Cancanilla de Málaga: classic flamenco and a dose of humor

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The comical gait of a burly man in his seventies, with long, disheveled hair like a rock star from 30 years ago, with the face of a mischievous teenager. All that, combined with high-quality Mairena-style singing. This is the singular blend of elements that makes it clear that Sebastián Heredia Santiago (1951), known in the world of flamenco as Cancanilla de Málaga, is doing his number. He is unique and lively, an artist’s artist.

He recently came to Jerez, where he is much appreciated by flamenco fans, and didn’t disappoint those present at the Tío José de Paula club. His spontaneity is refreshing, and his original personality is authentic.

I saw him at Lola Flores’ Caripén club in Madrid in the XNUMXs. That night the singer danced with an enormous dose of quirky humor. I remember he did a classical ballet move which he incorporated into bulerías, it was impossible to be more flamenco amidst that overwhelming flamenco atmosphere with irony that was pure Cancanilla.

In his recent recital at the tablao, the hovering spirit of maestro Mairena seemed to approve of the soleá por bulería, tientos tangos, soleá, caña, fandangos, seguiriya, cante minero, and his very personal bulerías accompanied by his unique dance. Cancanilla possesses something so lacking today in many performers: an unmistakable personality.

We spoke with this self-made artist who came to Jerez delivering cante in his own inimitable way...

Cancanilla, is it “de Málaga” or “de Marbella, what caused the switch?

This is difficult for me, but no one is a prophet in their own town, and in Marbella, they haven’t recognized me as an artist, despite my 55-year career taking the name of Marbella around the world. It makes me sad, and Málaga gave me the opportunity, many festivals and clubs, the Juan Breva peña, where they always love me, they’ve supported me for years, and from there, different flamenco clubs all over Andalusia and Córdoba started calling me, where I eventually won the Enrique el Mellizo award. It feels like a second home, but Málaga is truly the place that supported me. That’s why, when I recorded, I decided to call myself Cancanilla de Málaga.

Your singing is both calm and intense, with a classic and profound repertoire. You’re not a festero who also sings, but rather a cantaor who knows how to move. I have seen references to your mother, María Santiago. Did you perhaps learn from her? Or was she more of a singer? Where does your unique way of dancing come from?

Yes, my singing is classic and dignified, I’m not festive, but they ask me to do a little of my humble dance. My mother, María Santiago, was nicknamed Chacha. She only sang, but she wasnt a professional because we were so many siblings she didn’t have time to sing. My dancing came to me when I was very young; I made a living with it, but my real passion was singing. My dancing is personal, self-taught.

According to your age, you witnessed the peak of Camarón's popularity, but I’ve heard you mention that you most admire Torre through Antonio Mairena and Juan Talega. Would you name anyone else?

Yes, I experienced the golden age of flamenco. I knew Camarón at the beginning, he would come to Marbella to visit us, my mother would serve him a meal, and we’d start singing things of Juan Talega, Antonio Mairena, and other greats of that era who were beginning to be recognized. I listened to them and thought, this is my calling, so I started studying and listening.

"My singing is classic and dignified, I’m not festive, but they ask me to do a little of my humble dance. My dancing came to me when I was very young; I made a living with it, but my real passion was singing. My dancing is personal, self-taught"

Then you settled in Madrid, and joined Canasteros, the legendary tablao of Manolo Caracol, a temple of flamenco.

The greatest flamenco artists of the time gathered there, and being part of all that was both a challenge and an honor, the atmosphere was electric. I’d been working in Marbella with Güito, a great dancer. He recommended me to the maestro Caracol who called me in for a tryout, and he hired me. Since I sang and danced he liked that alot, and I stayed there for some time. It was a great experience that allowed me to work with many great artists.

What was it like working with José Greco?

José Greco, a great dancer and choreographer. One day in Marbella I was working at a tablao El Platero, he saw my sister La Chichi and me, and he asked us if we would go to América with his company. He had to ask my father’s permission since we were both minors. We were thrilled to see América and work with that great dancer. In the golden age of flamenco when I went to América with Greco’s company we were a bunch of young artists getting started. My sister La Chichi, Paco de Lucia, dancer Nana Lorca, as well as Rafael el Negro, the great Matilde Coral, Farruco, Los Salaos de Sevilla, Pepe de la Isla, a fine singer, and el Millonario among others. It was a fantastic opportunity for me, it gave me great experience and I saw América.

In one interview, when asked about your favorite dancers, you name the classic festive dancers: Paco Valdepeñas, Anzonini, Funi…, no dancer dancer. Do you not care for classic flamenco dance such as that of Gades or Mario Maya?

Well, aside from those I mentioned, I admired a Málaga dancer Pepito Vargas, and of the same era, without a doubt, the great Farruco, in addition to the great Joaquín Cortés, Farruquito, Juan de Juan, Pepe Torres and Antonio el Pipa, Marco Flores and others, this generation is very well-prepared.

You’ve made several recordings, any projects on the horizon.

Yes, I recorded with Antonio Arenas who was a guitarist and producer of many people, also with guitarist Enrique de Melchor, a record dedicated to my mother Chacha, the last one, En mi Delirio. Projects, well, I’m preparing another record, continuing with my festivals and peñas, and there’s a book in the works about my artistic and personal life. Hoping for good health to continue working, and to those people who admire me, I’m deeply grateful for their following, traveling kilometers for my appearances. And I’m thankful to Expoflamenco for this interview which is an honor. Best regards, Cancanilla de Málaga.