Sevillanas Steps

Angela takes some notes

A “normal” Sevillanas has four coplas (verses) meaning that when you dance with someone, you dance all four together to complete the song. Each copla has an introduction and three sections of cante. Below I have included the steps for all four coplas following this format.  And even further below,  for those who really wish to get technical, there are some additional rhythmic notes.  (I definitely advise you NOT to read that part if you’re just a doer and dissecting dances drives you bananas!)

Remember, there are many variations to Sevillanas; this is just one, a version I learned in Jerez…and the one we teach in Saturday Sevillanas :) After studying for awhile, you’ll likely come up with some variations of your own, Olé!  Just be sure to do your pasadas always at the designated times if dancing with a partner.  In class we address the issue of dancing comfortably, as opposed to awkwardly, with a partner.  We learn learn pequeños trucos to help us move our arms and bodies so as not to hit each other in the eyeball and help us get around our partner when passing, etc.

The Steps

1ª/Primera
5 Pasos de Sevillana | Pasada
Paso de Sevillana | 2 golpes | 3 marcajes (fwd) | 2 golpes or golpe-scoot | Vuelta | Pasada
Paso de Sevillana | 4 pasadas | 2 golpes or Golpe-scoot
Vuelta | Final

2ª/Segunda
Paso de Sevillana | 2 golpes | 3 marcajes (step/slide) | 2 golpes or Golpe-scoot | Vuelta | Pasada
Paso de Sevillana | 2 golpes | 5 waltz steps | 2 golpes or Golpe-scoot | Vuelta | Pasada
Paso de Sevillana | 2 golpes | 7 steps walking | 2 golpes or Golpe-scoot
Vuelta | Final

3ª/Tercera
Paso de Sevillana | 2 golpes | 5 marcajes around in circle | 2 golpes or Golpe-scoot | Vuelta | Pasada
Paso de Sevillana | Footwork 3 times | 2 golpes or Golpe-scoot | Vuelta | Pasada
Paso de Sevillana | Pasada | 2 golpes | 5 marcajes around in circle | 2 golpes or Golpe-scoot
Vuelta | Final

4ª/Cuarta
Paso de Sevillana | Diagonal marcaje w/slap | 2 golpes or Golpe-scoot | Vuelta | Pasada
Paso de Sevillana | 2 golpes | 1 carrera moving | 2 waltz steps | half carrera moving | Vuelta | Pasada
Paso de Sevillana | 2 golpes | 3 & half carreras moving (or 7 waltz steps moving)
Vuelta | Final

Some Rhythmic Notes | The Steps in Relation to the Cante
Recognizing certain constants within the dance can get us back on track should we ever get lost while dancing. (And to help us organize all of the information in our brains.)  In all four Sevillanas we:

  • Begin with the right foot forward
  • Begin with a Paso de Sevillana
  • Do a Pasada at the end of each cante section
  • Do a Paso de Sevillana during the transition between each cante section (after the above-mentioned pasada)
  • End with the cante with the left foot forward & right arm up (Ahhh – no matter what, we can always end well!)

After the introduction by the singer, the guitar plays & we begin with a Sevillanas step, ALWAYS.

Then the first section of cante begins as we continue with the dance. We can count each section of cante as ten sets of 3 (1,2,3 2,2,3, etc.) “ending” on the first beat of the tenth set.  (So…1,2,3 2,2,3, 3,2,3 4,2,3, 5,2,3 6,2,3, 7,2,3 8,2,3, 9,2,3, 10…)  If you’re really a numbers person you might like to know that the preparation for the pasada happens with the cante, ALWAYS beginning on the 8 with the actual pasada on the 9.  Oh, and be aware that the singer will often hold the last note, going into the musical interlude which leads us to:

The musical interlude - A transition to the next bit of cante (…2,3, 1,2,3, 1,2.) during which time we ALWAYS (another constant) do a Sevillanas step.

Ok, so the second section of cante begins after the two-beat accent shown above in bold)  Same transition as before, and we’re into…

The third section of cante.  We end our dance on the “10” (which is actually a 1; the first beat of the tenth set of 3)  Are you still with me?  I may have lost myself in all of these numbers. —

“I love Sevillanas because, first of all, I can imagine being in Spain and there being a crowd of people all dancing them together…totally cool!  Secondly, because they’re very structured and fairly repetitive, just putting some same steps together different ways and different places, so I can feel like i am doing flamenco even though I am too stupid and clutzy to do REAL flamenco.  A third reason is because I am sure all those arm circles keep at least some of the “old lady” flab off my arms, lol!“   – Celeste

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