And the third phase achieved the miracle: the Fairground at half its capacity at the beginning to see live Retorciditos, Guachipanduzy, Redoblones, Sofocados and Triqui Traquitos, who performed in that order. Despite the fact that the verdict is scheduled for the end of the night helped this notable improvement in attendance, the reality is that this year familiar faces of adult murgas have been seen on the premises, who have served as an example for other components of the older groups, which may have helped this third phase to have a noticeably larger audience than the other two phases.
With Diablos Locos, first prize for interpretation of the Adult Murgas Contest, the last appointment of the little ones began punctually. The fans, who did not hesitate to applaud the performance of those from Calle La Noria, remained expectant listening to each of the children’s murgas who competed, who maintained a high level and who showed that they still have desire and enthusiasm for a while. After the pass of Diablos Locos, the contest time began with a phase that stood out for its great quality and in which, at the end, the winners of this edition were known.
Twisted (2009)
The representatives of the south came from the hand of Amanda Conde, director of the murga and daughter of the founder Fran Conde -El Platanito-. With the parade of her and her war cry “ay, upload it” started a performance from which the public expects a lot.
in your topic I come to sing to you for the love of art They started giving context with the stage in the dark. When turned on, each child was characterized as a different art painting, with lights included. As they named the different paintings such as the Mona Lisa or Munch’s Scream, they took the opportunity to criticize. With a play on words they brought up the minimum of 20 children per murga that the OAFAR put this year for the Children’s Murgas to claim that the smallest murgueros are the sustenance of the Carnival. “Value art, real art” they sang to give importance to street artists. They continued to pay tribute to Assembly sabotage to finish presenting some murals with familiar faces of the Carnival as protagonists “a tribute to their help”.
Excellence in staging was brought by Twisted, playing with lights, pictures and colors. Although with some lack of diction, they gave a great performance worthy of being exhibited in any museum. Sensational opening this phase.
Guachipanduzy (1991)
On its 31st anniversary, which almost counts as more than 30 taking into account last year’s break, the murga of one of the last places in the Mercado de Murgas premiered Raquel Coello in its parade as director, sister of the one who until now had been its usual director: Lara Coello.
In their topic they characterized themselves as scientists to use devices such as a truth machine, with which they “interviewed” Bermúdez to call him a liar and criticize the management of the scooters in Santa Cruz. They continued paying homage to the trumpets. After this, he invented it: X-ray glasses or a toilet chair for the journalist Fátima from Televisión Canaria. They were moved by inventing a machine that changes hunger for abundance, racism for empathy or sorrow at Carnival.
They starred in a step through the fun and ingenious contest in equal parts. Their director was sensational and they had a great time on stage. Víctor Asensio’s lyrics managed to excite and amuse. Thank you for never forgetting the trumpets.
Redoblons (2017)
To the beat of Stay with me Redoblones began its exciting presentation. After his entrance, Joel Arias, one of the most charismatic directors -who has learned everything from his sister Tati Arias, former children’s director-, gave way to his parade with spectacular voices.
In their theme, characterized as volcanologists and with headlamps on their heads, they began in the dark projecting the volcano of La Palma on the screen, saying that they were going to the beautiful island: “I’m bringing you my help.” They “arrived” on the island and narrated their vision as children. They made humor with the tourists who came to see the volcano. From there to telling funny anecdotes and other harder ones “the dogs were hungry” to excite with a Zeta-Zetas effect and make a “video call” with his friends from La Palma, who saw themselves on screens and then appeared on stage to sing Along with the murga, a thank you to the firefighters, civil protection, army or Civil Guard. They ended up singing to the boy from La Palma: “Your struggle and courage I will not forget” and recalling mythical events on the island such as Los Indianos or Los Enanos de La Palma, whom they took to the stage.
With careful and elaborate movements, Joel Arias’s men signed a performance that can be summed up in one word: pretty. Good voices, childish and exciting lyrics and a great staging and surprise effect. Spectacular.
Suffocated (1984)
Those of María Jiménez began their performance with Paola Tosco in the lead directing an emotional presentation with which they presented their beautiful costume. After the entrance, his parade, danced and recognized by all those present: “It is because of you that I am Suffocated today”.
With their theme they brought “los piques” to the Fairgrounds. They began by remembering the piques as children with their brothers to criticize that they could not go to the beaches of Anaga during the pandemic because the traffic lights were red. They invited the public to participate in their song by completing their sentences with the word “suffocated” and playing with the very name of the murga and the meaning of the word. They turned off the lights and with flashlights they invited the public to get stung by them and also move their flashlights. They continued with the historic clash between Tenerife and Gran Canaria with verses such as “I have better beaches than you” or “We had Celia in Plaza España” to claim unity between the capital islands to support La Palma. They ended up criticizing the clashes between parents for their children, asking them for understanding: “Let’s live without clashes, fight for unity.”
Funny, witty, interactive, constant in voices and childish. Suffocated took the seal of the house out for a walk to make the public fall in love: original lyrics. Great work and effort from Dulce Rodríguez, president, and Alberto Déniz, lyricist and musical director.
Triqui Traquitos (1984)
Closing the contest came the children from the house of the show and the fun with a nice and childish costume, created by Daniel Pages. With the charismatic Emilio López at the helm, they were inspired by the Lion King for their presentation, which gave way to their parade.
After a beautiful rescue of the historic phrase: “with your permission we take off our headdress”, Triqui Traquitos started with my session, your theme for the contest. They began characterized as dj’s to make humor and take a tour of the different formats and music equipment. From there to put the topics: education to criticize La Laguna and the bottles in the Quadrilateral; Solidarity so that La Palma is not forgotten or to get Bermúdez out of the “theme” of skateboards. They continued to criticize the pandemic and the measures adopted from the eyes of a child: “Where is the capacity for the elderly?” They ended with a crack to Alfonso Cabello, Councilor for Fiestas, to claim that he forgets the children’s murgas.
Critics and entertainers alike showed that they wanted Carnival and to see their fans from the stage again. This historical murga also rescued the whistles in its balanced repertoire. The effort is rewarded, and they managed to be despite adversity.
