{"id":387810,"date":"2023-07-25T01:30:04","date_gmt":"2023-07-24T23:30:04","guid":{"rendered":"http:\/\/new.allflamenco.net\/dancing-sevillanas\/"},"modified":"2026-09-14T09:00:13","modified_gmt":"2026-09-14T07:00:13","slug":"dancing-sevillanas","status":"publish","type":"post","link":"https:\/\/allflamenco.net\/en\/blog\/dancing-sevillanas\/","title":{"rendered":"How to Dance Sevillanas: the Four Coplas, Step by Step"},"content":{"rendered":"

People say sevillanas are easy. What they are is closed<\/strong>, which is not the same thing. A sole\u00e1 can be stretched, cut short and taken wherever the singer wants to take it. A sevillana cannot. It has four coplas \u2014verses\u2014 always the same ones, and inside each copla the steps come in an order that is not up for discussion. That rigidity is good news if you are starting out, because it can be memorised, and bad news if you like to improvise: the moment somebody drifts, it is visible from the far end of the marquee.<\/p>\n

This guide is about the second part: the structure \u2014 the comp\u00e1s, the four coplas and what happens inside each one.<\/p>\n

First things first: a sevillana is not a flamenco palo<\/h2>\n

It is worth saying, because it changes how you learn them. The Andalusian Flamenco Institute does not list them among the genres that are \u00abgenuinely Andalusian\u00bb but among those \u00abcommon to almost the whole of Spanish territory\u00bb \u2014jotas, fandangos and seguidillas\u2014 and from there comes the sentence, in the Institute’s own words<\/a>: \u00abDe uno de estos g\u00e9neros: la seguidilla, proceden las sevillanas, o m\u00e1s correctamente, la sevillana es una seguidilla<\/em>\u00bb \u2014 sevillanas come from the seguidilla or, more accurately, a sevillana is<\/em> a seguidilla. Once that seguidilla settled in Andaluc\u00eda it took on flamenco colouring and borrowed steps from the escuela bolera<\/strong>, the old Spanish classical school, until it fixed into four coplas and made its home at the Feria de Sevilla<\/strong> in the nineteenth century.<\/p>\n

What settles the question of classification, though, is the same institution’s other entry: \u00abLas Sevillanas, son el arquetipo de la canci\u00f3n folcl\u00f3rica y tuvo siempre la finalidad de acompa\u00f1ar al baile<\/a><\/em>\u00bb \u2014 folk song, the archetype of it, always meant to accompany dancing. Not a palo. That is why the structure is closed and there is no improvisation, which is the exact opposite of what happens in a real palo<\/a> such as a seguiriya or a buler\u00eda. Come to sevillanas expecting the freedom of flamenco and you will get lost; come expecting choreography and you will learn.<\/p>\n

The comp\u00e1s: three beats, not twelve<\/h2>\n

The flamenco comp\u00e1s everybody has in their head \u2014the one in the sole\u00e1, the one in the buler\u00eda\u2014 runs to twelve beats<\/strong>. The sevillanas comp\u00e1s does not. It is ternary<\/strong>, three beats to the bar: one<\/em>-two-three, weight on the first and the other two light. You count it like a waltz.<\/p>\n

The words have a fixed shape too. A sevillana copla is a seguidilla<\/strong>: four lines \u2014the first and third of seven syllables, the second and fourth of five\u2014 plus a three-line refrain. Seven lines in all. That shape repeats four times, once per copla, with a different melody each time.<\/p>\n

The structure: four coplas and a bien parado<\/h2>\n

They are danced in pairs<\/strong>, in four coplas separated by a pause. At the end of each one the dancers freeze in a pose: that is the bien parado<\/strong>, and it comes straight from the escuela bolera, as do many of the step names. It is not decoration. It is the signal that the copla has ended, and skipping it is the first sign that somebody does not know where they are.<\/p>\n

Inside each copla there are three pasadas<\/strong>, and each one repeats four movements:<\/p>\n

Pase\u00edllo.<\/strong> The base step, the one everything is named after. The two dancers move in a shallow circle, facing each other, marking the comp\u00e1s. This is where the body gets placed before anything happens.
\nPasada.<\/strong> The two cross over and swap places. Half the collisions at any feria happen here: you have to know which side is yours and which side is your partner’s.
\nCareo.<\/strong> Face to face, close, moving in mirror image. This is the moment for looking at each other; whoever dances staring at their own feet misses it entirely.
\nRemate.<\/strong> The close, with music and dance landing together, which runs into the bien parado.<\/p>\n

