La CAÑA de Flamenco – A Closer Look, Eng. subtitles / cc Español

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The Flamenco music style (palo) known as the “Caña” is one of the most traditional flamenco forms. Originally meant to be sung, it has also proved suitable for dancing, and serve as the basis for flamenco choreographies that are notably traditional in style. In this video we follow the classical structure of the Caña, although numerous variations are possible.
La Estructura de la Caña:
I Salida: start, introduction of the guitar(s) - 00:23
II Temple:the singer makes sure to be in the guitar tone, to catch the pitch and tempo – 01:33; 02:08; 02:24; 03:22; 03:34
III Salida del Cante: start of the singing: “Los íes” / “los ayes”: the singing of i’s or a’s, typical for the Caña (Paseillo) – 03:41; 04:01; 04:11; 05:06
IV Salida del Baile: start of the dance (often during the Los íes) – 04:17
V Primera Letra: singing (by Juan Reina) of the first two lines of first “letter” or stanza (Caña of Fernando Terremoto) – 05:38
Ay el pensamiento me anima / Oh, thinking encourages me
a querer a esta gitana, / to love this gypsy girl,
VI Los íes for the second time (Paseillo) - 06:42
VII Escobilla: extended footwork, the dancer performs an entire rhythmic composition of zapateado - 08:08 (Merche Esmeralda); 09:04 (Milagros Mengíbar)
VIII Singing of the last two lines of the Primera Letra (by Juan Reina) – 11:16
pero temo que me deje / but I fear you’ll leave me
con la vergüenza en la cara / with shame on the face.
IX Los íes for the third time (Paseillo) – 12:22
X The second Escobilla – 13:48
XI Macho de la Caña: the second (and often the ending) letra of the Caña, performed in a faster tempo with the same basic underlying compás.
Often the Soleá Apolá of Enrique Ortega (El Gordo) is used:
Carmen Linares 14:51; Talegón de Córdoba 15:23; Chano Lobato 16:03
(Todos) le pide a Dios / (Everyone) asks God
la salud y la libertad, / for health and freedom,
y yo le pido la muerte / and I ask for my death
no me la quiere manda./ He won’t answer me.
To(dos) el mundo le pide a Dios / Everyone in the world asks God
la salud y la libertad. / for health and freedom.
(XII) Sometimes a third letra is sung. At 16:31 Chano Lobato closes with another Soleá Apolá probably of Enrique Ortega (El Gordo):
Ay que, ¡arsa y viva Ronda / Oh, arsa (?) and live in Ronda!
reina de los cielos! / queen of the skies!
y no me lo manda / and don’t tell me,
no me lo manda la ley. / the law won’t tell (doesn’t forbid).
The video is closed (17:09) with a Caña in 1922 sung by El Tenazas de Morón, consisting of a temple, one letra and three Los ayes, but no Macho:
En el querer no hay venganza. / In love there is no revenge.
Tú te has vengado de mí. / You have avenged me.
Castigo tarde o temprano / Punishment sooner or later
del cielo te ha de venir. / from heaven will come to you.
ELEMENTS
Compás: the rhythm/beat patterns – ragueo (guitar) - 00:43; 01:06
Falseta: melodic part (guitar) - 00:50; 01:13; 01:23: 01:51
Cierre: rhythmic break (guitar), e.g. call for the cantaor/singer - 01:29: 02:02; 02:44; 03:13; 11:02
Compás Caña: 12-beats (compás de 12 tiempos) – 02:15
Sometimes the “Cierre” is missed… - 02:35
Marcaje: “marking” the beat, dancing with little footwork, the use of the arms is predominant, focusing on accompanying the singer and GUITARIST (wrong subtitle at 11:55!). When the moves are made in the same place, one speaks of Las Mudanzas - 04: 29; 05:06: 06:54; 11:55; 12:26; 13:04
Zapateado: footwork (tap dance) – 05:01; 05:30; 06:22
Palmas (handclapping) accentuating the rhythm of the zapateado – 8:32; 09:22
Llamada: dancer’s movement cues to signal the guitarist of a forthcoming change in rhythm (e.g. the start or end of a dance section) followed by the Remate: closing movements of a particular dance part of the choreography – 10:39; 14:46
Subida: increase in speed of the dance – 13:42 (Manuela Vargas); 14:08 (Carmen Mora)
The videos of the complete Cañas (+ one Fandango) can be found in my Flamenco Playlist:
- Carmen Mora (baile), Carmen Linares (cante), Jose Manzanita & Luis Habichuela (toque):

- El Chocolate (cante) & Manuel Morao (toque) – FANDANGOS:

- Manuela Vargas (baile), Talegon (cante), Pepe & Carlos Habichuela y Enrique Escudero (toque):

- Mario Maya & Concha Vargas (baile), El Piki & Miguel Lopez (cante), Paco & Angel Cortes (toque):

- Matilde Coral (baile), Romerito de Jerez (cante), Rafael Mendiola (toque):

- Merche Esmeralda (baile), Chano Lobato (cante), Pepe Moreno & José Maria Molero (toque):

- Milagros Mengíbar (baile), Juan Reina (cante), Antonio Márques (toque):

- Rafael Romero (cante), Perico del Lunar (toque):