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{{Short description|Genre of Spanish music and dance}}
{{hatnote group|
{{Other uses}}
{{Distinguish|Flamingo|Flamengo (disambiguation) {{!}}Flamengo}}
}}
{{Use dmy dates|date=August 2021}}
{{Infobox music genre
| name              = Flamenco
| native_name       = 
| etymology         = 
| other_names       = 
| image             = Belen maya.jpg
| alt               = 
| caption           = [[Belén Maya]], a flamenco dancer of the gitano ethnicity in traditional dress
| stylistic_origins = [[Andalusi nubah]] and [[Romani music#Original Romani music|Romani traditional music]]
| cultural_origins  = [[Gitanos|Calé Roma]], [[Andalusian people]], late 18th century, Spain
| instruments       = {{hlist|Vocals|[[clapping]]|[[guitar]]|[[castanets]]|[[cajón]] flamenco}}
| derivatives       =
| fusiongenres      = * [[Flamenco rock]]
* [[new flamenco]]
| subgenres         = * [[Alegrías]]
* [[bulerías]]
* [[fandango]]
* [[Malagueñas (flamenco style)|malagueñas]]
* [[rumba flamenca]]
* [[sevillanas]]
* [[siguiriyas]]
* [[soleá]]
* [[Tango (flamenco)|tango]]
* [[Tientos (flamenco)|tientos]]
* [[verdiales]]
| subgenrelist      = 
| regional_scenes   = 
| local_scenes      = 
| other_topics      = {{hlist|[[Music of Spain]]|[[music of Andalusia]]|{{lang|es|[[cante flamenco]]}}|{{lang|es|[[cante jondo]]}}|{{lang|es|[[falseta]]s}}}}
| footnotes         = 
| current_year      = 
}}
{{Infobox intangible heritage
| ICH         = Flamenco
| State Party = Spain
| ID          = 00363
| Region      = ENA
| Year        = 2010
| Session     = 5th
| List        = Representative
}}

'''Flamenco''' ({{IPA|es|flaˈmeŋko}}) is an art form based on the various folkloric music traditions of southern [[Spain]], very appreciated within the [[Gitanos|gitano]] subculture of the region of [[Andalusia]], and also having historical presence in [[Extremadura]] and [[Region of Murcia|Murcia]].<ref name= Leblon>{{harv|Leblon|2003|loc= 72-73}}</ref><ref>{{harv|Aoyama|2007|loc= 105}}</ref><ref>{{harv|Manuel|1989|loc= 51-52}}</ref> In a wider sense, the term is used to refer to a variety of both contemporary and traditional musical styles typical of southern Spain. Flamenco is closely associated to the gitanos of the [[Romani people|Romani ethnicity]] who have a contribution to its development and [[professionalization]]. However, its style is uniquely Andalusian and flamenco artists have historically included Spaniards of both gitano and non-gitano heritage.<ref>{{harv|Hayes|2009|loc= 31-37}}</ref>

The oldest record of flamenco music dates to 1774 in the book ''Las Cartas Marruecas'' (The Moroccan Letters) by [[José Cadalso]].<ref>{{harv|Akombo|2016|loc=240–241}}</ref> The development of flamenco over the past two centuries is well documented: "the theatre movement of [[sainete]]s (one-act plays) and [[tonadilla]]s, popular song books and song sheets, customs, studies of dances, and ''toques'', perfection, newspapers, graphic documents in paintings and engravings.&nbsp;... in continuous evolution together with rhythm, the poetic stanzas, and the ambiance."<ref>{{harv|Ríos Ruiz|1997|loc= 16-17}}</ref>

On 16 November 2010, [[UNESCO]] declared flamenco one of the [[Masterpieces of the Oral and Intangible Heritage of Humanity]].<ref>{{cite web|title= Flamenco|year= 2010|url= https://ich.unesco.org/en/RL/flamenco-00363|publisher= [[UNESCO Intangible Cultural Heritage Lists|UNESCO Intangible Cultural Heritage List]]|website= ich.unesco.org|access-date= September 30, 2021}}</ref>

== Etymology ==
Historically, the term ''flamenco'' was used to identify the [[Romani people]] ([[gitanos]]) of Spain.<ref>{{harv|Cruces-Roldán |2017|pp= 253–254}}</ref> The English traveller [[George Borrow]] who travelled through Spain during the 1830s stated that the gitanos were also called [[Flemish people|Flemish]] (in Spanish, 'flamenco') due to German and Flemish being erroneously considered synonymous.<ref name="Cruces-Roldán 2017 253">{{harv|Cruces-Roldán |2017|p= 253}}</ref> According to [[Flamencology|flamencologist]] Cristina Cruces-Roldán, a year prior to Borrow's account, there already existed a gitano party in Madrid that was clearly identified as flamenco. This equivalency between gitano and flamenco is also noted by [[:es:Manuel Fernández y González|Manuel Fernández y González]], [[Demófilo]], and the scholar Irving Brown who stated in 1938 that "flamenco is simply another term for gitano, with special connotations."<ref name="Cruces-Roldán 2017 253"/>

The origins of the term lie in the [[Anti-Romani sentiment|sociological prejudice]] towards the Roma who were seen as ruffians and cocky troublemakers by the Spaniards and were thus associated with the 18th century [[Germans|German]] colonists of the [[Sierra Morena]] who formed groups of urban Bohemians that lived outside the law and were seen as idle and lazy.<ref>{{harv|Cruces-Roldán|2017|pp= 254–255}}</ref> Other less successful hypotheses include those of [[Felip Pedrell|Felipe Pedrell]] and Carlos Alemendros who state that while the term ''flamenco'' is Spanish for Flemish, it is actually synonymous with ''cantador'' (professional singer) in reference to the group of Flemish singers brought by Spanish King Carlos I in 1516. Another hypothesis that is not widely accepted is the [[Arabist]] theory of [[Blas Infante]], which in his book ''Orígenes de lo flamenco (Origins of flamenco)''<ref name=":0">{{Cite web |title=Origin of the word "flamenco" - History of flamenco |url=https://flamenco.one/en/history-of-flamenco/origin-of-the-word-flamenco/ |access-date=2024-01-15 |website=flamenco.one}}</ref> presents ''flamenco'' as a phonetic deformation of Arabic ''fellah-mengu'' (runaway laborer)<ref>{{harv|Cruces-Roldán|2017|p=255}}</ref> or was derived from the Arabic terms ''Felah-Mengus'', which together mean "wandering peasant".<ref name=":0" />

The first use of the term flamenco to refer to the music genre appears in a 1847 newspaper article of ''El Espectador'' where it was referred to as a "gitano genre". In the early years of flamenco, the term was versatile and was used to refer to a variety of concepts in the gitano-Andalusian world.<ref name="Cruces-Roldán 2017 254">{{harv|Cruces-Roldán|2017|p= 254}}</ref> For example, in the 1860s-70s this versatility was exemplified through its use to refer to a musical style and a certain aesthetic, manners, and way of life that were perceived to be gitano. At that time, flamenco was not a strict genre but a way of performing music in a gitano-Andalusian style.<ref>(Del Campo and Cáceres 2013, 360-361) quoted in {{harv|Cruces-Roldán|2017|p= 254}}</ref>

== History ==
{{Disputed section|date=August 2021}}

=== Cultural origins ===
There are hypotheses that point to the influence on flamenco of types of dance from the Indian subcontinent; the place of origin of the [[Romani people]].<ref name= Leblon/> The North Indian scales of flamenco were introduced to Andalusia by the Romani migrations from [[North India|Northern India]].<ref>{{harv|Cruces-Roldán|2017|p= 250}}</ref> These Roma migrants also brought bells, and an extensive repertoire of songs and dances.<ref>{{cite book|last1=Rinaldi |first1=Robin |url= https://books.google.com/books?id=E_wkQt6ePZkC&pg=PA91|title=European Dance |date=2010 |publisher=Infobase |isbn=978-1-60413-480-3 }}</ref> Upon arrival to Andalusia in the 15th century, they were exposed to the rich Arab-Andalusian music culture, itself a hybrid of Spanish music tradition going back to the 8th century with the establishment of [[Al-Andalus]], which brought in traditions and music from the [[Arabian Peninsula]], [[North Africa|Northern Africa]] and [[Sephardic Jews|Sephardic]] features. Some of the instruments associated with flamenco and Spanish folklore in different regions today, are the wooden [[castanets]] and [[tambourines]], both believed to originate during the Al Andalus period.<ref>{{cite web|url=https://archive.org/details/cu31924022381440/page/38/mode/2up?view=theater|title=Orchestration, Forsyth Cecil|date=13 March 2024 }}</ref><ref>{{citation|url=https://www.vsl.info/en/academy/percussion/tambourine|title=Tambourine – VSL-Academy|date=19 January 2024}}</ref> This centuries-long period of cultural intermingling, formed the roots of flamenco song and dance genres.<ref>{{harv| Devorah Bennahum|2023|loc= "The roots of flamenco, though somewhat mysterious, seem to lie in the Roma migration from Rajasthan (in northwest India) to Spain between the 9th and 14th centuries. In Spain they encountered the rich cultures of the Sephardic Jews and the Moors. Their centuries-long cultural intermingling produced the unique art form.."}}</ref><ref>{{harv|Llano|2020|p= 161}}</ref>

It is believed that the flamenco genre emerged at the end of the 18th century in cities and agrarian towns of Baja Andalusia, highlighting [[Jerez de la Frontera]] as the first written vestige of this art, although there is practically no data related to those dates and the manifestations of this time are more typical of the [[bolero]] school than of flamenco. It appeared as a modern art form from the convergence of the urban [[Subaltern (postcolonialism)|subaltern]] groups, gitano communities, and [[journeyman]] of Andalusia that formed the marginalized flamenco artistic working class who established flamenco as a singular art form, marked from the beginning by the gitano brand.<ref name="Cruces-Roldán 2017 254"/> Andalusia was the origin and cradle of the early flamenco cantaores and of the three or four dozen gitano families who created and cultivated flamenco.<ref>{{harv|Leblon|2003|p= 21}}</ref>

=== ''Casticismo'' ===
During the end of the 18th and beginning of the 19th century, a number of factors led to rise in Spain of a phenomenon known as "Costumbrismo Andaluz" or "Andalusian Mannerism".

