Lindsay Mount
MHL 143
Dr. Ferguson
16 August 2014

The Evolution and Culture of Flamenco Music Flamenco style has evolved drastically over the past century. Flamenco essentially was born from the interaction between gypsy and non-gypsy Andalusians of Spain. The history of oppression and changes in political thought has all contributed to the changes in the role of flamenco in the last 100 years. Currently due to tourism and the popularity of flamenco professionalization has risen out of this popularity. A plethora of public performances and concerts are found in Spain today, carrying on the history of the Andalusia people for all to experience (Manuel 47).
Flamenco is a strain of Spanish folk music and dance that stems from the region of Andalusia, closely associated with the Romani people of Spain (Gurza E1). This rich development of dance and music has evolved over the last 100 years and beautifully captures the culture of this region by showing differences in its role for the people (Manuel 47).
The old role of flamenco music in Spain was essentially used by the lower classes and persecuted gypsies of Andalusia (Washabaugh 51). It was a “cry of pain” for the suffering gypsies and of all the lower classes (Manuel 48). I observed the emotional nature of the music from my visit to the Musical Instrument Museum. The poetic nature of the lyrics was easily heard in my experience in the Spain exhibit. The use of the music was only for the lower classes of Andalusia but the function was essentially an emotional release through the use of poetic lyrics to convey “love, hate and pain” (Washabaugh 52). The events that caused this function of flamenco are important to note. The Moorish rule over Andalusia created a period of economic and cultural prosperity that made Andalusia the most populous and rich region of Spain. Its’ economy was fueled by commerce, agriculture, and textile production. Its’ cultural life was said to be “the most cosmopolitan in Europe” (Manuel 48-49). Arab, Christian and Jewish lived in harmony during this period. This came to an abrupt end with the Reconquista. The Castilians replaced religious tolerance with the Inquisition, persecuting and massacring along the way (Manuel 50). The struggle of this change of rule is found in the change of the function of flamenco. Overall, the role of flamenco simply served as a way for the people to express their hardships and reflect on the social and political changes in Spain.
The recent changes in flamencos role in Spain are due to its immense popularity and new “fusion” of the traditional flamenco sound (Gurza E1). The recent increase in tourism now making Spain the “world leader in tourism” has made flamenco not just a music for the lower classes (Malefyt 63). “New flamenco” can be heard in clubs all over Spain and can be heard on car stereos around Madrid (Gurza E1). This growing national interest has driven flamenco to fuse with other styles such as hip hop and jazz. This genre is now defined as “intrinsically mainstream” and has even created a divide between traditional performances and the now professionalization of the performances (Malefyt 64). The role of flamenco for the people that wish to preserve the old tradition, is to relive Andalusia’s history of oppression. The role of new flamenco serves to be a crowd pleaser and to satisfy tourism (Gurza E1). The 20th century began a new era in flamenco. The newfound popularity of the music has influenced the vocal timbre of the flamenco singer. Less “raspy” timbre and due to other influences on the audience, out of tune singing is no longer tolerated. The sexual nature of this music has been preserved in both the traditional practice and the mainstream practice (Malefyt 64). However, the role of flamenco in Spain has changed for the people. The new role is shown by the fusion with current culture of hip hop and the new popularity of this music. No longer is this used as an emotional expression, but rather as a fuel for tourism and modern thinking (Gurza E1).

Works Cited “Spain Exhibit” Musical Instrument Museum. 4725 E Mayo Blvd, Phoenix, AZ 85050
Gurza, Agustin. "CULTURE; the Next Flamenco; A New Century Reshapes the Passionate Art with Influences from Hip-Hop to Jazz -- and a Strong Dose of Tradition." Los Angeles Times: E1. Sep 28 2003. ProQuest. Web. 16 Nov. 2014 .
Malefyt, Timothy Dewaal. "Inside" and "Outside" Spanish Flamenco: Gender Constructions in Andalusian Concepts of Flamenco Tradition. Anthropological Quarterly, Vol. 71, No. 2, pp. 63-73, 1998, Web 16 Nov. 2014.
Manuel, Peter. “Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex” Ethnomusicology, Vol. 33, No. 1, pp. 47-65, 1989. Web. 16 Nov. 2014.
Washabaugh, William. “Flamenco Music and Documentary” Ethnomusicology, Vol. 41, No. 1 (Winter, 1997), pp. 51-67, 1997. Web. 16 Nov. 2014.