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Article

Didactics with Art: A PRISMA Systematic Review on the Integration of Flamenco in Education

by
Macarena Cortés-Vázquez
1,
Carlos Chavarría-Ortiz
1,
Diego Berraquero-Rodríguez
1,* and
Jesús Heredia-Carroza
2
1
Osuna University School, University of Seville, 41004 Seville, Spain
2
Department of Economics and Economic History, University of Seville, 41004 Seville, Spain
*
Author to whom correspondence should be addressed.
Heritage 2025, 8(6), 223; https://doi.org/10.3390/heritage8060223
Submission received: 7 April 2025 / Revised: 29 April 2025 / Accepted: 11 June 2025 / Published: 12 June 2025
(This article belongs to the Section Cultural Heritage)
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Abstract

:
Flamenco, declared Intangible Cultural Heritage of Humanity by UNESCO, has aroused a growing interest as a pedagogical resource in the educational field. This systematic review analyzes its implementation in classrooms during the last decade (2014–2024), applying the PRISMA methodology to scientific articles extracted from Web of Science and Scopus. After applying inclusion and exclusion criteria using the PICOS model, 23 peer-reviewed and open-access studies were selected. The results are grouped into five thematic lines: emotional and identity development; educational and social inclusion; heritage and cultural identity; methodological and technological innovation; and experiential learning. Qualitative approaches with case studies predominate, especially in Andalusian contexts. Relevant benefits are found in terms of inclusion, emotional expression and appreciation of cultural heritage. However, limitations persist, such as the lack of systematization, scarce specific teacher training and lack of longitudinal evaluations. Flamenco thus emerges as an educational tool with high transformative potential, although its incorporation is still ad hoc and dependent on individual initiatives. It is suggested that research with mixed approaches be encouraged, that its analysis be extended to other geographical contexts and that public policies be promoted to structurally integrate flamenco into educational systems.

1. Introduction

In recent decades, flamenco has gone from being a popular and local cultural manifestation to consolidate itself as a heritage element of global scope. Its recognition by UNESCO as Intangible Cultural Heritage of Humanity in 2010 [1] not only validated its artistic value but also [2] opened new possibilities for its inclusion in different social spaces, including education. The presence of flamenco in the classroom represents an emerging phenomenon of growing interest for the academic community, especially in contexts where the integration of cultural identities and pedagogical innovation are prioritized.
The educational field has been particularly receptive to this inclusion, insofar as flamenco offers a platform rich in resources for the development of cognitive, emotional and social competencies. Recent research highlights its potential to foster bodily expression, self-esteem, empathy and intercultural awareness [2,3]. Along these lines, a growing number of studies have been published that explore the use of flamenco as a didactic tool at different educational levels, from early childhood education to teacher training [4,5].
This boom in research coincides with significant transformations in contemporary pedagogical approaches, in which art and culture are conceived not only as curricular content but also as strategies to promote inclusion, diversity and critical thinking) [6]. Flamenco, with its emotional, improvisational and corporal character, is thus presented as a particularly useful methodological resource to address current educational challenges, such as gender equity, functional diversity or intercultural coexistence [7].
Despite the growing interest in this line of research, there are still important gaps in academic knowledge. Several studies have shown the scarce presence of flamenco in official curricula, the lack of teacher training in this subject and the need to build solid theoretical and methodological frameworks to guide its educational implementation [8,9]. In addition, the literature shows a significant dispersion in terms of topics, methodologies, educational levels addressed and territorial approaches, which hinders a comprehensive understanding of the phenomenon.
In response to these questions, the present systematic review focuses on synthesizing and analyzing the most current academic work (last decade) on flamenco and its use and implementation in educational classrooms, with emphasis on three central objectives: (1) to analyze the characteristics of the research on flamenco in education, raising the question of how it has evolved over the last decade and what its impact has been on the academic and socioeconomic environment; (2) to identify and classify the methodologies employed in the analyzed studies, posing the question of how the implementation of flamenco in the classroom has been approached from different educational perspectives; and (3) to examine the main conclusions and limitations of the existing research in order to address the question of what emerging trends and gaps persist in the current literature.

