Notes about sonic resistance led by Chilean women
Published June, 2025
by Easterndaze
TEXT Kika Echeverría for 34.sk
11/06/2025
We are living in difficult times, or maybe we always have been. It feels like every conflict in the world is a palimpsest of people suffering, fighting and resisting for their lives. I have lost hope many times, as if there is no other way to live in the world, as if the contingent and palpable conflicts from today will remain, no matter what. This is not the first time the people have struggled and fought. We are not the first witnesses of a genocide either, nor of invasions or anti-democratic withdrawals.
Protesting is the only way I can imagine surviving this whole mess, despite feeling speechless about how we still lack a binding intervention in decision-making. However, in coming together and sharing the different struggles the system has set upon us, we can create something that tightens our beliefs and, maybe, brings us hope.
Still, how to protest during these turbulent times? Is a boycott enough? What can we learn from past struggles?
Having said this, I would like to present four forms of protest that I have heard about and that came to my mind, which I will briefly run through: 1. Cacerolazos, 2. La Cueca Sola, 3. March of Mourning and Silence, and 4. A rapist on your path. Most of them started during the dictatorship and have been capable of transcending to the present day, evolving in their form and reappropriating the symbolic gestures born from these acts of demonstration.
1. CACEROLAZOS
Cacerolazos are a characteristic form of protest in Chile and other Latin American countries. Today, this practice cannot be exclusively attributed to any specific political sector or social class as its history in Chile demonstrates how it permeates different spheres of society. However, its origin was in 1947 when the Mujeres del Carbón (Coal Women), who were wives, mothers and daughters of miners, took to the streets, banging their pots in protest against the anti-worker practices decreed by the President at that time, Gabriel González Videla (Castro San Carlos, 2023, p. 130).
Nevertheless, the most well-known cacerolazo is the Marcha de las Cacerolas Vacías (March of the Empty Pots) by the Movimiento Femenino Antiallendista (Antiallendista Feminine Movement), which took place in the 1970s during the Popular Unity government period. 1 In this case, women and children from the upper class and right-wing politicians rattled their pots in the face of the shortages of that time, considering women to be apolitical actors whose actions could only be conceived in the domestic realm (Castro San Carlos, 2023, p. 130). After that, the cacerolazos were vividly present in the Jornadas de Protesta Nacional (National Days of Protest) held in 1983 by working-class families against Pinochet’s dictatorship (Castro San Carlos, 2023, p. 123), where a huge economic crisis was taking place, famine was widespread among the population and there was a shortage of food. The cooking pots were beaten due to a lack of food to cook and eat.
While the symbolism of empty pots was originally closely linked to food shortages, they have also emerged as a significant object of protest, transcending specific realities. Over the years, the original symbolism of cacerolazos has evolved, establishing itself as a powerful source of sound during moments of political and social crisis in Chile, persisting to this day. The cooking pot thus reveals an alternative use that deviates from its primary function. This subversion arises from its metallic resonance, initially produced within domestic spaces to extend beyond their boundaries. The domestic function of the pot transforms into that of a loud and disruptive sonic instrument. Consequently, its metallic composition and widespread availability are of particular value as it serves as a sonic instrument found in every kitchen – and if pots are unavailable, metal lids or other domestic objects with sonic potential can be used to create noise. This was evident during the protests in Chile from 18 October 2019, to March 2020, where cacerolazos formed a significant part of the protest soundscape.
2. LA CUECA SOLA
Following the first case mentioned above, during Pinochet’s dictatorship, women played a crucial role in fighting against the dictator. One of the most notable cases of organisation is the Agrupación de Familiares de Detenidos Desaparecidos (Association of Relatives of Disappeared Detainees), which was founded in 1974 in search of truth and justice for the forced disappearance and murder of people by the dictatorship. This organisation was characterised by the women who gathered to denounce human rights violations through thread and fabrics, creating arpilleras 2in response to their sadness and indignation, among other actions such as hunger strikes, participation in international conferences in solidarity with Chile and more. 3
“The common theme is thus protesting through the subversion of what is anticipated by the oppressor, a subversion of the everyday, and a subversion of the female body.”
In 1978, during the commemoration of International Women’s Day, a group from this Association introduced the La Cueca Sola (Solitary dance) at the Caupolicán Theatre. It was composed by Gala Torres in honour of her brother Ruperto Torres, who had been forcibly disappeared in 1973. Although the initial performance of the Solitary Cueca took place in 1978, it gained widespread recognition in 1988 when it featured in the NO campaign during the plebiscite against the continuation of Pinochet’s rule. This campaign included a clip showcasing women performing the dance.La Cueca Sola – NO Campaign (1988)
To give more context, cueca is the national dance of Chile. It is characterised by being performed in pairs. In its traditional meaning, the main purpose of the movement is the courtship of the man towards the woman. Hence, the woman leads the dance, followed by the man who seeks to attract her attention. The rhythm is 6/8, marked by the applause of the surrounding audience, while both dancers follow a structure and simultaneously wave the handkerchiefs they hold. 4
In that sense, La Cueca Sola is a subversion of the traditional one, where women address the symbolic realm to demonstrate. There are three fundamental elements to consider: the lyrics of the song, the clothing worn and the dance itself (Martínez, 2020).Gala Torres performed the La Cueca Sola at the Estadio Nacional on 12 March 1990, during the official celebration of the return of democracy to Chile.
