Cantos y Consignas: (Re)constructing Spaces of Resistance

By Alessandra Rosa

In my previous post, I briefly commented on the role of art in (re)constructing spaces of resistance during the 2010 – 2011 University of Puerto Rico (UPR) student strikes. In the concluding comments of that post, I exposed some examples of how the student activists strategically and creatively utilized protest art to frame their collective identity, mobilize resources and build solidarity. Similarly, music can also fulfill and broaden these functions in social movements. As Eyerman and Jamison (1998) state, “music, in particular, embodies traditions through the ritual of performance. It can empower, help create collective identity and a sense of movement in an emotional and almost physical way”. For the purpose of this essay dialogue, I have decided to expand on another of the UPR student activists’ strategies of resistance by focusing on their use of music; specifically their cantos y consignas (i.e. protest songs and chants).

Art: (Re)constructing Spaces of Resistance

Art has an inherent history of being revolutionary and revolutions have a history of being artistic. Despite the variations in their end goals, both strategically and creatively express a message that engages and provokes audiences, challenging them to think critically about the world we live in. Recently, on April 5^th, 2013 the city of Santurce, Puerto Rico celebrated a weekend of contemporary independent art that included murals, digital art, cinema, theater, installations and performances. “Santurce es Ley 4” (SEL4) is the fourth cultural festival organized by artists, independent galleries, restaurants, and the local community. Although this city is known to be a main exhibitor of emerging art, the purpose of this project was to motivate a tour of innovative programming in the city.