Andalusia, located in the south of the Iberian Peninsula and housing members of the most diverse races and religions throughout its history, is an example of structurally cultural social civilization. These lands, where Muslims continued to exist between 711 and 1492, witnessed the vast scene of intercultural interaction. Although the region is composed of different ethnic groups such as Arabs, Berbers, Christians, and Jews, at the beginning of the 10th century, ethnic civilizations with different tones and repertoires met in a common harmony and formed the spirit of Andalusia. In this region, which emerged on the European borders as a part of Arab culture, represented a conceptual bridge linking East and West.

As a consequence of years of cultural miscegenation of the region, the aesthetic power of nationalism reached strength mainly in the late 19th century and early 20th century, and during this period, artists began to focus its work on authentic traditional cultural elements. Within this context, this study chose to treat two artists from this region who achieved worldwide recognition with their work in the fields of music and poetry: Manuel de Falla (1876-1946) and Federico Garcia Lorca (1898-1936). The Spanish friends adopted the cultural and folkloric richness of Andalusia and translated them artistically into their works of art.

In the process of literary research and formal analysis of the works of the mentioned artists, it was noted that the musical motifs of Andalusia and the genre cante jondo were used in their creation. It is observed that the rhythmic energy of flamenco, melodic elements of southern Spain and the traditional cante jondo were adapted to musical and poetic forms. In this study the musical examples El Pano Moruno, Noches en las Jardines de Espana and Danza del Molinero by Falla and the poetical examples La Lola, Malaguena, Balladila de los Tres Rios by Lorca were observed. The paper summarizes how symbolic examples of cante jondo were applied by Lorca and how characteristic musical elements of this region were used by Falla. They both brought to light the fingerprints of the Andalusian past in contemporary versions.