So-called Economic Developism of the 70s and the growth of the tourism contributed to the proliferation of the tablaos, as modernization of the Café Cantante, especially in monumental cities and destinations for sunshine and beaches.

They updated a similar model to what Nestor Luján described: "The Zambras were celebrated as a touristic service of the period for the romantic travellers." 1 The dance was the base of the show, and the predominant audience was foreigner, as a result, those new places fulfilled various roles: generate new jobs; take the flamenco closer to the cities of origin of the tourists; and also, serve as the media of the flamenco with the reports and documentary that people made.

 1, Parra, Antonio: Cafés Cantantes Historia y Documentos. Escuela Superior de Arte Dramático. Murcia, 2001.