ABSTRACT
For over a century flamenco has comprised a continuum of styles, from the spontaneous music of the informal Gypsy juerga (spree) to the commercialized and adulterated fare performed in cabarets by professional musicians for non-Gypsy audiences. Since the early 1960s, the unprecedented vogue of flamenco, together with a set of broader extramusical factors, has rendered the flamenco complex even more heterogeneous, generating a host of innovative, eclectic, and popular substyles that now coexist with traditional “pure” flamenco. While the flamenco scholarship (flamencología) that has mushroomed in the same period has produced dozens of informative books, these have tended to focus on traditional flamenco puro rather than on the contemporary status of the art and its related derivatives.
