At 8:30 p.m., Castorcitos was already performing on stage as a supporting act for the initial phase of the adult murgas contest, following their third performance in the children’s murgas competition that concluded last Saturday. It’s evident that the nerves have diminished, and they are simply relishing the moment; they sound so delightful that one can’t help but want to invite them to take part. Despite the initial impression that securing a spot on this first day would be unfeasible due to the sold-out signs, the reality is that the venue was not at full capacity, although it did witness a significant turnout and lively atmosphere. This year, there are no changes in the organisation: three phases with eight contests, including new additions to the ranks in the form of female murgas and jocicudas.
Marchilongas (1987)
If you have watched the film Coconut, Marchilongas’s introduction would have undoubtedly transported you there. “We may be Mexican, but do remember that we are the most traditional,” declares a fantasy crafted by Josua Sánchez for this troupe that has been active in the Carnival for 37 years. They commenced their first contest piece by paying homage to the female fishermen of the Canary Islands, an ostensibly innovative theme that took a turn to critique the circumstances of the archipelago, particularly the issues around emissaries or the sporting overweight “that prevents them from joining in.” They utilised the opportunity to advocate for the primary sector and call out imports, infusing humour with analogies linking politicians to fish.
While expectations may have differed, Keila Jérez’s group did not disappoint. Their second contest performance, titled “The Daughters of Tere,” showcased an engaging stage with LED lights, revealing “all secrets, from cookies to Valseco” akin to a sect. Although a coherent narrative was somewhat lacking, they took a moment to critique politicians, giving a nod to Bolorino and Rudy, ultimately concluding that “there are numerous societies, each with their own personalities.” They concluded with a song celebrating the Canary Islands, championing the struggle to reclaim everything that’s been lost.
Runaway (2006)
“In las Murgas, you do not rehearse for six months just to parade.” This was how Runaway kicked off the contest with a critique of inactivity, followed by one of those performances that compel you to dance: “I am runaway, I am proud.” With that same pride, they launched into their first contest number styled as a tajaraste, “Canary Islands, land of solidarity, but we are no fools.” They proceeded to spotlight foreigners, such as an Italian chef or a German mechanic, whom doors are opened to, while the Canarian populace remains shut out. Advocating for the protection of our land, they also portrayed the very essence of Canarian identity through representations of local fighting teams and folk groups. Without a doubt, a topic that resonates deeply and had the audience on their feet.
In their second theme, they opted for an atypical approach, infused with humour: “I don’t attend verbenas, will never join a pilgrimage, and would never try Tomás’s ribs.” They took this as an opportunity to throw shade at the habitual route to the final. What could be the reason for this? I ponder. A critical sentiment flowed through a piece highlighting the expenses incurred by Carnival groups while reminding us that a murga is not merely an orchestra. Thus, they aim to secure their pass to the 2023 finals, kicking off applause with a tribute to the northern murgas.
Chaladas (2018)
One of the most highly anticipated acts of the evening. They arrived from ICOD, aiming to create history with two performance awards in 2024. And rightly so, as merely hearing them in their introduction is a treat – with references to murgas from the capital like crazy hell, bambones, or mocking. This was merely the promise of what was to follow in their two songs. “Today I Am You” offered a reflection on solidarity, with the sailors covering their ears to embody the experience of the deaf. Subsequently, they stood silent in a call for attention to the barriers many face, moving on to deliver a sign language stanza. They continued by addressing the blind, closing without percussion and in front of the stage a cappella to advocate for individuals with noise sensitivity, such as those with autism. This was just the beginning of a medley comprising various themes treated beautifully.
Their second number gleefully mirrored Triquikonas, partitioning the murga into those who are mothers and those who aspire to be. These performers brilliantly showcased their ability to critique while maintaining a humorous quality, perfectly positioning them for the finals. Numerous playful moments evoked laughter from the crowd, notably when mothers jokingly remarked that “I am a cup, a teapot” is outdated since everything now revolves around “reggaeton bro.” A humorous moment arrived when a son asks, “What’s for dinner?” and the mother retorts: “Food.” Consequently, as the performance unfolded, they honour all mothers, from “the encyclopaedias who know everything” to “those who aspire to shine.” They had Chola in stitches, and although vocal precision occasionally faltered, Chaladas undoubtedly charmed the audience.
BUGLONAS (2012)
With seven consecutive passes to the finals, those whom everyone dreams of in February set a high benchmark. So high, in fact, that they struggled to connect with the audience on two pieces that demonstrated how satire represents the voice of the people and the essence of critique. They began with their first theme, “on April 20, the Canary Islands revealed, the politicians unmasked,” proceeding boldly against politicians: “Let’s see, Patricia Hernández, I noticed you speaking, yet your antics in Adeje remain chaotic.” This served as a commentary on mass tourism and holiday accommodation, among other issues, underscoring the lack of action regarding the demands of the Canarians during mass protests.
