Beyoncé at the break of an American football game in Houston, Texas. The American singer has come to the center of the stadium in a cowboy suit that she's had access to. The hat covers the nice, the legs the boots long to the knees. The scarce white suit shows her thighs and chest and highlights the rest of the body curves. Sensuality springs from his image, from his voice, from his movements. Plus, he's not alone. Next to him, the piece of figurants is choreographed as a singer. There are more than a hundred, perhaps two hundred, girls and boys, brunettes to which more golfa, which more insinuating more than their attitudes, their gestures, their balances. The spectators of the sports broadcast are satisfied with so many square meters in the sight of the skins.

Beyoncé's, of course, is no exception, it's a rule. The shows of most current pop music icons, both in men and women, are complemented by manifest eroticism. Moreover, foam styles have only increased the tendency that comes from old. It has been considered as a mark of a market governed by heterogeneous men the need to undress musicians to wear music. Naturally, this hypersexualization would be reduced with the arrival of women empowered artists. But they did not change anything. This is the ratchet aesthetic, the last sample of this phenomenon.

Basque music has not risen to that wave. The notorious stylistic openness that has been known since the last decade has not brought with it such a characteristic quality of current international music. It became apparent to me the other day when I watched television the time of Mitoaro.

From many points of view, the two great successes that Zetak has offered these days in the Navarre Arena have been mentioned and praised. The two performances, including socio-linguistic and non-musical aspects, showed so many edges that we almost escaped an almost involuntary, perhaps insignificant, but significant issue. The appearance of the characters of the carnivals Momotxorro, Zipotero joaldun, Txatxo… not only exalted the Basque mythology and reinforced the visual aspect of the show, but also represented a way to escape the danger of sexualization. Unlike the Apollo and the Black Venus that surrounded Beyoncé in the Super Bowl, Mitoaro's masked androgynous, devoid of sex and sexuality, were covered upside down. Interestingly, Arbizu's called the akelarre and the lack of control in his songs, or evoked unforgettable nights of love. I do not think there has been a contradiction between thousands of people gathered there.