Behind the high from last night, in which the little ones raised the level of the contest compared to the previous year, came the second phase of children’s murgas, which began with a little more public covering the little ones. Triqui-Traquitos, Beavers, Twisted, Guachipanduzy, Frikiwiky,s and Raviscuditos got on the little piece of New York installed in the Fairgrounds to make their fans enjoy.
With a dazzling design by Daniel Pages, they were in charge of raising the curtain in this second phase with Emilio López at the helm, celebrating 10 years as director, a career that allows him to maintain traditions as elegant as asking the public for permission to remove his headdress.
After the parade of this carnival tribe began its theme Eugenio the genius, in which next to the murga appeared a giant blue doll as a genie and a magic lamp that served to put the public in context. After introducing Eugenio, they began to describe a whole list of wishes in which they took their most critical side out for a walk, crying out no to the war, asking that promises be fulfilled with the affected families of La Palma or making requests such as: “No see more poverty” or “Not see more sadness”.
Little time would pass to return to the essence of the Triquis house: humor, which they noted in the dialogue they had live with the genius, changing the tone of the voices: more serious when the genius spoke and more acute for the murga. From the comical moment to the fiercest criticism: “No to the works and get out of here” in protest of the innumerable works that want to be carried out in Tenerife and that “destroy the natural landscape”, naming, among others, Cuna del Alma. They dismissed the song saying goodbye to its director and introducing the successor, Yohalet Ramírez, which helped them to vindicate the lack of children in the children’s murgas.
Leaving only 45 seconds on the clock, Triqui-Traquitos served up the essence of the usual children’s murga. Elegant and childish, criticism and humor rose to the stage in equal parts.
Little Beavers (2006)
The winners of the 2022 interpretation second prize began to sound like a cannon in the first chords of their parade, which has become an anthem of this contest. Leading Ángel Cabrera, this year also a designer of the murga, they presented their theme, The podium.
As if it were a sports competition, the little ones appeared with bronze, silver and gold medals hanging from their necks, which served as a pretext to present each group of winners and launch the purpose of the theme: reverse the order and demonstrate that being third is better than being first. “The first is the worst because it is lonely”, under this premise began the first critical darts towards poverty, school failure or the loneliness that children with disabilities face in schools, but it also served them to pay homage to the single parent families.
They continued criticizing competitiveness and recalling that what is important is not the position they are in, but enjoying, which led them to list a series of values that the children were showing on foam board: courage, camaraderie or friendship. After this, came the delivery of medals, which they decided to give to the murgas from the north for their efforts, to children with disabilities and to Canarian athletes. They concluded their theme touching a chord and remembering that those who are higher up on their podium are their parents and grandparents.
Not having two songs has not been an impediment for them to sing everything they had to sing. With very good voices and ingenious and well-posed lyrics, although a bit dense, they shone and ended up taking the gold medal for their phase.
Los del platanito arrived from the south in yellow taxis, New York inspiration for their fantasy, designed by Amanda Conde, its director. In their presentation they took the opportunity to show how their disguise works like the transformer: if they crouch down they are taxis, when they get on they are the drivers of it.
in his handwriting Not even with a lack of memory I forget your story They were characterized by books, with lights included, to visit the most famous Disney stories, which they used to criticize. Among the murga are from Pinocchio to Snow White, passing through the Hunchback of Notre Dame, who “with his school backpack has become stiff.” After their introduction they began to interact with the public, who will be in charge of deciding which characters will star in the stories.
The first story was Little Red Riding Hood, which the 3 little pigs accompanied so that she would not go alone. In the second, the public ruled out Donkey, from Shrek, but chose Dora and Aladdin to help Marco find his mother. The third was the most critical, speaking about Tenerife, they used Pocahontas and Tarzan to give them the necessary impetus to show their opposition to the tourist works or the possible charge for the entrance to Teide. They finished the theme with the chapters that live every day to criticize the pressure in sports and remember that “education begins at home” while components of other murgas went up on stage to sing to the murguera unit.
The ingenuity of its children’s lyrics, the spontaneity of its director, its staging and the interaction with the public made the performance of those from Granadilla magical.
With Lara Coello at the helm, as has been the case for more than 10 years, they came stomping with some childish and beautiful voices to present their fantasy in the 2023 contest.
on your topic Without past there is no future, children’s murgas and period They made a compilation of everything they consider that children’s murgas should not lose for wanting to evolve. They began by talking about murguero history and remembering that “there is no future without a past”, rescuing the porreta or the trumpet, among other murguero stamps, and paying homage to the pioneers: 50 years of children’s murgas. They continued criticizing the lack of performances that the OAFAR has planned for the smaller murgueros in the streets: “Today everything is competing.”
They went to the 80s, where for the first time there are “uncensored letters”. From there to the 1990s, when the pasodoble reappeared, a rhythm that they used to complain about the conditioning works of their premises and the Mercado de la Salud by the City Council, which they describe as botched. When they reached the 2000s, they boasted with contra-songs of how at this time the children’s critical groups began to sing in three voices. They concluded with the news, in which they criticized the adult lyrics in the contest, the competitiveness of adults and the pressure they put on children because their murga wins: “Nobody loses here.”
The essence of the Guachis remains intact: childish, critical and with little embellished lyrics: what they sing is what it is. His review of the history of the children’s murgas aroused the nostalgia of those present and made the most carnival fans fall in love.
Turning 25, they entered their last contest, since this year they are retiring, with their parade: “Because carnival has finally arrived.”
They began their song by criticizing that the children’s murgas only sing one song in the competition, a decision made by the critical groups themselves, and the negativity of the elders when saying that the quarry is dying, making it clear that “we are more than 15 murgas”. . They continued to highlight the camaraderie and empathy that the groups have among themselves and took the opportunity to give OAFAR an idea: “Make murguero workshops” at the Casa del Carnaval to train lyricists, artisans, designers or drummers. They concluded by criticizing Fiestas for the lack of performances in the streets in Carnival: “I am the future of carnivals.”
They celebrated their anniversary in style, enjoyed themselves on stage and conveyed joy and a desire to have fun.
After presenting their fantasy, the work of Sheila Quintero, they gave way to their parade, in which they had fun to the rhythm of: “Only for you, and nothing else, is that I sing in Carnival.”
In their contest theme, written by Sebid González, ex-Triqui-Traquito and Zeta Zetas, they transformed the stage into a soup kitchen, specifically the best dining room for children, where “fish has no bones” or “pepper red tastes like licorice.” They continued highlighting the importance of healthy and traditional food and criticizing junk food to continue promoting the consumption of Canarian products and our farmers, cattlemen and fishermen: “The ingredients that I use are of quality.” They ended up honoring Carnival.
They put the finishing touch to a night in which those from Tacoronte enjoyed being a murga, being childish and enjoying themselves on stage like no one else.