In 1783 [[Charles III of Spain|Carlos III]] promulgated a pragmatics that regulated the social situation of the {{Lang|es|[[gitanos]]}}.<ref>{{Cite web |date=2015-09-17 |title=Gitanos en España: camina o revienta |url=https://www.elmundo.es/la-aventura-de-la-historia/2015/09/17/55e6a428ca4741505b8b456e.html |access-date=2022-10-24 |website=ELMUNDO |language=es}}</ref> This was a momentous event in the history of Spanish gitanos who, after centuries of marginalization and persecution, saw their legal situation improve substantially.

After the [[Peninsular War|Spanish War of Independence]] (1808–1812), a feeling of racial pride developed in the Spanish conscience, in opposition to the "gallified" ''afrancesados'' - Spaniards who were influenced by French culture and the idea of the enlightenment. In this context, gitanos were seen as an ideal embodiment of [[Spanish culture]] and the emergence of the [[bullfighting]] schools of [[Ronda]] and [[Seville]], the rise of the Bandidos and Vaqueros led to a taste for Andalusian romantic culture which triumphed in the Madrid court.

At this time there is evidence of disagreements due to the introduction of innovations in art.<ref>{{Cite web|url=https://flamenco.one/es/historia-del-flamenco/el-costumbrismo-andaluz/|title = El costumbrismo andaluz}}</ref>

=== The ''cantante'' cafés ===
[[File:EMILIO BEAUCHY, Café cantante, hacia 1885, copia a la albúmina.jpg|thumb|"Café cantante" in Seville, Spain, c.1888. Photograph by Emilio Beauchy aka "E. Beauchy"]]
In 1881 [[Silverio Franconetti]] opened the first flamenco singer café in Seville. In Silverio's café the cantaores were in a very competitive environment, which allowed the emergence of the professional cantaor and served as a crucible where flamenco art was configured. Locals learned the cantes, while reinterpreting the Andalusian folk songs in their own style, expanding the repertoire. Likewise, the taste of the public contributed to configure the flamenco genre, unifying its technique and its theme.<ref>{{cite book | last1=Horn | first1=David | title=Bloomsbury Encyclopedia of Popular Music of the World, Volume 11: Genres: Europe | date=5 October 2017 | publisher=Bloomsbury Publishing USA | isbn=978-1-5013-2610-3 | url=https://books.google.com/books?id=WKc0DwAAQBAJ&pg=PA256 }}</ref>

=== Antiflamencoism in the "Generation of '98" ===
''Flamenquismo'', defined by the Royal Spanish Academy as a "fondness for flamenco art and customs", is a conceptual catch-all where flamenco singing and a fondness for bullfighting, among other traditional Spanish elements, fit. These customs were strongly attacked by the [[generation of 98]], all of its members being "anti-flamenco", with the exception of the Machado brothers, Manuel and Antonio. Being Sevillians and sons of the folklorist Demófilo Machado, the brothers had a more complex view of the matter. The greatest standard bearer of anti-flamenquism was the [[Madrid]] writer Eugenio Noel, who, in his youth, had been a militant ''casticista''. Noel attributed to flamenco and bullfighting the origin of the ills of Spain which he saw as manifestations of the country's [[Oriental]] character which hindered economic and social development. These considerations caused an insurmountable rift to be established for decades between flamenco and most "intellectuals" of the time.<ref>{{cite book | last1=Goldberg | first1=K.M. | last2=Bennahum | first2=N.D. | last3=Hayes | first3=M.H. | title=Flamenco on the Global Stage: Historical, Critical and Theoretical Perspectives | publisher=McFarland, Incorporated, Publishers | year=2015 | isbn=978-1-4766-2102-9 | url=https://books.google.com/books?id=TRjCCgAAQBAJ&pg=PA281 | access-date=2025-08-16 | page=281}}</ref>

=== Flamenca opera ===
Between 1920 and 1955, flamenco shows began to be held in bullrings and theaters, under the name "flamenco opera". This denomination was an economic strategy of the promoters, since opera only paid 3% while variety shows paid 10%. At this time, flamenco shows spread throughout Spain and the main cities of the world. The great social and commercial success achieved by flamenco at this time eliminated some of the oldest and most sober styles from the stage, in favor of lighter airs, such as [[cantiñas]], los [[cantes de ida y vuelta]] and [[fandango]]s, of which many personal versions were created. The purist critics attacked this lightness of the cantes, as well as the use of falsete and the [[gaitero]] style.<ref>{{cite book | last1=Schreiner | first1=Claus | title=Flamenco | date=1990 | publisher=Hal Leonard Corporation | isbn=978-1-57467-013-4 | url=https://books.google.com/books?id=C92FYvpZ_fwC&pg=PA61 }}</ref>

In the line of purism, the poet [[Federico García Lorca]] and the composer [[Manuel de Falla]] had the idea of concurso de cante jondo in [[Granada]] in 1922.<ref>{{cite web|url=https://www.europasur.es/ocio/dia-grande-cante-jondo_0_1145285693.html|title=El día grande del cante 'jondo'|access-date=5 October 2019|author=Isabel Vargas|date=15 June 2017|website=Europa Sur|language=es}}</ref> Both artists conceived of flamenco as folklore, not as a scenic artistic genre; for this reason, they were concerned, since they believed that the massive triumph of flamenco would end its purest and deepest roots. To remedy this, they organized a cante jondo contest in which only amateurs could participate and in which festive cantes (such as cantiñas) were excluded, which Falla and Lorca did not consider jondos, but flamencos. The jury was chaired by Antonio Chacón, who at that time was the leading figure in cante. The winners were "El Tenazas", a retired professional cantaor from Morón de la Frontera, and Manuel Ortega, an eight-year-old boy from Seville who would go down in flamenco history as Manolo Caracol. The contest turned out to be a failure due to the scant echo it had and because Lorca and Falla did not know how to understand the professional character that flamenco already had at that time, striving in vain to seek a purity that never existed in an art that was characterized by mixture and the personal innovation of its creators. Apart from this failure, with the [[Generation of '27]], whose most eminent members were Andalusians and therefore knew the genre first-hand, the recognition of flamenco by intellectuals began.

At that time, there were already flamenco recordings related to Christmas, which can be divided into two groups: the traditional flamenco carol and flamenco songs that adapt their lyrics to the Christmas theme. These cantes have been maintained to this day, the Zambomba Jerezana being spatially representative, declared an Asset of Intangible Cultural Interest by the Junta de Andalucía in December 2015.

During the [[Spanish Civil War]], a large number of singers were exiled or died defending the [[Republic of spain|Republic]] and the humiliations to which they were being subjected by the National Party: [[Bando Nacional]]: [[Corruco de Algeciras]], [[Chaconcito]], [[El Carbonerillo]], [[El Chato De Las Ventas]], [[Manuel Vallejo|Vallejito]], [[Rita la Cantaora]], [[Angelillo]], [[Guerrita (cantaor)|Guerrita]] are some of them. In the postwar period and the first years of the [[Francoist Spain|Franco regime]], the world of flamenco was viewed with suspicion, as the authorities were not clear that this genre contributed to the national conscience. However, the regime soon ended up adopting flamenco as one of the quintessential Spanish cultural manifestations. The singers who have survived the war go from stars to almost outcasts, singing for the young men in the private rooms of the brothels in the center of Seville where they have to adapt to the whims of aristocrats, soldiers and businessmen who have become rich.

In short, the period of the flamenco opera was open to creativity and comprised most of the flamenco repertoire. It was the Golden Age of this genre, with figures such as [[Antonio Chacón]], {{Ill|Manuel Vallejo|es|4=fr}}, [[Manuel Torre]], [[La Niña de los Peines]], [[Pepe Marchena]] and [[Manolo Caracol]].

