Introduction: Rooting Way Down in the Centuries Whenever people think of Spain and the Spanish culture, the first thing that comes to their mind is flamenco – the dance of passion and the only way to express the nature of a Spaniard, the fiery mixture of the incompatible that can hardly be explained, yet provides the strongest impression. Despite its long history and the obvious artistic flair about it, the dance is strikingly different from the traditional Terpsichorean standards, which makes Flamenco one of the most mysterious dances and offers sufficient food for considerations. Indeed, according to the opinions of experts, flamenco should be rather opposed to the traditional understanding of a dance than considered as another variation of male dancing. As Hayes explains, An Apollo, one must remember, is the god of music. But flamenco dance carries with it always the taint of hunger, intoxication, poverty, and, often, sexuality. For those scholars invested in the recuperation of the dance for the intellect, the flamenco body must be transformed from a grotesque body to a classical one (55). Therefore, it should be considered that flamenco is not a dance in its typical understanding. Comprising passion and emotions, it is rather a ritual. Moreover, the distinct flair of the Spanish culture which does not mix with the other dancing cultures means that flamenco is more than merely a type of dance. The Dance Starts: Seizing the Fire Considering the history of flamenco, one must confess that the dance has been developing in not quite an academic way since it mostly belonged not to the nobility, but the poorer population; hence, it did not have a sufficient theoretical background to be based on. However, speaking of the practical component of flamenco, one must claim that the Spaniards and the Spanish Gypsies drove the given element to perfection. However, it is also worth noting that the official development of the dance theory started comparatively recently, which is not enough for the dance theory to evolve. As Lewis comments, one of the most important theorists of flamenco was Carmen Amaya, who managed to convey the idea of Spanish Gypsy culture to the rest of the world in 1937-1940 (95), which is quite late if comparing flamenco to classical dances. Joaquín Cortés: The Prince of Hispanic Gypsies To understand the specifics of the dance and the ideas that it conveys, one should consider the ideas of an authoritative person; and, when it comes to flamenco, there is no other authority than Joaquín Cortés, the man who not only mastered the art of flamenco but improved it, making the dance even more expressive and exquisite. According to what the dancer says, flamenco cannot be considered merely a dance – this is a culture, a potion, and a source of Joaquín Cortés’s continuous inspiration. However, the artist claims that flamenco does have certain academic grounds and that in this sphere, a revolution can be, and as a matter of fact, has been made. As the dancer himself explains, “Flamenco critics, more academic, didn’t like it. They have the tradition, it’s like ballet, it’s an academic city. The flamenco has one academic city too.” (Patterson). Therefore, it must be admitted that, e