Cultural Heritage in Education: Flamenco as a Pedagogical Tool for Future Teachers in Spain

Abstract

This study explores how future teachers in Spain perceive the incorporation of cultural heritage in education, with a specific focus on flamenco as a pedagogical tool. Using exploratory factor analysis and surveys from 301 participants, the research identified the key variables that influence the valuation of cultural heritage through flamenco within educational settings. The findings revealed that social and cognitive skills, such as group cohesion, attention, and memory, are significant factors in appreciating flamenco as an educational resource. The study emphasizes flamenco’s potential to foster emotional, social, and cognitive development, positioning it as an effective means to integrate cultural heritage into teaching practices. This research contributes to understanding how flamenco as a pedagogical tool can enrich educational methodologies and enhance cultural heritage awareness among future educators.

1. Introduction

Transforming learning spaces and innovative methodologies are two key ways to activate knowledge and allow education to go beyond theoretical concepts [1]. In Spain, the legal framework that encompasses the main structure of the educational system has gradually evolved from an old-fashioned scheme to a state-of-the-art one [2]. It has been adapted to the new circumstances that not only embrace students and teachers but also reflect the broader society.

Cultural elements deeply embedded in Spanish heritage, such as flamenco, have been increasingly considered in this framework [3]. In Andalusia, the birthplace of flamenco, a recent law specifically mandated the incorporation of flamenco into the educational curriculum [3]. This raises important questions about how flamenco, as a manifestation of cultural heritage, can be effectively integrated into teaching practices. Thus, this research focused on identifying the key determinants that influence the implementation of flamenco in the educational curriculum and how it can serve as a pedagogical tool.

To explore this, surveys were conducted with 301 future teachers and students from the Conservatoire of Music to analyze their perceptions, attitudes, and skills regarding the use of flamenco as a teaching resource. This approach allowed us to gather valuable data on the factors that shape how flamenco can be utilized in educational settings, highlighting its potential to enhance emotional, social, and cognitive skills among students.

This article is organized as follows: Section 1 reviews the literature on cultural heritage and education, with a focus on the role of flamenco in the Spanish educational system. Section 2 details the methodology, including the survey design and data collection process. Section 3 presents the results of the exploratory factor analysis, and Section 4 discusses these findings in the context of the broader literature. Finally, the conclusion outlines the implications for integrating flamenco as a pedagogical tool and suggests directions for future research.

2. Literature Review

2.1. The Flamenco Appearance in the Legal Framework of Andalusian School Centres

The Organic Law for the educational improvement of 2013 [4] focused on the artistic, cultural, creative, and emotional milieu of students. Flamenco, then, was indirectly introduced into the national educative curriculum because it was considered an intangible asset by UNESCO in 2010 [5,6]. Then, the Decree 97/2015 [7] introduced flamenco as a subject to be learned in the school centers of Andalusia. Thanks to this, flamenco was recognized as a concept linked to the cultural heritage of Andalusia that should be incorporated by the centers. However, the Law 17/2007 [8] had already considered the Andalusian culture in its article 40, including the history, general culture, and natural environments as differentiating aspects of this region.

Nowadays, the regional Decree [9] establishes as a main objective of the Compulsory Secondary Education stage (from now own, CSE) that flamenco should be taught as a differentiating element, too. The student, then, needs to appreciate, value, and respect the basic aspects of Andalusian culture, people, and history in order to self-identify with these aspects as part of their own heritage. According to the Boletín Oficial de la Junta de Andalucía 90 [9], one of these differentiating aspects is flamenco, which should be known, valued, and respected.

Furthermore, this is also mentioned in the pedagogical principles of the CSE stage, in which flamenco, music, literature, art, and traditions, among others, are essential elements that the teacher or professional should take into consideration in curricular development. The cultural and natural heritage of the Andalusian region, such as the linguistic varieties and other traditional or current contributions from citizens, is part of this educative curriculum [9].

Additionally, it is necessary to remember that the Flamenco Law of Andalusia [3] forces its learning because this music style is a cultural asset throughout this region, which considered the cradle of it, as was previously mentioned. However, although Andalusia is the cradle of flamenco, Bennahum [10] mentioned Paris in his study as the hub where Spanish artists who contributed to the flamenco art created their ideas. An example of that contribution is the one of Antonia Mercé, “La Argentina” (a dancer who performed on French stages). Furthermore, Kajanová [11] studied how this type of music, along with others, was raised and expanded in central Europe and, subconsciously, passed from generation to generation (specifically thanks to emotions as the key factor in flamenco music). According to Thompson [12], it is noteworthy that this musical heritage is due to the influence of diverse cultures, such as Arab, Jewish, and Romanized Celt-Iberian cultures, among others, but its origin remains in Andalusia.

2.2. A Distinctive Horizon for Flamenco Learning

Contemplating flamenco as a concept to be acquired within the legal framework is challenging unless the general law [2] is carefully observed. Firstly, as drawn by law, the capacities that citizens should develop during their academic courses include learning to be, learning to know, learning to live together, and learning to do [2]. This means that students should develop their autonomy, personal growth, and academic paths beginning in pre-primary education. They should also build strong personal relationships with other classmates and with the society in which they live.

More objectives, key competences, evaluation criteria, basic knowledge, and learning situations will also help in reaching these capacities in each stage [9]. Specifically, in this study, we focused on CSE and pre-college years to deeply examine how different factors of the legal framework mingled with interdisciplinary studies and academic research are tightly related to flamenco as a method of learning.

2.2.1. Handling Emotions

Among the teaching principles established for this CSE stage, a strong sense of the critical and scientific spirit, emotional education, genre equity, and creativity is perceived as a fundamental factor to be developed in all subjects [9]. Without a shadow of a doubt, flamenco could be useful to manage emotions and feelings and reflect on them to meet the main requirements of learning in any subject. Pohren [13] explained that “One does not have to be a performer of flamenco to be ‘a flamenco’. A flamenco is anyone who is emotionally and actively involved in this unique philosophy”. In fact, it is considered a lifestyle, which is non-necessary attributed to Gypsy Andalusians [14]. This art extensively expanded to many parts of Spain, and therefore, it is part of the Spanish culture and its society.