State of the Art

Flamenco is an artistic expression originating in Andalusia, recognized in 2010 as Intangible Cultural Heritage of Humanity by UNESCO, which combines music, singing and dance. Its inclusion in the educational field has been supported by specific legal frameworks in both Andalusia and Spain. In Andalusia, Law 17/2007 of December 10 on Education mandated the incorporation of Andalusian culture—particularly flamenco—into the school curriculum so that students may know, appreciate and respect it as part of their cultural heritage [2]. At the national level, Organic Law 8/2013 of December 9 for the Improvement of Educational Quality (LOMCE) placed special emphasis on students’ artistic, cultural, creative and emotional development, which facilitated the indirect inclusion of flamenco in the national curriculum following its UNESCO recognition.
In subsequent years, Andalusian regulations have strengthened the integration of flamenco into education. Decree 97/2015 of March 3 formally incorporated flamenco-related content into the regional curriculum [2], recognizing it as part of Andalusia’s cultural heritage to be promoted by educational institutions [10]. More recently, Decree 102/2023 of May 9 established that in Compulsory Secondary Education (ESO), flamenco must be taught as a distinctive element of Andalusian identity [2] integrated transversally into subjects or treated specifically where appropriate. Furthermore, the Andalusian Flamenco Law 4/2023 has solidified its educational presence by mandating its teaching, considering flamenco a unique cultural asset of Andalusia that must be passed on to new generations. Overall, the inclusion of flamenco in ESO—and education in general—is a response to the objective of valuing Andalusian cultural heritage while promoting emotional, social and cultural competencies in students [2].

2. Materials and Methods

The epistemological substratum that sustains any systematic review is based, essentially, on a meticulous task of locating, collecting and subsequently discriminating research through an exhaustive methodological protocol, whose ultimate purpose—and no lesser one—lies in providing answers, with empirical support and argumentative soundness, to the research questions that have been preconfigured around a phenomenon of specific interest [11]. Such methodological gearing also makes it possible not only to map the chronological evolution of scientific knowledge in a delimited field but also to scrupulously scrutinize the thematic areas explored, the emerging currents, the main epistemic agents involved, the singularities inherent to the selected studies, their most outstanding conclusions and, of course, the trends that, in a prospective key, are glimpsed on the research horizon, as reflected in the work of [12].
With the firm objective of preserving both the traceability and the methodological consistency of the path followed, this study adheres unwaveringly to the postulates contained in the PRISMA Statement (Preferred Reporting Items for Systematic Reviews and Meta-Analyses), which was conceived in 2009 as a normative framework for the optimization of the design, execution and presentation of systematic reviews and meta-analyses [13]. Given the dynamic nature of scientific standards and the imperative need to attenuate the biases inherent to this type of research, this statement was reformulated in 2020 ([14] incorporating methodological refinements that strengthen its applicability and precision).
In strict obedience to the guidelines formulated by PRISMA, the present research has deployed each of the prescribed steps with a level of scrutiny that guarantees the internal coherence of the process, meticulously verifying each phase in order to ensure the robustness, reproducibility and validity of the findings obtained.
The first phase of this methodological journey was oriented to the rigorous delimitation of the object of study—flamenco and its use and implementation in the educational classroom—as well as a time frame that would serve as a chronological framework of analysis set in the period 2014–2024. The choice of 2014 as the liminal year is due to the pretension of covering a complete decade, thus allowing the observation of research cycles and the consolidation of trends. The closing of the data collection process was set for December 31, 2024, which was the moment that closed the compendium of efforts made during the fieldwork.
Moving on to the second stage, we proceeded to the formulation and validation of the research questions, the backbone of the systematic analysis and the axial core of any process of exhaustive review [15,16]. This phase led to a third stage—the rigorous selection of documentary sources—focusing the search on the scientific repositories Web of Science (WoS) and Scopus, considered as guarantors of quality and reliability in international academic production.
The fourth phase, focused on a systematic review of the literature, was formally initiated in January 2025 with the execution of a structured search based on the descriptors “flamenco” and “educación” (in Spanish) and “education” (in English). However, the first wave of results revealed semantic and conceptual dispersion that blurred the focus of the study. This situation highlighted the strategic importance of the language of publication, both in terms of search accuracy and the subsequent visibility and impact of scientific works. In this regard, it is considered pertinent to strategically assess the publication of research in English or other international languages without neglecting the value of Spanish as the vehicular language of this cultural expression. Balancing both dimensions may contribute to strengthening the international projection of the knowledge generated and facilitate its integration into broader academic networks, thereby promoting scientific transfer beyond the Spanish-speaking sphere.
The fifth stage was articulated around the PRISMA model and focused on the systematic application of inclusion and exclusion filters under the theoretical–methodological umbrella of the PICOS model (Table 1). First, priority was given to open access, a criterion legitimized since 2001 by the Open Society Institute (OSI), whose objective was to democratize access to scientific knowledge. Secondly, book chapters and conference proceedings were excluded, focusing exclusively on scientific articles due to their greater analytical density. Thirdly, works in preprint format were rejected in favor of peer-reviewed final versions. Finally, no linguistic criteria were introduced as a way to map the theoretical and methodological development of flamenco and its use and implementation in the educational classroom
The last update of the search, carried out on 31 January 2024, yielded a preliminary corpus of 58 articles: 41 from WoS and 17 from Scopus.
Applying the above criteria, the sample was first purified by eliminating duplications (n = 10), which resulted in an initial corpus of 48 articles. Subsequently, 25 additional records that did not meet the filters established by the PICOS model were excluded. This rigorous screening resulted in a refined selection of 23 scientific articles—17 from WoS and 6 from Scopus—that constituted the definitive corpus subject to systematic analysis.
Thus, the entire itinerary, from the initial collection of 58 papers to the consolidation of a final sample of 23 studies, has been visually recorded by means of a flow chart (Figure 1), allowing a comprehensive and transparent understanding of the selection procedure followed.
The sixth phase, according to the PRISMA model, focuses on coding, synthesis and data extraction. The coding variables are specified in Table 2 and aim to provide answers to each of the research questions on the basis of the specific objectives proposed.

