Transnational Flamenco: Transcultural Exchange and the Role of the Individual in Mediating English and Andalucian Flamenco Culture

Flamenco, an art complex with its roots situated in Andalucía, is often assumed by outsiders to be a
representative of a coherent national identity. This is a false assumption, both with regards to the
realities of the art form and in terms of Spanish identity. My research suggests flamenco is a
subculture appreciated by a minority of Andalucía-centric Spanish aficionados. Most outside of the
scene reject it for reasons including identifying with another region, preferring popular music, or
negatively associating flamenco with Franco and Gitanos. Significantly, as early as the nineteenth
century, it developed a considerable following outside of Spain’s borders amongst non-Spanish
aficionados. Utilising information acquired from ethnomusicological fieldwork in Sevilla and the UK,
the thesis examines the relationship between local (Spanish) and foreign flamenco culture. The aim is
to provide insight into how flamenco travels, manifestations in its new locale, and possible effects on
the Sevilla scene. Preliminary UK investigations revealed sub-scenes revolving around the efforts of
singular cultural brokers who developed connections with flamenco in Spain and transported the
information to the UK forming a glocal cultural model. This foreign interest has resulted in a
commercial flamenco industry in Sevilla, as well as a vibrant associated ex-pat community there.
These realisations inspired a methodological approach involving the individual experience and its
importance in music migration. Further research revealed that flamenco is transmitted outside of
Spain primarily by foreign individuals (Cosmopolitan Hubs) who possess transcultural capital from
the Andalucían flamenco community, as well as from their home country. This transcultural capital is
utilised to create economic capital in the UK. Overall this research suggests a postnational approach
and explores the role of Cosmopolitan Hubs in cultural transmission, thus suggesting an alternative
approach to music migration and glocalization in a world increasingly less focused on ethnicity or
nationality for individual identity formation.