Cruces-Roldán, Cristina. “Bailes Boleros y Flamencos En Los Primeros Cortometrajes Mudos. Narrativas y Arquetipos Sobre «lo Español» En Los Albores Del Siglo XX.” Revista de Dialectología y Tradiciones Populares, vol. 71, no. 2, Dec. 2016, pp. 441–65.,

Llano, Samuel. “Flamenco, Flamenquismo, and Social Control.” Discordant Notes: Marginality and Social Control in Madrid, 1850-1930, edited by Samuel Llano, Oxford University Press, 2018, p. 0. Silverchair,

Bohlman, Philip Vilas. The Music of European Nationalism: Cultural Identity and Modern History. ABC-CLIO, 2004.

Casellas, Jesús López-Peláez. “The Politics of Flamenco: La Leyenda Del Tiempo and Ideology.” Popular Music, vol. 36, no. 2, May 2017, pp. 196–215. Cambridge University Press,

Sell, Mike. “Bohemianism, the Cultural Turn of the Avantgarde, and Forgetting the Roma.” TDR/The Drama Review, vol. 51, no. 2 (194), June 2007, pp. 41–59. Silverchair,


Goldman, Danielle. I Want to Be Ready: Improvised Dance as a Practice of Freedom. University of Michigan Press, 2010.

Haanpää, Minni. “Co-Creation as Choreography.” Qualitative Market Research: An International Journal, vol. ahead-of-print, no. ahead-of-print, Jan. 2022. Emerald Insight,

Lepecki, André. “Choreography as Apparatus of Capture.” TDR/The Drama Review, vol. 51, no. 2 (194), June 2007, pp. 119–23. Silverchair,

—. “Choreopolice and Choreopolitics: Or, the Task of the Dancer.” TDR/The Drama Review, vol. 57, no. 4 (220), Dec. 2013, pp. 13–27. Silverchair,

Manning, Erin. Always More Than One: Individuation’s Dance. Duke University Press, 2013.


Lepecki, André. “The Body as Archive: Will to Re-Enact and the Afterlives of Dances.” Dance Research Journal, vol. 42, no. 2, ed 2010, pp. 28–48. Cambridge University Press,

Goldberg, K. Meira. Sonidos Negros: On the Blackness of Flamenco. Oxford University Press, 2018.

Musser, Amber Jamilla. “Racialized Femininity and Representation’s Ambivalences in Trajal Harrell’s The Return of La Argentina.” Post45: Peer Reviewed, Oct. 2022.,

Lin, Ching-Yu. “Música y poética flamenca en dos poemas del Libro de familia de Félix Grande.” Moenia, vol. 24, 2018, pp. 237–51.,

The Beyond

Meyerson, Ben. Over-Abundance and Ineffability: Flamenco, Mysticism and the Joyful Language-Game. p. 26.

Riquelme, Pedro Fernández. “La religiosidad en el Cante de las Minas. Dios en el Flamenco */Religiosity in the Cante de las Minas. God in Flamenco.” Revista Murciana de Antropología, no. 19, 2012, pp. 129–33.


Manuel, Peter. “The Rosalía Polemic: Defining Genre Boundaries and Legitimacy in Flamenco.” Publications and Research, Jan. 2021,

Washabaugh, William. Flamenco: Passion, Politics and Popular Culture. Routledge, 2021,

One comment on “Reading List: Onto-Epistemologies of Flamenco

  • This list is super engaging, Inma!

    A couple of quick thoughts:

    I think what you’ve included in “Nation” will do some of this, but I wonder if there might not be a history of flamenco to include? there may not be a singular history of flamenco — which is part of what makes it interesting as a theme/inquiry — and/but something that gets to the material conditions out of which it moves and circulates, which can tell us about the bodies it dis/organizes? I have a very vague memory of reading quite a long time ago now a critical history of flamenco coming out of British cultural studies — might be outdated at this point, honestly, but it might helpfully situate — Timothy Mitchell, maybe?

    Historical contexts seem important in that I think part of the story you’re engaging is one of continuities (and perhaps disjunctures) between early modern and modern globalization via course of empire/colonialism…

    Also, this is to the side a bit, but it occurs to me that the intro (at least) to Jonathan Gil Harris’ Untimely Matters might be useful to you as a way of thinking the thickness of the present as a matter of engaging the early modern.

    Finally for now, are there a few exemplary primary texts you want to think with for this list? Cultural representations or historical artifacts? Or the music of, which overlaps with the sound work, of course?

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