The piano in which he rehearsed those songs that today are the history of Spanish music. The daring and flamboyant outfits that dazzled the audience in every performance. The long list of awards and recognitions to a brilliant musical career that ended with an early death. Much of what was Rocío Jurado and what is already his eternal myth is locked in a museum in Chipiona that languishes waiting for an agreement stuck in the starting point for eight years.
The museum installation has become "the whiting that Bites the tail", as recognized by the delegate of culture in function of the city council Cadiz, Javier Díaz. The eldest daughter of the artist and heir to most of her legacy, Rocío Carrasco, still does not give permission for the building to open its doors, although it is practically ready since the exhibition was completed in 2011. Carrasco does not end up trusting that the judicial process due to irregularities in the management of subsidies ends up affecting the objects that she must officially give to the city Council.
This past June 1, 2019 was celebrated the thirteenth anniversary of the death of Rocío Jurado in the shadow of the doubt that the conflict is even close to being fixed and with a new impediment added. Last January, the current mayor in office, Isabel Jurado (PP), resumed contacts with Carrasco to unlock the opening of the equipment after years of silence. "Since then, they've kept in touch by phone," says Diaz. The artist's daughter had not moved from her posture, but at least the negotiation had been retaken. However, the electoral results of the municipal ones of the 26-M past threaten to bring back to the origin the whole process.
The current councilor in office has lost the elections and the new government of the city is subject to a difficult agreement in which the presence of Isabel Jurado as mayor seems complicated. It will be the new government team to draw new bridges with Carrasco something, in itself, complicated, as evidenced by the scarce advances in recent years to reach a definitive solution. And, in turn, the lack of this agreement leaves in dead way any kind of advance that the museum also needs to see the light.
The artist's extensive material legacy is composed of more than 400 dresses, furniture or awards and has been in an administrative limbo for more than eight years. The city council received all the material from the artist and came to equip the museum with him, but it did not come to rubricarse the agreement of Cession of goods, necessary to go ahead with the process. Today, the consistory is still guarding these assets and taking care of their correct conservation, despite the absence of any sign of cession.
The reason for the blockade is the doubts that generate in Rocío Carrasco a legal process linked indirectly with the building that houses the museum. Between 2008 and 2010, the mayor — then socialist — resorted to the state reindustrialization Plan, known as Reindus, to finance the palace of Fairs and exhibitions hosted by the museum. When the PP arrived at the mayor's office in 2011, he noticed some possible irregularities in the processing of these subsidies and he went through a judicial case that led to investigate the Excalcalde Manuel Garcia, and his councillors of Urbanism and the spokesman of then and today C Socialist Andidata, María Naval.
However, this judicial process does not affect the museum building itself. "Construction is totally legal," Diaz adds. Therefore, the mayor says "do not understand" the denial of Carrasco to give the approval to the agreement of Cession. In November 2017, the city council offered the heiress the payment of an annual canon of 30,000 euros for the goods. Carrasco's response was to request access to the building's construction file, more than 7,000 pages that the city Council placed at your disposal, in person or by shipment if requested. "But we have no record that anyone would ever come or ask for a copy," the councillor adds.
Rocío Carrasco's refusal to sign the agreement makes the following steps that the museum requires cannot even start walking. For example, the consistory cannot apply for subsidies to the Junta de Andalucía for the investments that are missing since the goods are not officially ceded, as Diaz explains. Nor can public or private management make its opening viable without advancing in this first step.
The blockade of recent negotiations reached its zenith last summer, when the mayor came to threaten with a Plan B: To enable an exhibition hall with gifts that the artist made to neighbors of the village. After the announcement, both parties resumed negotiations and, although Carrasco did not seem to have moved from his position, the return of the contacts gave way to hope. Now, the new government that results in the inauguration of this coming Saturday will have to again get the confidence of the daughter of the artist.
The town of Chipiona is played a lot in the negotiations with Rocío Carrasco to get open the museum. The singer Rocío Jurado left many times clear her love for her hometown and the province of Cadiz, but the legacy of the artist is not missing boyfriends. The delegate of the functionary culture of Chipiona, Javier Díaz, recognizes that the rumor that Carrasco could contemplate moving the goods to another locality returns to Chipiona every little time. Meanwhile, the patrimony of "the largest" is still locked in a locality that, for now, only offers to the interested visitors the possibility to visit the tomb of the artist, the exterior of his family house and a monument dedicated to the singer.