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A part of the reason is because these forms are actually not “in 12”. The math of 12 is a common emergent property of the compas patterns of those forms. Inevitably students who note its frequency (or worse, taught this as a rule) are shocked by the so called “half compas” phrases, not limited to but most common found in bulerias.

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In my opinion, the best way to internalize docetiempo is to sit across from a guitarist who already has it mastered and play along with them.

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Inevitably students who note its frequency (or worse, taught this as a rule) are shocked by the so called “half compas” phrases, not limited to but most common found in bulerias.

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But one should understand the basics before and know what is happening rhythmically and harmonically in flamenco music.[...]Later I understood beat is the skeleton and rhythm is the heart of the music. Without rhythm music won't exist. Without beat music will exist but it will sound chaotic.

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From what I understand half compas is just a repetition of a 6 beat phrase.

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You are saying that one needs to begin with a systematized way of understanding things like beat and rhythm in order to comprehend a style of music that does not operate according to that logic.

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I just came across this article of Mr. Baime in Jaleo magazine. According to him this is one of the earlier recordings introducing syncopation to flamenco guitar playing.