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Tablao Flamenco Cordobes, an historic place

Flamenco Barcelona Historia Tablao Flamenco CordobesHistory of Flamenco in Barcelona: Tablao Flamenco Cordobes

 

The Tablaos are the heirs of the singing cafes of the XIX century. The Tablaos are a place of consideration and respect, a kind of Popular Dignity, a challenge for the flamenco people.

 

In the 60’s Spain had an economic development after the post-war period. This period coincide with an extraordinary generation of flamenco artists that would make history such as the talented Antonio Mairena. He was the guardian of the purity kept for centuries in the family tree or the gypsy-Andalusian families from the lower Andalusia. For his recognition he counted with the complicity and implication of important intellectuals with Caballero Bonald leading a long list of them, as in 1929 did the generation of the 27 with Lorca and M. de Falla.

 

The anthology recorded in Hispavox directed by Caballeo Bonald and Perico el del Lunar is a constitutional declaration which indicates the path this culture will go through.

 

It is ignored where the name of “Tablao” comes from but it is true that in Madrid opened “Zambra” by Mr. Casares and Rosita Durán, “Corral de la Morería” by Mr. Manuel del Rey and “El Duende” by Pastora Imperio and Gitanillo de Triana.

These establishments inherited the hidden heritage of the wine houses and the meetings of the rich. The relation of the historic names of these shows invites you to take a drink and dream.

 

It was the “boom” of the tablaos which started opening its doors especially in Madrid, Barcelona and Seville, turning themselves in a school of oral and physic transmission. That is the lively flamenco that our friend F.Quiñones would give.

 

The Black Legend

The new professional horizon is extended for the artists thanks to the invaluable work that is developed with the Spanish ballet success and Pilar López, Mariemma, Luisillo or Antonio Gades, who opened this art to the doors of the world’s stages.

The discographer industry established the great artists with their distribution and the presence of Paco de Lucía and Camarón de la Isla went beyond the flamenco scene and turned into a cultural heritage.

 

The summer festivals that each Spanish town organized, with endless programs and exorbitant prices at the expense of the public money make the great artists disappear from the tablaos. The appearance of the mass tourism corrupted the stages with extravagant proposals and unbearable topics. The artists turned into civil servants with more than ten and fifteen years in the same show, sometimes with interesting and good professionals but without motivation.

 

Tablao Cordobes 1970 – Barcelona

Cordobes is the biography of the Adame family. Luis Adame, Irene Alba and Mercedes Vargas lived the golden period as a guitarists and dancers in the best tablaos and companies of that time, we have added to our Company that cultural and professional heritage.

 

In the 70’s, shocked by Franco’s death, the socio-politic reality of the city was not the appropriated one for a tablao flamenco. The family Adame focused in the only possible market: the Catalan gypsies, the South of France and Half Spain.

 

Camarón de la Isla, Farruco, Manuela Carrasco, Chocolate, Juan Villar, La Tati, Manolete, Lole and Manuel, Bambino, etc. They were the declaration of intent and the pillar of its origins.

 

Faith. Their capacity for risk, due to the fact that these artists were very expensive, was corresponded as it is nowadays by the different audiences of that period.

 

Evolution, they changed the routine model of the classic tablao for a staging that combines the original freshness of flamenco inside a theatrical order. Changing the denigrating habits for the artists such as the audience dining during the show or the conversations and social gathering during the show which showed no respect for the artists, that is why these habits were excluded from Cordobes.

 

Ambition, which took them to present, first than anyone else, many contemporary flamenco artists: Eva la Yerbabuena, Belén Maya, Israel Galván, La Susi, Miguel Poveda, Montse Cortés, etc. An endless list which has made the difference of the life in Cordobes and has left a legacy in this art.

 

Renovation. María Rosa, since she was a child she was a brilliant student. Along with her father Luís Adame she was in the Seville Fair in 1972. The friendship of Mr. Adame and Antonio Pulpón made easy for her to attend the best flamenco parties of that period. Real Flamenco.

 

The last night, in the mythic Oromana stand, a gathering point for all the figures of bullfighting, María Rosa watched Matilde Coral dancing and singing to Antonio Mairena, with that ecstasy typical of the flamenco meetings…and she knew it in that moment…María Rosa wanted to be a flamenco dancer.

 

Her father was not very enthusiastic about the idea of her being a dancer and under the promise of continuing her studies she danced for years in El Cordobes and other stages.

 

María Rosa had inherited the art of her mother and her aunt. She would have been a great dancer. She has been a renowned lawyer and now she is the Managing Director of the company and the General Director of Cordobes along with her brothers.

 

For that reason, Cordobes is a lively culture, the materialization and the ambitious and non-conformist search of a perfect archetype. It is renowned by official institutions, by the civil society and successfully by the same market. The aspect most appreciated by the family is the recognition and the praise of the very same professionals that left there their art. A gift for the emotion and the senses which remain in the walls of the Cordobes.