On Sunday, November 20, 2017, Chile announced the results of its presidential elections. Conservative ex-President, Sebastian Piñera received the most votes, however, was not able to secure the victory.
“Free market philosophy is notoriously blind to the fact that access to the market is heavily skewed by already existing inequalities in society”
Julian Petley, Censoring the World
“The […] dread of the State as the primary power source has bred a myopia to private restraints on expression”
Considerando el período que se inicia con el golpe de estado de 1973, que puso fin al experimento socialista de Salvador Allende e inició la violenta dictadura de Augusto Pinochet, buena parte de los estudios sobre música popular chilena se ha focalizado de manera casi exclusiva en el estudio de la “canción de protesta”, música cuyas letras reflejan un explícito mensaje político y social.
My article, “Democracy and Student Discontent: Chilean Student Protest in the Post-Pinochet Era,” (Journal of Politics in Latin America, 7(3), 49-84) was based on extensive field research conducted in Chile. I also engaged the theoretical literature on social movements to propose a three-part theory for the seemingly paradoxical emergence and escalation of the Chilean student protests.
One of the issues that have stirred up considerable interest in the literature about social movements in recent years is the one regarding the tactics of collective protest. When a group of people decides to publicly express its dissatisfaction with the authorities, why does it sometimes use peaceful and conventional tactics, such as an organized demonstration in a plaza; and other times violent and rowdy ways, for example destroying public or private property? Why are tactics with a high symbolic content, such as a theater performance ridiculing a hated politician, sometimes used?
The story of world renown, Nobel-winning poet, Pablo Neruda, will be highlighted in the 2016 film, Neruda, directed by Chilean filmmaker Pablo Larraín. The film is Chile’s 2016 Oscar submission for the Foreign-Language category. Larraín describes the film as an “anti-bio”, the opposite of what many call a biopic1. Rather than describe one’s life in order like in a biopic, an anti-bio creates its own story within the main character’s life.
Ranchera, a style of music that grew out of the Mexican revolution, highlights the beauty and simplicity of Mexican life for all citizens. Known for its drama, passion and patriotism, this style of music elicits images of Mexican ranch life. The most famous ranchera singer is inarguably Vicente Fernandez, who has become a national icon in Mexico in the same manner as Frank Sinatra and Elvis Presley in the U.S.(1).
As the United States draws nearer to the possible election of its first female president, Panoramas decided to take a look at the female presidents Latin America has had in the past. Below are the profiles of each of these eleven women, whose successes and trials reflect the history of women in politics around the world.