By Nayra Villanueva. | Travelling to Los Realejos during the week and at night signifies only one thing for those involved in the carnival: murguero rehearsals. And it is with irony that they open the door to their home this time, as this murga is undoubtedly in Ironic mode more than ever. Just a week away from the adult murgas contest in Santa Cruz, which is taking place for the second time after their remarkable success in 2024 with direct entry to the final and a second performance, nerves are evident in this space as it gradually fills with excited, albeit weary, faces after months of preparation.
They begin recording content for social media, as it is well-known that the murgas have transformed into genuine carnival influencers. This marks the warming up of their engines before presenting one of their themes for the final. The sound is exquisite, although for Samuel Fumero, the musical director well-known for his impact on Mamelucos, it is never sufficient. Perhaps that is why Ironic was the murga he founded, which resonates deeply. They arrive with a theme penned by Borja Díaz, who generously takes a few moments for a brief interview, conveying high expectations.
Díaz shares with us, as the sounds of dishes and drums reverberate in the background, the aspirations and ambitions with which Ironic approaches the contest: “After what we experienced last year, securing a place in the final and remaining among the top eight is our priority. If we can dream, then we will continue to dream, but the main goal remains.” Indeed, 2024 marked a pivotal year for this Realejos murga. “It was probably the best year we experienced on all fronts,” he states. He highlights the mark they left in every location they performed: “The theme of our song, in which we spoke about equality with our family, opened doors for us,” enabling them to build a reputation and become a point of reference within the Murguero community.
“The outcomes were achieved,” states the lyricist, particularly as it signified the solidification of a new venture after several years of hiatus: “It was a complete transformation from what we had experienced, an Ironic 2.0.” Díaz expresses with great enthusiasm that thanks to their accomplishments, “the roots began to sprout” once more for the children’s murga to return. Thus Ironic little ones are back to compete in the second position in the XIV Children of Murgas del Norte: “Families were deeply involved in the collective, and we only required a boost for the year to take flight. Everyone knew what their role was, and all united to support and collaborate.” Perhaps that is why Yared García’s motto is “we will be the voice of the people.”
To know Borja Díaz intimately is to understand Ironic, for every lyric of the murga originates from his pen. “I have always seen myself as a very creative individual and in this group, I have found a space where I can truly be myself,” Díaz enthuses. One of the significant essences of the contest is for Murgas to perform subjects that they genuinely comprehend and feel. Thus, he values the trust of all his peers for “allowing me to express what is swirling in my head onto paper without filtering. They stand by me and support that wholeheartedly.” This passion for the craft ignites a desire to create something new and original: “The murga provides me with that, and breathing life into the lyrics encapsulating our collective’s emotions is what excites me the most.”
It is striking when I inquire about his sources of inspiration: “I drew inspiration from the collective itself, from their families, and from the experiences of each of our members.” Díaz explains that there are always fresh stories shared by the group during rehearsals, sometimes drawn from their own experiences, at other times from others: “I listen to them and note down ideas, envisioning how to weave them into my concepts.” This engagement allows Murga members to feel more connected to the repertoire, making the songs come alive with their lived experiences.
Although the creative processes differ, as “sometimes I begin writing and later fit a melody to it, or childhood itself might evoke something that is already structured, and I write on top of that,” Borja is clear that the hallmark of his lyrics can be summarised as “societal critiques that resonate with everyday life.”
Conversing with Borja also means discussing the Murgas del Norte contest, which sees a significant alteration this year with the lifting of the veto, allowing groups to participate in both competitions: “This represents a vital advancement for all the murgas, and we are eager to be the first to relish it.” Competing in the first round in the north and the second in Santa Cruz, they are united by the same objectives and enthusiasm: “Our themes aim to be sung anywhere. We are not limited to the Tuscal neighbourhood or Icod. We write for very social causes that can easily adapt to different settings.” While three songs are performed in the north, he insists, “what we desire is to sing all four songs. However it unfolds, let us perform them.” Consequently, expectations in the north are equally lofty: “Ironic has a history of making it to the finals, and we hope this year will be no exception.”
Díaz touches on the murga’s ability to adjust to various contexts, indicating that “the level here is not diminished, but there are fewer murgas.” Therefore, “we are confident we can reach the top three and will strive for the first performance once more. That would be another dream realised.” While discussing the northern contest, he also reveals that “a good investment has been made this year, significantly bolstering the image.” Although he chuckles, admitting there are aspects that remain undisclosed, he asserts that “slowly but surely, the north will regain its former glory.” This is also attributable to the fact that Murgas from Santa Cruz can participate.
While he doesn’t say it outright, between the lines he hints at the vitality that the north contest possesses, which has suffered in recent years: “It is true that there has been a decline in quality, affecting the dedication of all groups in producing a high-quality outcome.” Nonetheless, he clings to hope, asserting: “We aspire to be in Santa Cruz, but we also wish to be part of our own scenes.”
In the spirit of openness, we delve into another topic that often circulates through the canteens, concerning the management of the schedule before the contest. He is quite direct on this: “It seems rather painful. Everyone rehearses for six months for their 30 minutes of performance in the contest, which hold significance and excitement. At minimum.” He firmly believes that if the adult murgas final takes place on a Friday and operates well, “best not to alter that”, and the interview wraps up as they return to their ranks for one more day, or as it may seem, one day less until they step onto the fairgrounds’ stage.
