARRE
The arm is used across the body as it comes forward and up or out when it is raised from 1st.
The exercises are performed with the arm in 5th overhead.
The exercises at the barre holding with one hand are:
Plies
Grand pliés in 4th and 5th
Petit battements on the ground and in the air
Rodazanes (ronds de jambes) on the ground and in the air
Rodazan inwards in the air, extend it to the side, close behind
Rodazan inwards - extend it high to the side, close in front
Destaques (grands battements) four to the front, four to the side, four to the back
Forward and back bends
Facing the barre holding on with both hands:
Echappés and then removing the hands and placing them in 5th for equilibrium on the repeats of the échappés.
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