To analyse flamenco music we can approach from many different perspectives from an anthropological, cultural, historical, (ethno) musicological, geographical, historical, gender studies, sociological, theoretical or based on performance practice, etc. For some flamenco aficionados, ‘flamenco is a way of life’ (Pohren 1999, see also Heredia 2010) and a contemporary art declared Patrimonio Inmaterial de la Humanidad (Treasures of the World Heritage of Mankind by UNESCO 2010). At present, flamenco is performed by millions of musicians, dancers from all over the world (Spain, Japan, States, UK, etc.). Flamenco singer, Enrique Morente, before passing away, mentioned ‘now the world is patrimonio of the flamenco(s)’ making the world heritage of the flamenco musicians. So, where does flamenco originally come? According to José Manuel Gamboa: ‘Flamenco, de Andalucía libre, España y la Humanidad’ (Gamboa 2011). From outside the Iberian Peninsula, flamenco music is generally associated with Spain, and with Andalucía in particular but it is not quite that simple (Washabaugh 2012). Flamenco came to be associated with the Iberian Peninsula, its origins believed rooted in a particular area of what became known as baja Andalucía, the southernmost part of the Peninsula. Flamencologists love to draw an “imaginary triangle” or “circle” between the cities of Cádiz, Sevilla and Ronda to speak about the origins of the cante flamenco. Depending on their interests, they will open the triangle to include Huelva, Córdoba and la Unión (Murcia) but there are other cities, which are sometimes excluded, such as, Extremadura and many neighbourhoods of Madrid, Barcelona, Badalona, Sabadell, etc. Even some Andalusian cities, such as Granada, which are essential to flamenco history, are even sometimes left out of that “authentic” triangle.