Fifth International Conference on Tourism & Leisure Studies

Abstract

“Toros y flamenco”–Bullfighters and flamenco dancers–these are some of the most prevalent and powerfully evocative images of Spain throughout the world. They endure, central to popular imaginings of Spain, as something of a Spanish “brand” widespread in media depicting the country, as well as in tourist shops from Bilbao to Barcelona. However, while like any nation, Spain is far from homogenous ethnically, historically, or linguistically, the “españolada” trope is closely tied to practices originating in one specific region of Spain—Andalusia. How is it that these Andalusian cultural practices, and specifically Andalusian imagery flavored with Spanish Roma (Gitano) stereotypes, came to be a symbol so often used to represent all of Spain? While the roots of these tropes extend back as far as the origins of the practices themselves, I explore how this process of commercialization and folklorization progressed during the mid-twentieth century under Francisco Franco, specifically with an eye to the use of flamenco to advertise Spain as an appealing tourist destination. Beginning with some historical and theoretical background, I then explain my understanding of this packaging of the Spanish tourist experience through an analysis of a musical film from this period which I feel demonstrates the Ministry of Information and Tourism’s approach to flamenco through its setting, plot, and music.