The death of The Goatherd, which occurred at seven in the morning in the St John of God Hospital The Aljarafe region prompts us to reflect. flamencoAs a source of our musical memory, it is a product of its time; also of the protagonists and social changes of its time, which is why it is always new and original. But, although exposed to the winds of the era, this hallmark of Andalusian identity is refreshed by traditional breezes that allow for a new ordering of values.
From this systematization arises the ideology of El Cabrero, which, With his passing at the age of 81, he presents us with a value of authenticity that creates and testifies to his own poetics based on himself and his environment., and that since the seventies he confirmed a will to style by virtue of which he not only stirred the spirit of his followers, but maintained the virtue –until his retirement in early 2020– of never going unnoticed.
We have gotten to know the person and the flamenco singer very closely, a duality that in El Cabrero we cannot ignore because apart from being an anthologist of the very jondoHe was a character, not because a story was created around him, but because it is not usual in the history of flamenco to encounter beings like the one from Aznalcóllar on a daily basis.
At the time of writing these lines, I imagine he will already be being transferred to Municipal Theater of Aznalcóllarwhere the concept of freedom in art will be inscribed in bold letters on its frontispiece, which can be understood as the capacity to act according to one's own will, without being coerced by external forces. But in the case at hand, it must be conceived as the fundamental right of every individual to make autonomous decisions and live according to their own values and desires.
This justifies the life and work of my friend José, a trajectory he captured so well. My homeland is freedom, the extraordinary essayistic documentary of Joaquin MimbreroAn audiovisual piece that, in just over an hour, offers different views of the same character, but without adhering to limitations other than those of each interviewee, who, in an argumentative way, outline the figure that, by preeminence and authority, allows us to give solidity to our Cabrero.
That would be a point of reference for memory, as is, obviously, his discography, a veritable call to action for awareness. Because this principle doesn't appear out of nowhere, spontaneously generated as an accident in existence and human life, but rather man has to develop it through his life and his decisions. That's why The life of El Cabrero is an invitation to act accordingly towards someone who has made freedom a way of life.
I am referring, then, to a flamenco singer who, even after being absent from the stage, never went unnoticed. The explanation, I believe, lies in the fact that El Cabrero, who is deeply influenced by the cante In light of the empirical method, and finding the solidity of his knowledge in lived experience, he not only provided guarantees of truth based on his experience, but also persisted in measuring the truth of those who set to music the bittersweet breath of Andalusia, for which reason he used el cante as a first-person narrative to highlight a plea for freedom of thought and in support of the prestige and honor of art flamenco.
Recall, for example, those years when El Cabrero was already rubbing shoulders with the great figures of his time, and a cruel campaign was launched against him. I've said it on several occasions. They wanted to take him from life and from the canteSome, because of the fight he waged against those who had seized the sidewalks or rights of way, and others, because they couldn't allow freedom of expression in a democratic system, to the point that, just to mess with him –excuse my language– they went so far as to say all sorts of things: that he didn't have goats, that what he had was an olive grove, and so on and so forth, and even that he was a millionaire…
"Today we bid farewell to a romantic and bucolic man. A voice forged with a strong humanist spirit, a humanism born from a passionate desire to embrace the essence of art. To achieve this, he had to overcome obstacles that remain insurmountable for others, and to make profound music out of those universal sorrows that, historically, justify our tears."
Lies upon lies to damage the image of someone who on more than one occasion – I witnessed it myself – showed solidarity with his colleagues, or who repeatedly donated his entire fee at the festivals he organized. Institution for the Elderly of Artists Flamencos (ITEAF).
So, he said goodbye to us. A great man, son and grandson of goatherds, who has dedicated his entire life to his flock, only leaving it to participate in festivals, go on tours, or record albums.Despite the accusations that he was unsociable—an infamy uttered by those who never witnessed him welcoming ordinary people in the dressing room, never confusing sociability with being clingy, for José was only a friend to the humble, a brother to those who suffer, and an ally of the honest—some people simply could not accept this.
But having mentioned such a repulsive matter, let us not forget that in the 1980s El Cabrero garnered the most attention alongside figures such as La Paquera, Fernanda and Bernarda, Fosforito, El Lebrijano or Camarón de la IslaAnd with them he always maintained the deep legitimacy, although of course, putting music to the land, to work, to freedom, to love and to rebellion from the most absolute truthfulness and insurrection.
His father – I remember when he told me – was from Nerva; his mother from Toledo, and he wanted to be an artist, so he stood out in Sanlúcar, went to Madrid and had to return with so little money that the train could only leave him in Córdoba.
From the Caliphate capital, but now accompanied by the police, to Seville, and, as his pride as a man did not allow him to return home as a failure, he stopped in the vicinity of the field of Sevilla FCwhere he slept at night, until he saw a sign, 'La Cuadra', of Paco Liraand there he met Salvador Tavora and Alfonso Jiménez Romero, who hired him to debut on February 15, 1972 as a member of the group La Cuadra, from Seville, with which he toured – performing the work Moaning– which took him through Madrid, France, Italy and Geneva, where he met Elena BermudezHe fell in love with her and stayed there, which allowed him to give his first solo concert in March 1973 at the Theater de l'Atelier de Geneva.
From then on, he set out to show the world that he is a country man and a friend of the canteHe was more than just a typical flamenco singer. He signed with the Belter label, and his works planted the seed and nurtured its growth to an unexpected depth, bearing fruit that became a source of inspiration and a denunciation of Andalusian reality.
Today, therefore, we bid farewell to a romantic and bucolic man, a despiser of the vulgarity of certain cultural figures. A voice forged with a strong humanist spirit, a humanism born from a passionate desire to embrace the essence of art. To achieve this, he had to overcome obstacles that remain insurmountable for others, and to make profound music of those universal sorrows that, historically, justify our tears.
Perhaps these are the most outstanding attributes that have led to the admiration of his countless followers, who found in him the profound flamenco singer who united his thirst for justice with the radiant hope of one day finding charity for the earth. El Cabrero will therefore be, for his faithful followers, much more than a consolation, though never a remedy for their ills. He will be, he is, freedom. And this is one more reason to believe in him. ♦
I think that, like so many others, my process of becoming a fan of cante jondo It came to me through him, not the other way around.
I found him as a symbol of a rebellious artist against injustices and I verified and was surprised, both by his talent and his struggle, and by the mystery and power of our Andalusian music.
That's how he began to amaze me, and I followed his career. He was always himself, without fear or pretension, and he always touched the heart, as they say, of his audience and audiences in general.
Furthermore, I was lucky enough to meet him in person (his guitarist for a long time, Paco del Gastor) at the tribute they gave him years ago at the Paradas festival, always of a high standard, also presented by Mr. Manuel Martín Martín, who broadened my vision of this phenomenon from our land.
The Goatherd sang:
The milk I suckled
The air did not pollute it
the milk I suckled
It went directly to me
from my mother's breast
That's why I am the way I am.
DEP
A magnificent, comprehensive profile that captures all aspects of José Domínguez, "El Cabrero." Thank you!