In what respecta to the distinction between value of use and value of flamenco change of, the variable one that the author considers most important, first it makes reference to the satisfaction of musical or expressive a necessity, without no strictly commercial intention, that we could call flamenco private some woods are conceived exclusively with this purpose, like threshing or albore. On the other hand, the value of change alludes to the value like merchandise, once it is integrated in the mechanisms of the market, happening to be in force by the laws of this one. It would be, against flamenco the private one, that one destining to the public consumption, with a essentially mercantilista intention, constituting the flamenco form more weakened or decaffeinated less flamenco of the possible ones. However, the different resulting forms from the application of these categories would not be than ideal forms more and not strictly real, reason why they must be understood as analysis elements what doubts fits that the action in a festival it responds to a mercantile or professional interest against disinterested the familiar or intimate execution, but, in some cases, also it can give rise to spontaneous, own manifestations of the flamenco one prevailed. So that the different types can be interlaced, since the flamenco one supposes an alive phenomenon, dynamic and to each other actually nonrigid. Also, an other people’s one to the market is almost inconceivable in our days flamenco, is more, the flamenco one has gone inexorable and paralelamente bound to its double condition of use and change, reason why its mercantile inclusion must be considered like one more a route of expansion and not like a rupture of the tradition. Thus, we can find characteristics that we have attributed to the expression more purely familiar in different ritual and symbolic contexts.