With “Welcome to the Theatre,” Adela Peña’s troupe maintained their high energy, continuing with a stronger critique addressing pressing issues in the Canary Islands, including health care waiting lists. They concluded to rapturous applause, thanks to a song addressing machismo in the Carnival, not only in the murgas but also at street festivities. Perhaps their second piece could have benefited from fresher concepts, reflecting songs previously mentioned by Amelia.
Crazy Devils (1970)
“We listen, but we do not judge,” they stated. And they weren’t lying, for what a splendid and humorous introduction it was. To the melody of There Is a Friend in Me from Toy Story, they took the stage to commence their contest. With their electric performance, it was among the most legendary parades in the Carnival’s history. Perhaps the highlight of their performance. In their opening theme, “Politically Incorrect,” they abstained from sugar-coating as they addressed heavy truths in a potpourri of critiques directed at the “pollabobas,” while advocating for the fair treatment of men: “I am no less for not being a woman.” They underscored mental health issues whilst directing criticism towards the bishop in a delivery that wasn’t entirely clear, possibly due to vocal enunciation or dual voices.
Their second theme, “The Book of Canarion,” presented a creed dedicated to the inhabitants of the Canary Islands, interweaving clichés, such as Bermúdez, while advocating for Tenerife, reminding everyone that we are distinctive. Although the devils are one-of-a-kind, due to their performance, they had the audience on their feet, singing their farewells.
Mamlucos (1980)
It has become customary for the Mamlucos to deliver performances that incite applause and leave a lasting impression. They presented their show “from Playa de Rule to Antequera, I’m fishing Coplas Murgueras,” a design by Javier Torres Franquis. Their sound resonates powerfully, maintaining high energy throughout their performance. They establish a connection with the audience, providing strong points throughout.
They remain critical, as demonstrated in their first theme: “Prejudices.” A thorough examination of the “false campaigns” initiated by politicians, mentioning…
how they portray the dirty municipality while sharing images from beach collections, amongst other things. Following a commission from the City Council, they ironically illustrated how Santa Cruz has been marketed, drawing comparisons with iconic locations around the globe: “Santa Cruz is not rubbish; it is a magnificent city. It is the happiest place on Earth, akin to Disneyland.” They explore topics such as inclusive children’s playgrounds, home assistance services, and evictions in Añaza, culminating in a metaphorical display featuring a group of homeless individuals emerging from tents to advocate the slogan “Liberty. Dignity.”
In their subsequent theme, “Professional and talented, we arrive to organise your event”, they take the opportunity to critique the carnival kiosk industry, the recurring engagement of the same artists, with a nod to Renzzo the selector, and the demand for better recognition of the musicians from the islands who remain undervalued. Those from the House of Fear creatively presented a live Baby shower and also celebrated the baptism of Bermúdez’s child. Their performance ended to enthusiastic applause, showcasing the Carnival poster and a child’s artwork “created in 8 minutes” as an example of the island’s talent.
Charlatanas (2024)
To the rhythm of the song 90 minutes by India Martínez and featuring a vocal performance that leaves the audience in awe from one of its members, the penultimate murga of the evening made their entrance. Charlatanas, led by Sary Martín, who returns to the stage after 22 years, sounded remarkable. They harmonised and communicated effectively, which was appreciated by the audience.
In their first performance, “prejudices”, they addressed the biases within society, particularly focusing on the issues faced by women. They acknowledged Tania Carballo, the first port police officer from La Gomera. They continued the tribute to female football players, hinting at the Granadilla, while also asserting that women’s murgas deserve to win. Their performance included satirical references and lively interaction on stage. Their second theme, “aesthetic violence,” tackled the enforcement of beauty standards that adversely influence the mental, emotional, and physical well-being of individuals.
Diabolic (2017)
With a somewhat subdued atmosphere, considering it is 1:48 hours and the final murga of the evening has just begun, Tania Sivero’s group takes the stage. Tania leads this murga following the baton passed from her mother. She now shares leadership with her cousin, Tomy Carvajal, in the sister murga.
They kick off with a Murguero tutorial on how to manifest, discussing two main themes: the defence of the Canary Islands and the Carnival. They also delved into issues like health, housing conditions, and low wages. A pointed critique towards murgas that cheerily celebrate “things from outside” while failing to be understanding of their peers enduring difficult circumstances was pronounced. The beautiful musical arrangement by Samuel Pérez and Romén Soriano in Canon format captured the audience’s attention, culminating with the mantra: “The people save the people.”
“Stories that are not forgotten” serves as their second performance piece, addressing critical topics such as the situation in La Palma and the numerous unfulfilled commitments still lingering. On stage, Amanda, a victim of the volcano, appears. They discuss the crisis of the soul and the rampant speculation in the Canary Islands, alongside other tales that have faded from public memory. Their performance concluded with references to terrifying films, evoking the dramas experienced in the Canary Islands. A well-executed social critique delivered vocally that, unfortunately, lacked sufficient support in the audience.
