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Guitar and flamenco dance require a lot of study. What about cante?

Of course to play guitar or dance requires discipline, but if you want to be a cantaor you'll also need to put in all the hours in the world. I'm not the kind of person who schedules in cante studies at a certain time of day. Guitarists start playing at a given time and don't stop, and bailaores have to reserve a studio at certain times… that doesn't happen with vocalists. Someone who likes cante and is a big flamenco-lover listens to different songs all day long and draws on the things they like best about each one. We cantaores are really laid back, because if you want you don't even have to get up from the sofa (she laughs).

Who comes out on top: the artist who really concerns himself with learning or the one who's lucky?

The one who's lucky. There are plenty that get forgotten. There are a lot of young cantaores who aren't given a chance even though they're really good vocalists. They're out there but they never had their opportunity. They take care with what they're doing a lot more than many of those who made it and didn't deserve to. I'll even give you a few names of young artists that didn't get that break. Male cantaores I could mention are Pepe de Pura, Miguel Soto ‘El Londro’, José Anillo, Manuel Gago, Antonio Zúñiga, Antonio Núñez ‘El Pulga’ or José Valencia. And as for women there's María Vizárraga, Ana María González, Manuela Ríos or Rosa María Delgado ‘La Negra’.

Encarnita Anillo with La Farruca on 'Gitanas' (Photo: Daniel Muñoz)

Was it clear in your mind that to make a name for yourself you had to leave Cadiz?

I've been living in Seville for five years now. But I've been coming and going since I was eleven. I knew I'd have to leave here to make a name for myself. I'd already toured all the peñas in Cadiz and the province's four festivals. I didn't want to stay here because I've always aspired to more. I like go to different places, see new faces and find out what's going on in the rest of the world, to really be able to appreciate what we have here. It's a shame because Cadiz has produced some really good artists, but these days it's hard as hell down here.

Is the presence of women making itself felt more and more in flamenco?

It is. There's a growing number of cantaoras, and more flamenco bailaoras. There are some really good artists around. Although I don't mind telling you that our prospects are fairly limited in the field of cante. Flamenco dance is another story. There are a lot of young artists that are really good - take Rocío Molina, Adela Campallo, Rosario Toledo or Fuensanta la Moneta.

Is flamenco still male chauvinist?

No way. I think I've landed in a good era. I don't detect any male chauvinism. Years ago women couldn't make a career out of this, but now things have changed. Just take the show ‘Gitanas’ we have on tour right now: all the stars are women.

What does accompaniment to baile contribute to cante?

A lot of things. Compás, rhythm, having eyes in the back of your head to know when you're going to have to break, where you have to come in or wind up... You have to keep a look out for a lot of things. It gives you a lot of invaluable experience.

Should you sing accompaniment before you try to go solo?

	"The legendary flamenco cantaores all sang accompaniment to dancers"

Yes. When I was little I sang without knowing what I was doing. I did OK considering the little knowledge I had because I was so young. Now, although I'm still only 23, I've done the circuit and you're more responsible, you have more integrity. At the age of thirteen, I probably sang por soleá and slipped in other things that had no place there. These days, if I want to sing a certain palo I keep to the framework. I go down to Cadiz, I go to Triana… that gives you experience. But to my mind the vocalist that served his or her apprenticeship in the background is worlds apart from the one who did so in the spotlight. Just look at the legendary flamenco cantaores - they all sang accompaniment to dancers. Take Rancapino, Chano Lobato, Camarón, Carmen Linares, Caracol, the list is endless.

What do you like most about your profession?

What I like best is when I'm happy with what I've done, because people thank you for it. That applause, that recognition… that's what encourages you the most. I'd choose that applause and knowing that I've made someone that came to see me happy tonight.

And what do you dislike most?

The gossip and the jealousy. Very often we don't respect each other and we aren't aware of how deep this artform goes. People spend a lot of time thinking about one artist or another, but they don't stop to think about the artform itself. We forget that we're working in a really beautiful profession within an artform that's well-known all over the world.

What stage of your career are you at?

A pretty good moment. I can't complain. I'm healthy, my family are all well, I eat what I like, I'm getting more and more work, and life is treating me well. As for the future, qué será será. I'm not a self-centered person. I'm just pushing to do what I like.

And your aspirations…

To be a good cantaora and a good artist. And just for my work to be acknowledged, to be given my opportunity. Because when I get up on stage I give my heart and soul. And apart from all that, the well-being of all of my people, to be able to carry on working like I have up to now.

Projects in the pipeline?

My album. It's a very classical project. It's an album that I really wanted to make because I'm selecting really traditional pieces. I've chosen things that had already been done and I've done them my way. I've researched some vintage styles and I've compiled a selection. And it's a project that I'm really enjoying because I feel really at ease with the cantes that I do. But I also have to tell you that I'm a little nervous because it's something new for me. On this album I work alongside Diego del Morao, Chicuelo, Alfredo Lagos, Juan Requena, Juan Ramón Caro, Luis Cantarote, Carlos Grilo, Carmelilla Montoya, Farruquito, Farru, Diego Amador and my brother José Anillo.

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