The lyrics explicitly refer to the disappearing body, its absence and the lack of answers to this woeful situation. 5Regarding the clothing, all singers and dancers wear a white blouse, a long black skirt and black shoes, instead of the traditional bright and colourful dresses. They also carry a white handkerchief and an image of their disappeared relative, which is generally placed on their chest or near their heart (Martínez, 2020, p. 23). The dance is performed alone, meaning that there is no male companion who follows the steps. There is no applause, no celebration and certainly no courtship. 6
“My first suggestion: get a pot or pan, a spoon to hit them with and invite your neighbours, friends, colleagues and/or friends to do the same.”
La Cueca Sola subverts the original meaning of its existence with the purpose of protest. Through the performance and all its elements, it highlights the presence of a physically absent body in the space, an absence that fills the space with the weight of its forced disappearance. The traditional dance becomes a place of manifestation and memory, as well as a space for denunciation and lament. There is no flirting or celebration, but a painful and mournful scene about loss and the political and social history of Chile (Montalbán, 2023).
This practice has been rescued, notably by the Colectivo Cueca Sola (Solitary dance collective). On 11 September 2021, they danced the La Cueca Sola in collaboration with other popular collectives. This time, they focused the message on the relevance of memory and solidarity, honouring the women who are still fighting for justice. As they declared:
“Each gesture we recover in this ritual holds, like a precious seed, the trace of hopes yet to come. Where our feet danced, others danced, dreamed, laughed, kissed, imagined, wove ties, toasted, embraced, supported and protected us amidst terror. These gestures and objects carry memory and future, opening a fissure in time and allowing us to imagine new ways of living life: pushing the boundaries of what is possible.” (Intervención Cueca Sola 2021, 2021) 7Intervención Cueca Sola 2021.
3. MARCH OF MOURNING AND SILENCE
The Movimiento Unitario Mujeres por la Vida (Women’s Unitary Movement for Life) was a movement primarily composed of women from the intellectual elites and the upper class that managed to bring together various female sectors of society during Pinochet’s dictatorship. It started in the 1980s, and its political resistance utilised humorous resources, the absurd, visual arts and performance art (Hoy y no mañana, 2018). Its actions were framed within aesthetic insubordination through street interventions. Among their actions, many stand out, especially due to the participation of renowned female Chilean artists and intellectuals, such as Lotty Rosenfeld, Mónica Echeverría, María Olivia Monckeberg and Kena Lorenzini, among others (Saavedra-Meléndez et al., 2024, p. 8).
From a sonic perspective, it is the Marcha de Luto y Silencio de las Mujeres (Women’s March of Mourning and Silence), held on 11 September 1987, that stands out, mostly because it subverted what is expected from a march. Instead of chants, the Movimiento Unitario Mujeres por la Vida intended to hold a 30-minute protest in silence. However, it only lasted 15 minutes due to police repression (Movimiento Unitario Mujeres por la Vida, 1987). In short, it was not even possible to stand in silence in the public sphere to grieve for those who had been forcibly disappeared or murdered.
I would like to mention two situations in which this action was performed in Santiago, Chile. One was on 1 November 2019, in the context of theSocial Outburst 8that began on 18 October 2019. A silent march took place to the government palace, covering a distance of three kilometres. Here, women again subverted what could have been an ordinary march, a noisy atmosphere filled with drums and shouts. Through the arrangement of the female body in the public sphere, silence managed to fill the surroundings, expressing mourning for those who had died up to that point during the Social Outburst in Chile. Here, silence generated a resonance capable of transmitting meaning, even when that resonance was silent.
The 50th anniversary of the military coup was marked on 11 September 2024. A vigil was organised by civil society and human rights organisations, at which only women surrounded the government palace on the night of 10 September. The vigil was held in silence, to the beat of a tambourine. Each and every woman carried a piece of paper that readNUNCA + (NEVERMORE +), and a white candle. The act of protest ended with all the women reading the statement, all at once.
4. A RAPIST IN YOUR PATH
Within the framework of the Social Outburst, one of the most significant milestones was the massive feminist demonstration that emerged from LASTESIS collective with the performance “Un violador en tu camino” (A rapist in your path). This time, the protest was clear with a unified shriek against patriarchal violence, which managed to resonate in unexpected parts of the world.
The subversive act in this performance is attached to a clear use of irony in the lyrics, as well as to the title, from the moment it refers to the institutional anthem from the Carabineros, the Chilean Police, which is “A friend on your path.” 9LASTESIS changed “friend” to “A rapist in your path”, highlighting the song’s content about state gender violence and abuses. At the same time, the last verse of the song is a direct quote from the Carabineros’ anthem. In a nutshell, part of the institutional anthem became part of the song against them.
