This complex and rich art form reflects the Andalusian culture and its people.  Its remarkable heritage and traditions, with codes and structures left behind by the great Masters, must be honoured and respected even if taught or studied outside of Spain.  One of the most difficult challenges of Flamenco is to familiarize the student with the singing aspect since the trilogy of Flamenco consists of singing, guitar accompaniment and dance.  Interestingly enough, in its early development, flamenco was expressed mainly by singing

Flamenco became symbolic as an expression of the Andalusian Gypsies.  As they had done elsewhere they made much of the local music their own with an unusually profound emotion and a unique level of interpretation.  The art of flamenco is a combination of mainly Moorish and Sephardic-Jewish influences. Gypsies would use flamenco as a form of communication and transcendental celebration and by the late 1800s flamenco was performed in the first Café Cantantes and many artists came to fame in what was then called the ‘Golden Age of Flamenco’.  Even non-Gypsies were lured to this elusive and complex art form.  The contribution of great artist such as Antonio Chacón, Franconetti, Ansonini, Rafael Ortega, Ramón Montoya and many others led to the contemporary genius of Paco de Lucía, who changed the face of flamenco for generations to come.

The evolution of Flamenco has seen a multitude of fusions, in the musical aspects and as well as in the dance. It seems that the young generation is almost bored with the pure art form; so many new ways have popped up since the 70s, and many maestros and purists raise an eyebrow and wonder if this is progress or the mutilation of an ancient and proud tradition. 

Perhaps it is time to go back to the original roots and study and rediscover the power of Flamenco in its original context.