=== Academic study ===
Starting in the 1950s, abundant anthropological and musicological studies on flamenco began to be published. In 1954 Hispavox published the first ''Antología del Cante Flamenco'', a sound recording that was a great shock to its time, dominated by orchestrated cante and, consequently, mystified. In 1955, the Argentine intellectual Anselmo González Climent published an essay called ''Flamencología'', whose title he baptized the "set of knowledge, techniques, etc., on flamenco singing and dancing." This book dignified the study of flamenco by applying the academic methodology of musicology to it and served as the basis for subsequent studies on this genre.<ref>{{harv|Leblon|2003|p=103}}</ref>

As a result, in 1956 the National Contest of Cante Jondo de Córdoba was organized and in 1958 the first flamencology chair was founded in Jerez de la Frontera, the oldest academic institution dedicated to the study, research, conservation, promotion and defense of the flamenco art. Likewise, in 1963 the Cordovan poet Ricardo Molina and the Sevillian cantaor [[Antonio Mairena]] published Alalimón Mundo y Formas del [[Cante flamenco]], which has become a must-have reference work.<ref>{{cite book | last1=Sturman | first1=Janet | title=The SAGE International Encyclopedia of Music and Culture | date=26 February 2019 | publisher=SAGE Publications | isbn=978-1-4833-1774-8 | url=https://books.google.com/books?id=9TuKDwAAQBAJ&pg=PA939 }}</ref>

For a long time the Mairenistas postulates were considered practically unquestionable, until they found an answer in other authors who elaborated the "Andalusian thesis", which defended that flamenco was a genuinely Andalusian product, since it had been developed entirely in this region and because its styles basic ones derived from the folklore of Andalusia. They also maintained that the Andalusian gitanos had contributed decisively to their formation, highlighting the exceptional nature of flamenco among gypsy music and dances from other parts of Spain and Europe. The unification of the gitanos and Andalusian thesis has ended up being the most accepted today. In short, between the 1950s and 1970s, flamenco went from being a mere show to also becoming an object of study.

=== Flamenco protest during the Franco regime ===
Flamenco became one of the symbols of Spanish national identity during the [[Francoist Spain|Franco regime]], since the regime knew how to appropriate a folklore traditionally associated with Andalusia to promote national unity and attract tourism, constituting what was called national-flamenquismo. Hence, flamenco had long been seen as a reactionary or retrograde element. In the mid-60s and until the transition, cantadores who opposed the regime began to appear with the use of protest lyrics. These include: José Menese and lyricist Francisco Moreno Galván, [[Enrique Morente]], Manuel Gerena, [[El Lebrijano]], [[El Cabrero]], [[Lole y Manuel]], el Piki or Luis Marín, among many others.<ref>{{cite book | last1=Machin-Autenrieth | first1=Matthew | title=Flamenco, Regionalism and Musical Heritage in Southern Spain | date=28 July 2016 | publisher=Routledge | isbn=978-1-317-13483-1 | url=https://books.google.com/books?id=w2XADAAAQBAJ&pg=PA27 }}</ref>

In contrast to this conservatism with which it was associated during the Franco regime, flamenco suffered the influence of the wave of activism that also shook the university against the repression of the regime when university students came into contact with this art in the recitals that were held, for example, at the Colegio Mayor de San Juan Evangelista: "flamenco amateurs and professionals got involved with performances of a manifestly political nature. It was a kind of flamenco protest charged with protest, which meant censorship and repression for the flamenco activists ".

As the political transition progressed, the demands were deflated as flamenco inserted itself within the flows of globalized art. At the same time, this art was institutionalized until it reached the point that the [[Regional Government of Andalusia|Junta de Andalucía]] was attributed in 2007 "exclusive competence in matters of knowledge, conservation, research, training, promotion and dissemination".

=== Flamenco fusion ===
[[File:Reima-Nikkinen-1971.jpg|thumb|Finnish flamenco dancer Reima Nikkinen with an unidentified woman dancer in December 1971]]
In the 1970s, there were airs of social and political change in Spain, and Spanish society was already quite influenced by various musical styles from the rest of Europe and the United States. There were also numerous singers who had grown up listening to [[Antonio Mairena]], [[Pepe Marchena]] and [[Manolo Caracol]]. The combination of both factors led to a revolutionary period called flamenco fusion.<ref>{{citation|title=Seville Flamenco Dance Museum 2014.}}</ref>

The singer [[Rocío Jurado]] internationalized flamenco at the beginning of the 70s, replacing the bata de cola with evening dresses. Her facet in the "Fandangos de Huelva" and in the Alegrías was recognized internationally for her perfect voice [[tessitura]] in these genres. She used to be accompanied in her concerts by guitarists Enrique de Melchor and [[Tomatito]], not only at the national level but in countries like Colombia, Venezuela and Puerto Rico.

The musical representative José Antonio Pulpón was a decisive character in that fusion, as he urged the cantaor Agujetas to collaborate with the Sevillian Andalusian rock group "[[Pata Negra]]", the most revolutionary couple since Antonio Chacón and [[Ramón Montoya]], initiating a new path for flamenco. It also fostered the artistic union between the virtuoso guitarist from Algeciras [[Paco de Lucía]] and the long-standing singer from the island [[Camarón de la Isla]], who gave a creative impulse to flamenco that would mean its definitive break with Mairena's conservatism. When both artists undertook their solo careers, Camarón became a mythical cantaor for his art and personality, with a legion of followers, while Paco de Lucía reconfigured the entire musical world of flamenco, opening up to new influences, such as Brazilian music, Arabic and jazz and introducing new musical instruments such as the Peruvian cajon, the transverse flute, etc.

Other leading performers in this process of formal flamenco renewal were [[El Lebrijano|Juan Peña El Lebrijano]], who married flamenco with Andalusian music, and [[Enrique Morente]], who throughout his long artistic career has oscillated between the purism of his first recordings and the crossbreeding with rock, or [[Remedios Amaya]] from [[Triana, Seville|Triana]], cultivator of a unique style of [[Tango (flamenco)|tangos]] from Extremadura, and a wedge of purity in her cante make her part of this select group of established artists. Other singers with their own style include [[Cancanilla de Marbella]]. In 2011 this style became known in India thanks to [[María del Mar Fernández (singer)|María del Mar Fernández]], who acts in the video clip of the film You Live Once, entitled Señorita. The film was seen by more than 73 million viewers.

=== New flamenco ===
In the 1980s a new generation of flamenco artists emerged who had been influenced by the mythical cantaor Camarón, Paco de Lucía, Morente, etc. These artists were interested in popular urban music, which in those years was renewing the Spanish music scene, it was the time of the [[Movida madrileña]]. Among them are "[[Pata Negra]]", who fused flamenco with blues and rock, [[Ketama]], of pop and Cuban inspiration and Ray Heredia, creator of his own musical universe where flamenco occupies a central place.<ref>{{cite book | last1=Horn | first1=David | title=Bloomsbury Encyclopedia of Popular Music of the World, Volume 11: Genres: Europe | date=5 October 2017 | publisher=Bloomsbury Publishing USA | isbn=978-1-5013-2610-3 | url=https://books.google.com/books?id=WKc0DwAAQBAJ&pg=PA264 }}</ref>

Also the recording company Nuevos Medios released many musicians under the label nuevo flamenco and this denomination has grouped musicians very different from each other like [[Rosario Flores]], daughter of [[Lola Flores]], or the renowned singer [[Malú]], niece of Paco de Lucía and daughter of Pepe de Lucía, who despite sympathizing with flamenco and keeping it in her discography has continued with her personal style. However, the fact that many of the interpreters of this new music are also renowned cantaores, in the case of [[José Mercé]], [[Diego el Cigala|El Cigala]], and others, has led to labeling everything they perform as flamenco, although the genre of their songs differs quite a bit from the classic flamenco. This has generated very different feelings, both for and against.

Other contemporary artists of that moment were O'Funkillo and [[Ojos de Brujo]], Arcángel, [[Miguel Poveda]], [[Mayte Martín]], Marina Heredia, [[Estrella Morente]] or Manuel Lombo, etc.

But the discussion between the difference of flamenco and [[new flamenco]] in Spain has just gained strength during since 2019 due to the success of new flamenco attracting the taste of the youngest Spanish fans but also in the international musical scene emphasizing the problem of how should we call this new musical genre mixed with flamenco.

One of the artists who has reinvented flamenco is [[Rosalía (singer)|Rosalía]], an indisputable name on the international music scene. "Pienso en tu mirá", "Di mi nombre" or the song that catapulted her to fame, "Malamente", are a combination of styles that includes a flamenco/south Spain traditional musical base. Rosalía has broken the limits of this musical genre by embracing other urban rhythms, but has also created a lot of controversy about which genre is she using. The [[Catalonia|Catalan]] artist has been awarded several [[Latin Grammy Award|Latin Grammy]] Awards and [[MTV Video Music Awards]], which also, at just 30 years old, garners more than 40 million monthly listeners on [[Spotify]].<ref>{{cite book | last1=de Alba | first1=F.F. | last2=Garcés | first2=M.T. | title=Fashioning Spain: From Mantillas to Rosalía | publisher=Bloomsbury Publishing | year=2021 | isbn=978-1-350-16928-9 | url=https://books.google.com/books?id=BwkmEAAAQBAJ&pg=PA153 | language=es | access-date=2025-08-16 | page=153}}</ref>

But it is not the only successful case, the Granada-born [[Dellafuente]], [[C. Tangana]], [[MAKA]], RVFV, Demarco Flamenco, [[Maria Arnal|Maria Àrnal]] and Marcel Bagés, El Niño de Elche, [[Sílvia Pérez Cruz]]; Califato 3/4, Juanito Makandé, Soledad Morente, [[María José Llergo]] o [[Fuel Fandango]] are only a few of the new spanish musical scene that includes flamenco in their music.

It seems that the Spanish music scene is experiencing a change in its music and new rhythms are re-emerging together with new artists who are experimenting to cover a wider audience that wants to maintain the closeness that flamenco has transmitted for decades.

