Bourbon Reforms, Enlightenment & Liberal Revolution

Castile and the unified Spanish monarchy.

1 chapter

1492 - 1700

The fall of Granada in 1492 and the Alhambra Decree expelling Spain's Jews ended over 700 years of Islamic-rule and 1,500 years of Jewish presence in Andalusia. The Habsburg monarchy imposed Catholic uniformity through the Inquisition (active in Triana's Castillo de San Jorge from 1481), forced conversion of Muslims (Pragmática Sanción of 1502), and the suppression of Morisco (converted Muslim) cultural practices. The 1568–1571 Alpujarras rebellion, triggered by Philip II's bans on Arabic language, Moorish dress, and bathing customs, was crushed with devastating force; its landscape — the white villages of the Alpujarras — still bears the marks of Morisco settlement and forced repopulation. The 1609–1614 expulsion of 300,000–500,000 Moriscos was not a simple administrative act but a violent forced displacement of people who were by then largely Spanish-speaking and culturally indigenous. Meanwhile, cofradías (lay brotherhoods) were formalized under the Council of Trent in the 16th century, providing the organizational framework for Holy Week processions that would become central to Andalusian identity. The Mudéjar continuity mechanism was critical: Muslim craftsmen built the churches and palaces where Catholic festivals now unfold. The Alcázar of Seville's Pedro I wing (14th c.) — a Christian palace decorated entirely by Mudéjar artisans in Islamic styles — makes this layering visible.

1812 - 1936

The 19th century forged the festival forms most visitors now associate with Andalusia, though their origins are more commercial and modern than 'tradition' suggests. The Feria de Abril was founded in 1846 as a livestock fair by Basque José María Ybarra and Catalan Narciso Bonaplata — not as an ancient ritual but as a 19th-century market event approved by Queen Isabella II. The Córdoba Patio Competition was formalized in 1921 by Mayor Francisco Fernández de Mesa, though the patios themselves carry 2,000 years of architectural continuity from Roman impluvium to Andalusi aljibe. In Triana across the Guadalquivir from Seville, Gitano families in corrales de vecinos (communal courtyards) developed the flamenco forms — soleá, tangos, bulerías — that would become the soundtrack of Andalusian festivals, though the Gitano foundational role was routinely erased in favor of a generic 'Andalusian culture' attribution. The café cantantes of the 1860s–1880s moved flamenco from private patios to commercial stages, beginning the transformation from community practice to performance spectacle. The Plaza de Toros in Ronda, inaugurated 1785 and home to Spain's oldest equestrian order (Real Maestranza, founded 1485), embodies the bullfighting tradition that became a key element of the 'exotic Andalusia' brand. The Jerez Feria del Caballo (founded 1879) linked horse breeding, sherry trade, and flamenco into a distinctive fair tradition rooted in medieval Castilian market customs.

1031 - 1492

The collapse of the Caliphate in 1031 fragmented al-Andalus into rival Taifa kingdoms, each patronizing its own court culture — the Seville Taifa under the Abbasids built the Giralda's predecessor, while the Nasrid kingdom of Granada (1232–1492) created the Alhambra as both palace and fortress. The Almoravids and Almohads imposed Berber imperial order from the south, and the Almohads gave Seville its iconic minaret (the Giralda, completed 1198). Simultaneously, Christian kingdoms advanced: Córdoba fell in 1236, Seville in 1248. The term 'Reconquista' projects a teleology medieval sources do not support; these were specific local events — sieges, treaties, negotiated surrenders — not stages of an inevitable reconquest. Mudéjar artisans, working under Christian patronage, continued to build in Islamic decorative styles, meaning the Christian-conquered city was physically shaped by Muslim craftsmen. The Albaicín quarter of Granada preserves the street plan and domestic architecture of the last Islamic city in Iberia, while the Giralda — a minaret repurposed as a bell tower — physically embodies the layering that defines Andalusia.

1936 - 1975

The Franco regime (1939–1975) appropriated Andalusia's cultural forms for national-Catholic identity, reshaping festival traditions to serve state ideology. Flamenco became one of the regime's main cultural references for nationalization — promoted at the 1964 World's Fair and through state tourism campaigns as a symbol of 'Spanishness,' abstracting it from its Gitano roots and the conditions of marginalization under which cante jondo developed. The 'Andalusian paradox' (Cisneros-Kostic) crystallized: Gitano culture celebrated on stage while the community faced social exclusion. Urban displacement during the dictatorship forced Gitano flamenco artists from their traditional neighborhoods — including Triana's riverside corrales and Granada's Sacromonte caves — severing the spatial relationship between community, architecture, and musical practice. The 1950s–60s tourism boom, driven by Franco's development plans, packaged Andalusia as an exotic destination of flamenco, bullfighting, and white villages, freezing living traditions into performance spectacle. In Jerez de la Frontera, the Feria del Caballo and emerging flamenco festivals were reshaped for tourism consumption. Holy Week processions, framed as purely Catholic devotions under National-Catholicism, erased the Islamic and Jewish layers in their processional forms, calendar placement, and ritual structures. The Mosque-Cathedral of Córdoba's progressive renaming — from 'Mosque Cathedral' to 'Santa Iglesia Cathedral' to 'Córdoba Cathedral' in official brochures — exemplifies the deliberate erasure of the Islamic layer.