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he story of Tablao de Carmen is not just any story. It is an exciting chronicle that began long before its creation and intertwines characters and moments full of significance for flamenco. I wish someone would dare to tell it, with love and accuracy, much beyond what an article can provide.
It all began in 1929. When a teenage Carmen Amaya danced before King Alfonso XIII. The Universal Exhibition that took place in the Spanish Village of Barcelona was inaugurated.In 1988, in the midst of the pre-Olympic phase, thetablaoopened its doors. Barcelona mobilized with unusual enthusiasm and energy to live up to the great event and succumbed to design, urbanism, technological future, the Torres de Ávila and Mariscal. But flamenco was not in fashion. And despite this, despite the fact that the moment was not playing in her favor, Sunchy Echegaray, soul and founder of the project, despite also knowing herself to be poorly endowed as an entrepreneur, decided to push forward and embark on the business, unable to say no to the proposal that had reached her. Too many things came together around the street of Los Arcos, of the small replica of a Cordovan patio. The story had begun to be written much earlier and the emotional ties were too strong.
It all started in 1929. When a teenage Carmen Amaya danced in front of King Alfonso XIII. The Universal Exhibition was inaugurated, which took place in the Poble Espanyol of Barcelona –a venue created for that occasion–. After the event, the entire Amaya troupe settled in the Cordovan patio then called El Patio del Farolillo and performed there for a whole year. The twentieth century advanced and Barcelona was becoming a party, a flamenco party that was growing. Because then, the art of flamenco, yes, was in fashion. For various reasons, but fundamentally due to the strong migrations arriving from the south, the city was becoming the most flamenco city in all of Spain. This is told by the exceptional thesis written by Montse Madridejos (Flamenco in Barcelona during the international exhibition 1929-1930. Edicions Bellaterra, 2012)
Carmen and Sunchy meet in Begur and become friends. Later Carmen dies. And much later Sunchy marries her widower, Juan Antonio Agüero, and has two daughters with him.Decades later, the connections are reestablished. Sunchy found herself sitting on the lap of a Carmen Amaya who had just returned, triumphant, from the United States. Barely eight years old, Sunchy had attended the show – and then gone backstage – with the already established flamenco dancer Concha Borrull – a family friend and personal dance teacher – and the girl handed the great dancer her newly gifted autograph book – she was so small she barely knew what an autograph was – for La Capitana to sign it. And so, the most famous gypsy woman of the Catalan Somorrostro, inaugurated a book, today almost entirely filled with signatures of dancers and singers, which clearly shows its owner's passion for this artistic discipline.
Twenty years later, history accelerates. Carmen and Sunchy meet in Begur and become friends. Later, Carmen dies. And much later, Sunchy marries her widower, Juan Antonio Agüero, and has two daughters with him.
And then, when it seemed that life was taking her in other directions, that only memories remained, Sunchy receives a call and a proposal that changes everything again. She steps into the Cordovan patio of the Spanish Village – which no one calls the Patio del Farolillo anymore, because the world has blessed it as Carmen's Patio – and she cannot say no. The reasons pile up. So much time contemplating the idea of setting up a small tavern with flamenco. How to say no to creating it here? And all those lives, hers and those of all she loved and who are no longer here, all that passion for flamenco, blossoms here.
In a small corralito. In a tavern that shies away from closed choreographies, that seeks the authenticity of an art born in the streets, in homes, in gypsy weddings. A tablao characterized by the desire to maintain the essence of spontaneous dance, with improvisation, with children and teenagers making their debut at the end-of-party celebrations. And for all this, Sunchy and Mimo Agüero, her daughter and manager of the business since 2015, remain linked to so many gypsy families, cousins, nephews, from neighborhoods like San Roque, Badalona, La Mina, distant relatives of Carmen, where the most authentic flamenco emerges, families who come every night to see their own.
Thirty years have passed since the creation of a tablao. But you will agree with me that it is much more than that. A little piece of our city's history. Of the many Barcelonas that exist. That has not been told as it deserves.