=== Flamenco culture overseas ===
The state of New Mexico, located in the southwest of the United States, maintains a strong identity with flamenco culture. The [[University of New Mexico]] located in [[Albuquerque]] offers a graduate degree program in flamenco. Flamenco performances are widespread in the Albuquerque and [[Santa Fe, New Mexico|Santa Fe]] communities, with the National institute of Flamenco sponsoring an annual festival, as well as a variety of professional flamenco performances offered at various locales. Emmy Grimm, known by her stage name [http://www.emiarteflamenco.com/ La Emi] is a professional flamenco dancer and native to New Mexico who performs as well as teaches flamenco in Santa Fe. She continues studying her art by traveling to Spain to work intensively with Carmela Greco and La Popi, as well as José Galván, Juana Amaya, Yolanda Heredia, Ivan Vargas Heredia, Torombo and Rocio Alcaide Ruiz.<ref>{{cite book | last=Montaño | first=Mary Caroline | title=Tradiciones Nuevomexicanas: Hispano Arts and Culture of New Mexico | publisher=University of New Mexico Press | date=2001 | isbn=978-0-8263-2136-7 | url=https://books.google.com/books?id=atVLm51yPrgC&pg=PA212 | access-date=2025-08-16 | page=}}</ref>

== Main ''Palos'' ==
[[File:Palos flamencos.jpg|thumb|The ''Palos'' of flamenco]]
''[[Palo (flamenco)|Palos]]'' (formerly known as ''cantes'') are flamenco styles, classified by criteria such as rhythmic pattern, [[Musical mode|mode]], [[chord progression]], [[stanza]]ic form and geographic origin. There are over 50 different ''palos'', some are sung unaccompanied while others have guitar or other accompaniment. Some forms are danced while others are not. Some are reserved for men and others for women while some may be performed by either, though these traditional distinctions are breaking down: the ''Farruca'', for example, once a male dance, is now commonly performed by women too.<ref>{{cite book | last1=Machin-Autenrieth | first1=Matthew | title=Flamenco, Regionalism and Musical Heritage in Southern Spain | date=28 July 2016 | publisher=Routledge | isbn=978-1-317-13483-1 | url=https://books.google.com/books?id=w2XADAAAQBAJ&pg=PA19 }}</ref><ref>{{cite book | last1=Newman | first1=Paul Jared | title=A New Anthology of Falsetas for Flamenco Guitar | date=2008 | publisher=Bold Strummer, Limited | isbn=978-1-57784-072-5 | url=https://books.google.com/books?id=aWmf6nhAG5IC&pg=PA5 }}</ref>

There are many ways to categorize ''Palos'' but they traditionally fall into three classes: the most serious is known as ''[[cante jondo]]'' (or ''[[Cante flamenco#Cante Grande (also known as cante jondo)|cante grande]]''), while lighter, frivolous forms are called ''[[Cante Chico]]''. Forms that do not fit either category are classed as ''[[Cante Intermedio]]'' {{harv|Pohren|2005|loc=68}}. These are the best known ''palos'' ({{harvnb|Anon.|2019}}; {{harvnb|Anon.|2012}}):

===[[Alegrías]]===
The alegrías are thought to derive from the Aragonese jota, which took root in Cadiz during the [[Peninsular war]] and the establishment of the Cortes de Cadiz. That is why its classic lyrics contain so many references to the Virgen del Pilar, the Ebro River and Navarra.

Enrique Butrón is considered to have formalized the current flamenco style of alegrías and Ignacio Espeleta who introduced the characteristic "tiriti, tran, tran...". Some of the best known interpreters of alegrías are Enrique el Mellizo, Chato de la Isla, Pinini, Pericón de Cádiz, Aurelio Sellés, La Perla de Cádiz, Chano Lobato and El Folli.

One of the structurally strictest forms of flamenco, a traditional dance in alegrías must contain each of the following sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section) [https://web.archive.org/web/20060414084026/http://education.yahoo.com/reference/dictionary/entry/zapateado zapateado] (Literally "a tap of the foot") and [[bulerías]]. This structure though, is not followed when alegrías are sung as a standalone song (with no dancing). In that case, the stanzas are combined freely, sometimes together with other types of [[cantiñas]].

Alegrías has a rhythm consisting of 12 beats. It is similar to [[Soleares]]. Its beat emphasis is as follows: 1 2 '''[3]''' 4 5 '''[6]''' 7 '''[8]''' 9 '''[10]''' 11 '''[12]'''. Alegrías originated in [[Cádiz]]. Alegrías belongs to the group of ''palos'' called [[Cantiñas]] and it is usually played in a lively rhythm (120–170 beats per minute). The livelier speeds are chosen for dancing, while quieter rhythms are preferred for the song alone.

===[[Bulerías]]===
Bulerías a fast flamenco rhythm made up of a 12 beat cycle with emphasis in two general forms as follows: '''[12]''' 1 2 '''[3]''' 4 5 '''[6]''' 7 '''[8]''' 9 '''[10]''' 11 or '''[12]''' 1 2 '''[3]''' 4 5 6 '''[7]''' '''[8]''' 9 '''[10]''' 11. It originated among the [[Gitanos|Calé Romani]] people of [[Jerez]] during the 19th century,<ref>{{cite journal|last=Manuel|first=Peter|year=1986|title=Evolution and Structure in Flamenco Harmony|url=https://academiccommons.columbia.edu/doi/10.7916/D8902FFS/download|journal=Current Musicology|volume=42 |publisher=[[Columbia University Press]]|issue=42|pages=46–47|doi=10.7916/D88051HJ|quote=Other cantes, although Andalusian in a general sense, originated from Gypsy subculture and lack non-Gypsy counterparts; these would include siguiriyas, soleares, bulerias, and tonas|doi-access=free|s2cid=193937795}}</ref> originally as a fast, upbeat ending to ''[[soleares]]'' or ''[[alegrias]]''. It is among the most popular and dramatic of the flamenco forms and often ends any flamenco gathering, often accompanied by vigorous dancing and tapping.

===[[Fandango]]===
===[[Granaína]]s===
===[[Guajiras (Flamenco)|Guajiras]]===
===[[Malagueñas (flamenco style)|Malagueñas]]===
===[[Peteneras]]===
===[[Saeta (flamenco)|Saeta]]===
===[[Siguiriyas|Seguiriyas]]===
===[[Soleá]]===
===[[Tango (flamenco)|Tangos]]===
===Tanguillos===
===Tarantos===
===[[Tientos (Flamenco)|Tientos]]===

== Music ==
{{Blockquote|There are three fundamental elements which can help define whether or not something really is flamenco: A flamenco mode -or musical tonality-; the ''compás'' -rhythm- and the performer.&nbsp;.. who should be a Flamenco! All three of these elements: tonality, ''compás'', a flamenco performer and then something less easily identifiable- ''Flamencura''- must be present together if we are to wend up with a piece of music which can be labelled 'flamenco'. By themselves, these elements won't turn a piece of music into flamenco.|{{harv|Martinez|2011|loc=6}}}}
{{Blockquote|Three fundamental elements that help define whether or not a dance belongs to the Flamenco genre are the presence of a Flamenco mode (musical tonality), ''compas'', and a Flamenco performer (Martinez, 2003). These three elements contribute to the authenticity of a Flamenco performance also known as ''flamencura'' (Martinez, 2003). There is also no such thing as a passive audience during Flamenco performances {{bracket|[[participatory art|participatory music]]}}. The audience joins in the performance by clapping their hands and even sometimes singing along (Totton, 2003).|{{harv|Akombo|2016|loc=243}}}}

=== Structure ===
A typical flamenco recital with voice and guitar accompaniment comprises a series of pieces (not exactly "songs") in different palos. Each song is a set of verses (called ''copla'', ''tercio'', or ''letras''), punctuated by guitar interludes (''[[falseta]]s''). The guitarist also provides a short introduction setting the tonality, ''compás'' (see below) and tempo of the cante {{harv|Manuel|2006|loc=98}}. In some palos, these falsetas are played with a specific structure too; for example, the typical [[sevillanas]] is played in an AAB pattern, where A and B are the same falseta with only a slight difference in the ending {{harv|Martin|2002|loc=48}}.

=== Harmony ===
Flamenco uses the [[flamenco mode]] (which can also be described as the [[Phrygian mode#Modern Phrygian mode|modern Phrygian mode]] (''modo frigio''), or a harmonic version of that scale with a major 3rd [[degree (music)|degree]]), in addition to the [[major scale|major]] and [[minor scale|minor]] scales commonly used in modern Western music. The Phrygian mode occurs in ''palos'' such as [[Soleares|soleá]], most [[bulerías]], [[siguiriya]]s, [[tango (flamenco)|tangos]] and [[tientos]].
[[File:E Phrygian Scale.PNG|frame|left|Descending E Phrygian scale in flamenco music, with common alterations in parentheses]]

A typical [[chord sequence]], usually called the "[[Andalusian cadence]]" may be viewed as in a modified Phrygian: in E the sequence is '''Am–G–F–E''' {{harv|Manuel|2006|loc=96}}. According to [[Manolo Sanlúcar]] '''E''' is here the [[tonic (music)|tonic]], '''F''' has the [[diatonic function|harmonic function]] of [[Dominant (music)|dominant]] while '''Am''' and '''G''' assume the functions of [[subdominant]] and [[mediant]] respectively {{harv|Torres Cortés|2001}}.