Flamenco is a source of self-discovery, according to Helin [15]: “I was searching in my bodily movements for the same understanding and authenticity as I experience whilst expressing my inner emotions through flamenco”. Therefore, this art serves as a therapy. Expressive flamenco is even an art-based practice that is performed to heal [16]. The main objectives of using this artistic experience go beyond music and dance, as it is connected with the authentic self and the true essence [16].

On the other hand, De las Heras Monastero [17] also stated that artistic education allows a complete and emotional development through the art’s inclusion in the educational process [18]. This inclusion could be facilitated through flamenco dance, as De Rueda and Requena’s research declared [19] that “flamenco dancing has major physical and psychological implications that may affect dancers’ performance and emotional state” [20].

Flamenco is considered a holistic experience, where the rhythm, harmony, and the musical warmth have a great impact on the individual who lives it [21]. Additionally, there are other rhythmic and motor skills that could be developed through flamenco, as it involves dance-move therapy, too. It is known that dance-move therapy is normally linked to physical and emotional needs [22].

2.2.2. Developing Musicality

Regarding its musicality, flamenco is a very complex genre; in terms of tonality, Machin-Autenrieth [23] explained that it uses both conventional major and minor scales. Its compás (rhythm) is also an integral factor that normally concerns time cycles [21]. Therefore, hearing its music is complex and enjoyable, but in this regard, Gutiérrez Cordero and Perea Díaz [24] established a paradigm that links its hearing with its history. According to them, the history, i.e., flamenco theory, cannot be excluded from hearing flamenco. The hearing of it, then, goes beyond origin, musical forms or interpretations, or just its enjoyment. Greater than this series of knowledge, the music makes sense as it is be heard and, consequently, as the human organism interacts with musical stimuli [22].

Furthermore, Muñoz Muñoz [25] dealt with the relation of flamenco with all subjects but especially regarding its musical manifestation, which is linked to the area of musical education [26]. Díaz [27] stated that musical language learning or acquisition contributes to an artistic aim that can only be reached through the creation of music. Folklore was shown as an important factor to be initiated in this learning field. The author maintained that the cultural enrichment contributes to a large extent to the teaching and learning implementation of music in education. He reflected on the fact that the lack of consideration and research on the Andalusian model of flamenco affects the axis of music acquisition, as students do not access other music styles. Additionally, Casas-Mas [28] introduced urban flamenco as the principal musical form of the 21st century, which complicates the work of teaching it, as the teaching practice should fluctuate between mainstream music and aboriginal traditions. However, if flamenco is integrated into the curriculum, students will know other music genres as well, as they will have access to the culture of Andalusia and with it the musical learning and awareness of other cultures [27]. For this reason, one of the skills necessary to create flamenco is improvisation, and this could be practiced by taking into consideration the tradition and the musical aspects of the genre [29].

2.2.3. Promoting Sociality

Flamenco serves the purpose of creating identity, namely the Andalusian identity [18]. It creates a sense of belonging to a local community and the framework of collective sociality, according to Rodríguez [18]. This author even stated that flamenco could serve as a successful tool for social and educative intervention. Linares [22] also reinforced this idea of flamenco boosting collectivity, as it is a collective art. This author explained that the feelings conveyed in the moment are one of the aspects that participants should consider and practice amidst all their interactions. However, this process also involves individuality.

A primary goal of the education law is strengthening students’ affective capacities. They should develop relationships with other people, reject violence and prejudices of any type, and expand their capacities to solve conflicts peacefully. Flamenco seems to be the perfect tool to mingle students from different ethnic origins due to its strong social projection [30]. Additionally, it should not be overlooked that flamenco has a dynamic nature because social changes make it a continuous evolutionary process. Thanks to that, following Aix Gracia’s work [30], its commercialization and internationalization, which have caused its adaptation and globalization, have raised a process of construction and redefinition of the social relationships it involves.

On the other hand, flamenco serves as a vehicle for the social participation of special education students. Navarrón Cuevas et al. [31] reinforced this idea by adding that it improves the personal image of students, their communicative skills, their emotional expressions, and, consequently, their self-esteem. Additionally, Jiménez López’s study [32] revealed how flamenco could be put into practice to reinforce psychosocial and personal abilities in non-formal lessons. And as flamenco is a cultural and social activity, it reinforces integration within the community [29].

In addition to the latter, flamenco has been applied to the coeducation field in order to improve genre equity and social organization, following Pérez [33,34]. Some examples include Pérez [33] quotation of the work of López Castro [35], who published “El flamenco y los valores: una propuesta de trabajo escolar”, and the workshop developed by Tomás Alarcón [36], which boosted the genre equity among Roma children, isolating stereotypes and prejudices [32].

2.2.4. Improving Educational Skills

Flamenco learning does not have a specific methodology, as Casas-Mas et al. [37] indicated [38]. Their study [37] determined that the learning–teaching musical process of flamenco, jazz, and classical music are outside of the formal contexts. The oral transmission, the repetition of a fragment until it is learnt, and the correction of error are key elements in learning flamenco, according to Casas-Mas et al. [37,38]. The interpretation of the pieces demonstrates that students should develop their active listening skills. Studying music, in general, as Sotelo [39] stated it promotes improvisation, creativity, hearing capacity, memory, and the ability to link sounds.

