Fernando Fernández Pantoja (b. Jerez de la Frontera, 1969) has kept his father's nickname and follows in the family line of honoring flamenco. Despite his youth he already has a long list of professional achievements. This man from Jerez is well-loved in Seville where he also won first prize in the I Concurso de Jóvenes Intérpretes (first contest for young singers) in the 1996 Bienal. He started out in the world of flamenco as guitarist for the group Al Alba, until debuting in 1989 as singer in the Centro don Antonio Chacón in Jerez. The resulting success allowed him to become known to a broad audience when he sang at the opening celebration of Radio Televisión Andaluza.

How do you see the evolution of your cante, as well as your performance in festivals such as that of the level of Mairena?

Artists mature with time and as you get older you begin to understand certain things, so when you return to a festival for the second or third time, it's with greater awareness. But I think I'm doing alright, although I sense the audience overly respectful, there's too much protocol. Flamenco isn't so serious, it's nice to take it seriously, but sometimes it's too much.

Are you getting too deeply involved in jondo flamenco? Would you ever get more into fusion?

No, not at all. This has two outlets, and it needs to be more accessible. There is far too much criticism from purists, although people know it and they understand. It's clear that we have to respect flamenco, but it's also true that we could do with a little lightening-up, a little joy.

Photo: Anahí Cármody

What difference do you see between singing in a festival such as the one dedicated to Antonio Mairena, in his hometown (Mairena del Alcor), and a Bienal such as the one in Seville?

For any artist, going to Mairena is something very special, it's a very old festival which has seen the best singers in history, and you have to come with very clear ideas. Here you have to please and leave a good impression, because it's in festivals such as these that you climb the ladder. It's a very important occasion and you have to be as dignified as possible, although there are times it happens, and others when it doesn't. And as far as the Bienal, it has nothing at all to do with this, it's a month when Seville is full of activity, with all other kinds of shows, there's everything.

What's your opinion of the Bienal? Do you think it's in trouble?

No, I don't think it's such a big thing. I think it's a wonderful opportunity for many new artists and as things stand, I think it's fine. People submit new projects and they're presented, although there's always a bit of everything; which means someone is always going to be unhappy.

It's been a few years since you leapt to fame.

Well, that's a difficult topic, but you always have to have someone to back you up and give support, and who appreciates you for what you are; although in my case, fortunately, I can't complain. Everything is working out, I'm fulfilling my obligations and people are accepting me.

Are you sticking it out with 'jondo' cante?

Totally. I have nothing against evolution nor certainly against doing new things. But if I do something new some day I'll do it based on the purity of my cante. If I used a trumpet, the trumpet would have to sound completely flamenco. In other words, I'm in favor of evolution, but not fusion; if I have to stick in a violin or a piano, I'll do it, but it has to sound flamenco.

The lighthearted bulerías of Cádiz, or the seriousness of Seville?

I can't choose one cante over another because I sing everywhere and I like it all, each place has its way, and it's special identity. An artist must adapt to the place he's performing in. Although I consider myself more a cantaor of the serious cantes: seguiriya, soleá... the cante I do is the heavy stuff, and this is what I most identify with.

Do you come across obstacles, being young and singing 'jondo'? Is it easier to bring out more fusion-type music?

In that sense, yes it's easier to make fusion records and new flamenco, as they call it now, which is why they tend to be artists who are around for a year or so. If you don't wear the truth on your sleeve and the basis of cante, I think you end up badly, except people like Ketama, who do their own thing and there they are. The ones who are a big hit right away don't last more than a year. If you don't forget the foundations you have a more authentic career and you're more respected. As far as records go, yes it's easier to get a recording made if it's fusion and you have more possibilities of getting a contract, but when it comes to working live, forget it, it's just the opposite. The most important thing for a singer is to keep up the level, and purity is what holds it all together.

Flamenco is for a minority.

That's a cliché because flamenco belongs to the world, and being universal it can't be for a minority. So what happens it that it remains in the minority because of the avalanche of new flamenco we have these days, they fill up stadiums; but it's just a year or so, they make a record and then it's finished. But the person who devotes himself to traditional flamenco, one step at a time, will always be well-considered. I'm going in for pure flamenco, and if I do something new, it will be within my capabilities.