{"id":379,"date":"2022-11-23T20:35:48","date_gmt":"2022-11-24T01:35:48","guid":{"rendered":"https:\/\/sites.smith.edu\/eng118st-fa22\/?p=379"},"modified":"2022-12-16T12:27:32","modified_gmt":"2022-12-16T17:27:32","slug":"el-apagon-aqui-vive-gente-mixed-media-as-resistance","status":"publish","type":"post","link":"https:\/\/sites.smith.edu\/eng118st-fa22\/el-apagon-aqui-vive-gente-mixed-media-as-resistance\/","title":{"rendered":"\u201cEl Apag\u00f3n – Aqu\u00ed Vive Gente\u201d: Mixed Media as Resistance"},"content":{"rendered":"

We have forgotten how to be human. Because governments have failed in protecting their people, calls for political change have been taken on by artists to reject the normalization of displacement within their communities. Due to affordable prices, Puerto Rico has become an increasingly popular tourist attraction as well as a prime location for real estate. With this influx of affluent tourists and buyers, the Puerto Rican government has become corrupt\u2013financially benefiting from these developments initiated by the United States. Therefore, while remaining a U.S territory, Puerto Rican communities are suffering from aggressive displacement from not only their own government but the U.S government as well. Ultimately, Bad Bunny\u2019s video, \u201cEl Apag\u00f3n – Aqu\u00ed Vive Gente,\u201d is a call to action for the Puerto Rican community, its government, and those engaging in its gentrification to put an end to these various injustices. Through displaying the juxtaposition of Puerto Rico\u2019s abundant culture and the actions being done that are destroying it, Bad Bunny expresses the problem of gentrification that desperately needs to be addressed.\u00a0<\/span><\/p>\n

\u00a0\u201cEl Apag\u00f3n – Aqu\u00ed Vive Gente,\u201d is both a documentary and a music video that effectively highlights the cultural poignancy of both Puerto Rican individuals and communities as well as its destruction. By combining two different mediums of media, Bad Bunny entices his audience with high-energy music, party scenes, and breathtaking shots of Puerto Rico\u2019s natural landscapes in the first six minutes, while dedicating the remaining sixteen minutes to a documentary format. The effectiveness of incorporating news into a music video takes on a more novel creative direction that captivates audiences to watch the film in its entirety.\u00a0<\/span><\/p>\n

By including clips of Puerto Rican culture during the music video portion of the film, Bad Bunny illustrates resistance within his community and evokes hopeful attitudes from viewers that spreading awareness can make a political difference. Due to music video\u2019s dependence on visuals, Bad Bunny\u2019s message is comprehensible throughout, despite the lack of dialogue and text. \u201cThe performance, which the Latin trap-reggaeton phenom gave in front of a collage of beautiful scenes from the island that raised him, marked a powerful and poignant message to the world: Puerto Rico was battered but not broken\u201d (Butler). Through visuals, Bad Bunny shows the audience the beauty of Puerto Rico and its culture and how much will be lost in its destruction. Bad Bunny\u2019s entire message critiques gentrification, yet the actual term has failed to be textually defined, especially in Latin America. There is a \u201crefusal by the academy in Latin America to use the term, regarding it as an expression of cultural imperialism\u201d and due to this mass miscommunication, there \u201chas been an excessively flexible and ambiguous use of the term, obscuring political and scholarly debates on the issue\u201d (D\u00edaz-Parra 472). Therefore, Bad Bunny\u2019s prioritization of visuals allows viewers to interact with the video regardless of background knowledge; he defines and criticizes gentrification through art. Additionally, while the song is sung in Spanish, as an English speaker, Bad Bunny\u2019s message was apparent even without the use of subtitles. Conclusively, Bad Bunny and his production team effectively acknowledge the cruciality of accessibility regarding the gravity of his message\u2013intending to reach a broader audience and succeeded in doing so.\u00a0<\/span><\/p>\n

On the other hand, Bad Bunny also utilizes mixed media to convey a more cohesive story. While the music-video aspect emotionally capitvates the audience, the documentary aspect follows with the intent to inform. The documentary aspect of Bad Bunny\u2019s video brings the injustices of gentrification to light, incorporating personal interviews, news clips, and footage of protesters in response to unwanted construction. \u201cIn the video, verses of \u2018El Apag\u00f3n\u2019 are interspersed with<\/span> reporting by <\/span>Bianca Graulau<\/span><\/a>, an independent journalist who has been documenting inequities in the U.S. territory, whose residents <\/span>lack representation in Congress<\/span><\/a> and are unable to vote on a federal level\u201d (Butler). By being an individual with such a large platform, Bad Bunny is able to lift the unheard and suppressed voices of individuals and communities by sharing their stories.<\/span><\/p>\n