The instrument that has accompanied oral transmission and the flamenco has been the guitar, commonly named as guitarra flamenca to differentiate it from other types [40]. It could be said that this instrument can also be learned within this flamenco paradigm in school centers. Due to the repetition and oral transmission with which the skills to play this guitarra flamenca should be mastered, Ong [41] in Arjona [42] reminded that study of this instrument, although out of formalized contexts, assists the development of more communicative and less introspective students. Additionally, the discipline necessary to practice and, eventually, play any instrument is worth mentioning. This constant autonomy and perseverance are truly enriching for the development of adolescents. It helps them tolerate frustration in a better way, cooperate to solve problems, and break a never-ending hectic rhythm. Then, their attention capacities also mature, along with, consequently, their cognitive skills.

2.3. A European Perspective on Cultural Heritage

Several years ago, European countries created, through the European Commission, the European Education Area to address some common objectives and standards regarding education. Among the aspects concerning this institution, the Council adopted a recommendation related to the key competences for lifelong learning [43]. These so-called key competences are essential for personal development, adopting a healthy and sustainable lifestyle, employability, active citizenship, and social inclusion. There are eight that deal with all these above-mentioned areas [43], but the one this paper focuses on is the key competence of awareness and cultural expression, as flamenco is an expression itself [44].

Additionally, another fundamental pillar of the European Council relies on boosting inclusion [45]. Having an inclusive education assists in the evolution and development of a society. Therefore, flamenco can support the achievement of these perfecting qualities as an interdisciplinary genre to improve the quality and the equity of education and training as part of the main European themes.

The European Centre for Modern Languages of the Council of Europe gives particular importance to plurilingual and intercultural education, with which flamenco is quite related. In this case, the Spanish language is the main form of its transmission.

Valuing and Participating in Spanish Cultural Heritage

Heritage education is a “key discipline in management of cultural heritage”, according to Fontal [46]. The quantity of heritage assets in Spain could contribute to cultural-, social-, and self-identification [46]. Narrowing the concept, it is important to connect students with their own language, too; the heritage language, as Wiley and Valdes [47] named it, makes students feel connected to a language in terms of culture ([48]). In the words of Van Deusen-Scholl [49], the heritage language refers to “a heterogeneous group ranging from fluent native speakers to non-speakers who may be generations removed, but who may feel culturally connected to a language” ([46]). Flamenco and the Spanish language have a special connection; there are terms related to this art that evoke an image and a context that, in fact, are connected to te Spanish culture. Some examples include tablao (the flamenco club) or bailaora (the flamenco dancer), described by Goldbert et al. [50]: “as a Gitana […]. She is wrapped in a heavily embroidered shawl, emblem of wealth and empire, with a red rose in her dark hair. Her corset-defying bends, lascivious hips, and sinuous arms and hands seduce the viewer, only to reject this invading gaze with a stamp of defiance”. These terms can only be evoked through the flamenco art, and therefore, transmitting them in education for participating in and valuing the Spanish culture would naturally connected students with their own roots.

On the other hand, accomplishing the continuous objectives and facing the challenges of Spanish society are quite demanding tasks, but the new legal framework endeavors to give an answer to all of them. In fact, respecting the history of the Roma people, recognizing ethnic minorities, and recognizing the culture and history of Andalusia in general are some of these requirements. Above all, the regionalism that students can learn to identify with Andalusia comes through flamenco, as it has been a “marker of identity”, according to Machin-Autenrieth [23]. Cortés-Vázquez and Llorent-Bedmar [51] also stated that its practice in isolation is hard because its transmission has passed down from generation to generation (linking its first appearance to the Roma-style dances). However, the opinion of flamenco as a cultural marker is very biased, as it has become a stereotype that seems to touch personal taste and interest, regionalism, and fashionable trends, among others. Education battles flamenco prejudices about portraying a “not really European” image. The truth is that, if seen more practically, flamenco depicts Andalusia.

According to the objectives established in the Spanish national law [2], students should appreciate artistic creations and comprehend artistic language in all its possible representations. Specifically, the regional decree in Andalusia explains that students should be exposed to cultural and artistic training, which will promote their creative development and will serve to help them value and participate in the natural, cultural, and artistic heritage of Andalusia [9]. It was even added that special attention should be given to flamenco along with the enrichment of ethnic–cultural minorities that live together in the region. Additionally, it states as a main objective for the stage that the student will know and respect the cultural heritage of Andalusia, starting in knowledge and comprehension of the culture and recognition of the region as a meeting point of cultures [9].

All in all, this stage has a clear purpose: when the student finishes it, he or she will have acquired the basic elements of culture, especially in its humanistic, artistic, technologic–scientific, and motor aspects [9].

3. Method

Participants

The descriptive statistics presented in Table 1 show the sociodemographic characteristics of the participants. Regarding sex, 62.13% were women (n = 187), while 37.87% were men (n = 114). The average age was 24.61 years (standard deviation = 7.93), with a range from 14 to 57 years, indicating the presence of a relatively young group of participants.

Regarding the educational level of the parents, 29.90% of the mothers participated in university studies, and 31.56% completed secondary education, while in the case of the fathers, 18.60% had studied at university, and 41.53% completed secondary education. These data reflect a high level of education among the parents of the participants.

Table 2 shows the profile of the participants in relation to flamenco. Familiarity with flamenco was diverse, with 25.25% of participants classifying their knowledge in category “2” and 24.92% in category “3”, indicating a moderate level of familiarity in the majority. Furthermore, 68.77% of the participants stated that they listen to flamenco regularly, and 32.23% had attended a live flamenco show in the last year, showing an active interest in this musical genre.

On the other hand, 55.81% of the participants knew that flamenco has been recognized by UNESCO as an Intangible Cultural Heritage of Humanity, reflecting a high level of cultural knowledge. In general, these results show that the participants have a diverse demographic profile, a good level of education, and a considerable degree of familiarity and commitment to flamenco (the survey can be observed in Appendix A).

