Despite Spanish-speaking music experiencing one of its most prominent global moments, with Latin artists filling stadiums in Europe and the United States, Latin America still lacks a major televised music festival that unites the region, similar to Eurovision. This cultural gap raises questions about the historical, industrial, and political reasons behind the absence of such an event.
In recent years, the idea of creating a similar music festival in the Ibero-American space has emerged several times. In 2022, the Spanish Radio and Television Corporation proposed the "Hispavisión" project, inspired by Eurovision, aiming to bring Spanish-speaking countries together on a single platform. The city of Cartagena in Colombia was suggested as a potential host for the first edition in 2023. However, the project did not materialize, and the Spanish public broadcaster later admitted that the initiative was in a "state of stagnation" after months of inactivity.
Event Details
Although the Hispavisión project did not come to fruition, the idea has not completely disappeared. An official from Televisa-Univision indicated the possibility of collaborative music projects between Spain, Latin America, and the Spanish-speaking market in the United States. However, there has been no confirmation regarding the revival of the historic OTI festival or the announcement of a specific new format, although there is a willingness to explore ways to connect the music industry on both sides of the Atlantic.
Pablo Solis, Director of Latin Culture Communications, points out that the absence of a major regional festival is not due to a single reason but is the result of a convergence of historical, industrial, geographical, and political factors. He states, "There have been previous efforts and competitions, perhaps also linked to Spain, such as the OTI competition, in addition to festivals like the Viña del Mar Festival in Chile, which are considered important platforms for artists."
Background & Context
For decades, Latin America has had initiatives that sought to fulfill this role. The OTI Festival, established in 1972 by the Ibero-American Radio and Television Organization, brought together artists from various Spanish-speaking countries for years and was one of the few television projects envisioned with a true regional vision. However, the festival gradually lost its strength and disappeared in 2000.
Solis believes that the issue is not only the disappearance of that festival but also the lack of an industrial structure capable of supporting such an initiative in the long term. He adds, "Much depends on the platforms and efforts made to integrate the region. We have had major media companies like Televisa in Mexico, which served as platforms for cultural dissemination and helped circulate content and artists in the region, but we may have failed to create a coordinated and sustainable initiative like Eurovision."
Impact & Consequences
The political and economic structure of Latin America makes it difficult to consolidate cross-border cultural projects. Unlike Europe, where institutional integration has helped develop joint initiatives, the American continent suffers from a more fragmented landscape. Solis explains, "The region has struggled for integration, both geographically and logistically."
Moreover, the traditional logic of the television industry in the region has historically been directed toward national markets. Solis states, "Perhaps the interests did not align to generate this type of content, as each station primarily developed its formats with its local audience in mind."
Regional Significance
Despite the absence of Eurovision in Latin America, there are festivals like "Vivi Latino," "Cosquín Rock," and "Viña del Mar," which serve as ongoing platforms for cultural exchange. At these festivals, Argentine, Chilean, and Colombian artists perform before Mexican audiences, and vice versa. However, these spaces have primarily evolved in the realm of live concerts and personal festivals, while the Eurovision model relies on large-scale television production shared among several countries.
Interestingly, the current context may provide more favorable conditions than in the past for establishing such a project. The widespread proliferation of digital platforms, the growth of streaming services, and the increasing international visibility of Latin artists have transformed the musical landscape in the region. Solis states, "Latin America is experiencing a special moment, especially in music, where we see Latin artists and styles taking center stage globally."
In this context, Solis believes that the ground may be ripe for more ambitious regional initiatives. He asserts, "More festivals and new platforms are emerging that allow artists to move between countries, which is fertile ground for an initiative of this kind."
Regardless of its television or industrial dimension, a Latin music festival would also have a significant cultural impact. In Solis's view, such a project could become an international platform for the diversity of music on the continent. He states, "It would be a wonderful platform to showcase cultural music in the region and for it to be consumed by a much larger audience."
The global explosion of Spanish-speaking music and the shift to a digital system have revived an idea that seemed abandoned for years. While the prospects for a major music festival in Latin America remain unfulfilled, an increasing number of voices in the industry believe that the time for an attempt may be approaching.