Copla by copla: what happens in each one<\/h2>\n

The four coplas tell a story, and telling it helps far more than numbering steps.<\/p>\n

The first<\/strong> is the introduction: she flirts, he comes to meet her, she pretends to escape in the pasadas. This is the copla of the basic steps and the one to learn first, because the other three are built on top of it.<\/p>\n

The second<\/strong> is the approach. The distances shorten and the crossings get tighter.<\/p>\n

The third<\/strong> breaks the spell. There is an argument: they dance side-on, there is more footwork, and in the second pasada they go as far as turning their backs on each other. It is the driest of the four and the one that comes out worst when danced in a hurry.<\/p>\n

The fourth<\/strong> is the reconciliation, and it is the odd one out. It is the only one with real careos<\/strong>, chained together and face on, with the two dancers very close. It ends on a long remate. If somebody tells you they know the first three, they are telling you they do not know the one that shows.<\/p>\n

Arms and hands: half the dance<\/h2>\n

The feet can be learnt in an afternoon. The arms cannot. In sevillanas the movement is born at the shoulder, travels through the elbow and finishes in the wrist, and the hand turns on itself without the fingers separating or snapping open. The trick used in Seville academies to explain it is literal: pick the apple off the tree, eat it, throw it away<\/em>. It sounds silly and it works.<\/p>\n

Posture<\/strong> is the other half. The Escuela Sevillana boils it down to three things: head up, shoulders level, back straight<\/strong>. Not rigid \u2014that shows too\u2014 but held. And the eyes on your partner.<\/p>\n

Women tend to carry the arms higher and rounder; men keep them closer and tighter to the body, because in this dance the man accompanies. It is not a rule of etiquette: it is that if both do the same thing at the same time, the pasada does not fit.<\/p>\n

The feet: no zapateado, no jumping<\/h2>\n

This is where almost everybody goes wrong. Sevillanas are not a zapateado<\/strong>. The right foot goes forward, the left follows behind, then they swap, and between steps the floor is marked with a short toe-heel. That is all. At a feria, throwing in an escobilla because you happen to know how to do footwork is the fastest way to knock your partner off the comp\u00e1s.<\/p>\n

Shoes are no mystery: closed, with some heel, and made for dancing. An espadrille slips and a stiletto sinks into the sand.<\/p>\n

The dress: what helps and what gets in the way<\/h2>\n

The traje de flamenca is not a costume, it is working clothes in disguise. The ruffles<\/strong> are where they are so the turn can be seen; the mant\u00f3n<\/strong>, the fringed shawl, so the arms draw a line; the flower<\/strong>, to mark where the head is when thirty people are dancing in four square metres. All of that helps. What gets in the way is what goes on without thinking: a shawl that is too long catches in the pasada, oversized earrings drag in the turns, and a crossbody bag covers exactly the line of the body you need to see.<\/p>\n

Men wear the traje corto<\/strong> or, far more often these days, a shirt and trousers. What matters is that the jacket lets the arms go up: if it pulls at the shoulder, no careo is going to work.<\/p>\n

And if you have no partner<\/h2>\n

You dance them anyway. Sevillanas are danced in pairs, yes, but also in a ring<\/strong> \u2014three, four, eight people moving in a circle and crossing in turn\u2014 and alone, which is how they are rehearsed. In fact that is the order that works: first the first copla on your own, in front of a mirror and without music; then with music; and only then with somebody opposite you. Learning the pasadas straight away with a partner means learning two things at once and learning neither.<\/p>\n

\n\"A
In the middle of the marquee, with the circle clapping around him: this is how most of the sevillanas danced each year are actually danced. No stage, no mirror, no spotlight. Feria del Caballo, Jerez. <\/figcaption><\/figure>\n

Not all sevillanas are the same<\/h2>\n

The structure is identical, but the feel changes a great deal from one kind to another, and so does the way they are danced:<\/p>\n