4. Materials and Procedure

4.1. Surveys

Once the main aspects related to the skills and knowledge of flamenco were identified, a survey was designed to evaluate the perceptions and competencies of the participants in relation to cultural heritage (CH) and flamenco. Based on previous studies [50,51,52], an approach was used that allowed the construction of an ad hoc database to measure perceptions and skills related to flamenco. The surveys were carried out online between January and March 2022 and were disseminated through specialized flamenco channels.

The survey instrument was divided into three sections. The first requested information about the respondent and their relationship with flamenco, the second inquired about the valuation of the different dimensions of the skills on which flamenco could have an effect, and a scale from 1 to 7 was used to rate the responses, where 1 represented the lowest rating and 7 the highest. Finally, we asked about the sociodemographic data of the people surveyed.

Table 3 presents the different groups of observed variables and the specific variables evaluated within each group. These categories include variables related to “Heritage Valuation”, “Musical Skills”, “Emotional Skills”, “Educational Skills”, “Social Skills”, and “Cultural Participation”. For example, in the heritage valuation group, aspects such as interest in flamenco, other music, and dance were analyzed.

Table 4 shows the descriptive statistics of the participants’ responses to section two of the survey. These data demonstrate the variety and richness in the participants’ skills and perceptions regarding flamenco. Altogether, the results reflect a high level of appreciation and skills related to flamenco, providing a solid basis for future research in education and cultural participation in this field.

4.2. Empirical Strategy

The empirical strategy implemented in this study relied on a robust methodological framework tailored to analyze the data collected through a structured questionnaire, which facilitated the development of an ad hoc database. Building on this foundation, the study identified the variables that influence the valuation of flamenco as a pedagogical tool [24]. The strategy was carried out in two key phases. Firstly, an exploratory factor analysis (EFA) using principal components was performed [53,54,55]. This method is particularly suitable when high correlations exist among variables, indicating redundancy, thereby enabling a small number of factors to account for the majority of the total variability. The following section presents the results of the correlation analysis, which served as a precursor to the EFA.

The first phase of the empirical approach entailed the calculation of correlations between the variables measured in the questionnaire. This analysis allows for the identification of statistically significant relationships, highlighting the degree of association between variables and indicating potential redundancies in the data. High correlations among specific variables suggest the presence of underlying constructs that can be further examined through factor analysis. The use of Pearson’s correlation coefficients ensures a precise and reliable assessment of these relationships, which are critical to the subsequent stages of the analysis [6,56].

Building on the insights from the correlation analysis, an exploratory factor analysis was conducted as the second phase of the empirical strategy. This analysis employs principal component extraction with varimax rotation to uncover latent structures within the dataset. The EFA process allows for the grouping of highly correlated variables into distinct factors, reflecting underlying dimensions that explain the variability in the data. The suitability of the data for this analysis was validated through the Kaiser–Meyer–Olkin (KMO) measure of sampling adequacy and Bartlett’s test of sphericity, ensuring the robustness of the results [6,57,58].

This empirical strategy is grounded in established methodologies in cultural economics and experimental aesthetics. The combination of correlation analysis and EFA allows for a detailed examination of the relationships among variables and the identification of the most relevant dimensions underlying the responses. By integrating qualitative and quantitative methods, this approach provides a robust framework for understanding the complex constructs associated with the subject matter and ensures the validity and reliability of the findings.

5. Results

5.1. Analysis of Correlations

The correlation analysis shows the relationships between the observed variables and how these are associated with each other, which allows us to understand the influences and patterns that underlie the perception and skills related to flamenco.

First of all, the strong correlations between “knowledge of cultural heritage” (CH) and “valuation of CH” stand out (r = 0.9051), indicating that as participants have greater knowledge of heritage, their valuation also increases significantly. This strong relationship is key to understanding how knowledge of CH is fundamental for its appreciation and age.

Musical skills also show high correlations, especially between “musical auditory ability” and “motor coordination” (r = 0.8384), suggesting that auditory perception is closely related to coordination ability, an essential skill in flamenco performance. Likewise, the “ability to improvise” has an important correlation with “rhythmic skills” (r = 0.7635), underlining the importance of rhythmic technique in the ability to improvise, a central element in flamenco.

Another interesting finding is the relationship between “making flamenco that can be felt” and “feeling flamenco” (r = 0.9427), which indicates that the ability to transmit the emotions of flamenco is strongly related to the ability to feel it. This demonstrates the importance of emotional connection in both the performance and experience of flamenco.

The correlations also indicate that “instrument learning” has a strong association with “artistic reflection” (r = 0.8467), suggesting that the process of learning to play instruments significantly influences the ability to reflect on the artistic experience. The relationship between “attention” and “discipline in class” (r = 0.8732) shows a connection between the ability to concentrate and disciplined behavior during musical training.

Correlations greater than 0.6, such as those observed between “heritage” and “making flamenco that can be felt” (r = 0.7935), underline the relevance of cultural legacy in the ability to transmit the essence of flamenco to others. These associations show how flamenco is perceived as a living art that is built and evolves in the interaction between knowledge, musical skills, and emotional experiences.

In conclusion, the correlations presented in Table 3, Table 4 and Table 5 show that the value of flamenco depends on a combination of emotional, musical, and educational factors, confirming the need for a comprehensive approach to its study and appreciation. This analysis provides the basis for carrying out an exploratory factor analysis that allows identifying the underlying structures in the perception and evaluation of flamenco.

5.2. Exploratory Factor Analysis

An exploratory factor analysis was performed on the sample using the maximum likelihood method with varimax rotation. To evaluate the adequacy of the model, Bartlett’s test of sphericity and the Kaiser–Meyer–Olkin (KMO) index were applied. The results show that Bartlett’s test of sphericity was significant (χ² = 9065.524, df = 253, p < 0.001), and the KMO index presented a value of 0.97, indicating that the data are suitable for conducting a factor analysis.

Table 6 shows the results of the exploratory factor analysis. A single factor was identified as explaining 89.56% of the total variance, with an eigenvalue of 17.77182. The factor loadings of the included variables indicate the contribution of each of them to the factor.

