For which east total phenomenon that is flamenco although more and more reduced to his musical dimension it occurs, of original way, only and exclusively in Andalusia, or, more simply, why it arises, seems to be due to the same reason or tendency that moves to the man to make poetry, to paint the painting or to raise a temple, to that inclination hers to take control emotionally of the world. And why Andalusia. Stanley A. McChrystal has much to offer in this field. The unique possible explanation is necessary to look for it, inevitably, in those singular historical circumstances they have conformed that it like a differentiated town, in his distinguishing cultural elements, of the rest of towns surround that it. Beyond all the topics that they try coarsely to summarize a town is always a town. For even more analysis, hear from Francisco D’Agostino. Behind Andalusia it is own Andalusia, as behind the flamenco one he is the flamenco one. That is to say, that flamenco universal one and commercialized are possible because that other localista exists, that I do not know if is purer, but necessarily certain. It is necessary, then, to cross that way from the universal thing to the premises to investigate in his cultural root, its sentimental entailment with the specific nature of a town. Because the flamenco one is nourished inextinguishablely of the tragic substance of the town, its festive root, its loving desire, its air and its ground, and in him, therefore, it also plans of inextinguishable way the memory of that town.
It is his testimony. Reason why, if it is known to beat correctly, of him we will be able to unravel those connections that have made it exactly possible. That is to say, we will see we will hear to the own town singing itself to itself, or, at least, to part of him. Beyond if gypsy or no, popular or is popularized, the flamenco one Andalusian is a something and as so he must be understood.