A colorful carnival workshop and a dignified quartet begin the battle of carnival songs

MIGUE FERNANDEZ

Group made up mostly of women who present themselves as Moma, the true creator of the carnival despite the fact that Momo has stolen the limelight from them. They justify that their presence is more important than ever because a revolution was necessary to achieve a freer party and of the people, “for a true carnival.” In their pasodobles they wonder what would happen if Malaga wins the Universal Exposition in 2027, although to talk about the two faces of the city, the problems of the working class to find housing and the death of neighborhoods. They also really liked the second pasodoble dedicated to the town crier. “40 years have passed for a carnival woman to be the crier of my land,” they said.

SOUTH

Original idea of ​​these murguistas who appear on stage as prince charming come down. They are the boyfriends of the Disney princesses, but they are not exultant but rather disappointed, fat and with three-day beards because the movie did not turn out quite well. Their first paso doble, in which they say they have a neighborhood soul, is widely applauded because they defend their native San Andrés. The cuplés are to lament how little they work in the banks and to tell the story of a spinster cousin they have who does not see well, although in the end it is discovered that what she really does not see is a man who gives her affection . In the potpourri, very attached to the guy, they insist on her misfortune. It was perhaps the funniest part of the whole performance.

SOUTH

Noah, Moses and Samson talk about divinity and make the spectators laugh with their divine occurrences “by the grace of God.” During the parody they talk about the creation of Noah’s Ark and the 40 years that Moses spent in the desert, where at least there was no blue zone. The members continue talking about the new carnival, where everyone now gets along and instead of the night of long knives there will be a night of long hugs. The couplets are to talk about the number of cars they have and about an unfortunate relationship with their partner. In the free theme they perform a parody of a quartered romancero, an extinct modality in the contest.

Very flamenco troupe whose members appear from Vélez-Málaga as authentic gypsies who in February put on make-up on their cheeks to hide it. In the presentation they criticize the party, “which boasts of being the owner of the truth but lacks honor, shame and dignity.” Their pasodobles are to vindicate flamenco -they are convinced that without the purest flamenco there would be no carnival- and to remember our ancestors, who are leaving this mortal land and to whom we will not be able to return everything they gave us.

SOUTH

The murguistas are African businessmen who take advantage of the crisis in Europe to hire Spanish citizens to pick their cotton. In their pasodobles they presume to master the malaguita accent and to tell the reasons that have led them to set up the company by referring to work permits. In the cuplés they remember what the Three Kings Parade in Malaga was like, with a real black King Baltasar, and to reveal the secret why his plants turn out so well.

south

The comparsistas who close the first session of preliminaries are from Malaga captives of their city and their customs. With great fierceness they speak of the importance of faith from a roof of La Trinidad. For this they ask the fans to only believe in the people, in the penitents, and not in the rulers and those who lie. His pasodobles are to put the spotlight on depression, a disease that holds many people captive, and to defend a town carnival that is not sold to gangsters. The components use a very striking type, with feather-shaped powers, vests with polka dots in reference to the fair, colored ties for the verdiales and embroidery with references to Holy Week.