Guitarists tend to use only two basic inversions or "chord shapes" for the tonic [[chord (music)]], the open 1st inversion '''E''' and the open 3rd inversion '''A''', though they often [[Transposition (music)|transpose]] these by using a [[Capo (musical device)|capo]]. Modern guitarists such as [[Ramón Montoya]], have introduced other positions: Montoya himself started to use other chords for the tonic in the [[Dorian mode|modern Dorian]] sections of several ''palos''; '''F{{music|sharp}}''' for ''[[Tarantella|tarantas]]'', '''B''' for ''[[granaína]]s'' and '''A{{music|flat}}''' for the ''minera''. Montoya also created a new ''palo'' as a solo for guitar, the ''[[rondeña]]'' in '''C{{music|sharp}}''' with ''[[scordatura]]''. Later guitarists have further extended the repertoire of [[tonality|tonalities]], chord positions and ''scordatura''.

There are also ''palos'' in major mode; most [[cantiñas]] and [[alegrías]], [[guajiras]], some ''[[bulerías]]'' and ''[[tonás]]'', and the ''cabales'' (a major type of ''[[siguiriyas]]''). The minor mode is restricted to the ''[[Farruca]]'', the ''milongas'' (among ''[[cantes de ida y vuelta]]''), and some styles of ''tangos, bulerías'', etc. In general traditional palos in major and minor mode are limited harmonically to two-chord (tonic–dominant) or three-chord (tonic–subdominant–dominant) progressions {{harv|Rossy|1998|loc=92}}. However modern guitarists have introduced [[chord substitution]], transition chords, and even [[modulation (music)|modulation]].

''[[Fandangos]]'' and derivative ''palos'' such as ''[[Malagueñas (flamenco style)|malagueñas]]'', ''tarantas'' and ''[[cartageneras]] are bimodal'': guitar introductions are in Phrygian mode while the singing develops in major mode, modulating to Phrygian at the end of the stanza {{harv|Rossy|1998|loc=92}}.

=== Melody ===
Dionisio Preciado, quoted by Sabas de {{harvtxt|Hoces|1982|loc={{Page needed|date=October 2019}}}}, established the following characteristics for the melodies of flamenco singing:

#[[Microtonality]]: presence of [[interval (music)|intervals]] smaller than the [[semitone]].
#[[Portamento]]: frequently, the change from one note to another is done in a smooth transition, rather than using discrete intervals.
#Short [[tessitura]] or [[range (music)|range]]: Most traditional flamenco songs are limited to a range of a sixth (four tones and a half). The impression of vocal effort is the result of using different [[timbre]]s, and variety is accomplished by the use of microtones.
#Use of [[enharmonic scale]]. While in [[equal temperament]] scales, [[enharmonic]]s are notes with identical pitch but different spellings (e.g. A♭ and G♯); in flamenco, as in [[Equal temperament|unequal temperament]] scales, there is a microtonal intervalic difference between enharmonic notes.
#Insistence on a note and its contiguous chromatic notes (also frequent in the guitar), producing a sense of urgency.
#Baroque [[ornament (music)|ornamentation]], with an expressive, rather than merely aesthetic function.
#Apparent lack of regular rhythm, especially in the [[siguiriyas]]: the melodic rhythm of the sung line is different from the metric rhythm of the accompaniment.
#Most styles express sad and bitter feelings.
#Melodic [[improvisation]]: flamenco singing is not, strictly speaking, improvised, but based on a relatively small number of traditional songs, singers add variations on the spur of the moment.

Musicologist Hipólito Rossy adds the following characteristics {{harv|Rossy|1998|loc=97}}:

*Flamenco melodies are characterized by a descending tendency, as opposed to, for example, a typical opera [[aria]], they usually go from the higher pitches to the lower ones, and from [[Dynamics (music)|forte]] to [[Dynamics (music)|piano]], as was usual in ancient Greek scales.
*In many styles, such as [[Soleares|soleá]] or [[siguiriya]], the melody tends to proceed in contiguous [[degree (music)|degrees]] of the scale. [[Steps and skips|Skips]] of a third or a fourth are rarer. However, in [[fandangos]] and fandango-derived styles, fourths and sixths can often be found, especially at the beginning of each line of verse. According to Rossy, this is proof of the more recent creation of this type of songs, influenced by Castilian [[jota (music)|jota]].

=== Compás or time signature===
'''Compás''' is the Spanish word for [[metre (music)|metre]] or [[time signature]] (in classical [[music theory]]). It also refers to the rhythmic cycle, or layout, of a ''palo''.

The compás is fundamental to flamenco. Compás is most often translated as [[rhythm]] but it demands far more precise interpretation than any other Western style of music. If there is no guitarist available, the compás is rendered through hand clapping (''palmas'') or by hitting a table with the knuckles. The guitarist uses techniques like strumming (''rasgueado'') or tapping the [[sound board (music)|soundboard]] (''golpe''). Changes of chords emphasize the most important downbeats.<ref>{{cite book | last1=Manuel | first1=Peter | title=Flamenco Music: History, Forms, Culture | date=21 November 2023 | publisher=University of Illinois Press | isbn=978-0-252-05486-0 | url=https://books.google.com/books?id=xrLiEAAAQBAJ&pg=PT107 }}</ref>

Flamenco uses three basic counts or measures: Binary, Ternary and a form of a twelve-beat cycle that is unique to flamenco. There are also free-form styles including, among others, the [[tonás]], [[Saeta (flamenco)|saetas]], [[Malagueñas (flamenco style)|malagueñas]], tarantos, and some types of [[fandangos]]:

*Rhythms in {{music|time|2|4}} or {{music|time|4|4}}. These metres are used in forms like [[tango (flamenco)|tangos]], [[tientos]], [[Rumba flamenca|gypsy rumba]], [[zambra]] and tanguillos.
*Rhythms in {{music|time|3|4}}. These are typical of [[fandangos]] and [[sevillanas]], suggesting their origin as non-Roma styles, since the {{music|time|3|4}} and {{music|time|4|4}} measures are not common in ethnic Roma music.
*12-beat rhythms usually rendered in amalgams of {{music|time|6|8}} + {{music|time|3|4}} and sometimes {{music|time|12|8}}. The 12-beat cycle is the most common in flamenco, differentiated by the accentuation of the beats in different palos. The accents do not correspond to the classic concept of the downbeat. The alternating of groups of 2 and 3 beats is also common in Spanish folk dances of the 16th century such as the ''zarabanda'', ''jácara'' and ''canarios''.

There are three types of 12-beat rhythms, which vary in their layouts, or use of accentuations: soleá, seguiriya and bulería:

#[[peteneras]] and [[guajiras]]: 1 2 '''3''' 4 5 '''6''' 7 '''8''' 9 '''10''' 11 '''12'''. Both palos start with the strong accent on 12. Hence the meter is '''12''' 1 2 '''3''' 4 5 '''6''' 7 '''8''' 9 '''10''' 11.
#The [[seguiriya]], liviana<!-- liviana links to a page about a genus of moths-->, [[Palo (flamenco)|serrana]], toná liviana, cabales: '''12''' 1 '''2''' 3 '''4''' 5 6 '''7''' 8 9 '''10''' 11 '''12'''. It could also be counted like starting a bulerías scheme from '''8''' (see below). 
#[[Soleares|soleá]], within the [[cantiñas]] group of palos which includes the [[alegrías]], cantiñas, mirabras, romera, caracoles and soleá por bulería (also "[[Bulerías|bulería por soleá]]"): 1 2 '''3''' 4 5 '''6''' 7 '''8''' 9 '''10''' 11 '''12'''. For practical reasons, when transferring flamenco guitar music to sheet music, this rhythm is written as a regular {{music|time|3|4}}.

The [[Bulerías]] is the emblematic palo of flamenco: today its 12-beat cycle is most often played with accents on the 3rd, 6th, 8th, 10th and 12th beats. The accompanying ''palmas'' are played in groups of 6 beats, giving rise to a multitude of counter-rhythms and percussive voices within the 12 beat compás. In certain regions like, Jerez, Spain, the rhythm stays in a simpler six-count rhythm, only including the twelve count in a musical resolve. This is like starting the counting at 9 so it goes this way: 9 '''10''' 11 '''12''' 1 2 - again, bold means the emphasis when clapping. In real life it is counted from 1 like: 1 '''2''' 3 '''4''' 5 6 and so on.

[[File:Flamenco Compas.theora.ogv|thumb|400 px|none|Flamenco [[Bulerías]] with emphasis as '''[12]''' 1 2 '''[3]''' 4 5 '''[6]''' 7 '''[8]''' 9 '''[10]''' 11 – also the rhythm for the song [[America (West Side Story song)|"America" from ''West Side Story'']]]]

== Forms of flamenco expression ==

=== Toque (guitar) ===

The posture and technique of flamenco guitarists, called "tocaores", differs from that used by the players of classical guitar. While the classical guitarist supports the guitar on his left leg in an inclined way, the flamenco guitarist usually crosses his legs and supports it on the one that is higher, placing the neck in an almost horizontal position with respect to the ground. Modern guitarists usually use classical guitars, although there is a specific instrument for this genre called [[Guitar#Guitarra de flamenco|flamenco guitar]]. This is less heavy, and its body is narrower than that of the classical guitar, so its sound is lower and does not overshadow the cantaor. It is usually made of [[cypress]] wood, with the handle of [[cedrus|cedar]] and the top of [[fir]]. The cypress gives it a brilliant sound very suitable for the characteristics of flamenco. Formerly, the palo santo from Rio or India was also used, being the first of higher quality, but currently it is in disuse due to its scarcity. The palo santo gave guitars an amplitude of sound especially suitable for solo playing. At present, the most widely used [[headstock]] is the metal one, since the wooden one poses [[Musical tuning|tuning]] problems.<ref>{{harv|Pohren|2005|p=105}}</ref>

The main guitar makers were [[Antonio de Torres]] Jurado ([[Almería]], 1817–1892) considered the father of the guitar, {{Ill|Manuel Ramírez de Galarreta|es}}, the Great Ramírez (Madrid, 1864 -1920), and his disciples Santos Hernández (Madrid, 1873–1943),<ref>{{cite web| url = http://flamenco-guitars.com/santos_hernandez_guitars.html| title = Santos Hernandez guitars| access-date = 9 November 2017| website = flamenco-guitars.com| archive-date = 9 November 2017| archive-url = https://web.archive.org/web/20171109081239/http://flamenco-guitars.com/santos_hernandez_guitars.html| url-status = dead}}</ref> who built several guitars for the maestro [[Sabicas]], [[Domingo Esteso]] and [[Modesto Borreguero]]. Also noteworthy are the Conde Brothers, Faustino (1913–1988), Mariano (1916–1989) and Julio (1918–1996), nephews of Domingo Esteso, whose children and heirs continue the saga.

