Music and Democracy in Latin America
South America’s protest music was necessary to report human rights violations that led to the disappearance of more than one thousand people in Chile, 300 in Paraguay, and 30 thousand in Argentina. The singers and their lyrics reaffirm that music and art are fundamental in politics and essential during democracy restoration.
During the 20th century, artists born and raised in South America had to leave the romantic lyrics aside and use their music to report the social-political abuses of governmental institutions during years of dictatorship. Musicians who took the risk of using their art to report the violence committed by the government had to pay a price: exile, prison, torture or even death. Although many singers were considered a significant threat to the government, they refused to be intimidated by the dangers they faced.
Authoritarian governments use forms of censorship to control the masses. Brazil, for example, lived under this regime from 1964 to 1985, and according to the Brazilian government, the country adopted laws in 1967 and 1970, that promoted the censorship of both artistic and communication vehicles. These laws created committees that evaluated songs and gave final permission for their release and circulation on radio and TV. The government also invited the population to report artists, intellectuals and anyone suspected of “subversive” behavior.
Some artists tried to avoid being noticed by government agents through the use of metaphors in their lyrics. The songs that the committees did not discard ended up on the radio or at festivals; the artists who continued to be direct with their lyrics ended up being arrested.
Rita Lee (Brazil)
Rita Lee, also known as the queen of Brazilian rock, was one of the most censored artists in the country, according to Norma Lima, a doctor in literature and professor at the State University of Rio de Janeiro.
Lee discussed politics and sexuality during a time when "proper morals" were used to mask the atrocities of a repressive government. In one of her censored songs, “Arrombou o Cofre”, Rita sings "Cabeças vão rolar que tal a gente apostar? / Heads are going to roll, how about we bet?”
Victor Jara (Chile)
Victor Jara was a Chilean folk singer and writer, who was detained just a few days after the military coup took place in 1973. During his brief presence at the National Stadium, Jara was tortured and murdered by military agents who didn’t agree with his beliefs.
Jara became an icon of protest songs and the face of the victims of the regime. He blended his activism with the traditional sounds of his country and created lyrics that expressed hope and resistance for a better place. In a posthumously released song called “Manifesto”, Jara wrote “El canto tiene sentido cuando palpita en las venas del que morirá cantando las verdades verdaderas. / For a song takes on a meaning when its heartbeat is strong sung by a man who will die singing truthfully singing his song.”
Mercedes Sosa (Argentina)
Born in Argentina in 1935, Sosa became an important name for the Nueva canción movement as her songs reflected the struggles of the working class, Indigenous communities and political dissidents.
Just like Rita Lee, Sosa had songs banned due to strong political lyrics that warned people about government abuses. Seen as the “Voice of the Voiceless”, she was considered the government's number one enemy. In 1979, during a concert in La Plata, Sosa was arrested on stage and detained for almost 20 hours. After this incident, the singer had to go into exile for three years.
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What about the 2000s?
Inspired by artists who paved the way for justice, a new generation of musicians carried with them the responsibility of using their art for social change. From the early 2000s to 2025, they stepped out of their comfort zones and brought awareness to issues, stimulating important conversations in Latin America.
Ana Tijoux (Chile)
In 2019, Chile was burning with protests in major cities over government decisions. The rapper Ana Tijoux released a song called “Cacerolazo,” which summarized why the protests were happening while denouncing the violence committed by the police during the riots.
Vivir Quintana (Mexico)
In 2020, folk singer Vivir Quintana released “Canción Sin Miedo,” where she calls for justice for all women who were victims of femicide According to the United Nations “across Mexico, around 10 women and girls are killed every day by intimate partners or other family members.”
Bad Bunny (Puerto Rico)
In his latest album “DeBÍ TiRAR MáS FOToS,” Bad Bunny reports in a very raw and objective way the process of gentrification of Puerto Rico. In the song “Lo que le Paso a Hawaii,” the singer compares the Caribbean island to Hawaii, which is now one of the official states of the United States and promoted as a tourist paradise, causing the displacement of natives and increasing the local cost of living.
The Legacy Lives On
Just like any other form of art, music can be a tool for protest and reaching many people, causing social change and creating cultural identities that shape an entire country. Today, artists must be aware of the power that their lyrics have on certain audiences and the role of this art in the current moment. From rock to folklore, music became more than just entertainment — it served as a vital tool in the fight to restore democracy and protect human rights.
Those who lived through the violent days of dictatorship used popular artists to reinvent themselves and rebel, denouncing major recurring problems in society. Today, in your opinion, who are the current artists who use their artistic work for political awareness?
Strike Out,
Orlando
Written By: Ana Carolina Ferreira Verdugo Lizama
Edited By: Hollis Humphrey & Olivia Wagner
