Influencers, “sinvergüencers,” “fakevergüencers,” and other figures in tourism promotion

We’ve been hearing the word “influencer” for years. In many ways, the term has been democratized: it used to describe traditional media or internet celebrities, and then it came to mean anyone who hoped to get paid for creating branded content or acting as a company’s spokesperson. Today, anyone can call themselves an influencer and monetize their Instagram posts or YouTube and TikTok videos. Yet what hasn’t changed—something experts agree on—is that many of these individuals have no idea what it means to be a “public figure.”

A lack of journalism training, subject-matter expertise, or strong language skills hasn’t stopped social media personalities from being invited to events by organizations, agencies, ministries, and other decision-making bodies. In the Dominican Republic, just like in other countries, veteran journalists have expressed dismay when certain institutions include “influencer-celebrities” in their delegations to international tourism fairs, or when airlines invite them on inaugural flights. Where, then, do the years of study and credibility of a serious journalist fit in? Are follower counts and “likes” really a guarantee of quality and reputation?

“Sinvergüencers” and “fakevergüencers” take the stage

Social media never ceases to surprise. A few years ago, we learned about “sinvergüencers,” (shameless influencer) and more recently about “fakevergüencers” (phony or fake influencer). Marketing and communications expert Edgar Argüello—renowned for his work in digital marketing and social media—coined these terms. “There are legitimate influencers, and there are ‘sinvergüencers,’ no question about it. One is professional and coherent; the other will do anything for money. Meanwhile, a ‘fakevergüencer’ has an account built on inflated numbers and false content—like that travel blogger who posts a photo of Paris without realizing they left half their leg inexplicably embedded in a bridge over the Seine.” According to Edgar, a true influencer is someone “authentic and down-to-earth; when you watch their videos or see their photos, you feel like they’re speaking from their own living room, and that makes them ‘real.’”

Edgar Argüello, marketer and independent digital marketing consultant. (Courtesy photo)

So why do people believe “sinvergüencers” and accept their “content” as valid? Edgar sheds some light: “Any person with a camera and a microphone can make a video. Because there are so many sub-niches within the market, you only need to voice an opinion that resonates with a particular group, and just like that, your status as a rising influencer is validated.” He explains that “since most influencers are ordinary folks, it’s easier to connect with them than with journalists who appear on more traditional platforms.”

It’s important to recognize that the market has changed and that a digital presence is now essential, as Edgar argues. That shift poses a problem for specialized journalists, he notes: “They’re not doing their digital marketing or building their personal brand online the way they should. Some have managed it, and those are the ones getting invitations to tourism fairs, press trips, and route inaugurations. No matter how many years of study someone has, clients typically follow this marketing principle: ‘If you don’t show your product, you can’t sell it.’ That’s why they create a mix of credible digital influencers and ‘analog’ voices—those who aren’t as digitally successful but who cover other market sub-niches.”

Researchers Fuensanta Expósito and Magdalena Trillo from the University of Granada in Spain published an article in HTXT magazine in 2023 noting that “many times it’s the journalists themselves who complain that influencers are being allowed to cover events and interview top-level figures—things that even trained, qualified media professionals have struggled to do.”

Within Dominican Republic’s specialized press, critical voices question the role of influencers. In January 2023, journalist Miguel Guerrero lambasted the decision to allocate resources for sending local influencers to fairs like FITUR: “At FITUR, they spent as much convincing Dominican media of our tourism potential as they did on convincing Spanish investors,” he protested on social media.

In contrast, Tourism Minister David Collado—speaking on National Journalist Day this year—stated that Quisqueya’s promotion as a vacation destination, driven by “specialized journalists, YouTubers, and influencers” on global digital platforms, has attracted millions of visitors, according to labazuca.com. The tension arises because some journalists fear being squeezed out of press conferences or promotional trips, while others—and much of the public—see influencers as more modern, direct channels to fresh audiences.