The guitarists use the technique of [[alzapúa]], [[Picado (music)|picado]],<ref>Picado consists of pressing a string with the index and middle fingers alternately, resting the fingers on the immediately superior string.</ref> the [[strum]] and the [[tremolo]],<ref>The [[tremolo]] which is the action of pressing the same string with the pinky, ring, middle and index finger. consecutively and quickly. It is a technique that in flamenco is executed using four fingers, while in classical guitar only three are used (ring, heart and index).</ref> among others. One of the first touches that is considered flamenco, such as the "rondeña", was the first composition recorded for solo guitar, by [[Julián Arcas]] ([[María (Almería)|María, Almería]], 1832 – [[Antequera]], Málaga, 1882) in Barcelona in 1860. The strum can be performed with 5, 4 or 3 fingers, the latter invented by [[Sabicas]]. The use of the thumb is also characteristic of flamenco playing. Guitarists rest their thumb on the guitar's soundboard and their index and middle fingers on the string above the one they are playing, thus achieving greater power and sound than the classical guitarist. The middle finger is also placed on the pickguard of the guitar for more precision and strength when plucking the string. Likewise, the use of the pickguard as an element of percussion gives great strength to flamenco guitar playing. The melodic or flourishing phrase that is inserted between the chord sequences intended to accompany the couplet is called "falseta".<ref>There is also talk of playing or accompanying above (using the [[Fingering (music)|fingering]] of the [[Chord (music)|chord]] [[E major]]) and through ([[A major]]), regardless of whether or not it was transported with the [[Capo (musical device)|capo]].</ref>

The accompaniment and solo playing of flamenco guitarists is based on both the modal harmonic system and the tonal system, although the most frequent is a combination of both. Some flamenco songs are performed "a palo seco" ([[a cappella]]), without guitar accompaniment.

=== Cante (song) ===
{{Main|Cante flamenco}}
According to the Royal Spanish Academy, "cante" is called the "action or effect of singing any Andalusian singing", defining "flamenco singing" as "agitated Andalusian singing" and cante jondo as "the most genuine song. Andalusian, of deep feeling ".<ref>See [[drae: cante|''cante'' in the DRAE]].</ref> The interpreter of flamenco singing is called ''cantaor'' instead of singer, with the [[Andalusian dialect#Loss of the intervocalic / ð /|loss of the intervocalic characteristic of the Andalusian dialect]].

The most important award in flamenco singing is probably the {{Ill|Llave de Oro del Cante|es}}, which has been awarded five times to: {{Ill|Tomás el Nitri|es}}, {{Ill|Manuel Vallejo|es|4=fr}}, [[Antonio Mairena]], [[Camarón de la Isla]] and [[Antonio Fernández Díaz|Fosforito]].

=== Baile (dance) ===
''El baile flamenco'' is known for its emotional intensity, proud carriage, expressive use of the arms and rhythmic stamping of the feet, unlike [[tap dance]] or [[Irish dance]] which use different techniques. As with any dance form, many different styles of flamenco have developed.<ref>{{cite book | last1=Landborn | first1=Adair | title=Flamenco and Bullfighting: Movement, Passion and Risk in Two Spanish Traditions | date=16 September 2015 | publisher=McFarland | isbn=978-0-7864-9616-7 | url=https://books.google.com/books?id=iTCSCgAAQBAJ&pg=PA40 }}</ref>

In the 20th century, flamenco danced informally at gitano (Roma) celebrations in Spain was considered the most "authentic" form of flamenco. There was less virtuoso technique in gitano flamenco, but the music and steps are fundamentally the same. The arms are noticeably different from classical flamenco, curving around the head and body rather than extending, often with a bent elbow.
[[File:Tablao Cordobés 06.jpg|thumb|upright|left|Flamenco, Córdoba]]
"Flamenco puro" otherwise known as "flamenco por derecho" is considered the form of performance flamenco closest to its gitano influences. In this style, the dance is often performed solo, and is based on signals and calls of structural improvisation rather than choreographed. In the improvisational style, castanets are not often used.

"Classical flamenco" is the style most frequently performed by Spanish flamenco dance companies. It is danced largely in a proud and upright style. For women, the back is often held in a marked back bend. Unlike the more gitano influenced styles, there is little movement of the hips, the body is tightly held, and the arms are long, like a ballet dancer. In fact, many of the dancers in these companies are trained in Ballet Clásico Español more than in the improvisational language of flamenco. Flamenco has both influenced and been influenced by Ballet Clásico Español, as evidenced by the fusion of the two ballets created by 'La Argentinita' in the early part of the 20th century and later, by [[Joaquín Cortés]], eventually by the entire [[Ballet Nacional de España]] et al.

In the 1950s [[Jose Greco]] was one of the most famous male flamenco dancers, performing on stage worldwide and on television including the [[Ed Sullivan Show]], and reviving the art almost singlehandedly. Greco's company left a handful of prominent pioneers, most notably: Maria Benitez and Vicente Romero of New Mexico. Today, there are many centers of flamenco art. Albuquerque, New Mexico is considered the "Center of the Nation" for flamenco art. Much of this is due to the late (d. 2024) [[María Benítez]]'s 37 years of sold-out summer seasons. Albuquerque boasts three distinct prominent centers: [[National Institute of Flamenco]], [[Casa Flamenca]] and [[Flamenco Works]]. Each center dedicates time to daily training, cultural diffusion and world-class performance equaled only to world-class performances one would find in the heart of Southern Spain, Andalucía.

Modern flamenco is a highly technical dance style requiring years of study. The emphasis for both male and female performers is on lightning-fast footwork performed with absolute precision. In addition, the dancer may have to dance while using props such as castanets, canes, shawls and fans.

"[[New flamenco|Flamenco nuevo]]" is a recent marketing phenomenon in flamenco. Marketed as a "newer version" of flamenco, its roots came from world-music promoters trying to sell albums of artists who created music that "sounded like" or had Spanish-style influences. Though some of this music was played in similar pitches, scales and was well-received, it has little to nothing to do with the art of flamenco guitar, dance, cante Jondo or the improvisational language. "Nuevo flamenco" consists largely of compositions and repertoire, while traditional flamenco music and dance is a language composed of stanzas, actuated by oral formulaic calls and signals.

[[File:Deborah Greenfield.jpg|thumb|right|220px|Los Angeles, United States]]
The flamenco most foreigners are familiar with is a style that was developed as a spectacle for tourists. To add variety, group dances are included and even solos are more likely to be choreographed. The frilly, voluminous spotted dresses are derived from a style of dress worn for the [[Sevillanas]] at the annual [[Seville Fair|Feria]] in [[Seville]].

In traditional flamenco, only the very young or older dancers are considered to have the emotional innocence or maturity to adequately convey the ''[[Duende (art)|duende]]'' (soul) of the genre {{harv|Anon.|2010}}. Therefore, unlike other dance forms, where dancers turn professional through techniques early on to take advantage of youth and strength, many flamenco dancers do not hit their peak until their thirties and will continue to perform into their fifties and beyond. One artist that is considered a young master is Juan Manuel Fernandez Montoya, otherwise known as "Farruquito". At age 12, Farruquito was considered a pioneer and for "flamenco puro", or "flamenco por derecho", because of his emotional depth.

