Antonio Carmona, singer and percussionist (October, 2006)
“I like for flamenco to remain in a pure state, but Ketama made it heard by another audience”

Ara Malikian, violinist (June, 2005)
“Classical music should be like flamenco”

Bebo Valdés, pianist (July, 2003)
"I'm learning a lot from the flamencos"

Carles Benavent, bass player (May, 2004)
"Copying is how I've learned all I can know about flamenco"

Carlos Lencero, writer and rhapsodist. (November, 2004)
“The book ‘Sobre Camarón’ is a portrait of one artist by another”

Carlos Saura, director of ‘Flamenco’ (May, 2005)
“I struggle to open up new and daring pathways for flamenco”

Cathy Claret, singer and composer (September, 2003)
"There are those who are tacky on a plain guitar and those who are pure on an electric guitar"

Chaboli, co-producer of 'Homenaje a Jeros' (A Tribute to 'Jeros') (April, 2002)
Paying homage to the poet from the suburbs

Chambao, flamenco chill group (December, 2006)
“I don’t sing flamenco, but I carry it inside and it comes out naturally in my music”

Chano Domínguez, pianist (September, 2002)
"Flamenco-jazz is still going through its adolescence"

Chano Domínguez, pianist (October, 2000)
"I think that fusion has more to do with the people involved than the music itself"

Diego Amador, pianist and flamenco cantaor (July, 2008)
“I’m ‘Camarón-style’ but I remember everybody, and I especially remember myself”

Diego Amador, multi-instrumentalist (April, 2004)
"There's no such thing as flamenco piano"

Diego Amador, multi-instrumentalist (2001)
"Anyone who doesn't listen to Paco is an idiot and excuse me for saying so..."

Diego Carrasco, cantaor, songwriter and guitarist (April, 2004)
'Mi ADN flamenco', track-by-track

Diego Carrasco, cantaor, guitarist, producer and songwriter (March, 2003)
"The greatest virtue flamenco has is that it's alive and well"

Diego Carrasco, cantaor, songwriter and guitarist (2000)
"I've listened to Terremoto and Tío Borrico, I've played for them, and for Tía Anica, and they always sang the same verse differently."

Dominique Abel, filmaker (1999)
"Someone who approaches it for the first time could never have done this, and they certainly never could have approached Agujetas, because he wouldn't even open the door for them."

Dorantes, pianist (February, 2002)
"There isn't much happening within the vanguard of flamenco. I think there are a lot of barriers and too few are bold enough to overcome them"

Echegaray, flamenco fusion group (December, 2003)
"Echegaray is a sound that's descended from flamenco, but it's wide open"

El Barrio, guitarist, singer and composer (May, 2002)
"The hardships of working at tablaos are what help you grow to be able to express yourself as an artist"

Elbicho, flamenco-pop group (July, 2003)
"People like us because we believe in ourselves"

Fernando Trueba, film director and music promoter (October, 2003)
"I'm a complete ignorant of flamenco"

Francisco López Gutiérrez, director of the Festival de Jerez (January, 2002)
"Dance is the most accessible facet of Flamenco for new audiences"

Gualberto:
"I have never tried to do flamenco"

Javier Limón, producer and songwriter (June, 2005)
“Paco de Lucía is the real flamenco producer”

Javier Puga, Artistic Director of the Mont-de-Marsan Festival (June, 2001)
"I think that little by little we've been able to achieve a certain prestige and project an image based on meticulous attention to detail in each and every aspect that the organization of a festival of these dimensions entails."

Jerry González, trumpet-player (2001)
"Over here everything is more spontaneous and I'm happy to be used for recordings and jam sessions"

Jorge Pardo (August, 2005)
“Internet is a medium for artistic expression that the institutions should applaud”

José Antonio Galicia, percussionist and composer (September, 2003)
"My music is neither flamenco nor jazz, but free music"

Juan Cortés, pianist (September, 2003)
"In flamenco, no matter what you play, you have to look to the guitar"

Kiko Veneno, singer and composer (September, 2005)
“I'm trying to learn flamenco's virtues, especially in the lyrics and essentialness”

Kiko Veneno, singer, guitarist and composer (2000)
"That's what I'm looking for, and that's my skill as a writer: doing basic things by working out those little day-to-day expressions."

