Jaleo Flamenco

As the harsh strains of the singer’s voice melt to the sympathetic accompaniment of the guitar, we sense that we are travelling back to another era when the seeds of flamenco were sown.

With beautiful musical arrangements and precision choreography, Jaleo’s live programmes create a fascinating moment in time – one which is contemporary and at the same time, deeply rooted in flamenco history.


An exciting fusion of footwork, handclapping and vocals opens the performance with a short improvisation from the company using the complex rhythms of Bulerías.


A slow, majestic song and dance from the mining region of Levante accompanied by the haunting arabic sounds of the guitar. The song is a sorrowful lament expressing the anguish and hardships of the miners’ existence. As is characteristic in most flamenco forms however, happiness is never far away and the tempo builds to a livelier finish.


A very refined and keen sense of rhythm is necessary for this, the most festive of flamenco forms. Bulería is also the most flexible form, open to improvisation and can vary considerably in tempo and mood. The palmas (handclapping), ever present in flamenco, adds another dimension and is quite an art-form in its own right.


The heart-wrenching cry of Siguiriya is one of the fundamental forms of flamenco which evolved partly in the blacksmith’s forge; the perpetual hammering on the anvil beating out the basic rhythm.


A regional folk dance from Seville especially associated with the city’s April fair.


La Caña

Using the same strict rhythmical form as Soleares made up of twelve beats, this song has a unique characteristic melody which is easily recognisable. The rhythm provides an ideal base for the dancers to improvise.

Guitar solo

During the latter half of the 20th century, the flamenco guitar became popular as a solo instrument. New harmonies, melodies and rhythmical variations combined with sophisticated new techniques to produce an innovative style of playing. Here the guitar, traditionally used only for accompaniment, now takes the leading role.


A lively and seductive female dance in which the sombrero is used to maximum effect.


From the Spanish verb cantiñear meaning to improvise with the melody of the song. Cantiñas has the same rhythmic structure as Soleá although not so serious in content.


From the Spanish word soledad meaning loneliness, Soleá or Soleares is sometimes referred to as the mother of flamenco song and is of paramount importance in the expression of every flamenco artist.

Fin de Fiesta

The fast syncopated form of Bulería from Jerez is used here in an exhilarating display of improvised virtuosity to bring the evening to an exciting close.