At 6:30 p.m., the gates of the fairgrounds swung open to welcome the supporters of the Murguitas who commenced this initial stage of the children’s murgas contest. The atmosphere was pleasantly surprising, gradually filling the venue, culminating in an attendance that appears to surpass that of previous years.
This contest kicks off with two significant changes: two phases instead of three, and free entry, decisions that will need careful evaluation to ascertain their impact. At 7:00 p.m., Sara Ramos and Nira Casanova officially launched the event, revealing the theme of the carnival, inspired by the secrets of Africa, encapsulated in a stage set designed by Nareme Martín, depicting an African village surrounded by majestic Baobabs.
El Cabito (1980)
Disguised as parrots, they opened the contest celebrating 45 years with a tribute to Angelita González Ledesma, their founder. In their initial performance, “De Safari for Tenerife,” they journeyed across the island, highlighting the need for environmental and wildlife protection, sprinkled with a dash of critique. This murga metaphorically packed in their backpacks a reminder: “In case the light dims, it’s up to us.” With their next piece focused on “Education,” they referenced the well-known film Inside Out, sporting colourful wigs to discuss children’s emotions. Their lyrics encapsulated the worries of the young ones, championing respect and empathy with 30 vocalists declaring, “Our world is our home.”
Frykywiky’s (1998)
The group led by Gisel Guanche commenced their performance with a vibrant jacket from Boca. They unveiled a “box filled with surprises” that critiqued children’s food and the excessive use of technology. They paid homage to mothers and grandmothers, commemorating the lovely memories left by the carnival. For their second theme, they donned time-travelling glasses, reminiscing about past games. They fast-forwarded to a hypothetical children’s contest that doesn’t exist, remarking, “This wouldn’t have happened if adults had come to see us sing.” Some members of geiky’s expressed their grievances, but their message did not go unnoticed.
Long tongues (2003)
To the rhythm of Shin Chan, Long tongues dreamt of sweets, toys, tablets, and the desire to be influencers. Directed by Laura Martín, their energy was palpable. They voiced criticism against adult murgas, citing the scarcity of airtime for them during Carnival, as their live contest is rarely broadcasted. With humour, they noted the challenges of finding parking in Santa Cruz. Their chant, “Neither Chile nor Hawaii, there’s no place like home,” expressed a fondness for their roots. In a light-hearted manner, they traversed the cosmos, landing amidst the beauty of the Canary Islands. Before concluding, Laura delivered a critical speech aimed at adult murgas, emphasising points that needed addressing.
Raviscuditos (2009)
Hailing from Tacoronte, Raviscuditos took the stage, igniting excitement. Their first theme resonated pleasantly, as they transformed into reporters humourously “winning over the jury” in exchange for a coveted score of 10, all while asserting that children should perform songs they comprehend. “Who is the king of Spain?” one asked, to which the other replied, “Mufasa.” Ingeniously, they ventured into “today, we are all,” an act where architecture, literature, music, and dance converged to critique aspects the groups find dissonant. They concluded by reminding everyone, “life is a carnival,” encouraging enjoyment. Their performance showcased some of the most inventive and impressive songs of the evening.
MAMELONES (1980)
From the House of Fear, Mamelones made their entrance midway through the phase, carrying two cards from the previous year, a testament to their experience. Their exquisite and harmonious performance, overseen by Xerach Casanova, highlighted that the carnival is a space for enjoyment, learning, culture, and perseverance. This was exemplified by María, a member who delighted the audience with a song in English, and Joel, director of Redoblones and a previous presenter of the Gala for the Child Queen. They passionately defended their traditions with lyrics and vocalisation that drew applause, setting a high benchmark. In their concluding theme, they filmed a short performance that ended with a flourish.
Twistciditos (2009)
Twistciditos equated creativity with innovation in their fantastical presentations. Arriving at the fairgrounds on a motorcycle equipped with LED lights, they cast themselves as musicians during their first theme. Their unique humour was tailored for the younger audience. Incorporating both contemporary hits and beloved classics, the youngest members of the ensemble danced along to There is lupita. As they bid farewell, they set the stage for an exhilarating finale that celebrated the central theme of the phase: the youth. In their next piece, “I am, I went and will be,” they portrayed the role of adult murgas while playfully referencing Primi (bambones) with a cheeky line: “Today, I declare I was a child performer.” The audience laughed heartily, applauding their engaging performance that concluded with a challenge infused with Cuban rhythms advocating for more children’s comparsas.
Distracted (2006)
“Tonight, the sea lampposts are dim, for February signals the arrival of carnival.” Thus began their contest amidst applause and a fantasy that charted new pathways. In their first theme, they adopted a light-hearted approach discussing the ubiquitous school pet. Through a series of amusing exchanges, they turned their attention to the Carnival, contemplating the potential of a king’s gala. Subsequently, they unveiled a theatrical piece, interpreting roles with humorous nods to trends such as “Fe-li-pe” and the notion that “we listen but judge ourselves.” They concluded portraying a teacher, underscoring the importance of fighting for one’s dreams and acknowledging the contributions of everyone involved.
At 23:46, the fairgrounds experienced a surge of attendees, likely due to the merger of all the murgas into two phases, rendering this first day somewhat congested. Given it was a Friday, it was surprising that many in the audience chose to depart before the final murga took the stage.
Carricitos (1993)
Wrapping up this first phase, Los Carricitos arrived from the health sector, led musically by Lizzet Ramos. They also debuted their artistic direction under Oriana González. Their first theme addressed the most frequently mentioned topic of the phase through flowers. This followed with an innocent narrative continuing into their next theme, “The Day of My Communion,” both penned by Alberto Déniz.