Despite the rivalry, Edgar Argüello points out that follower counts still matter, even if they don’t guarantee quality: “Clients usually look for influencers or content creators with a respectable audience size. They need an acceptable ROI for that investment, and follower numbers are the first basic indicator. After filtering accounts by follower count, they look at engagement. Then they review content quality… and finally decide whether to hire that person if the budget allows.”

Influencers vs. travel journalists: two voices, two legitimacies

In an age of digital marketing dominance, the role of specialist travel journalists deserves fairer consideration. Unlike an influencer—whose legitimacy is often tied to followers and engagement—a seasoned journalist provides context, fact-checking, professional ethics, and accumulated experience. Journalists don’t just capture beautiful scenery or record fun experiences; they analyze sustainability, social impact, public policy, infrastructure, and tourism trends. That makes them a more complete and reliable information source.

For decades, true travel journalists in the Dominican Republic—some newly arrived, others veterans—have practiced rigorous tourism reporting, covering national and global events while producing critical features on local tourism development. Their work goes beyond promotion: they document, interpret, and frequently warn about trends that could harm the country’s image.

Yet in recent years, these professionals have seen their presence on official covers, trade-show floors, and press trips decline in favor of influencers whose communication or tourism knowledge may be limited. The difference isn’t only the platform—print media versus Instagram or TikTok—but the intent and depth of content. Influencers aim to grab immediate attention through visuals and emotional appeal; journalists build narratives, verify facts, and present well-rounded perspectives. An influencer’s post might go viral in hours, but a journalist’s piece can last as a reference for years.

It’s worth highlighting micro-influencers—those with 10,000 to 50,000 followers—who occupy a middle ground. Many have a genuine connection to destinations and promote responsible tourism. Some journalists have even adopted this format to expand their reach without sacrificing quality. Yet professional travel journalists remain crucial for solidifying a country’s image credibly.

In tourism, perception is everything. A poorly researched article or a superficial video can distort a destination’s image. That’s why many local communicators urge a renewed appreciation for the travel journalist as a strategic, complementary figure to digital creators rather than a rival to be displaced.

Salvador Batista, travel journalist and founder of the portal Recorriendo con Salvador, insists that “the first thing a specialized tourism journalist must do is strengthen their personal brand with high-quality, original content.” He acknowledges that branding isn’t a substitute for quality, but argues that this strategy “ensures your excellent work will be recognized and valued by the tourism sector.”

Salvador Batista, director and founder of the Recorriendo con Salvador portal. (Courtesy photo)

Faced with brands and organizations favoring influencers with bigger follower counts, Salvador advises colleagues to “know their niche and develop a voice and image that convey credibility and expertise both nationally and internationally.” He cautions that to break into new markets and collaborate with the industry, “you must adapt to available digital tools and, above all, be ethical when sharing tourism information.”

Reflecting on using influencers in promotional campaigns, Salvador warns that “poorly chosen strategies or individuals can undermine a message’s authenticity.” To him, it’s not simply the number of likes and followers that counts, “but the quality of those followers that ensures the message reaches and resonates responsibly and credibly with the right audiences.”

Without sound judgment, he says, “Not all ‘influencers’ actually influence, so organizations should prioritize the experience and rigor of specialized journalists, whose value lies in meticulous research, critical analysis, and responsible reporting when promoting destinations and tourism services.” With these arguments, Salvador defends the irreplaceable role of professional travel journalism, stressing that without a smart balance between reach and content quality, brands and organizations risk losing authenticity in their campaigns.

That’s the great challenge: finding that intelligent equilibrium—using influencers’ reach to capture attention, but relying on journalists to build long-term reputation and credibility. Just as in tourism itself, it’s not enough to attract visitors; their experience must be genuine and sustainable. In the national narrative, quality journalism remains a trusted guide, beyond fleeting social media trends.

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Adrian R. Morales
Journalist, editor, translator, and proofreader
Dominican Today
Dominican Republic