3. Results and Discussion

The studies included in this systematic review have been organized according to the three central objectives of the research: (1) to characterize the evolution, distribution and academic production on flamenco and education; (2) to analyze the methodologies used in these studies; and (3) to synthesize the main conclusions, limitations and projections. This structure allows us to respond in an integrated manner to the research questions and can be seen in Table 3.
The temporal evolution of the publications analyzed reflects a sustained growth from 2013 to 2024, with a significant increase from 2019 onwards (Figure 2). As a consequence of the convergence of legal, cultural and pedagogical factors previously discussed, the publication of scientific articles and the work of academics on the inclusion of flamenco as an educational tool began to gain momentum from 2019 onward, crystallizing into a more visible and sustained body of research over time. The most productive years are 2021 and 2024, indicating a recent consolidation for this line of research. All the research is located in the Spanish context, especially in regions with a strong flamenco presence such as Andalusia and the Valencian community. Despite the centrality of the national territory, limited international collaboration is observed. Most of the studies are authored by researchers affiliated with Spanish institutions, without outstanding co-authorships with foreign centers.
Among the universities with the greatest presence in this scientific field are the University of Granada, the University of Seville, the University of Cordoba, the International University of La Rioja (UNIR), the University of Cadiz, the University School of Osuna, a center attached to the University of Seville, and the University of Murcia. These institutions focus on both empirical studies and applied pedagogical proposals, which positions them as benchmarks in flamenco educational research.
The publications in this field are distributed among journals indexed in databases such as Web of Science or Scopus, with varied impact indexes (Q1–Q4). Titles such as Campus Virtuales (Q1), Frontiers in Psychology (Q1), International Journal of Instruction (Q3), American Journal of Dance Therapy (Q3), Educación Artística: Revista de Investigación (Q4) and ArtsEduca (Q4) stand out. Although these journals do not always occupy the top quartiles, their specialization in education, art and pedagogy gives them thematic relevance within the field.
In terms of content, the keywords reflect a transversal field where music, emotions, identity, corporal expression, heritage and experiential pedagogies converge. From the thematic analysis, five major axes are identified: emotional and identity development; educational and social inclusion; construction of cultural and community identity; methodological and technological innovation; and alternative ways of transmitting flamenco knowledge.
Using flamenco as a tool for emotional development is found to be one of the most prominent approaches [18] propose its integration in art therapy contexts, highlighting the soulful inspiration as a catalyst for emotional catharsis. Along the same lines, [3,19] show how flamenco can strengthen self-esteem, emotional expression and aesthetic connection in students, especially in early childhood education and teacher training. In turn, [20] demonstrates its value in reinforcing identity in young people in confinement, while [2] emphasize its educational potential in heritage and emotional transmission.
The inclusive dimension is also significant [7,21] demonstrate the positive impact of flamenco on people with functional diversity through adapted dance experiences. At the community level, [4,6] analyze how this cultural practice can promote resilience and the transformation of vulnerable educational contexts, especially when specialized teacher training is available.
Regarding cultural identity, the experiences collected by [22] show how a school mural inspired by a flamenco song can strengthen the students’ sense of ecological and community belonging. Ref. [23] highlights the historical role of flamenco in shaping youth values, while [24] position it as a reference in heritage education. Furthermore, [8] highlights the figure of the flamenco artist as an educational agent, providing alternative knowledge to the school system.
The advancement of the field is also reflected in innovative methodological proposals [25] explore technologies such as virtual reality to represent emotions in flamenco dance. Ref. [9] uses questionnaires to assess the perception of flamenco among future teachers, and [26] propose musical training adapted to the cultural diversity of the Spanish context. This methodological shift points to a diversification of approaches, where qualitative, quantitative and mixed studies coexist.
In terms of sample size, there is notable variability depending on the methodological approach adopted. The qualitative approach continues to predominate, as evidenced by research based on case studies and autoethnographies [18,22] participant observation [27,28] or interviews [29]. In contrast, quantitative studies, such as those of [30,31] apply surveys to larger populations, seeking statistical representativeness. Mixed approaches, represented by works such as [19] integrate medium-sized populations, combining questionnaires with interviews and participant observation. This diversity in sample sizes reflects a methodological flexibility that allows the phenomenon of educational flamingo to be approached from multiple perspectives and levels of depth.
Finally, the studies concentrate on regions such as Granada, Seville, Cadiz, Jaen, Murcia and Valencia. These territories not only represent intervened educational spaces but also constitute communities where flamenco is a living cultural manifestation. Experiences such as those collected by [22,32] reinforce the connection between education, territory and culture, opening the way to an educational approach with a community and ecological perspective.

