It is a flamenco dance with the same rhythm as alegrías, in which its ecstastic character prevails over its violent traits. Its peculiarities are its paseillos (ceremonial entrance or initial series of steps), marcaje (marking of steps), figuras (set figures) and falsetas (variations), and it is both graceful and elegant. Therefore, it is traditionally considered a women's dance whose golden age was in the cafés cantantes (establishments serving drinks that staged performances of singing, playing and dancing, instrumental in spreading flamenco during their golden age) of the late nineteenth century. The meter is the same as that of all cantiñas, in twelve beats:

1 2 3 4 5 6 7 8 9 10 11 12

It is a cante that is suitable for dancing which requires great skills of the cantaor (flamenco singer) to perform it. The guitar accompanies it with elegant, nimble and happy music. Its lyrics tend to be inconsequential, with fragments that are reminiscent of the typical hawking done in markets, or by street vendors, mainly in a chorus style. The creation of this style revolves around the figure of Tío José el Granaíno and, later, Antonio Chacón adapted to this style perfectly. Among the contemporary singers, the personal interpretation it was given by Pericón de Cádiz stands out.
Technically, it is a Cádiz cantiña, a sister of the alegría, the romera and the caracoles. It is a cante whose coplas (poetic compositions, in verse, used as lyrics) are made up of four extremely irregular verses, which the cantaor links to others that have the same metric characteristics.