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Edward Saids studies on orientalism identify the Orient as the object of desire of the European empires, which used colonialism to instill their authorities over the Orient. In the process the Orient and its inhabitants were marginalized. The exotization of flamenco culture is part of both Northern European and Spains perception of orientalism, which has been established as a cultural discourse for representation of the other . This discourse demarcates the differences between the powerful and the powerless. As a product of the 19th century European romantic fantasies, the orientalist discourse represented the Orient as an exotic place, with primitive landscapes and occupants. Through those fantasies Northern European romantics constructed a geography of the Orient, that allowed them to include Spain as part of the exotic Orient. Romantic imagination was the key element behind the concept of the exotic Orient and the discourse of orientalism. Flamenco culture was easily orientalized because of its Arabic, Gypsy, and Andalucian roots, the appeal of its dances and fiestas, the richness of the flamenco attire and accessories, and the historical ties between Andalusia and the Arab world. This dissertation explores the ways in which the orientalization and more specifically, the exotization of flamenco culture has affected the perception of the Spanish national identity from the early 19th through the late 20th centuries. Its main argument is that three cultural movements (Romanticism, Modernism, Postmodernism) and one political ideology (Francoism) created an orientalist and exotic discourse about flamenco culture, which was used to help shape the form of the modern Spanish national identity. Central to those discourses are two myths, Exotic Spain and Carmen , and the product of them, the genre of the espanolada and the domestication of the exotic (mantilla, torero). The flow of those two myths through studies of the four types of orientalization shows their…
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