4. Conclusions

In response to the stated objectives, this systematic review has allowed for an exhaustive and analytical approach to the current state of academic research on flamenco and its implementation in educational contexts over the last decade. The results obtained allow us to establish a series of relevant conclusions that contribute to delimiting the scope, characteristics and projections of this line of study together with the theoretical framework and the empirical corpus reviewed.
In relation to the first objective (O1), there is an upward trend in the scientific production on flamenco and education, with a special concentration of studies between 2019 and 2023. This boom responds, on the one hand, to the recognition of flamenco as Intangible Cultural Heritage of Humanity by UNESCO, and on the other, to a growing educational sensitivity towards the cultural, emotional and identity value of this artistic manifestation. Most of the research is located in the Spanish context, with special emphasis on Andalusian regions, where flamenco is part of the cultural capital of students and the social fabric. International collaborations are still scarce, although they emerge as an opportunity for expansion and intercontextual comparability. The public universities of southern Spain, such as those of Granada, Seville, Cordoba and Cadiz, are emerging as leading institutions in this field, promoting projects of pedagogical innovation, social inclusion and heritage education. Publications are concentrated in academic journals specialized in education, art and social sciences, which denotes a growing interdisciplinary interest, although the publications are still limited in terms of bibliometric impact.
Regarding the second objective (O2), the studies reviewed employ a wide variety of methodological approaches, with a predominance of qualitative designs, such as case studies, interviews and narrative analysis. However, a progressive incorporation of quantitative methodologies and mixed approaches is identified, which favors greater data triangulation and analytical robustness. The techniques used vary according to the objectives of each study, including participant observation, structured surveys, content analysis and ethnographic fieldwork. Sample sizes range from individualized interventions to studies involving more than 200 subjects (mostly students and future teachers). This methodological diversity allows us to approach the phenomenon of flamenco in the classroom from a holistic perspective, taking into account both the teaching–learning processes and the sociocultural frameworks that shape them.
In relation to the third objective (O3), the conclusions of the studies reviewed converge on the value of flamenco as a pedagogical tool with great transformative potential. In particular, its contributions to emotional development, the construction of identity, the inclusion of vulnerable groups, the strengthening of self-esteem and community cohesion are highlighted. Likewise, its role in heritage education and the cultural revitalization of the educational environment is underlined. However, important limitations are also identified, such as the lack of specific teacher training in flamenco, the scarce institutionalization of this practice in official curricula and the location of most of the experiences in very specific contexts, which makes its generalization difficult. Emerging trends point to a shift towards the use of technologies applied to flamenco learning (virtual reality, motion capture), the consolidation of interdisciplinary methodological proposals and the promotion of educational policies that recognize flamenco as part of the living cultural heritage with the capacity to influence social and educational transformation.
In short, the review confirms that flamenco, beyond its artistic dimension, constitutes a multifaceted educational resource that challenges the school from emotional, cultural, social and pedagogical perspectives. Its implementation in the classroom not only responds to a need for cultural preservation but also to an opportunity for didactic renewal, inclusion and equity. The findings presented here open new avenues for future research, especially in terms of curriculum design, teacher training and long-term impact evaluation.