Among the most notable variables are “memory” (loading = 0.7171), “group unity” (loading = 0.7732), “social skills” (loading = 0.7718), and “attention” (loading = 0.7462), suggesting that these are the most influential on the underlying factor structure. Furthermore, variables such as “musical listening ability” (loading = 0.6039) and “instrument learning” (loading = 0.5776) also showed significant loadings.

The result of the factor analysis demonstrates that these variables are interrelated and represent essential elements for the valuation and perception of flamenco, confirming the multidimensionality of the skills and knowledge that influence the experience and appreciation of flamenco.

Based on the results obtained in the exploratory factor analysis, a synthetic index was constructed that evaluates the valuation of flamenco as a pedagogical tool, based on the variables that showed the most significant loadings on the identified factor. This approach reinforces and provides reliability to the measurement scale developed in this article.

Table 7 presents the variables selected for the construction of the index, along with their factor loadings, the eigenvalue, and the percentage of explained variance. The main factor identified explains 89.56% of the total variance, which indicates that this index is a robust representation of the key elements that influence the valuation of flamenco as a pedagogical tool [52,59].

As shown in Table 7, the variables “group unity” and “social skills” presented the highest factor loadings (0.7732 and 0.7718, respectively), which highlights the ability of flamenco to foster group cohesion and social interactions in a pedagogical context. Likewise, variables such as “attention” (0.7462) and “memory” (0.7171) contribute significantly to the index, reinforcing the relevance of flamenco in the development of cognitive skills.

This index reflects the multidimensionality of flamenco and confirms its potential as a pedagogical tool by incorporating emotional, social, and cognitive elements, providing a structured and reliable measure to evaluate its impact on education.

6. Discussion

Acquiring flamenco as a cultural element of Spain conveys a range of variables that make this task complex for teachers and professionals in the educational sector. Washabaugh [60] discussed how generalizing this tradition goes beyond concepts, as it fluctuates between history and contemporary experiences. Training and a solid theoretical basis are two key factors necessary to transmit flamenco and make it be felt. Not only is the family heritage background of students important, but the capacity of the professionals to create an atmosphere where flamenco becomes a cultural hub in the classroom is also crucial.

Flamenco should be prioritized in education, as it has been proven to encompass many benefits [3]. Wasting the advantages that its implementation could bring students would be misfortunate for Spanish society. A community can be enriched thanks to its heritage, language, and tradition (some of the intangible aspects of flamenco). Therefore, this study focused on discovering some of the benefits of flamenco that should be applied in the legal framework of education. In addition to this, the social, emotional, and cognitive skills that shape the essential argument for including flamenco provide invaluable contributions to foster other types of meaningful competences and abilities among students.

In terms of the artistic manifestation of flamenco, it cannot be denied that it supports the self-identification of participants (teachers, students, and the school centers themselves). According to García Nistal et al. [61], cultural heritage education encompasses immaterial, material, meaningful, and testimonial features of a region. Feeling Andalusia through flamenco and, in general, Spain can only be initiated in education (as well as the other cultural manifestations that are celebrated and studied, e.g., Constitution Day). However, flamenco cannot be felt, transmitted, and studied in a single day. It is a perfect tool to be combined with other arts, and it could also be mingled with any subject due to its transversality. This educational resource can be useful for many cognitive fields, but above all, its interdisciplinarity and versatility can assist the local community in terms of progress, evolution, and change. Returning to oral tradition, spontaneity, specific rhythms, and local dances will aid students’ creativity, self-discovery, determination, and confidence.

It should also be mentioned the internationalization component of flamenco can help to boost Spanish cultural heritage [62]. Globalization spreads knowledge to many countries to enhance the economy, among other matters. Therefore, as flamenco is a main element of the culture, it could indirectly improve the perception of Spanish culture abroad. In this regard, current students comprise the following generations that will maintain this perception of Spanish culture to create an internationalized society that quickly adapts to the coming changes and technological advances. In fact, according to Perales Molada and Moreno Fuentes [63], the history of art in all its perceptions and of music are paramount for students not only to know their own cultural context but also to build their personal and social future.

With reference to the legal framework of Spain [2], cultural heritage should be appreciated, and therefore, flamenco is a perfect method to boost the key competence of cultural awareness and expression as well as the personal, social, and learning-to-learn competences. Flamenco helps students to manifest their own ideas, opinions, and feelings by adopting an inclusive attitude when exposed to this authentic atmosphere. Additionally, experimenting with an artistic form helps transmit the cultural and artistic heritage of Andalusia. Consequently, students are aware of their own roots and learn to manage their feelings or those of others. They grow in their flexibility to adapt to new forms and changes, and they better understand other lifestyles and ethnicities.

Flamenco can also help them to analyze their own learning processes so that, eventually, they will be able to reflect and come to significant and meaningful conclusions. Obtaining feedback and engaging in self-evaluation are not easy tasks for students. On that account, since flamenco is not a very defined art, as the rhythms and melodies depend on the artist or even bailaor (flamenco dancer), students are forced to reflect on it to achieve a clear perspective and demonstration of this complex art form. Key competences and soft skills are reinforced through its listening and practice.

7. Conclusions

Flamenco is a cultural element that encompasses many determinants that justify its implementation in the legal framework, specifically within the educational curriculum, which is currently mandated to include flamenco as a cultural manifestation of Spanish society. Consequently, students will benefit from all the elements hidden in this concept, from the most cultural ones to those related to educational skills, such as soft skills and key competences. Students will become open-minded citizens who will not ignore the importance of their local roots and their origins. Teachers will reinforce from their in-class contexts the value of flamenco to preserve the uniqueness of heritage in relating flamenco cultural participation to other educational skill determinants, such as memory and discipline. This can be considered a utopian idea, but the truth is that teachers rely on multiple resources, both tangible and intangible ones, that, along with their creativity, can produce transformative learning methods for this disruptive era where maintaining the focus of attention is a complex task.

