En pocas ocasiones nos encontramos relacionando la danza con la literatura. Sin embargo, las múltiples interpretaciones que podemos obtener gracias a la unión de estas deberían ser más atendidas. Es por ello por lo que en este estudio pretendemos analizar tres rasgos sobresalientes en la novela de Gertrudis Gómez de Avellaneda, Sab (1841), y su adaptación (2014) en los escenarios en manos del coreógrafo cubano Reinaldo Echemendía. Estos son, por un lado, el lenguaje del sentimiento y del Romanticismo y, por otro, el componente realista de la novela en cuanto al controvertido tema del esclavismo. El lenguaje de la autora es capaz de retratar complicados sentimientos y situaciones, por lo que nuestro objetivo es, a través del análisis de cuatro escenas del ballet y de la novela, reflejar los diferentes elementos como movimientos, gestos, música y escenografía, que permiten al espectador experimentar lo mismo (o quizás más) que el lector cuando se enfrenta a esta novela.

A day before one of the largest protest marches in Puerto Rican contemporary history during the insurrection of 2019, urban music artists René Perez Joglar (Residente), Benito Martínez Ocasio (Bad Bunny) and Ileana Cabra (iLe) wrote and recorded the fight song "Afilando cuchillos." The song was released early in the morning the next day, on July 17 to fuel the nation to take over the streets later in the day, and head to La Fortaleza, the governor's house. The fight song penetrated the public space through the amplification of gigantic speakers that were attached to a stage on a pick-up truck that slowly made way to the meeting site of the protest. But most importantly, it spread like wildfire through recordings made by the protestors' cell phones and shared in real time on social media and video streaming platforms like Facebook, Twitter, Instagram and YouTube.

The intentionality in which "Afilando cuchillos" was produced and released, the different modes of infrastructure that were employed to broadcast the song, the resulting remediation through the multiple shares on social media and the ideological and social implications behind these processes are akin to Steven Feld's definition of schizophonia. Using Feld's work on schizophonia as framework, I argue the processes of splitting and participation lay the foundation for the multiple sonic, spatial, visual, and ideological frames that are embedded in the studio production of "Afilando cuchillos". I will resort to Peter McMurray's analysis on "Witnessing and the New Digital Cinema" and Ann Weinner's "You Tube and Music Video and Streaming: Participation, Intermediation and Spredability." to interconnect the effect of splitting during the communal act of protesting in the public and sacred spaces in Old San Juan during the Summer of 2019 and the role of the participants as digital filmographers,

When Chile exploded in social upheaval on October 18, 2019, drawing droves of protesters out every night to face off against the riot police and fill the street walls with messaging aligned with the mobilization, popular musicians quickly began to also offer their art to the cause. Over the following days and weeks, the upheaval grew from fiery protests over a relatively small rise in the cost of the metro fare to fervent denunciations of practically all aspects of Chile’s neoliberal economic system. In the songs and on the walls, protesters critiqued the privatization of systems governing the health, education, and retirement pensions, they condemned the heteropatriarchal hegemony, and they demanded both the renunciation of President Sebastián Piñera and a rewriting of the constitution put in place under the Augusto Pinochet dictatorship that had ended three decades earlier.

In Tbe Circuit of Detachment in Chile: Understanding the Fate of a Neoliberal Laboratory (2022), Kathya Araujo argues that the 2019 social outburst in Chile was the political expression of a process of excessiveness, disenchantment, irritation, and detachment brought on by decades of neoliberal economic policies and increasing pressure to democratize social relations. She argues that both the economic transformation and the spread of new normative social ideals with regard to equality, diversity, and autonomy have impelled Chileans into a circuit of conflictive and exhausting social relations. The “circuit of detachment,” according to Araujo, has given rise to a period of contention of which the 2019 social upheaval is just the tip of the iceberg. This paper examines how the songs and the street art of the 2019 protests in Chile exemplify the ideas of excessiveness, disenchantment, irritation, and detachment described by Araujo.