5. Limitations and Future Lines of Research

Despite the growing body of literature on the use of flamenco in education, this systematic review has identified a number of limitations that constrain both the quality of the available evidence and the generalizability of the findings.
A first important limitation lies in the scarce systematization of many educational experiences based on flamenco. Many studies are developed in non-formal contexts or as one-off projects without an institutional continuity that would allow their long-term impact to be evaluated. This lack of systematization prevents the comparison of experiences and the consolidation of good practices.
Secondly, there has been a predominance of qualitative studies with small, exploratory samples. Although this approach is useful for capturing the subjective dimensions of artistic learning, it also limits the possibility of establishing causal relationships or making empirical generalizations. Greater methodological diversification is needed using quantitative studies, mixed designs and longitudinal evaluations that allow measuring the sustained effect of flamenco on different educational variables.
Another important limitation is the lack of specific teacher training for the implementation of flamenco in the classroom. Many of the studies point out that the projects analyzed depend, to a large extent, on the individual motivation of teachers or external agents (artists, associations), which compromises their sustainability. In this sense, there is a lack of an institutional framework that guarantees the necessary training, support and resources to integrate flamenco in a transversal and coherent manner in the educational system.
As for future lines of research, it is proposed to advance in the following aspects:
  • To deepen comparative studies between autonomous communities or between countries to identify models of implementation of flamenco and its relationship with the cultural and educational context.
  • To develop research focused on the evaluation of the impact of flamenco on specific student competencies, such as oral expression, self-esteem, creativity, intercultural awareness or historical memory.
  • To explore the use of emerging technologies (virtual reality, gamification, artificial intelligence) in the teaching of flamenco, especially in environments where there is no living tradition of this manifestation.
  • To extend research to other less explored educational stages, such as secondary education, adult education and vocational training, in order to understand the real scope of flamenco beyond the infant and primary stages.
  • To investigate the role of flamenco as a tool for inclusive education in diverse groups, including students with disabilities, immigrants, cultural minorities or young people at risk of exclusion.
  • To expand the research by incorporating books, book chapters and other non-indexed academic sources in order to build a more complete and diverse knowledge map on the use of flamenco in education.
These lines will allow us to continue strengthening an expanding field of study and contribute to a real, critical and transformative integration of flamenco into 21st century education.

Author Contributions

Conceptualization, M.C.-V. and C.C.-O.; methodology, D.B.-R.; software, D.B.-R.; validation, M.C.-V., C.C.-O. and J.H.-C.; formal analysis, M.C.-V. and D.B.-R.; investigation, M.C.-V. and C.C.-O.; resources, D.B.-R.; data curation, C.C.-O., D.B.-R. and J.H.-C.; writing—original draft preparation, J.H.-C.; writing—review and editing, D.B.-R.; visualization, M.C.-V. and C.C.-O.; supervision, J.H.-C.; project administration, J.H.-C.; funding acquisition, C.C.-O. All authors have read and agreed to the published version of the manuscript.

Funding

This research received no external funding.

Data Availability Statement

All data can be reviewed in the analyzed databases: Web of Science and Scopus. The authors also attach any requests for information.

Conflicts of Interest

The authors declare no conflicts of interest.