La Shica, alternative flamenco group (October, 2005)
“La Shica's challenge is to achieve an original sound”

Los Delinqüentes, flamenco rock group (April, 2005)
“The lifestyle Veneno used to have is the one we want for Los Delinqüentes”

Manuel Herrera, ex-director of Seville's Bienal de Flamenco (June, 2003)
"I think it's time for the Bienal to take another leap"

Manuel Herrera Rodas director of Seville's Bienal de Flamenco (October, 2001)
Director of Seville's Bienal de Flamenco.

Manuel Soler, percussionist (2001)
"There's a tremendous amount of ignorance, especially in percussion. You buy a cajón and you just start to beat on it"

Manzanita, singer (1999)
"I think that together with Paco de Lucía and Manuel Montoya (from Lole y Manuel), we were the ones that opened up the doors for the others to follow. But that doesn't give us the right to do whatever we want to."

Mario Pacheco, director of Nuevos Medios (May, 2002)
"The next generation of artists should be talented musicians with a solid base in flamenco; musicians that have grown up listening to Ramón Montoya and working with Benavent or Paco de Lucía"

Mártires del Compás, flamenco group. (July, 2005)
“Mártires has done evolutionary work in lyrics and cantes that will receive due credit some day”

Mártires del Compás, flamenco-pop group (2000)
"For Mártires each flop at the record shop is a success"

Michael Meert, director of ‘Ketama y su herencia flamenca’ (June, 2005)
“Flamenco plays an increasingly major role in the cultural history of Europe”

Nacho Arimany, percussionist and composer (February, 2007)
“You don’t need to make up new rhythms, but rather go on deciphering cante’s rhythm”

Omar Faruk Tekbilek, turkish musician and singer (July, 2002)
"I often cry when I hear flamenco singing"

Ojos de Brujo, flamenco hip-hop group (June, 2005)
“The magic of Ojos de Brujo lies in the flamenco”

Ojos de Brujo, Flamenco Hip-Hop group (December, 2003)
"Ojos de Brujo isn't a currency of exchange"

Ojos de Brujo, Flamenco Hip-Hop group (November, 2002)
"Our music is possible because we are possible"

Pablo Martín, contrabass player (December, 2002)
"Flamenco is the genre that is most enriching the Spanish musical panorama"

Paco Lira, La Carbonería's owner (1999)
"I am still not very flexible with respect to flamenco..."

Paco López, director of Festival de Jerez (March, 2006)
“We're ungrateful to the people that make flamenco grow, people who invest their time and money in learning this artform that fuels their passion”

Paco Ortega. Producer of the CD "Las tres mil viviendas" (March, 1999)
"I make records for those who are not members of the 'critics'"

Pedro G. Romero, commissioner of the exhibit ‘La noche española. Flamenco, vanguardia y cultura popular’. Interview

Pedro Ojesto, pianist (june, 2004)
“People are fond of the label ‘young flamenco’ as what is modern, but it's been thirty years”

Pedro Ricardo Miño, pianist (February, 2004)
"I don't want to hear a piano sounding like a guitar"

Pedro Ricardo Miño, pianist (2000)
"You have to know flamenco to give feeling, character and verve to a musical score"

Pierre Lefranc, researcher (April, 2002)
"In flamenco research there's already way too much academic discourse, too often evidence is carefully selected to fit the desired conclusion"

Queco, singer, composer and producer (November, 2003)
"We flamencos must rid ourselves of biases and complexes when creating"

Radio Tarifa (October, 2003)
"Flamenco is permanently evolving. So many purists have to be unmasked"

Rafael Amador, guitarist, singer and composer (November, 2006)
“Music has to have a message”

Raimundo Amador, guitarist and singer (November, 2003)
The troubadour on his island

Raimundo Amador, guitarist and singer (October, 2000)
"What I really like is the change of pace, after two records we'll see what happens."

Raimundo Amador, guitarist and singer (2000)
"Blues without flamenco? That's for the forty-thousand who do it in America"

Salvador Távora (September, 2001)
"I've always been more concerned with why people sang than how they sang"

Son de la Frontera (November, 2006)
“Without researching its past, flamenco has no future”

Son de la Frontera (July, 2004)
“If we want to make local music, we have to approach it with a universal perspective”

Sorderita (June, 2001)
"I think that African music is the closest thing to flamenco"

Tino di Geraldo, percussionist and producer (October, 2003)
"Feeling is not flamenco heritage"

Tomasito, cantaor and bailaor (October, 2002)
"If you confine yourself to flamenco you're not a musician"

Tomasito, cantaor and bailaor (November, 2000)
"It's great when a metalhead or a punk rocker knows who Pericón is."

Victoria Abril, actress (July, 2004)
“I must have a free spirit, just like flamenco artists”