It has been said that history is written by the winner(s) of the latest conflict. This is very true in the case of Hispania (Spain and Portugal), where the history books are tailored by the descendants of the northern “winners” of the Reconquest. The true builders of the Hispanic society were pushed out of their land by the northern “winners”. Subsequently, these homeless people of non-European stock were called “nomadic” and “uncultured”. This silent and peaceful majority—the truly civilized—were called by many names—Mossarabs (Mozarabs), Gypsies (Gitanos), Romany, Moriscos, Mudehars (Mudejars), . . .etc. The true voices of Hispania—such as the poet Federico Garcia Lorca—highlighted and celebrated these people of non-European stock as the true people of culture in Hispania. Lorca wrote in his book, Gitano Ballads ,
. . . . .the gitano is the most distinguished, profound and aristocratic element in my country, the one that most represents its way of being and best preserves the fire, the blood and the alphabet of Andalusian and universal truth. . .
The Romany (Gypsy) Essence of Hispania
The Egipcianos of Iberia
The people commonly referred to as Romany (Gypsy, Gitano, Bohemian, etc) are consistently found in (or near to) ancient settlement sites of the Iberian Peninsula, especially in the southern and central regions. Their Egyptian heritage is clearly recognized in the furthermost areas of Iberia, such as the Basque provinces, where they are called Egipcioac, or Egyptians. The Egipcioac/Egipcianos of Iberia are proud of their heritage as the descendants of the Egyptian Pharaohs. They were/are fond of talking of Egypt and its former greatness. Unfortunately, the spirit of a post-Reconquest “purified” Spain lingers on, and as a result, the Romany of Hispania’s insistence of Egyptian heritage has been arbitrarily and capriciously denied by most of academia.
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It is interesting to note that the word gypsy/gipsy is derived from the Spanish word Egipci-anos. All other names that describe the Egipcianos are, as expected, Ancient Egyptian names. The Hispanic Egipcianos are known as Roma-ny, Bohem-ian, Gitanos, etc. All such terms are Ancient Egyptian.
The Gitano Dancers of Cádiz
Early Roman historians were impressed by the music and dance of the people at Cádiz.
The (Egyptian) Romany populate the areas of Cádiz, Jerez, and Sevilla (and beyond), since ancient times. Federico Garcia Lorca, in a 1933 interview, stated,
From Jerez to Cadiz, ten (Egipciano) Gitana extended families of absolutely pure blood are guarding the glorious tradition of flamenco.
The (Egyptian) Romany have always been connected with music and dance. The Egyptian origin of the Romany of Hispania was noted by Voltaire, who could easily see the figurative relationship between the ancient dancers at Cádiz and the modern (Egyptian) Romany of Hispania. In his Essai sur les moeurs, Voltaire maintained that the Romany (of Hispania) were the descendants of the priests and priestesses of Auset (Isis), whose castanets and tambourines derived directly from antiquity. [Vaux de Foletier pgs. 25 and 238]. Richard Ford  was totally convinced that the dances of antiquity and those of the (Egyptian) Romany of Hispania were virtually identical.
From time immemorial, dance has been considered a religious activity, as numerous Ancient Egyptian works illustrate. Ecstatic dancing formed an integral part of the rites of Auset (Isis) and Ausar (Osiris). The Ancient Egyptian goddess of song and dance was Het-Heru (Hathor), known also as Aphrodite (Venus). [More about the Egyptian-Hispanic musical heritage in chapter 14.]
In Ancient Egypt. there were priestess-dancers who bear a quite striking resemblance to flamenco dancers. The upraised arms, the evident grace and movement, and the long, flounced skirts of these four Egyptian dancers remind us strongly of their modern counterparts. The famous snake priestess from Ancient Egypt wears a similarly flounced skirt, holds her snake-extended arms aloft as a dancer does, and wears a transfixed expression on her face. The sinuosity of snakes and the sinuosity of the arms and hands in flamenco are analogous.