Carnival groups included in the focal lyrics corpus
| Year | Group | Modality | Treatment of tourism/touristification | Analytical role |
|---|---|---|---|---|
| 1963 | Los corrusquillos gaditanos | Comparsa, Paco Alba | The pasodoble “Me dijeron que Cádiz para el turismo” presents tourism as recognition and opportunity, defending the city's attractiveness against the claim that Cádiz lacked tourist appeal | Historical counterpoint: tourism as desired visibility rather than threat |
| 1986 | Las momias de güete pa guá los niños | Chirigota, Love and Villegas | The repertoire includes a well-known image of Cádiz as an open house, where one of the city's keys belongs to anyone wishing to enter. Rather than addressing touristification directly, it provides an earlier imaginary of openness and hospitality | Intertextual counterpoint: from hospitality and openness to later anxieties over dispossession and loss of local control |
| 2023 | La ciudad invisible | Comparsa, Antonio Martínez Ares | The image of invisibility is linked to the disappearance of inhabited Cádiz through population loss, residential displacement and urban transformation | Touristification as disappearance of the lived city |
| 2024 | Y seguimos cantando | Comparsa, Piru and Tomate | Cádiz is represented as a theme park while the city is sold to tourism and loses its social substance. The staging included references to tourist apartments, tablaos and the conversion of local culture into spectacle | City-as-spectacle and commodification of local culture |
| 2025 | Apartamentos turísticos Juani Wainjaus | Chirigota, Selu | The group is structured around a tourist accommodation setting and its characters, satirising the conversion of housing and neighbourhood life into tourist products | Humorous critique of short-term rentals and commodified residential space |
| 2025 | Las ratas | Comparsa, Jesús Bienvenido | Touristification is framed through invasion, housing pressure, rising prices and the alteration of everyday life. The “rats” ironically evoke those inhabitants who still resist in the city | Core case: touristification, displacement, local control and the right to remain |
| 2025 | Los del otro barrio | Comparsa | The repertoire reworks the traditional image of Cádiz as an open city by denouncing the handing over of the city's symbolic key to outsiders. Hospitality is recoded as dispossession and loss of local control | Contemporary intertextual response: from openness and hospitality to touristification as dispossession |
| Piru y Tomate | ||||
| 2025 | El cementerio | Comparsa, Jona | Cádiz is imagined as a dead or emptied city, where neighbourhoods have lost residents, social life and community continuity | Touristification as urban emptying and loss of social reproduction |
| Year | Group | Modality | Treatment of tourism/touristification | Analytical role |
|---|---|---|---|---|
| 1963 | Comparsa, Paco Alba | The pasodoble “Me dijeron que Cádiz para el turismo” presents tourism as recognition and opportunity, defending the city's attractiveness against the claim that Cádiz lacked tourist appeal | Historical counterpoint: tourism as desired visibility rather than threat | |
| 1986 | Chirigota, Love and Villegas | The repertoire includes a well-known image of Cádiz as an open house, where one of the city's keys belongs to anyone wishing to enter. Rather than addressing touristification directly, it provides an earlier imaginary of openness and hospitality | Intertextual counterpoint: from hospitality and openness to later anxieties over dispossession and loss of local control | |
| 2023 | Comparsa, Antonio Martínez Ares | The image of invisibility is linked to the disappearance of inhabited Cádiz through population loss, residential displacement and urban transformation | Touristification as disappearance of the lived city | |
| 2024 | Comparsa, Piru and Tomate | Cádiz is represented as a theme park while the city is sold to tourism and loses its social substance. The staging included references to tourist apartments, tablaos and the conversion of local culture into spectacle | City-as-spectacle and commodification of local culture | |
| 2025 | Chirigota, Selu | The group is structured around a tourist accommodation setting and its characters, satirising the conversion of housing and neighbourhood life into tourist products | Humorous critique of short-term rentals and commodified residential space | |
| 2025 | Comparsa, Jesús Bienvenido | Touristification is framed through invasion, housing pressure, rising prices and the alteration of everyday life. The “rats” ironically evoke those inhabitants who still resist in the city | Core case: touristification, displacement, local control and the right to remain | |
| 2025 | Comparsa | The repertoire reworks the traditional image of Cádiz as an open city by denouncing the handing over of the city's symbolic key to outsiders. Hospitality is recoded as dispossession and loss of local control | Contemporary intertextual response: from openness and hospitality to touristification as dispossession | |
| Piru y Tomate | ||||
| 2025 | Comparsa, Jona | Cádiz is imagined as a dead or emptied city, where neighbourhoods have lost residents, social life and community continuity | Touristification as urban emptying and loss of social reproduction |
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