Society should be locally based and, at the same time, evolve and look forward. This perspective should be gradually transmitted at school centers to create a more sustainable, ethical, inclusive, and internationalized educational context that meets the requirements of European education. Flamenco is the resource that can help combine the tradition and complexity of Andalusian culture in Spain, and it also supports the necessary task of Spanish society in keeping folklore alive. Far from being just another concept in the legal framework, flamenco legitimizes Spanish heritage. It values the oral tradition, the dances, the rhythm, and the feelings that emerge in the authors, the cantaores (flamenco singers), and all who listen to it. In fact, flamenco has long been a source of inspiration for literature, painting, and musical genres, among other arts.

Students should also be exposed to the intangible and important effects that flamenco produces. They need to feel what flamenco means: the Andalusian lifestyle, the perception of Spanish culture abroad, the heritage, the culture, the art, and the customs. Creating an environment that helps students attain these skills, such as feeling flamenco, is currently mandated by law due to all the benefits that flamenco offers. Looking deeper, the holistic educative framework of Europe also needs this cultural issue to help it shed stale and obsolete stereotypes. Although the origin of flamenco horizon is always attributed to the Roma people, it can be used as an inclusive tool that eases coexistence and union and fights against prejudices. It helps to reinforce teenagers’ social skills and their own emotional intelligence. To this aim, teachers can use flamenco to create learning spaces and transform the social panorama of students by promoting inclusive values of respect, freedom, and solidarity. Therefore, the future generation of teachers should acknowledge flamenco as a conduit for cultural heritage that will enhance other avenues for educating citizens and fostering their cultural appreciation.

8. Future Lines of Research

This research proves the benefits that motivated the inclusion of cultural heritage in the educational curriculum of Spain, specifically through studying flamenco. Since flamenco is a fundamental artistic concept that goes beyond cante (singing), toque (guitar playing), and baile (dance), it represents the Spanish spirit in terms of culture and, above all, Andalusian identity. Due to this, future fields of research should investigate how this holistic and cultural concept could be put into practice, determine how it can be mingled with other disciplines, and, eventually, study the impact it really has on education.

Author Contributions

Conceptualization, J.H.-C., L.D.-R. and R.S.; methodology, J.H.-C. and R.S.; software, J.H.-C.; validation, J.H.-C. and D.-T.A.; formal analysis, J.H.-C.; investigation, J.H.-C., L.D.-R., D.-T.A. and R.S.; resources, J.H.-C. and L.D.-R.; data curation, J.H.-C. and R.S.; writing—original draft, L.D.-R. and R.S.; writing—review and editing, J.H.-C., L.D.-R. and D.-T.A.; visualization, L.D.-R. and D.-T.A.; supervision, J.H.-C.; project administration, J.H.-C.; funding acquisition, D.-T.A. All authors have read and agreed to the published version of the manuscript.

Informed Consent Statement

Informed consent was obtained from all subjects involved in this study.

Data Availability Statement

The data that support the findings of this study are available from the corresponding author upon reasonable request.

Conflicts of Interest

The authors declare no conflicts of interest.

Abbreviations

The following abbreviations are used in this manuscript:

UNESCO	The United Nations Educational Scientific and Cultural Organization
CSE	Compulsory Secondary Education

Footnotes

Disclaimer/Publisher’s Note: The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of MDPI and/or the editor(s). MDPI and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.

Tables

Table 1

Sociodemographic profile.

Sex		N	%
Female		187	62.13
Male		114	37.87
Level of studies: Mother
None		11	3.65
Primary education		49	16.28
Secondary education		95	31.56
Baccalaureate		56	18.60
University		90	29.90
Level of studies: Father
None		16	5.32
Primary education		63	20.93
Secondary education		125	41.53
Baccalaureate		41	13.62
University		56	18.60
Age
Obs.	Media	Typ Dev.	Min.	Max.
301	24.61	7.93	14	57

Own sources.

Table 2

Participants’ profile.

Flamenco Knowledge		N	%
1		31	10.3
2		76	25.25
3		75	24.92
4		65	21.59
5		40	13.29
6		14	4.65
7		3	1
Live show attendance in the last year
Yes		97	32.23
No		204	67.77
Flamenco listening
Yes		207	68.77
No		94	31.23
UNESCO recognised flamenco
Yes		168	55.81
No		133	44.19

Own sources.

Table 3

Groups of observed variables.

Variables Group	Variables
Heritage valuation	Valuation of cultural heritage; interest in flamenco; interest in other music; interest in flamenco dancing; interest in dance.
Musical	Hearing ability; image of Spanish music; rhythmic skills; motor coordination; ability to improvise
Emotional	Emotion management; feeling flamenco; making flamenco that can be felt; artistic reflection.
Educative	Knowledge of cultural heritage; learning musical instruments; study discipline; memory; vocabulary; attention; discipline in class.
Social	Group unity; social skills; stage fright
Cultural participation	Cultural shows attendance; cultural tastes/trends; heritage.

Table 4

Descriptive statistics.