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  32. Casas-Mas, A.; Pozo, J.I.; Montero, I. Oral tradition as context for learning music from 4E cognition compared with literacy cultures: Case studies of flamenco guitar apprenticeship. Front. Psychol. 2022, 13, 733615. [Google Scholar] [CrossRef]
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Figure 1. Identification, selection process, suitability and inclusion according to the PRISMA methodology.
Figure 1. Identification, selection process, suitability and inclusion according to the PRISMA methodology.
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Heritage 08 00223 g002
Figure 2. Temporal evolution of studies published in Web of Science and Scopus in relation to Flamenco and its use and implementation in the educational classroom.
Figure 2. Temporal evolution of studies published in Web of Science and Scopus in relation to Flamenco and its use and implementation in the educational classroom.
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Table 1. PICOS model.
Table 1. PICOS model.
Inclusion CriteriaExclusion Criteria
ParticipantAny participant related to flamenco research and its use and implementation in the educational classroom.None
InterventionAny intervention related to flamenco and its use and implementation in the educational classroom.None
Comparator/ContextOpen access, research articles, published research, articles written in any language, case studies, comparative analysis.No open access, no research articles, unpublished research, articles written in a language other than Spanish.
ResultsRecords dealing with flamenco and its use and implementation in the educational classroom.Records that have no link to flamenco and its use and implementation in the educational classroom.
Study designOpen-access articles in any language, with defined inclusion and exclusion criteria, quality assessment of sources and thematic analysis to identify trends and gaps in research.Articles with restricted access, without clear inclusion and exclusion criteria, or without evaluation of the quality of the sources or structured analysis. Factors that hinder the identification of trends and gaps in the research.
Source: adapted from the PICOS model [17].
Table 2. Research questions based on specific objectives determined in the introduction.
Table 2. Research questions based on specific objectives determined in the introduction.
ObjectivesResearch QuestionsVariables
SO1. Study the characteristics of research on flamenco and its use and implementation in the educational classroom in academic and socioeconomic settings.RQ1. How has research on flamenco and its use and implementation in the classroom evolved over time?Year of publication
RQ2. What is the geographical distribution of publications on flamenco and its use and implementation in the educational classroom and is there international collaboration?Countries with the highest publication rates (country of first author). Number of authors. Number of countries per paper
RQ3. Which universities and institutions are leading research on flamenco and its use and implementation in the educational classroom?First author affiliation
RQ4. Which are the journals that publish the most about flamenco and its use and implementation in the educational classroom and what impact do they have?Journal name. Journal Citation Indicator (JCI) quartile/percentile
RQ5. What keywords are identified in the literature on flamenco and its use and implementation in the educational classroom?Keywords
SO2. Define the methodologies used in the studies to understand how the phenomenon of territorial brands is being analyzed.RQ6. What type of methodology and techniques are used in flamenco studies and their use and implementation in the educational classroom?Methodology: quantitative, qualitative, mixed, descriptive, explanatory, cross-sectional or unspecified. Techniques: observation, surveys, interviews, content analysis, case studies, unspecified
RQ7. What is the sample size in studies on flamenco and its use and implementation in the educational classroom?Sample size
RQ8. What territories or regions are studied to understand flamenco and its use and implementation in the educational classroom?Selected country/territory
SO3. Analyze the findings and limitations of studies on flamenco and its use and implementation in the educational classroom and depict future trends.RQ9. What conclusions can be drawn from the studies on flamenco and its use and implementation in the educational classroom and what kind of applications do they have?Summary of conclusions
