The public's relationship with the artists who perform at the Viña del Mar International Festival, one of the most important musical events in Latin America, has a particularity that has earned it the pseudonym of
monster
for more than half a century.
When an artist who has captivated and connected with the spectators leaves the Quinta Vergara amphitheater or offers a show that does not satisfy the 15,000 attendees, they respond with a deafening
blunder
(Chileanism with a prolonged chatter).
The first person affected in the current edition - from February 25 to March 1 - has been the comedian and actress Javiera Contador.
The woman in charge of the comedy space on the second night came on stage before an audience that booed the end of the celebrated performance by the Italian tenor Andrea Bocelli.
After the tense start, Contador's routine did not convince her and she had to leave the stage after strident whistles.
This kind of tradition of
botching
an artist whose offer does not conquer the public has entered into a review process.
The white sticks are usually the comedians, who act as the ham in the sandwich between the two singers or musical bands that perform each night.
The debate, more intense every year, is divided between those who consider that festival attendees should respect the comedian's work and simply remain silent if they do not like the routine, and those who defend that artists know what they are facing when signing. the contract and must abide by the rules of the festival game.
The cultural journalist with vast experience René Naranjo explains that the contest started in 1960 became famous in Latin America thanks to the
monster
.
The massive festival was distinguished from the few others that existed in those years by being held outdoors, with spectators in the seats, on the hills and even perched in the trees.
“Initially, people expressed their admiration for a singer or musical group by lighting torches and their disapproval by
making mistakes
.
It was a space of emotional freedom to express what you felt, which in Chile is very rare because it is not a country of collective parties,” he points out.
The public during Alejandro Sanz's concert, on the night of Sunday, February 25.Cristobal Basaure Araya (Getty Images)
The program schedule during the first decades was diverse, up to six artists performed per night, and people came with the attitude of someone going to the summer party.
The current structure, says Naranjo, with two musical presentations and a comedian in between, broke the essence of the contest.
"Today it is a fairly domesticated television show where some bad habits are maintained, such as
screwing up
comedians, but the
monster
that turned the festival into a legend, where singers and groups trembled before going on stage and then changed their lives throughout Ibero-America no longer exists,” he points out.
Journalist Ana Josefa Silva, who has covered the festival since the mid-eighties, maintains that the public is aware of the
monster
character it acquires.
“It is very similar to the Roman circus;
raise or lower the thumb.
It is a rather cruel attitude, in general, that can greatly affect artists and not others,” she says.
In the case of humor, he states that it is usually well received among so much music – there is an international and folkloric competition during the festival week – but that it is “extremely difficult” for a comedian to come out after a highly anticipated artist and reverse the mood of the public.
Silva, who is working on a book about the backstage of the musical event, says that certain premises are repeated every year, such as that the
monster,
the one that
eats
the artist, no longer exists.
“But it exists, it just appears when it has to appear and does what it wants,” he says.
“People know that if they go to the public they have power and that
mistakes
are very important.
An artist can be received well, but if there is a slight lack of rhythm, you hear five mistakes and say 'ufff'.
If the artist does not change the rhythm, the mistakes only increase (...) Some say 'but this is work'.
But when you are an artist, the personal thing is also involved.”
For the journalist and entertainment columnist of
La Tercera
Marcelo Contreras, co-author with Rafael Valle of the book
Mucha Tele: a choral history of TV in dictatorship
,
the debate on the
mistakes
responds to “the sensitivities of these minutes.
Social relations have changed and are under scrutiny and review.
"This reaction that has given a historical singularity could not be left out."
“Is it an ugly manner?
It seems so, but it is also part of the character of the festival.
I don't know if we can take it that seriously either.
There are artists who have made
mistakes
and then recover.
All exposed to judgment, only artists are exposed to something more temperamental: being applauded, cheered or
botched
.”
How to change this habit is also an open discussion.
“I find it very difficult.
It has been passed down from generation to generation.
“Everyone already follows that Roman circus logic,” says Conteras.
“I understand that things have changed, but if we want to change behaviors, what are you going to do?
Have the public sign an agreement by QR code that they will not screw up?
“You cannot control all the variables of a public event,” he says about a festival that he values for its ability to produce dynamics that are not replicated within the country or region.
Lucho Hernández, announcer for several PRISA Media stations, agrees on the difficulty of eliminating the public's disapproval action.
“I understand that it is negative, but the same awards that are given to the artists were requested by the public and that is how the mythology of the festival was formed.
Hernández remembers that at first the seagull award was only given to those who won the competitions, but that the public's insistence on rewarding their favorite artists led to it being awarded to them as well.
That mythology that the speaker talks about has enchanted several foreigners.
One of them was the Mexican producer and television presenter Raúl Velasco, who tried to replicate the festival in Acapulco.
The idea was that the public, like in Chile, would cheer for the awards for the singers.
But the people didn't catch on.
And the South American festival continued, not without controversy, with its uniqueness to this day.
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