Bad Bunny includes valuable background context in regard to gentrification as a whole. At one point in the documentary, the narrator claims that \u201csome scholars compare the tourism economy with the plantation economy\u201d. After the U.S \u201cinvaded and took possession of Puerto Rico\u201d in the 1800s, many Puerto Ricans were hired as workers for U.S sugar companies and were \u201cpaid low wages that kept them in poverty\u201d (\u201cEl Apag\u00f3n – Aqu\u00ed Vive Gente\u201d). The documentary then unveils parallels between then and now, where many Puerto Ricans are currently being forced into domestic labor for the wealthy to make a living. According to Ib\u00e1n D\u00edaz-Parra, \u201cthe reason why gentrification can never be positive is precisely because it reveals the different capacities of different human groups to influence the allocation of space, and how their interests are unable to be brought into\u00a0 harmony by the market\u201d. She also expresses that \u201ccommunities with fewer economic resources and ethnic groups facing political and cultural discrimination may see their neighborhood eradicated if the space they occupy is valorized and there is a solvent demand that wishes to take their place\u201d (D\u00edaz-Parra 483). In response to Act 22, which allows foreigners to avoid paying taxes for things such as cryptocurrency, stocks, or real estate, many affluent individuals are drawn to buy property Puerto Rico (\u201cEl Apag\u00f3n – Aqu\u00ed Vive Gente\u201d). Ultimately, these fast-paced developmental projects have forced native Puerto Ricans out of their childhood homes and neighborhoods due to increased rent prices or entire building renovations. Current gentrification can even be traced back even further than the U.S\u2019s invasion of Puerto Rico. Barry Cortrell argues that \u201clanguage of mindless plunder echoes the Spanish conquistadors driven by the promise of Aztec gold to wreak havoc on the people and lands of the New World\u201d (\u201cStill the Conquistadors\u201d). Ultimately, gentrification is rooted in the history of colonialism and is a form of colonialism within itself. Yet, this current-day colonialism is simply buried under contemporary vernacular and powerful systems. Ultimately, with so much credible evidence being communicated with such urgency, Bad Bunny has become one of the primary political advocates with the intention of bringing justice to the Puerto Rican community.\u00a0<\/span><\/p>\n

Yet, it is important as consumers of media to question the ethics and social implications of Bad Bunny\u2019s video. While the destruction of Puerto Rican communities is formally at the hands of its government, at what point (if ever) should it become the responsibility of artists to spread awareness and cultivate a call to action? Additionally, while having a large platform to influence various communities is beneficial in circulating information and placing pressure on the government, it\u2019s arguable that the voices of the communities that are being impacted should be enough on their own to influence and initiate governmental policy changes. This brings in the question of Bad Bunny\u2019s credibility when it comes to authenticity. With the knowledge that his video would make an impact on a variety of communities, especially those located in the U.S, \u201cEl Apag\u00f3n – Aqu\u00ed Vive Gente\u201d could potentially be an incredibly planned out publicity stunt. Yet, even if Bad Bunny\u2019s video was created with ulterior motives, the outcome of his work ultimately succeeded in raising awareness regardless. \u201cEl Apag\u00f3n – Aqu\u00ed Vive Gente\u201d was a step in the right direction by emphasizing the importance of community voices\u2013perhaps a call to action for political leaders to listen more carefully to their community\u2019s needs before it overtakes the media. Therefore, even in the worst case scenario where Bad Bunny created this video for publicity and where the Puerto Rican government prioritizes its image over the community, nevertheless, Bad Bunny ultimately succeeded in raising wide-scale awareness all while applying pressure to both the U.S and Puerto Rican government to initiate policies to ensure the protection and prioritzation of the people.<\/span><\/p>\n

In conclusion, it\u2019s important to note that gentrification is a form of colonialization that is not only affecting Puerto Rico, but is a prominent catastrophe across the world. With the rise of technology such as music videos on Youtube and documentary streaming platforms, forms of communication are constantly evolving and diversifying. While both the music video aspect and documentary aspect of Bad Bunny\u2019s project could have succeeded in spreading awareness individually, the creative decision to utilize mixed media effectively encouraged the audience to examine the issue of gentrification from a multiplicity of perspectives. Art as activism has become an increasingly popularized medium, yet exploring it in even more expansive ways is critical for both the art and activism world. Ultimately, Bad Bunny\u2019s \u201cEl Apag\u00f3n – Aqu\u00ed Vive Gente\u201d succeeded in cultivating a piece of art that is accessible, influential, poignant, creative, and a stepping stone for change.<\/span><\/p>\n

 <\/p>\n

Annotated Bibliography\u00a0<\/span><\/p>\n

Butler, Bethonie. \u201cBad Bunny Wants You to Stop Ignoring Puerto Rico.\u201d <\/span>The Washington Post<\/span><\/i>, WP Company, 21 Sept. 2022, <\/span>https:\/\/www.washingtonpost.com\/arts-entertainment\/2022\/09\/20\/bad-bunny-apagon-puerto-rico\/<\/span><\/a>.<\/span><\/p>\n

