Flamenco is an art in constant evolution and it began to take shape in the mid-nineteenth century, with the appearance of the singing cafes. Dance, singing and clapping are the conjunction of this form of expression that the gypsies guarded in their hermetic world: their customs and their way of life could only be projected abroad from the law issued by King Charles III (1783) that equaled them in rights to any Spanish subject.

Flamenco, as we already know, is a purely Andalusian phenomenon. It is the result of those popular Andalusian cantes and dances brought to the world of gypsies, who gave them a special color and assimilated it to their musical culture. And from that melting pot of Andalusian music, from that fusion of millenary cultures, from that symbiosis, this flamenco-gypsy-Andalusian art flourishes, and the gypsy people returns it to us with the depth and the temperament that characterize them.

The gypsy, as a smart and clever people, finds a more humane and worthy way of subsistence, professionalizing his privileged ability.

Carlos III shelters them in the neighborhood of Triana and, from then on, we could say that Sevilla without Triana would be Seville with one arm less.

To speak of flamenco is to speak of the most important popular and traditional musical fact of the entire West, which is currently shared and enjoyed throughout the world as a globalized cultural event. However, although flamenco in its three basic aspects (singing, dancing and playing) is declared an Artistic Patrimony of Humanity by UNESCO and is already a universal musical fact, it is necessary to contemplate and analyze it through Andalusian history itself, since that Andalusia is its homeland, its root and foundation.