後殖民評論家巴巴提倡記憶過去的重要性－－將支離片段的記憶重整成為一種新的文化身份。西班牙導演卡洛斯．索拉自一九八○年開始拍攝系列佛拉明哥藝術電影，重新呈現西班牙過去歷史中被忽視的吉普賽文化以及被遺忘的安達魯西亞百姓的痛苦吶喊。索拉強調民族共存與和睦相處，因此在他的電影中出現了不分種族（吉普賽與非吉普賽人）、年齡與性別的演員，共同為保存與發揚佛拉明哥藝術而合作演出。索拉於一九九五年以紀錄片方式拍攝一部西班牙當代傑出佛拉明哥藝術家的表演紀實電影《佛拉明哥》。本論文應用墨更的音樂理論與康爾納哥的戲續性研究，從電影音樂與音樂敘事的角度，試圖探討索拉歌舞電影中所呈現的藝術性格與人文關懷。

The postcolonial critic Homi K. Babha has stressed the importance of recalling the past so as to reassemble the disjointed fragments of memory in the formation of a new cultural identity. This article intends to explore such an attempt in the musical documentary film Flamenco produced by the Spanish director, Saura, in 1995. In this movie, employing the art of flamenco, Saura reconstructs a collective past with the purpose of remembering the pains and outcry of the Andalusian people and the Gypsy culture, which have been ignored and forgotten in Spanish History, He emphasizes harmony in the case of coexistence among multiracial communities. Therefore, in this film he created participants with divergent backgrounds, gypsy/non-gypsy, young and old, male and female, to work together for the production of art music with excellence. With such an endeavor, the art of flamenco can thus be preserved and well developed. The film Flamenco represents he best flamenco art and artists in Modern Spain. Using Mungen's musical theory and Cornago's theatricality study, this article interprets this film from the perspective of film music and musical narrative.