This article speaks about Bad Bunny himself, his previous works and especially his music video \u201c<\/span>El Apag\u00f3n – Aqu\u00ed Vive Gente\u201d which was released right after another blackout. The article speaks about the particular journalists and community members who were included in the documentary section of the music video which is asking for a call to action regarding the ignored state of Puerto Rico and the well-being of its residents. It also mentions different companies that are directly targeting the residents of Puerto Rico and how it is displacing and destroying communities. I can use the contents of this article more effectively to communicate the destruction that gentrification is causing in Puerto Rico with more direct evidence and resources. Additionally, it will allow me to name influences and contributors to the music video accurately. I can also use this article to connect Bad Bunny\u2019s <\/span>\u201c<\/span>El Apag\u00f3n – Aqu\u00ed Vive Gente\u201d with his previous works and how this particular video aligns with his other works and the ultimate message that he wants to convey to his audiences. It will also allow me to understand which particular occurrences Bad Bunny is referring and responding to with his music.\u00a0<\/span><\/p>\n

 <\/p>\n

Smith Library Source #1:<\/span><\/p>\n

Cottrell, Barry. \u201cMind the Gap: Still the Conquistadors.\u201d <\/span>EXPLORE<\/span><\/i>, vol. 16, no. 6, 2020, pp. 363\u2013364., <\/span>https:\/\/doi.org\/10.1016\/j.explore.2020.08.011<\/span><\/a>.<\/span><\/p>\n

This article greatly focuses on the historical significance of Indigeneity in Latin America. It\u2019s impossible to separate current Latin America from its colonial roots. The article speaks of how the past and present actions of colonialism in Latin America are parallel and need to be addressed. Barry Cortrell speaks of the presidency of Donal Trump and how his leadership perpetuated a policy of disrespect and continued to endorse colonial history. It is important for current populations to recognize the reality of Indigenous peoples, such as land and tradition,\u00a0 in order to understand and interact with it. Because we are so far removed from our history, we forget the culture and rituals that have been buried over time due to colonialism and capitalism. Therefore, with this lack of knowledge and understanding, we are inherently adding to the displacement and disenfranchisement of Indigenous communities and marginalized communities. This article emphasizes the importance of culture and what it means to be human. While there are various global crises, being stripped of humanity, culture, and livelihood for the sake of gentrification and colonialism, our prioritizations become scattered. In order to further embark on global issues, it is important to recognize the necessity to address history and allow communities to flourish culturally. I can use this information to address why Bad Bunny found it crucial to include clips and images of Indigenous as well as current Latin American rituals. Additionally, this article gives context as to how colonialism has been integrated into our current society.\u00a0<\/span><\/p>\n

Smith Library Source #2:<\/span><\/p>\n

D\u00edaz-Parra, Ib\u00e1n. \u201cGenerating a Critical Dialogue on Gentrification in Latin America.\u201d <\/span>Progress in Human Geography<\/span><\/i>, vol. 45, no. 3, 2020, pp. 472\u2013488., <\/span>https:\/\/doi.org\/10.1177\/0309132520926572<\/span><\/a>.<\/span><\/p>\n

To summarize, gentrification as a term has been refused by the Academy of Latin America, and has been considered an expression of cultural imperialism. Additionally, there has been a failure to accurately and unanimously define the term, skewing studies and dialogues surrounding the issue. It is becoming even more difficult to resist against capitalistic logic and urbanization due to this lack of communication. Therefore, an in-depth analysis of the reality of gentrification in Latin America has been difficult to achieve. Various issues surrounding gentrification need to be addressed, and therefore require a comprehensive definition, ungeneralizable concepts, inclusive dialogue, and restructuring of the regulations surrounding the topic in Latin America.\u00a0<\/span><\/p>\n

I can use these studies to explore the varying definitions of gentrification and unpack how each is affecting cities within Latin America. This article also gives me more insight into the nature of how gentrification and capitalism intertwine, how populations respond to gentrification, and how governments succeed in maintaining control\u2013especially through censorship. Additionally, I will be able to speak about the generalization of the term, and how specificity is required in order to address individual issues that come together under the scope of gentrification. In Bad Bunny\u2019s music video, \u201c<\/span>El Apag\u00f3n – Aqu\u00ed Vive Gente,\u201d he mainly focuses on the necessity of preserving culture and livelihood. Therefore, by going into more depth regarding the definition of gentrification and its roots, I will be able to more efficiently grapple with Bad Bunny\u2019s message.\u00a0<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

View Post\u201cEl Apag\u00f3n – Aqu\u00ed Vive Gente\u201d: Mixed Media as Resistance<\/span><\/a><\/div>\n","protected":false},"author":3911,"featured_media":484,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-379","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critical-updates","entry"],"_links":{"self":[{"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/posts\/379","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/users\/3911"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/comments?post=379"}],"version-history":[{"count":1,"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/posts\/379\/revisions"}],"predecessor-version":[{"id":380,"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/posts\/379\/revisions\/380"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/media\/484"}],"wp:attachment":[{"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/media?parent=379"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/categories?post=379"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.smith.edu\/eng118st-fa22\/wp-json\/wp\/v2\/tags?post=379"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}