Flamenco, marking cultural the specific one of a town: Andalusia p 3 1.1. Inaugural geography of sings jondo p 3 1.2. Social origins of the flamenco one: the gypsy, the miner, the day laborer and proletarian p 4 1.3. Confusion between the popular Andalusian and national Spanish .

andalucinacin p 5 2. The flamenco ritual and its spaces of sociability p 7 2.1. Flamenco prevailed in front of flamenco public. The desvirtuacin of the flamenco rite: of the familiar celebration to the flamenco-spectacle p 7 2.2. The tendency to the social segmentation in the custom flamenco p 8 2.3. The total expression: the sociocultural phenomenon and the musical phenomenon p 10 3.

The flamenco one: existential gorge of a town. Love and pain p 11 3.1. The pansexualismo Andalusian: erotic desire p 113.2. The aesthetic one of the pain. His tragicismo p 13 BIBLIOGRAPHY p 15 Introduction writes Luis Rosales in the beginning of his indeed distresses that sings is not spoken, sings is not written and I must, sincerely, say that everything what will come next, desoyendo to Rosales, will not be but a useless attempt to write it. It sings is not written. No. It sings is sung. And to write envelope he is to speak of him but without him. In order to hear it, to touch it, to drink it is necessary to live it and, for this reason, any pretension to theorize with him, of to shake vigorously rationally must it be necessarily uncultivated. Therefore, with this brief approach I will not deal to explain sings, to reason it, to express it of scientific way, but to delimit some peripheral questions in any case that serve to locate it like a deeply human product and deeply Andalusian.

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