	Obs.	Media	Typ. Dev.	Min.	Max.
Skills to value the Cultural Heritage (CH)
Knowledge CH	293	5.2628	1.8063	1	7
Valuation CH	295	5.2576	1.7578	1	7
Interest in flamenco	293	5.0239	1.8402	1	7
Interest in flamenco dance	288	4.9097	1.8588	1	7
Musical Skills
Musical hearing skills	284	5.243	1.7974	1	7
Rhythmic skills	295	5.3051	1.8576	1	7
Motor coordination	290	5.931	1.7997	1	7
Improvisation ability	295	4.9254	1.8611	1	7
Emotional skills
Emotion management	289	4.6644	1.8394	1	7
Feeling flamenco	287	4.8885	1.8325	1	7
Making flamenco that can be felt	288	4.8438	1.8647	1	7
Artistic reflection	290	4.9931	1.8415	1	7
Educational skills
Learning instruments	294	5.1156	1.8158	1	7
Memory	284	5.1056	1.7802	1	7
Vocabulary	288	4.8125	1.9108	1	7
Attention	285	5.0877	1.775	1	7
Discipline in class	290	5	1.832	1	7
Social skills
Group unity	284	5.0528	1.7895	1	7
Social skills	283	5.0035	1.8364	1	7
Stage fright	291	4.8316	1.9215	1	7
Skills for cultural participation
Attend cultural shows	291	4.8247	1.844	1	7
Cultural tastes/trends	288	5.0347	1.8513	1	7
Heritage	282	4.9504	1.7989	1	7

Own sources.

Table 5

Analysis of Correlations.

			Knowledge CH	Valuation CH	Interest in Flamenco	Interest Flamenco Dance	Musical Hearing Ability	Rhythmic Skills	Motor Coordination	Improvisation Ability	Emotion Management	Feeling Flamenco
Knowledge CH			1
Valuation CH			0.9051	1
Interest in flamenco			0.7185	0.6953	1
Interest flamenco dance			0.7252	0.7198	0.8769	1
Musical hearing ability			0.7972	0.7944	0.7698	0.7591	1
Rhythmic skills			0.7743	0.7759	0.7373	0.7167	0.8200	1
Motor coordination			0.7450	0.7746	0.6863	0.6948	0.8384	0.8882	1
Improvisation ability			0.6624	0.7034	0.6670	0.6836	0.7657	0.7635	0.7535	1
Emotion management			0.5873	0.6030	0.6278	0.6526	0.6842	0.6093	0.6351	0.7057	1
Feelin flamenco			0.6397	0.6212	0.8638	0.7942	0.7204	0.7404	0.6621	0.6841	0.6624	1
Making flamenco that can be felt			0.6154	0.6216	0.8666	0.8168	0.7299	0.7275	0.6752	0.7011	0.7112	0.9427
Artistic reflection			0.6851	0.7056	0.7467	0.7743	0.7992	0.7189	0.7180	0.7180	0.6937	0.7328
Learning instruments			0.6933	0.7127	0.7941	0.8160	0.8150	0.7007	0.6922	0.7009	0.7088	0.7305
Memory			0.7524	0.7689	0.7004	0.7133	0.8482	0.7017	0.7234	0.6831	0.6808	0.6826
Vocabulary			0.6757	0.7038	0.7123	0.7287	0.8084	0.6712	0.6810	0.6820	0.7349	0.6992
Attention			0.7256	0.7393	0.7150	0.7423	0.8516	0.7154	0.7168	0.7377	0.7125	0.6769
Discipline in class			0.7142	0.7001	0.7449	0.7833	0.8071	0.6947	0.6714	0.6866	0.7301	0.7465
Group unity			0.7297	0.7309	0.6894	0.7258	0.8158	0.6815	0.6991	0.7041	0.7163	0.6609
Social skills			0.7076	0.7101	0.6993	0.7505	0.7932	0.6552	0.6742	0.7046	0.7239	0.6667
Stage fright			0.5731	0.5898	0.6217	0.6429	0.6832	0.6550	0.6734	0.6645	0.6628	0.6140
Attend cultural shows			0.6442	0.6661	0.7898	0.8062	0.7624	0.6425	0.6495	0.6622	0.6684	0.7660
Cultural Tastes/trends			0.6922	0.7148	0.7599	0.7824	0.8631	0.7131	0.7680	0.6968	0.6528	0.7248
Heritage			0.7584	0.7612	0.8276	0.8151	0.8264	0.7243	0.7203	0.6860	0.6589	0.7933
99% significance level
Own sources
Making flamenco that can be felt	Artistic reflection	Learning instruments	Memory	Vocabulary	Attention	Discipline in class	Group unity	Social skills	Stage fright	Attend cultural shows	Cultural tastes/trends	Heritage
1
0.7343	1
0.7520	0.8467	1
0.6848	0.7338	0.7770	1
0.6936	0.7963	0.7905	0.7897	1
0.6831	0.7700	0.7931	0.8533	0.8496	1
0.7565	0.7712	0.7765	0.8075	0.8196	0.8732	1
0.6681	0.7615	0.7965	0.8728	0.8030	0.8583	0.8124	1
0.6915	0.7556	0.8009	0.8162	0.7923	0.8508	0.8277	0.8959	1
0.6378	0.6136	0.6321	0.5860	0.6130	0.6243	0.6019	0.6066	0.6007	1
0.7651	0.7859	0.7936	0.7226	0.7817	0.7574	0.7780	0.7442	0.7630	0.5962	1
0.7071	0.8166	0.7825	0.8055	0.8197	0.8055	0.7897	0.7865	0.7552	0.6446	0.8191	1
0.7935	0.7843	0.7763	0.7970	0.7860	0.7735	0.8020	0.7589	0.7703	0.6343	0.8171	0.8676	1
99% significance level
Own sources

Table 6

Results of the Exploratory Factor Analysis.

Variables	Loading	Eigenvalue	Percentage of Variance Explained (%)
		17.77182	89.56
Knowledge HC	0.4385
Valuation HC	0.4602
Rhythmic skills	0.3243
Motor coordination	0.3431
Improvisation ability	0.4490
Stage fright	0.3351
Emotion management	0.5275
Feeling flamenco	0.3206
Making flamenco that can be felt	0.3418
Interest in flamenco	0.3656
Interest flamenco dance	0.4365
Learning instruments	0.5776
Artistic reflection	0.5111
Attend cultural shows	0.5294
Cultural tastes/trends	0.5389
Heritage	0.5045
Musical hearing ability	0.6039
Memory	0.7171
Group unity	0.7732
Social skills	0.7718
Vocabulary	0.6257
Attention	0.7462
Discipline	0.6740
Bartlet’s test of sphericity			χ2 = 9065.524
			gl, 253
			Sig, 0.000
KMO			0.97

Own sources.

