Since ancient times, women have played a fundamental role in guitar making, although historically their work has been limited to varnishing with gomalac varnish. However, women have rarely been recognised as guitar makers. A relevant example is that of Concepción González, daughter of Francisco González, master of José Ramírez I. Concepción inherited her father’s workshop and continued his work, although the labels on her guitars indicated ‘hijos de Francisco González’ (sons of Francisco González). This fact shows how, at that time, women remained anonymous, even though they were responsible for the construction of the instruments.
Women guitarists in anonymity
It is sad to think how many women guitar maker remained in the shadows due to a society that relegated their work. Many of them were pioneers who broke with the imposed norms, but their legacy was buried in history. Personally, I was the first female guitarist in my family, although I was not meant to be. It was assumed that my brother would carry on the tradition. However, I always dreamed of making guitars, and when I shared it with my father, he encouraged me to join the workshop, where I was assigned a workbench.
My beginnings as a guitar maker
My apprenticeship in the workshop was revolutionary, as at that time it was still believed that this trade was exclusively for men. I began with the construction of flamenco guitars, as they were easier to make due to the docility of cypress compared to rosewood. I signed my first flamenco and classical guitars, although the rest were signed by my father, as we followed his designs and used his materials, as was the tradition in artisan workshops.
Continuing the family legacy
After my brother’s death, I took over the management of the workshop and the shop. I received support from our dealers and customers, but I also faced challenges. On one occasion, a customer refused to buy a guitar signed by a woman. I decided not to sell him the instrument, even if he changed his mind. Despite the rumours that circulated about the end of Casa Ramirez, I am proud to have kept our tradition alive. Today, the fifth generation, headed by my nephews Cristina and José Enrique, continues the family legacy, where women have a recognised and respected role in guitar making. The role of women in guitar making has evolved enormously, and it fills me with pride to see how we are an active part of a tradition that has stood the test of time.
