The Cádiz Carnival witnessed a monumental upheaval this past Sunday at the Gran Teatro Falla, where the chirigota 'Abre los ojos' found itself at the center of furious audience backlash. The group's performance was described as filled with negationist messages concerning climate change, vaccines, and the pandemic, igniting loud protests from attendees who viewed the act as not only poorly executed but also disrespectful to the spirit of the Carnival.
The tension erupted during the Concurso Oficial de Agrupaciones Carnavaleras (COAC), as members of the audience quickly turned against the chirigota. Upon taking the stage, the group—led by well-known figures like Óscar Terol and Katy Balber—declared their intentions to challenge official narratives. Terol stated, "A muchos de los que estamos aquí nos han censurado, por eso hemos venido al Carnaval de Cádiz. El día que aquí haya censura, apaga y vámonos. Pedimos vuestro asilo analítico," expressing the belief Carnival should be free from censorship.
What ensued was perhaps one of the loudest rejections ever seen at the Carnival. Attendees responded with relentless boos, chants of "¡fuera del Falla!", and even appropriated historic Carnaval melodies to drown out the chirigota's performance. Their repertoire included lines such as "la pandemia fue una farsa" and complaints about government-created conspiracies. Yet, it seemed their message, rather than reaching ears and hearts, was drowned out amid the din of dissent.
Critics highlighted not just the offensive nature of the chirigota's themes but their lack of performance quality. From the outset, some attendees noted, the group struggled with vocal coordination and musical arrangement, making it difficult for the audience to grasp even the little substance contained within the lyrics. The situation devolved as spectators called out for the jury to lower the curtain, their chorus growing louder as the chirigota continued its on-stage efforts.
Despite the chaos, Balber defiantly proclaimed from the stage, "No busca premios, es un mensaje necesario," arguing the hopeful intentions behind their performance. What might have been taken as a noble stance was met with even more uproar, displaying the audience’s clear disapproval not just of the message, but of the overall execution. Social media buzzed with reactions, from comments on the poor quality of singing to more sarcastic takes, with people commenting on how the chirigota could only succeed if their aim was to elicit laughter at their lack of rehearsal.
Some audience members, expressing deep disdain for the performance, reminisced about the standards set by previous groups and lamented the failure of 'Abre los ojos' to meet even the minimum expectations of Cádiz Carnival. Veteran carnavaleros like José Guerrero Yuyu denounced the act as "indigno del Falla", expressing disappointment with both the performance and the group’s intentions. Not only did they fail to entertain, but there was also the community view of the chirigota crossing multiple lines traditionally respected by performers of the Carnival.
The tumultuous reaction highlighted the Carnival’s unique role as both a space for artistic expression and as a platform for social commentary. While humor and satire are cornerstones of this beloved festival, it became evident this setup was ill-equipped to handle what was seen as lower-than-standard performances. Prominent figures, like journalist and RTVA director Paloma Jara, praised the audience's courage to stand up against content they found irreverent, emphasizing both the importance of freedom of expression and the collective threshold of tolerance.
When the curtain finally fell, the atmosphere was rife with discontent. Chirigota director Katy Balber accused the audience not only of being disrespectful but also of engaging in what she termed as 'boicot', pointing fingers at the media and claiming their performance was subject to prejudice from the onset. Her contention was noteworthy, especially since she admitted they were not able to meet the anticipated vocal standards due to unforeseen complications with group members leaving them short-staffed for the performance.
The incident has stirred discussions about the expectations placed on performers and the boundaries of expression within the framework of Carnival traditions. Authorities remarked on the situation saying it wasn’t about suppressing expression, but rather enforcing the respect necessary for maintaining the rich cultural fabric of Cádiz Carnival.
This unfortunate chapter may linger long after this year’s Carnival, not just for the messages espoused by 'Abre los ojos', but for the significant challenges it presented to the principles of performance art recognized at the event. The memory of 22 minutes deemed as the biggest embarrassment yet could redefine how future acts approach their participation.