<gallery widths="200px" heights="200px" perrow="5">
File:Castelucho.jpg|[[Claudio Castelucho]], flamenco
File:Theatre Flamenco Work Sample.webm|Theatre flamenco work sample
File:Baile andaluz 1893 José Villegas Cordero.jpg|[[José Villegas Cordero]], Baile Andaluz
File:Sargent John Singer Spanish Dancer.jpg|[[John Singer Sargent]], ''Spanish Dancer''
</gallery>

;Scenes of flamenco performance in Seville.
<gallery widths="200px" heights="200px" perrow="5">
Flamenco en el Palacio Andaluz, Sevilla, España, 2015-12-06, DD 07.JPG
Flamenco en el Palacio Andaluz, Sevilla, España, 2015-12-06, DD 11.JPG
Flamenco en el Palacio Andaluz, Sevilla, España, 2015-12-06, DD 20.JPG
Flamenco en el Palacio Andaluz, Sevilla, España, 2015-12-06, DD 23.JPG
</gallery>

== Regulated teaching of flamenco in educational centers ==

In Spain, regulated flamenco studies are officially taught in various music conservatories, dance conservatories and music schools in various autonomous communities.<ref>{{Cite web|url=https://m.diariodejerez.es/jerez/IES-Hungria-Fernando-CADF-Flamenco_0_1300970475.html|title=El IES Santa Isabel de Hungría, Fernando Gallo y el CADF recogen los premios 'Flamenco en el Aula'|date=17 November 2018}}</ref>

=== Conservatories of music ===
[[File: CSMCordoba.jpg|thumb|Rafael Orozco Superior Conservatory of Music of Córdoba.]]
Flamenco guitar studies in official educational centers began in Spain in 1988 at the hands of the great concert performer and teacher from Granada [[Manuel Cano Tamayo]],<ref>{{cite web | url = http://www.elartedevivirelflamenco.com/guitarristas26.html| title = Manuel Cano Tamayo | editor = The art of living flamenco}}</ref> who obtained a position as emeritus professor at the [https://csmcordoba.com Superior Conservatory de Música Rafael Orozco] from Córdoba.

There are specialized flamenco conservatories throughout the country, although mainly in the Andalusia region, such as the aforementioned [[Córdoba Conservatory]], the [https://www.csmmurcia.com Murcia Superior Music Conservatory] or the [[Superior Music School of Catalonia]], among others. Outside of Spain, a unique case is the [[Rotterdam Conservatory]], in the [[Netherlands]], which offers regulated flamenco guitar studies under the direction of maestro [[Paco Peña (musician)|Paco Peña]] since 1985, a few years before they existed in Spain.<ref>{{cite web | url = http://www.elartedevivirelflamenco.com/guitarristas61.html| title = Paco Peña | editor = The art of living flamenco }}</ref>

== University ==
In 2018 the first university master's degree in flamenco research and analysis begins,<ref>[https://www.diariodejerez.es/jerez/masterdeflamenco-universidaddecadiz-jerez-villapanes-franciscoperujo_0_1293171175.html The scientific corpus of flamenco]</ref> after the previous attempts of the "Doctorate Program of Approach to Flamenco", taught by several universities such as Huelva, Seville, Cádiz and Córdoba, among others.

=== History ===
The [[Fandango (dance)|fandango]], which in the 17th century was the most widespread song and dance throughout Spain, eventually ended up generating local and regional variants, especially in the province of Huelva. In Alta Andalucía and bordering areas, the [[Fandango (dance)|fandangos]] were accompanied with the [[bandola]], an instrument with which they accompanied themselves following a regular beat that allowed dancing and from whose name the style derives " abandoned ". Thus arose the fandangos of [[Lucena]], the [[drones of Puente Genil]], the primitive [[malagueñas]], the [[rondeñas]], the [[jaberas]], the [[jabegotes]], the [[verdiales]], the [[chacarrá]], the [[granaína]], the [[Taranto (music)|taranto]] and the [[tarantas|taranta]]. Due to the expansion of the Sevillanas in Baja Andalusia, the fandango gradually lost its role as a support for the dance, which allowed the singer to shine and freedom, generating a multitude of fandangos of personal creation in the 20th century. Likewise, thousands of Andalusian peasants, especially from the Eastern Andalusian provinces, emigrated to the mining sites [[Murcia Region|Murcian]], where the [[Taranto (music)|tarantos]] and [[tarantas|taranta]] s evolved. The Tarante de [[Linares (Jaén)|Linares]], evolved into the [[Minera (flamenco singing)|mining]] of the Union, the [[Cartagena, Spain|Cartagena]] and the [[Levantica]]. At the time of the cafés cantantes, some of these cantes were separated from the dance and acquired a free beat, which allowed the performers to show off. The great promoter of this process was [[Antonio Chacón (cantaor)|Antonio Chacón]], who developed precious versions of malagueñas, granainas and cantes mineros.

The stylization of romance and [[cord sheets]] gave rise to [[drae: corrido|corrido]]. The extraction of the romances from quatrains or three significant verses gave rise to the primitive [[tonás]], the [[Caña (flamenco)|caña]] and the [[Polo (music)|polo]], which share meter and melody, but differing in their execution. The guitar accompaniment gave them a beat that made them danceable. It is believed that their origin was in [[Ronda]], a city in [[Alta Andalucía]] close to [[Baja Andalucía]] and closely related to it, and that from there they reached the Sevillian suburb of [[Triana (Seville)|Triana]], with a great tradition of corridos, where they became the [[Soleá (dance)|soleá]]. From the festive performance of corridos and soleares, the [[Jaleo (cante)|jaleos]] arose in Triana, who traveled to [[Extremadura]] and in Jerez and [[Utrera]] led to the [[Bulería (music)|bulería]], from where they spread throughout Baja Andalucía, generating local variations.

== Lexicon ==

=== Ole ===
[[Adolfo Salazar]] states that the expressive voice ''ole'', with which Andalusian ''cantaores'' and ''bailaores'' are encouraged, can come from the Hebrew verb ''oleh'' which means "to throw upwards", showing that the [[dervish]] girovaghi of [[Tunisia]], [[Maghreb]], also dance around to the sound of repeated "ole" or "joleh".<ref>According to Salazar, the origin of the verb ''joleh'' could be in the liturgical ''[[Paschal Seder#Halel|Hallel]]''. Salazar, Adolfo. ''The Music of Spain''. Ed. Espasa Calpe, Madrid. Austral Collection. 1514. 1975. P. 44-45.</ref><ref>{{YouTube|id=kvWn0kli9ls|title=Derviches Tourneurs 4}}</ref> The use of the word "arza", which is the [[Andalusian dialect]] form, of pronouncing the voice [[Imperative mood|imperative]] "rise", with the characteristic [[Andalusian dialect#Equalization of / l / and / r / implosives|Andalusian equalization of / l / and / r / implosives]]. The indiscriminate use of the voices "arza" and "ole" is frequent when it comes to ''jalear'', but the most evidence of the origin of this word can be from the caló: ''Olá'', which means "come". Likewise, in Andalusia it is known as jaleo al ojeo de hunt, that is, the act of glancing, which is "driving away the game with voices, shots, blows or noise, so that they 'get up{{'"}}.

=== Duende ===
According to the RAE dictionary (1956!) The "duende" in Andalusia is a "mysterious and ineffable charm", a charisma that the gitanos call duende. [[Federico García Lorca]], in his lecture ''Teoría y juego del duende'' confirms this ineffability of the duende by defining it with the following words from Goethe: "Mysterious power that everyone feels and that no philosopher explains". In the flamenco imaginary, the duende goes beyond technique and inspiration, in Lorca's words "To search for the duende there is no map or exercise". When a flamenco artist experiences the arrival of this mysterious charm, the expressions "have duende" or sing, play or dance "with duende" are used.

Along with those previously mentioned, there are many other words and expressions characteristic of the flamenco genre, such as "tablao flamenco", "flamenco spree", "third", "aflamencar", and "flamenco".

=== In different ''Palos'' ===
Each ''palo'' within flamenco is associated with its own characteristic lexicon. While this connection had long been recognized informally, recent research has provided quantitative evidence. A computational study<ref>{{Cite journal |last=Rosillo-Rodes |first=Pablo |last2=San Miguel |first2=Maxi |last3=Sánchez |first3=David |date=2025-07-18 |title=Computational lexical analysis of Flamenco genres |url=https://dl.acm.org/doi/10.1145/3748729 |journal=Journal on Computing and Cultural Heritage |language=en |doi=10.1145/3748729 |issn=1556-4673}}</ref> analyzing more than 2000 flamenco lyrics applied [[natural language processing]] and [[machine learning]] techniques to classify songs by ''palo''. The findings showed that differences in vocabulary allow automatic classification of lyrics with notable accuracy. This confirmed that the distinct origins, histories, and cultural contexts of each ''palo'' are reflected in their lexical patterns.

The study also examined semantic fields and inter-genre distances, identifying relationships among major palos and supporting historical theories regarding their development. For example, alegrías were found to emphasize festive themes and references to [[Cádiz]], seguiriyas to convey profound concerns and [[Romani people|Romani]] expressions, and bulerías to encompass a wide range of topics. A network analysis highlighted lexical connections among ''palos'', with bulerías acting as a central link.