RQ10. What are the main limitations identified in the articles on flamenco and its use and implementation in the educational classroom?Description of limitations
RQ11. What are the future trends in research on flamenco and its use and implementation in the educational classroom?Description of future prospects
Table 3. Presentation of PRISMA analysis results.
Table 3. Presentation of PRISMA analysis results.
DatabaseTitleAuthorsJournal/Media of PublicationImpact IndexConclusions
ScopusEvaluación de un taller de intervención socioeducativa: el ritmo musical en la formación de la identidad de jóvenes recluidosSantiago Pérez AldeguerRevista de Investigación EducativaQ2Personal, relational, social and collective identity improved; self-esteem did not show significant changes.
Web Of ScienceThe influence of music learning cultures on the construction of teaching-learning conceptionsAmalia Casas-Mas, Juan Ignacio Pozo and Ignacio MonteroBritish Journal of Music EducationQ2The Flemish culture distances itself from the conception of teaching; it presents more direct profiles as opposed to the constructive ones of the classical sphere.
Web Of ScienceMusical Learning and Teaching Conceptions as Sociocultural Productions in Classical, Flamenco, and Jazz CulturesAmalia Casas-Mas, Juan Ignacio Pozo, Nora ScheuerJournal of Cross-Cultural PsychologyQ2Musical learning differs culturally: flamenco is implicit and embodied, classical is explicit and conceptual, jazz intermediate.
ScopusMotion Capturing EmotionsKaren Wood, Rosemary E. Cisneros, Sarah WhatleyOpen Cultural StudiesQ2The use of immersive environments enhances dancers’ bodily and emotional awareness, revealing new sensory experiences.
Web Of ScienceFunction of Private Singing in Instrumental Music Learning: A Multiple Case Study of Self-Regulation and EmbodimentAmalia Casas-Mas, Guadalupe López-Íñiguez, Juan Ignacio Pozo, Ignacio MonteroMusicae ScientiaeQ2Private singing aids self-regulation and learning embodied in instrumentalists; little used as a reflective tool.
ScopusProyecto de baile flamenco: desarrollo motriz y emocional en educación infantilFlamenco dance project: motor and emotional development in early childhood educationRosario Padial-Ruz, Delia Ibáñez-Granados, Marina Fernández Hervás, José Luis Ubago-JiménezRetosQ4Flamenco is an effective didactic resource for the integral development of students in early childhood education, improving motor skills, emotional expression, self-esteem and social cohesion.
Web Of ScienceReceptiveness of Spanish and Flamenco Professional Dancers in Their Training and DevelopmentRosa de las Heras-Fernández, María Virginia García Coll, María EspadaInternational Journal of InstructionQ3Receptiveness to coaching decreases with age and varies by company
ScopusEscuelas de flamenco y diversidad funcional: una mirada desde la inclusión en la ciudad de GranadaCarmen Ramírez Hurtado, Consuelo Pérez ColodrerRevista Electrónica de LEEMEQ4Flamenco is an inclusive practice; there is a lack of specific teacher training, although there is great empathy.
Web Of ScienceExpressive Flamenco ©: An Emerging Expressive Arts-Based PracticeLaura Sánchez García, Angelica Pinna-PerezAmerican Journal of Dance TherapyQ3Flamenco can facilitate therapeutic processes through the connection with the ‘duende’.
Web Of ScienceLearning flamenco styles through the use of abstract paintingTeresa Colomina-MolinaArtsEducaQ4The use of abstract painting allows for a creative understanding of Flemish styles.
Web Of ScienceLos saxofonistas en los conservatorios profesionales españoles: su incorporación al mercado laboralFelipe Gértrudix-Barrio, Óscar Estévez-GarcíaArtsEducaQ4Diversification and educational updating in conservatories are required to prepare saxophonists for the labor market.
Web Of ScienceIntervención psicomotriz en un alumno con disgrafía: estudio de casoJ.B. González-Bustos, N. Cervantes-Hernández, S. Domínguez-Esparza, L.A. Enríquez-Del CastilloRevista Iberoamericana de Ciencias de la Actividad Física y el DeporteQ4Significant psychomotor improvements after intervention; more effective handwriting.
Web Of ScienceDe la escena a las aulas: los artistas y la incorporación de la danza española y el baile flamenco a las enseñanzas generalesPatricia Bonnim-Arias, Estela Alarcón Rodríguez y Ana Colomer-SánchezRevista RetosQ4The recreational and cognitive nature of extracurricular activities predominates; gender and economic inequalities persist. Shift towards cognitive activities such as robotics and programming.