“Sleep peacefully, innocent child,
without worrying about the bandit,
for over your sweet and smiling dream
watches your loving Carabinero.” 10
On the other hand, in addition to the above and the use of sarcasm, this performance also achieved its genius because of the simplicity of the words used. In other words, the message here is also clear and blunt: “And it wasn’t my fault, nor where I was, how I was, nor how I was dressed. The rapist was you; the rapist is you. It is the police, the judges, the State, the President.” 11This message was direct, with no symbolic meaning or hidden implications. Here, the interruption of women’s presence in public space can be understood as a struggle for the right to the city, as this performance gains strength by being carried out as a collective act (Saavedra-Meléndez et al., 2024). In addition, following Verónica Gago, the claim shifts from an individual body to a collective one (Gago, 2020). In short, a collective female body was claiming and pointing out in the public space: “the rapist is you”.
THE BODY IN THE MIDDLE
The centrality of the body is significant in the context of protesting. If the body is not placed at the centre of a conflict, other elements are considered central. Although many protests involve expressions of anger, sadness and injustice, the tactical aspects demonstrate the ability to challenge traditional norms and create demonstrations from familiar elements. These subversion tactics in protests provide inspiration for navigating turbulent times, with the body and sonic elements, along with irony, serving as important components. Additionally, clear messaging in protests is essential (e.g. “the rapist is you,” “today is 11 September”). The concept of body-territory, coined by Verónica Gago (2020), suggests that women’s struggles can extend their bodies into expansive territories, transforming them into extended material. This reinforces collective actions in public spaces, allowing individuals to claim these spaces and use gestures together for future purposes.
This review does not aim to provide definitive answers but rather to present stimulating examples of notable protest experiences led by women from my region. Reflecting on these instances, it becomes clear that feminist protest tactics can be understood through the lens of subverting rules and expectations via simple gestures, where sound and the body serve as vital allies. The common theme is thus protesting through the subversion of what is anticipated by the oppressor, a subversion of the everyday, and a subversion of the female body.
The tactics developed by women and/or feminist movements in Chile have continually faced the challenge of gaining public attention, given that the space traditionally assigned to women has been the domestic sphere. Consequently, feminist protest actions often transcend this public/private dichotomy, creating a dynamic space that extends beyond this binary. Therefore, let us come together and establish the unexpected, starting from unity and discovering ways to perform collective gestures that resonate beyond the limits we might imagine.
My first suggestion: get a pot or pan, a spoon to hit them with and invite your neighbours, friends, colleagues and/or friends to do the same. It might not change the world, but it would at least make you feel less powerless. The next step would be to do that in the public sphere, inviting other people… and so on.
REFERENCES
Castro San Carlos, A. (2023) “La olla y su rol en las demandas sociales en Chile (1947-2019)”, Rivar, Universidad de Santiago de Chile, 10(28), pp. 121–141.
Gago, V. (2020) “Body-Territory: The Body as Battlefield”, in Feminist International. How to change everything.
Hoy y no mañana (2018). Available at: https://ondamedia.cl/show/hoy-y-no-manana (Accessed: 19 November 2024).
Intervención Cueca Sola 2021 (2021). Available at: https://www.youtube.com/watch?v=yCjrB1RhtOg (Accessed: 11 May 2025).
Martínez, B. (2020) Danzar por la justicia: la protesta de las mujeres que bailaban La Cueca Sola durante la dictadura en Santiago de Chile (1978-1990). Universidad de Chile. Available at: https://repositorio.uchile.cl/bitstream/handle/2250/178105/Danzar-por-la-justicia.pdf?sequence=1.
Montalbán, R. (2023) “Agitando el pañuelo: cuando la cueca se transformó en protesta”, 11 September. Available at: https://cronicasonora.cl/2023/09/11/agitando-el-panuelo-cuando-la-cueca-se-transformo-en-protesta-2/ (Accessed: 11 May 2025).
Movimiento Unitario Mujeres por la Vida (1987) “De luto y en silencio mujeres recuerdan el 11”, Archivo de Fondos y Colecciones – Museo de la Memoria y de los Derechos Humanos Chile, 11 September. Available at: https://www.archivommdh.cl/index.php/cl-mmdh-00000135-000009-000006 (Accessed: 11 May 2025).
Saavedra-Meléndez, V. et al. (2024) “Derecho de las mujeres a la ciudad: Intervenciones urbanas e imaginarios feministas en el espacio público de Santiago de Chile (8 de marzo 2019 – 8 de marzo 2020)”, Revista de geografía Norte Grande, (87), pp. 1–24. Available at: https://doi.org/10.4067/S0718-34022024000100109.
The lead image is La Cueca Sola by Violeta Morales (1989). Photo by Martin Melaugh.
Republished from 34.sk This article is brought to you as part of the EM GUIDE project – an initiative dedicated to empowering independent music magazines and strengthening the underground music scene in Europe. Read more about the project at emgui.de.
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