== See also ==
{{Portal|Latin music|Music}}
{{columns-list|
*[[Concurso de Cante Jondo]] – (Contest of the Deep Song) was a fiesta of flamenco arts, music, song, and dance, held in [[Granada]] in 1922
*[[Festival Bienal Flamenco]] – in theatres [[Seville]], this festival features flamenco puro to innovative new works by dancers, vocalists and guitarists
*[[Flamenco rumba]] – a style of flamenco music
*[[Flamenco rock]] – a rock music subgenre that emerged from Andalusia
*[[Flamenco shoes]] – commonly leather shoes constructed with small nails embedded in the toe and heel to enhance the sound of the dancer's percussive footwork
*[[Latin Grammy Award for Best Flamenco Album]]
*''[[Kumpanía: Flamenco Los Angeles]]'' – a 2011 independent documentary film exploring the origins and contemporary Spanish culture of flamenco
*[[New flamenco]] – a derivative of traditional flamenco [[Fusion (music)|fusing]] flamenco guitar virtuosity with other musical styles
*[[Camarón de la Isla]] – considered one of the all-time greatest flamenco singers
*[[Paco de Lucia]] – a Spanish virtuoso flamenco guitarist, composer, and record producer
*[[David Peña Dorantes]] – a Romani flamenco pianist and composer from Andalusia
*[[Niño Josele]] – a Spanish guitarist, and exponent of the New flamenco style
*[[Paco Peña]] – regarded as one of the world's foremost traditional flamenco guitar players
*[[Sevillanas]] – a type of folk music and dance of Seville and its region, influenced by flamenco
*[[Silverio Franconetti]] – a singer and the leading figure of the period in flamenco history known as "The Golden Age"
*[[Tablao]] – a place where flamenco shows are performed and the term used for the flamenco dance floor
*[[Tomatito]] – a Spanish roma flamenco guitarist
*[[Traje de flamenca]] – the dress traditionally worn by women at festivals in Andalusia; one form worn by dancers
*[[María Pagés]] – a modern Spanish dancer and choreographer, considered the paramount representative of flamenco vanguard
*[[Cristina Hoyos]] – a Spanish flamenco dancer, choreographer and actress who played an important role during the opening and closing ceremonies of the [[1992 Summer Olympics]] in Barcelona
*[[Vicente Amigo]] – a Spanish flamenco composer and guitarist
*[[Antoñita Singla]] – a Catalonian flamenco dancer and actress known as "La Singla" who took Spain and Europe by storm in the period 1960–1988.
*[[Flamenco zapateado notation]] – It is the graphic representation of the sonorous and motor aspects of the particular movements of flamenco dancing}}

==References==
{{Reflist}}

== Sources ==

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* {{cite book|last= Holguín|first= Sandie|title= Flamenco Nation: The Construction of Spanish National Identity|location= Madison|publisher= [[University of Wisconsin Press]]|year= 2019|isbn= 9780299321802|pages= 25–57|doi= 10.2307/j.ctvgc62dd|jstor=j.ctvgc62dd |s2cid= 197774320}}
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*{{cite book|last=Koster|first=Dennis|title=Guitar Atlas, Flamenco|url=https://books.google.com/books?id=l8SMixi1mbQC&pg=PA5|access-date=4 March 2013|date=1 June 2002|publisher=Alfred Music Publishing|isbn=978-0-7390-2478-2}}
*{{cite book|last= Leblon|first= Bernard|translator-last= Ni Shuinear|translator-first= Sinead|title= Gypsies and Flamenco: The Emergence of the Art of Flamenco in Andalusia|url= https://books.google.com/books?id=farZoyKozikC|location= Hatfield|publisher= [[University of Hertfordshire Press]]|year= 2003|isbn= 9781902806051}}
*{{Cite journal|last=Machin-Autenrieth|first=Matthew|date=2015|title=Flamenco ¿Algo Nuestro? (Something of Ours?): Music, Regionalism and Political Geography in Andalusia, Spain|journal=Ethnomusicology Forum|volume=24|issue=1 (April)|pages=4–27|doi=10.1080/17411912.2014.966852|hdl=2164/17695 |s2cid=217531496|hdl-access=free}}
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*{{cite journal|last= Manuel|first= Peter|title= Evolution and Structure in Flamenco Harmony|url= https://academiccommons.columbia.edu/doi/10.7916/D8902FFS/download|journal= Current Musicology|publisher= [[Columbia University Press]]|year= 1986|volume= 42|pages= 46–57|doi= 10.7916/D88051HJ|s2cid= 193937795}}
*{{cite journal|last= Manuel|first= Peter|title= Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex|publisher= [[University of Illinois Press]]|journal= Ethnomusicology|year= 1989|volume= 33|number= 1|pages= 51–52|doi= 10.2307/852169|jstor= 852169|url= https://academicworks.cuny.edu/cgi/viewcontent.cgi?article=1535&context=jj_pubs|url-access= subscription}}
*{{cite book|last=Martin|first=Juan|title=Solo Flamenco Guitar|publisher=Mel Bay Publications|isbn=978-0-7866-6458-0|page=48|date=2002}}
*{{cite book|title=Flamenco: All You Wanted to Know|url=https://books.google.com/books?id=Bzd1CTtnjS8C&pg=PA6|last=Martinez|first=Emma|publisher=Mel Bay|year=2011|isbn=9781609744700}}.
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*{{wikicite|ref={{harvid|Mendoza|2011}}|reference=Mendoza, Gabriela. "[http://www.elsalvador.com/mwedh/nota/nota_completa.asp?idCat=8615&idArt=5620732 Ser flamenco no es una música, es un estilo de vida]". ''El Diario de Hoy'' (2011): {{Page needed|date=March 2020|reason=Inclusive page numbers of article needed}}.}}
* Ortiz Nuevo, José Luis: ''Alegato contra la pureza'', Libros PM, Barcelona, 1996. {{ISBN|84-88944-07-1}}
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* {{wikicite|ref={{harvid|Ríos Ruiz|1997}}|reference=Ríos Ruiz, Manuel. ''Ayer y hoy del cante flamenco'', Ediciones Istmo, Tres Cantos (Madrid), 1997. {{ISBN|84-7090-311-X}}.}}
*{{wikicite|ref={{harvid|Rossy|1998}}|reference=Rossy, Hipólito: ''Teoría del Cante Jondo'', Cresda, Barcelona, 1998. {{ISBN|84-7056-354-8}} (First edition: 1966)}}
*{{cite book |title=Vibrant Andalusia: The Spice of Life in Southern Spain |last=Ruiz |first=Ana |publisher=Algora |year=2007 |isbn=978-0-87586-540-9}}
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* [http://www.rtve.es/alacarta/videos/rito-y-geografia-del-cante/ ''Rito y geografía del cante''. Serie documental de los años 70 del siglo XX sobre los orígenes, estilos y pervivencia del cante flamenco], con [[José María Velázquez]]-Gaztelu.
* ''[https://www.rtve.es/alacarta/audios/nuestro-flamenco/ Nuestro flamenco]'': programa de [[Radio Clásica]], con José María Velázquez-Gaztelu.
* [http://www.juntadeandalucia.es/cultura/web/publico/areas/minisitio.jsp?idA=8&men=1&pagc=8_1_1presentacion.jsp Agencia Andaluza para el Desarrollo del Flamenco]
* [https://www.flamencoviejo.com Flamenco Viejo]
* [https://web.archive.org/web/20120930032149/http://www.flamencoolimpico.com/ Flamenco Olímpico] Reportaje Documental
* [https://web.archive.org/web/20120924003408/http://www.radiole.com/especiales/enciclopedia_flamenco/ ''Flamenco de la A a la Z'']: breve enciclopedia del flamenco que incluye diccionario en el [http://www.radiole.com/ sitio] de [[Radiolé]].
* [[Félix Grande|GRANDE]], Félix: ''Memoria del flamenco'', con prólogo de [[José Manuel Caballero Bonald]]. Galaxia Gutenberg/[[Círculo de Lectores]], Barcelona, 1991.
** [http://www.librosaguilar.com/uploads/ficheros/libro/primeras-paginas/200701/primeras-paginas-memoria-flamenco.pdf Texto] en ''[[PDF]]''.
* [https://www.sevillaflamenco.es Flamenco en Sevilla]
* [[Emilio Lafuente Alcántara|Lafuente Alcántara]], Emilio (1825–1868): ''Cancionero popular. Colección escogida de seguidillas y coplas'', 1865.
** Vol. II: [https://books.google.com/books?id=bNv24CF7m-gC&dq=inauthor%3Aemilio%20inauthor%3Alafuente%20inauthor%3Aalcantara&pg=PA5 ''Coplas'']; texto en [[Google Books]].
** [https://sites.google.com/site/earabistasyafricanistas/indice-de-autores/emilio-lafuente-y-alcantara-1825-1868 Sobre Emilio Lafuente Alcántara] {{Webarchive|url=https://web.archive.org/web/20151005171914/https://sites.google.com/site/earabistasyafricanistas/indice-de-autores/emilio-lafuente-y-alcantara-1825-1868 |date=5 October 2015 }}, hermano de [[Miguel Lafuente Alcántara]], en el [https://sites.google.com/site/earabistasyafricanistas/ sitio] {{Webarchive|url=https://web.archive.org/web/20151005170007/https://sites.google.com/site/earabistasyafricanistas/ |date=5 October 2015 }} Biblioteca Virtual de Arabistas y Africanistas Españoles.
* [http://es.slideshare.net/lu1312/el-flamenco-y-sus-palos?qid=584a2f83-aef4-4599-8362-490cfab397a3&v=qf1&b=&from_search=1]
* Universo Lorca | [https://www.universolorca.com/lugar/plaza-de-los-aljibes/ El Concurso del Cante Jondo de 1922. Web dedicada a la vida y obra de Federico García Lorca y su vinculación con Granada.] (Diputación de Granada)
* Los Palos del Flamenco | [https://blog.flamencosonline.com/tag/historia/ Los Palos del Flamenco. Artículos sobre el origen y evolución del arte flamenco.] {{Webarchive|url=https://web.archive.org/web/20210523174909/https://blog.flamencosonline.com/tag/historia/ |date=23 May 2021 }} (Flamencos Online)

=== Notes ===
<references></references>

== External links ==
{{Commons}}

{{Intangible Heritage Spain}}
{{Music of Spain}}
{{Music in spanish}}
{{Dance}}
{{Authority control}}

* [https://www.flamencoshowinseville.com Flamenco show in Seville]

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