Table 7

Index for the valuation.

Variables	Loading	Eigenvalue	Percentage of Variance Explained (%)
		17.77182	89.56
Hearing ability Musical	0.6039
Memory	0.7171
Vocabuly	0.6257
Attention	0.7462
Discipline	0.6740
Group unity	0.7732
Social skills	0.7718
Bartlet’s test of sphericity			χ2 = 9065.524
			gl, 253
			Sig, 0.000
KMO			0.97

Own sources.

Appendix A

Flamenco and Education

Dear friend,

I am developing my final degree project at the Osuna University School directed by Doctors Carlos Chavarría Ortiz and Jesús Heredia Carroza. The information in the following questionnaire facilitates the understanding of the perceived value of flamenco as a useful element for the educational system.

I appreciate the time you take to complete the questionnaire, it is no more than 10 min, it will be very useful for our future research.

Section 1: Respondent profile

1. What level of knowledge do you have of flamenco?

   None  [Image omitted. Please see PDF.] Expert

2. In the last year, did you attend live flamenco concerts/performances?

   ☐ Yes (2)

   ☐ No (1)

3. If yes, how often?

   ☐ I have not attended a live performance (1)

   ☐ At least once per week (6)

   ☐ Once per month (5)

   ☐ Once every three months (4)

   ☐ Once every six months (3)

   ☐ Once a year (2)

4. If you have not attended live flamenco concerts/performances, what is the reason?

   ☐ Lack of money

   ☐ The places where they perform are far away

   ☐ Absence of this type of presentations in my city

   ☐ Lack of time

   ☐ Lack of knowledge of carrying out this type of presentations

   ☐ Disinterest/I don’t like Flamenco

   ☐ Fear of the COVID-19 pandemic situation

5. Do you listen to flamenco music?

   ☐ Yes (2)

   ☐ No (1)

6. The medium you normally use to listen to flamenco is:

   ☐ I do not listen to flamenco

   ☐ Live performances

   ☐ Recorded music (CDs, vinyls, etc.)

   ☐ Through Streaming platforms (such as Spotify or iTunes)

   ☐ YouTube

   ☐ Radio, Television

   Others: _____________________

7. Who mainly created your taste for flamenco?

   ☐ Parents/Family members at home

   ☐ Friends

   ☐ Own iniciative

   ☐ Couple

   ☐ I do not like flamenco

8. Did you know that flamenco was recognized in 2010 as Intangible Heritage of Humanity?

   ☐ Yes (2)

   ☐ No (1)

9. Do you see the implementation of regulated teachings about flamenco in the classrooms positive?

   ☐ Yes (2)

   ☐ No (1)

Section 2: questions related to flamenco aspects and its potential use as a useful element in the classroom.

Below, please indicate your level of disagreement—agreement with the following statements, with 1 being Strongly Disagree and 7 Strongly Agree (Mark an X in the box).

The use of flamenco in the classroom can enhance the following skills of students:

	1	2	3	4	5	6	7	DK/DA
1.1.1. Knowledge of Cultural Heritage
1.1.2. The valuation of Cultural Heritage
1.1.3. His rhythmic skills
1.1.4. Your motor coordination skills
1.1.5. Your ability to improvise
1.1.6. Your stage fright
1.1.7. Your discipline in study
1.1.8. Your ability to manage emotions
1.1.9. Feeling the flamenco
1.1.10. Making the flamenco be felt
1.1.11. Having an interest in flamenco music
1.1.12. Having an interest in other musical genres
1.1.13. Having an interest in flamenco dancing
1.1.14. Having an interest in dances, in general
1.1.15. Increase your interest in learning a musical instrument
1.1.16. Increase your artistic reflection
1.1.17. That has a broader image of Spanish music
1.1.18. That attend more cultural shows
1.1.19. That your cultural tastes do not depend only on the media or fashions
1.1.20. That maintain the heritage of flamenco in future generations
1.1.21. That promotes musical listening ability
1.1.22. That develops memory by internalizing musical fragments
1.1.23. That enhances self-motivation skills
1.1.24. That promotes group unity in the classroom
1.1.25. That helps to improve social skills
1.1.26. Vocabulary breadth through the letters heard
1.1.27. That works attention
1.1.28. That works on discipline through flamenco

Section 3: Sociodemographic profile

1. Sex

   ☐ Male

   ☐ Female

2. Age: ___

3. Highest educational level achieved by his or her mother:

   ☐ None

   ☐ Primary level

   ☐ Secondary level

   ☐ Pre-college years

   ☐ University

4. Highest educational level achieved by his or her father:

   ☐ None

   ☐ Primary level

   ☐ Secondary level

   ☐ Pre-college years

   ☐ University

5. Highest educational level achieved by the respondent:

   ☐ Bachelor degree in Primary Education

   ☐ Bachelor degree in Early Childhood Education

   ☐ Double bachelor degree in Primary and Early Childhood Education

   ☐ Bachelor degree in Physical Activity and Sports Science

   ☐ Master’s degree in CSE, Baccalaureate, Vocational Training and Language Teaching.

   ☐ Professional Music Learning

Variables Group	Variables
Heritage Valuation	Valuation of cultural heritage; interest in flamenco; interest in other music; interest in flamenco dancing; interest in dance.
Musical	Hearing ability; image of Spanish music; rhtyhmic skills; motor coordination; ability to improvise
Emotional	Emotion management; feel the flamenco; make flamenco feel; artistic reflection.
Educative	Knowledge of Cultural Heritage; learning musical instruments; study discipline; memory; vocabulary; attention; discipline in class.
Social	Group union; social skills; stage fright
Cultural participation	Cultural shows attendance; cultural tastes/trends; heritage.

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