Rocieras.<\/strong> The ones sung on the road to El Roc\u00edo, with drum and flute and the air of a pilgrimage. The slowest, and the most often sung by a whole crowd.
\nCorraleras.<\/strong> From Lebrija and Utrera, born in the shared tenement yards. Rough, sung as a group and with palmas, far closer to flamenco than any of the others.
\nB\u00edblicas.<\/strong> With religious lyrics, particular to certain towns and to Holy Week.
\nMarineras.<\/strong> From the coast, with lyrics about harbours and fishing.
\nBoleras.<\/strong> The oldest and the most classical, with the steps of the escuela bolera still visible in them.<\/p>\n

Five mistakes that give a beginner away<\/h2>\n

1. Coming in at the wrong moment.<\/strong> You do not start on the first note: the guitar plays an introduction and the dance starts when the singing comes in. It is the commonest mistake and the easiest to fix \u2014 listen to the entry three times without moving, counting one<\/em>-two-three, and by the fourth it comes out by itself. That is worth more than another hour of steps.
\n2. Watching your own feet.<\/strong> It is the first thing anyone sees, and it kills the careo.
\n3. Crossing on the wrong side.<\/strong> Each dancer has a lane in each pasada. If both take the same one there is no dance, there is a collision.
\n4. Skipping the bien parado.<\/strong> The copla does not end when the music stops: it ends in the pose.
\n5. Too much footwork.<\/strong> Already said, and the one that keeps happening.<\/p>\n

Where they are danced<\/h2>\n

The big one is the Feria de Sevilla<\/a>, in April or May depending on where Easter falls: six days of more than a thousand casetas \u2014marquees\u2014 with sevillanas playing without a break from midday onwards. It is not the only one. The Feria del Corpus<\/strong> in Granada, in June, has the advantage that its casetas are open to everyone. The Feria de M\u00e1laga<\/strong>, in August, splits in two: the city centre by day, the fairground by night. And the El Roc\u00edo<\/strong> pilgrimage, at Whitsun, is where you actually hear the rocieras, on the road rather than in a marquee. They are all there, with dates, in the calendar of Andalusian fairs<\/a>.<\/p>\n

\n\"The
Matilde Coral at home in Seville during the filming of \u00abAcariciando el aire\u00bb. The Seville school of arms she taught is copied all over the city today. <\/figcaption><\/figure>\n

Watch them properly danced and properly sung<\/h2>\n

What you cannot learn from reading is the feel of it. These five pieces from the ALL FLAMENCO catalogue are the real thing, not sevillanas danced for a camera:<\/p>\n

\n

\n\"Aroa7 min<\/span><\/span>
\nAroa Cala and Nazaret Cala sing sevillanas<\/strong>
\n<\/a><\/div>\n

\n\"Rosario3 min<\/span><\/span>
\nSevillanas corraleras. La Tremendita and Gema Caballero<\/strong>
\n<\/a><\/div>\n

\n\"The5 min<\/span><\/span>
\nSamuel Serrano sings sevillanas<\/strong>
\n<\/a><\/div>\n

\n\"Hermanas6 min<\/span><\/span>
\n\u00abTradici\u00f3n Sevillana\u00bb. Hermanas Serrano. SIMOF<\/strong>
\n<\/a><\/div>\n

\n\"The1 h<\/span><\/span>
\nAcariciando el aire. Matilde Coral<\/strong>
\n<\/a><\/div>\n<\/div>\n

And if you want to see where the arms copied in every academy in Seville came from, there is \u00abAcariciando el aire\u00bb<\/a>, the hour ALL FLAMENCO devoted to Matilde Coral<\/strong>. The steps can be learnt in an afternoon. The arms are another matter.<\/p>\n

Header image: dancing sevillanas at the Feria de Sevilla. Photo: Anual<\/a> \u00b7 CC BY-SA 4.0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

There is nothing to improvise: sevillanas have four coplas, always the same ones, always in the same order. That is why they can be learnt in an afternoon, and why it shows so badly when somebody gets lost.<\/p>\n","protected":false},"author":1,"featured_media":410858,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","_af_refresco_fecha":"","_af_refresco_destino":0,"footnotes":""},"categories":[118,138,88,158],"tags":[],"class_list":["post-387810","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cultura-flamenca","category-flamenco-culture","category-reportajes-flamenco","category-top-flamenco"],"yoast_head":"\nHow to Dance Sevillanas: the Four Coplas, Step by Step<\/title>\n<meta name=\"description\" content=\"Sevillanas are danced in four coplas and each one has its place. 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