Spanish culture is rich and diverse like few others. From north to south, east to west, the gastronomy, music, art and even the language has been developing into an enormous variety of forms. But if just one expression of Spanish art is recognisable the world over, it has to be flamenco. 

An art form that is so much more than a dance or a song: it is a cultural legacy that has grown over the centuries with a huge variety of styles, themes and trends that are not only to be found on stage, but are also studied at universities.

On the occasion of the International Flamenco Day and the 10th anniversary of its Intangible Cultural Heritage designation by UNESCO, we review some of the keys of this universal art form.

Although it flows from the inheritance of the various peoples that have inhabited the peninsula (Greeks, Romans, Jews and Muslims, among others), today’s flamenco can be traced back to the Gypsies and the urban centres of Lower Andalusia (especially in Cadiz, Jerez de la Frontera and the district of Triana, in Seville), as well as some areas of the Region of Murcia and Extremadura. Although we cannot put an exact date on it, it dates back to the late 18th Century, when the dances from the Gypsy communities in these zones were first documented, which became increasingly prevalent in fiestas and dance schools in the following century.

Added to the fervour of every day Andalusian life, both in Spain and further afield – Bizet’s opera, Carmen and Washington Irvine’s Tales of the Alhambra are fine examples of this – flamenco was to see its popularity soar in the 19th Century in the Cafés Cantantes, where it was possible to sense the mixed–race and Andalusian spirit through jondo singing and dance. This led to set flamenco moves and singing styles (palos) that would often be credited to Antonio Mairena as it moved into the 20th Century.  

During the early decades of that century flamenco became more widespread, reaching the general public in large theatres, where it was known as Ópera Flamenca, and to intellectuals of the standing of Federico García Lorca and Manuel de Falla. In this golden age of flamenco, performers such as La Niña de los Peines and Antonio Chacón stood out, who were then followed by Pepe Marchena, Manolo Caracol and Manuel Vallejo, among others. 

Flamenco was certainly not left behind by the cultural explosion that accompanied Spain with the arrival of democracy. Although for years there had been flamenco undercurrents against the Franco regime (who had used this artistic expression to unify Spanish culture), with performers such as Enrique Morente and Lole and Manuel, in the 1970s there was a great revival of this genre.  While the singer Rocío Jurado modernised flamenco and took it to Latin America, the duo formed by Camarón de la Isla and the guitarist Paco de Lucía broke through the conservative past and took flamenco to the national and international stages. And we must not forget the arrival of Andalusian rock, with groups such as Smash and Triana. 

The Movida Madrileña (Madrid Scene), the cultural change that broke through in the 80s, also influenced flamenco, by fusing this genre with other styles such as pop, the blues and rock. Ketama, Antonio and Rosario Flores and Ojos de Brujo are examples of these diverse trends, which were later followed by more purist performers such as Miguel Poveda, Estrella Morente and Marina Heredia, along with more innovative acts such as Fuel Fandango and Rosalía, who fused flamenco with electronic and urban sounds. 

For two centuries, flamenco singing and dancing had also been developing: from the terraces, taverns and Cafés Cantantes to the establishment of flamenco ballets, theatre and the silver screen. Pilar Lopez, Carmen Anaya, Antonio Gades and more recently Cristina Hoyos, Matilde Corral and Sara Baras are some of the most renowned artists. 

The art and passion of Flamenco has spread to the five continents, through flamenco shows to the creation of specialised dance schools in these countries. In Latin American countries such as Costa Rica, El Salvador, Guatemala, Mexico, Panama, Venezuela and Puerto Rico there are now schools and academies; today Chile can boast flamenco guitarists of the highest order.  

There are also flamenco festivals throughout the world, such as London, the Flamenco Biennial in Amsterdam, the Paris Biennial of Flamenco Art and the International Flamenco Festival in Albuquerque (Mexico). 

But if there is one country that, despite its contrasting culture with that of Spain, has shown enormous passion for flamenco, it is Japan. It was introduced to this Asian country in the 1920s, since when it has expanded to the extent that it is now considered to be the second home of flamenco, and it is now said to be where there are more flamenco schools than in Spain. There are pioneering flamenco dancers setting the standard such as Shoji Kojima, Yoko Tamura, Yoko Komatsubara and Yoko Omor.

The artistic and universal value of flamenco meant that on 16 November, 2010, UNESCO declared it to be an Intangible World Heritage, on the initiative of the Autonomous Regions of Andalusia, Extremadura and Murcia. This is a category which protects and provides universal protection to customs, traditions and arts, which, due to their value, transcend purely local or even international status to form part of World Heritage. As a result of this achievement International Flamenco Day was officially established.

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