Web Of ScienceOral Tradition as Context for Learning Music From 4E Cognition Compared With Literacy Cultures. Case Studies of Flamenco Guitar ApprenticeshipAmalia Casas-Mas, Juan Ignacio Pozo, Ignacio MonteroFrontiers in PsychologyQ1The oral tradition of flamenco implies an embodied and integrated learning with the environment and culture.
Web Of SciencePatterns of Variation in Sociomusical Identity of School-goers in a Condition of Social Vulnerability and Musical Gaps in their EducationRolando Angel-Alvarado, Amalia Casas-Mas. Guadalupe López-Íñiguez y Lauren JohnsonMusic Education ResearchQ2Musical practice conditions sociomusical identity, with inequalities marked by social context.
Web Of ScienceEnseñanza Artística no Formal como Instrumento de Inclusión Socioeducativa de Jóvenes GitanosMaría Caballer-Tarazona, Manuel Cuadrado-García, Juan De Dios Montoro-PonsRevista Internacional de Educación para la Justicia SocialQ3Flamenco promotes personal development and socio-educational inclusion in young gypsies.
Web Of ScienceImplicit theories on teaching, learning, and evaluating flamenco dance in the classroom: Demographic comparison of Spain and JapanRosa de las Heras-Fernández, Carolina Bonastre Vallés, Diego Calderón-Garrido, Juana María Anguita AceroInternational Journal of InstructionQ3Predominance of the constructivist approach; influences of country, age and gender on educational preferences.
Web Of ScienceTransformación de un centro educativo a través de las artes: el caso del mural de los aviones y CamarónDiego Ortega-Alonso, Estrella Soto-MorenoEducación Artística: Revista de Investigación (EARI)Q4The mural promoted ecological and heritage awareness and community cohesion.
Web Of ScienceThe Training of Flamenco Dance Teachers of the Escuela Sevillana (Sevillian School)Macarena Cortés-Vázquez, Vicente Llorent-BedmarEducation SciencesQ2The teachers build their pedagogical knowledge from experience; it highlights the importance of teacher professionalization in flamenco.
Web Of ScienceLa implantación del flamenco en el currículo educativo andaluz: entre la tradición y la innovación tecnológicaCarlos Chavarría-Ortiz, Jesús Heredia-Carroza, Beatriz Montero-Lobato, Luis PalmaCampus VirtualesQ1Flamenco is valued as a pedagogical tool, but there is a lack of training and cultural participation among teachers.
Web Of Science«¡Así Se Cría Una Juventud Que Pudiera Ser Tan Útil Si Fuera La Educación Igual Al Talento!»: La Juerga Del Tío Gregorio De José Cadalso (1774). El Flamenco Y Los Conflictos De La IlustracionAlberto Romero FerrerCuadernos de Ilustración y RomanticismoQ4Flamenco was perceived negatively by the Enlightenment, linked to ignorance and backwardness.
ScopusCultural Heritage in Education: Flamenco as a Pedagogical Tool for Future Teachers in SpainJesús Heredia-Carroza, Laura Díaz-Reyes, Daniela-Tatiana Agheorghiesei, Raluca StoicaHeritageQ2Flamenco promotes emotional, social and cognitive development; it is valued as an effective pedagogical tool.
ScopusTraditional dances in Spain. Bibliometric study based on high impact search enginesRoser Penalva Martínez, Antonio Francisco Arnau Mollá, Francisco Javier Romero NaranjoRetosQ3Flamenco is the most mentioned genre, and dance is the predominant area; it is suggested as a starting point for future research.
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Cortés-Vázquez, M.; Chavarría-Ortiz, C.; Berraquero-Rodríguez, D.; Heredia-Carroza, J. Didactics with Art: A PRISMA Systematic Review on the Integration of Flamenco in Education. Heritage 2025, 8, 223. https://doi.org/10.3390/heritage8060223

AMA Style

Cortés-Vázquez M, Chavarría-Ortiz C, Berraquero-Rodríguez D, Heredia-Carroza J. Didactics with Art: A PRISMA Systematic Review on the Integration of Flamenco in Education. Heritage. 2025; 8(6):223. https://doi.org/10.3390/heritage8060223

Chicago/Turabian Style

Cortés-Vázquez, Macarena, Carlos Chavarría-Ortiz, Diego Berraquero-Rodríguez, and Jesús Heredia-Carroza. 2025. "Didactics with Art: A PRISMA Systematic Review on the Integration of Flamenco in Education" Heritage 8, no. 6: 223. https://doi.org/10.3390/heritage8060223

APA Style

Cortés-Vázquez, M., Chavarría-Ortiz, C., Berraquero-Rodríguez, D., & Heredia-Carroza, J. (2025). Didactics with Art: A PRISMA Systematic Review on the Integration of Flamenco in Education. Heritage, 8(6), 223. https://doi.org/10.3390/heritage8060223

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