Miguel Poveda Real! Bushy Mama REACTS! Tangos de Triana 

Yes! I got it!

estoy de acuerdo

Yep, she is the real deal

Everything can be translated if you find the right words

Los gitanos se han incorporado recientemente al flamenco (en términos históricos) aunque les ha dado fuerte y valen para ello, esta claro. Pero la verdad es esa, no verás a gitanos de otros países con el flamenco.

ESO TE DIGO YO PRIMO: OLE OLE OLE OLE.. yo también soy Gámez

And here another example of Spanish music, typical of Asturias (northern Spain)ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SA4FUqDYh34.html

And this one, from the city of Madrid ☺️ ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v9_8h2DFH8c.html

AMERICAN TANGO / He is said to be the patron that governs all rhythmic performances in tangos. Pattern also known as habanera. It is said that it comes from the contradanzas that came to America, however the theory about the adaptation that Afro-Cuban slaves made at the end of the 18th century of some of their dances when they adapted it to the society dances gets more and more credit. It was not like this the French fled from Haiti who brought the tango pattern, but the slaves from Santiago de Cuba who developed them until they returned to the Spanish metropolis as American tango and began to be inserted as one of the central numbers in the zarzuelas. . When the song is romantic it is called habanera, and when the song is more humorous, it is called tango. This type of song gave rise to the tango of Cádiz, its slow version, the tientos and the flamenco tangos, and all its derivatives. He disembarks in Spain from Cuba as American tango or black tango, cultivating on many occasions in the theaters of Cádiz, contributing to the cultivation in the Iberian Peninsula of a type of binary rhythm dance that came to complete the metric panorama of Andalusian music where the ternary compass predominated. Settled in Cádiz, the American tango became Cádiz and, once inserted in the zarzuelas, it became Spanish, Malaga, Sevillian or Granada. The playful tango, or its romantic version, the sweet habanera, spread in such a way that it will serve as support in binary time as we say to multiple musical genres. Until today. Never a rhythmic pattern gave so much of itself. From that tango the tango de Cádiz or tanguillo was born, and its first flamenco version as tangos de los tientos, which by binarizing their accent even more became flamenco tangos (Moorish tango by means of). We have found the oldest tango reference that is known. It is found in the solo song La anónima from 1779 composed by Tomás Abril, Tomás de Cádiz, from Cádiz, who worked as a guitarist in the theaters of the Court. At one point in the play, the Minué de la Viña is sung: Has no doubt that Andalusia for certain chuladas she paints herself, yes some girls of these of air and life and some nice guy says them of those with great patilla, band in hair and hat, on the sleeves a thousand ribbons, girdle, laces, gigantic buckles, his cigar in his mouth afumando the lashing. The Andalusian in his funny tangos their jokes look Here is the chorus of Seguidillas confirming that already in 1779 the people of Cadiz, as they still do today, show off their jokes in tango. All this more than a century before Las Viejas Ricas arrived, the famous walking choir that inaugurated the carnival tango from Cadiz. However, we must not confuse, the lyrics say what they say but the music is by no means a tango. It's a 3 for 4, a few runs and not a tango, but that's where the data is. The music itself can be found in a work by the choreographer and dance teacher Antonio Cayrón entitled Los Americans or The Happy Encounter or The Magician's Sword, a theater dance premiered in 1818. In the first act, number thirteen is El Tango, number twelve Baile de Negros and fifteen Solo de Negros. And all this decades before Barbieri began the fashion to include tangos and habaneras in zarzuelas and from there he went to flamenco for the sake of Enrique El Mellizo and then to Buenos Aires. The tango species that were made in Cadiz theaters were very varied. Ortiz Nuevo revealed to us the names of three of the first tanguitos that came back around 1823 under the lottery titles, the limoná (You are not ná, you are not ná, you are not chicha, nor limoná) and the soursop. One of the most popular must have been known as the Chorote, as noted on February 15, 1824 that in the work Pablo y Virginia Mr. Miguel del Pozo, Cagaleche, will sing the chorote. Eight months later, on October 3, 1824, he returns with the same song: At the end of the first act, the dark-haired Miguel del Pozo will sing an American-style song that will be accompanied by himself on the guitar known as the chorote. And finally, on December 13, 1829, the issue of chorote was clarified: The fandango will be danced. Then a 7-year-old girl will dance the zapateado and the bakers. Mr. Del Río will play a role in his part as funny man in pretended black, singing and dancing the tango del chorote, repeating the same program the next day. Other references of this style are found on June 2, 1825: it will conclude with the dance of the Negroes of Santo Domingo. Or on January 20, 1830, when La cédula or Comadre Thursday is performed in the New World, which will be adorned with the dance of the chocolatito, the chorote and the mollares of Seville. Tango was one of the most widespread genres in the first decades of the 19th century. This was confirmed in a work that the signing wrote together with José Luis Ortiz Nuevo and in the numerous references found in the Cadiz newspaper library, for example this other from the Mercantile Journal of December 16, 1830 where it was interpreted: Los caleseros de Cádiz or the jaleo de los Americans en el ventorrillo de Isabel (a new sainete from a mill in this city, in which the Cirila from Veracruz will be sung by a teacher, and will be danced by Mrs. Rodríguez, a fan, and the said teacher will play and he will sing the much celebrated tango from the Mangroves of Havana, which will also be danced by eight fans, concluding with the jurga. 1812 was far from when tango was confirmed as a flamenco style. We probably owe Enrique El Mellizo the happy idea of ​​emptying the melodies of the cante por soleares and seguiriyas into the air of the tanguillo, creating the tientos (slow tanguillos in flamenco mode), thus adding the binary compass to the roster of flamenco airs. Later the local tangos, the rumba, farruca, garrotín, colombianas, milongas and vidalitas would use that air to conform to flamenco styles.

El tango (por tangos) es un palo del flamenco con copla, de tres o cuatro versos octosílabos. Es un baile alegre y animado. Está considerado como uno de los palos básicos del flamenco, existiendo variadas modalidades, entre las que destacan las de Granada, Cádiz, Triana, Jerez y Málaga. Wikipedia.

Yes, it certainly looked like a party!

Cuando le empezaron a dar nombre, pero es mucho más antiguo en Andalucía

@@tr1z-cm6yk haber he nacido donde nació el flamenco en los puertos de Cádiz. Puerto de Santamaría . Puerto Real. Jerez y San Fernando. Me podrás dar clases desde economía.ciencia. Y en un sinfín de cosas pero amiga de flamenco no