AGUJETAS. JEREZ CANTE FAMILIES (II). SPECIAL FEATURE

The Agujetas clan

Carlos Sánchez. Jerez, January 2005

In this second instalment of the series ‘Jerez cante families’, our tour of cante territory pays a visit to a family that has contributed its own distinctive trademark to flamenco: Los Agujetas. This dynasty of cantaores deal in those dark sounds termed “sonidos negros” by Lorca, giving their work a striking individuality. The origins of this singular family can be traced back to the early decades of the 19th century, and they began to shine with Agujetas el Viejo. The legend continued with Agujetas, and they now move into the future without turning their back on their personal flavor, reminiscent of the forges of old.

Agujetas (Frame from 'Flamenco' de Carlos Saura)

First, a glance at the family tree. José Manuel Martín-Barbadillo's research concluded that the Agujetas clan originates from El Puerto de Santa María in Cadiz province. This is the place where Diego de los Santos was married to Ricarda Boneo (not to be confused with Moneo), a couple who would soon become relatives of Manuel Torre. The fact is that one of the couple's children, Micaela, married Gabriel Soto Montero, the brother of Juan el Torre (Manuel Torre's father).

In 1845 another child, Diego de los Santos Boneo, was born. He later married Juana Navarro Morón, and their son Tomás de los Santos Navarro was born in 1880 in calle Acebuche in Jerez. He was the first member of the clan to be born in Jerez. Tomás married María Gallardo Suárez, also from Puerto de Santa María, and the pair had two sons: Manuel de los Santos Gallardo ‘Agujetas el Viejo’ and Domingo de los Santos Gallardo ‘Rubichi’, ancestor of another line of Jerez-based artists. Tomás's wife brought an interesting element into the family in the shape of her brother José Gallardo Suárez ‘El Chalao’. When 'crazy' José wed Pilar Loreto Fernández they created the ‘Garbanzo’ and ‘Mijitas’ clans.

Of Manuel de los Santos Gallardo ‘Agujetas el Viejo’ we do know something. We have reliable information that he was an excellent cantaor of the most traditional 'jondo' school. As writers Luis and Ramón Soler comment in ‘Antonio Mairena en el mundo de la seguiriya y la soleá’, in the last few years of his life he left a musical legacy which descended directly from Manuel Torre. The depth of his vocals was reflected in his dominion of the richest styles from his his homeland, although he appears to have been undervalued outside of Jerez. ‘Agujetas El Viejo’ was a walking encyclopedia of cante. He covered all the styles of Jerez cantaores such as Carapiera, Marruro, Tío José de Paula and, of course, Manuel Torre.

Agujetas el Viejo (Frame from DVD: Rito y geografía del cante
"DVD 17: Fernando Terremoto. Agujetas. Sordera")

With the coming of the 20th century the dynasty saw new arrivals. Manuel de los Santos Gallardo, born in 1908, married Ana Pastor Monge from Rota, also in Cadiz province. Their children were Tomasa, Francisco, Juan, Diego, Luis and Manuel, the last three of whom became cantaores.

The best-known in the world of flamenco was to be Manuel de los Santos Pastor ‘Agujetas’ who professes not to know the date and place of his birth. “I have no papers.” An old-fashioned, withdrawn gypsy, he lives on the outskirts of Rota in a house he built with his own hands. In the early seventies he left the family forge and set off for Madrid where he recorded the first of a long line of albums. The movie ‘Flamenco’ by Carlos Saura and, above all, ‘Agujetas cantaor’ by Dominique Abel give a fine portrayal of this singular flamenco figure.

Antonio García ‘El Platero’ gives a perfect definition of this vocalist's style in the French director's documentary: “It's like whisky, when you try it for the first time it's rough. With the passing of time you start to appreciate it.” Manuel de los Santos Pastor is a master of the styles popular in the the forges, his cante always has a whiff of red-hot iron to it. Tonás, seguiriyas and soleares.

Y es verdad que yo he tenido (And it's true that I have had) Una quejita grande con Dios (A bone to pick with God) Que lo que a mí me ha mandado (Of that which he has sent me) No me lo merezco yo. (I am not worthy.) Están sentado en la Plazuela (In the square are sitting) La Rogelia, Tío Frascuelo (La Rogelia, Tío Frascuelo) y Paco el de la ‘Malena’. (and Paco el de la Malena). Tú tienes que venir a buscarme (You have to come and fetch me) Tú vas a venir a buscarme (You shall come and fetch me) De rodillas por el suelo (Kneeling on the floor) Llorando gotas de sangre. (Crying tears of blood.) (Lyric por soleá. ‘Agujetas. El Rey del cante gitano’)

Agujetas (Foto: Javier Hurtado)

His fandangos are also outstanding. This nihilistic cantaor often uses such crushing phrases as “anyone who knows how to read and write doesn't know how to sing flamenco” or “the one who sings the most is the one who's suffered the most.” Manuel Moreno Junquera ‘Moraíto’ defines him as “a startling cantaor. Wild, pure and concentrated.” This is an autoctonous species in danger of extinction. ‘Agujetas’ brings us the primitive cantes of the last century. And he continues to do so on his recent recordings such as ‘En la soleá’, ‘24 quilates’ and ‘Agujetas cantaor’.

The next generation. The union with Josefa Bermúdez Fernández produced Manuel, Antonio, Dolores, Ana and Diego. The most professionally outstanding of this brood are Antonio and Dolores, who both carry forward the dynasty's own peculiar style. Antonio Agujetas (b. Jerez, 1966) has three albums on the market: ‘Antonio Agujeta’, ‘Dos gritos de libertad’ and ‘Así lo siento’, whilst Dolores works with the family styles of cante on discs like ‘Hija del duende’ and ‘Dolores’. And there are signs that the cantaora's own children will continue the clan's flamenco traditions. Virginia Agujetas dances, while her brother Antonio Agujetas Chico sings and plays guitar. The Agujetas clan already made history, and they continue to do so.

Antonio Agujetas (Photo: Daniel Muñoz)

Dolores Agujetas (Photo: Daniel Muñoz)

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