Author: Ana

“Pa’l Norte” a song about the hope in the North and its deadly path.

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Hi all, ready for another music story? In our last post, we saw some of the history and background of protest music, today I will dive deeper into one of my favorite songs: Pa’l Norte by Calle 13.
This song is an anthem of protest dedicated to the Latin community and all of those who have been forced along the years to cross their borders in direction to the USA. The song talks about the poor living conditions that southern countries offer to their people and how the North becomes a place of hope. However, the reality is one of struggle and discrimination. In that way, Pa’l Norte is a powerful piece of protest music that speaks to the struggles of migration, displacement and identity while highlighting the hope that drives people to keep going.

In the age of digital media, protest music has a new power: it can be shared instantly, spreads quickly and creates global conversations. Calle 13 has mastered this and connected Latin America from North to South with this and many other songs that speak about identity and the dream of a united region that can offer to their people conditions that stop them from leaving their families and that is known to them in the search of a more stable financial situation. So, Pa’l Norte in this way becomes a tool for protest and a call to action.

The Power of Lyrics: Resilience and Identity

From the first line of Pa’l Norte, it is clear that René Pérez (alias Residente) is not just fooling around. He is proclaiming a message – a strong message. The lyrics are about migration, survival and the relentless search for a better life. One of the most striking lines, “Con hambre, pero sigo caminando” (“Hungry, but I keep walking”), immediately conveys the unyielding spirit of those who are forced to leave their homes due to violence, poverty or political instability (Calle 13, 2007).

At its core, Pa’l Norte is not just about surviving—it is about thriving in the face of adversity. The song speaks to anyone who has been marginalized or forced to fight for a better life. And in the world of protest music, this is essential as they focus on resistance, but also celebrate the strength of communities who keep moving forward, no matter the odds (Kallio et al., 2020). The song’s lyrics touch on universal themes of survival and identity, making it a protest anthem not just for Latin Americans, but for anyone fighting systemic oppression or inequality.

What is especially powerful about the lyrics is that they do not shy away from the complexities of migration. Calle 13 acknowledges the hardship and pain of leaving home. The resilience they sing about isn’t just a survival tactic—it’s a statement of power. It is a refusal to be beaten down by a system that offers few opportunities for the most vulnerable and denies dignity to those forced to migrate.

The Music Video: A Visual Protest in Motion

To accompany this powerful song, Calle 13 created a captivating music video, which is visually stunning and shows scenes of the journey to reach the North. The video paints a vivid picture of migration and the many dangers that are

found on the way. Set against a backdrop of barren desert landscapes, it shows people on the move – families trekking through rough terrain with their belongings, facing the unknown with nothing but hope. Something important to consider, is that many of the people who decide to take over this path, do not make it alive – the crossing is highly illegal and monitored and people need to trust the dealer, who promises to guide them to the other side.

The decision to shoot in an environment that coincides with the actual path traveled makes the images impressive and accompanies the texts and their message. It conveys a sense of isolation, of being an outcast from society, but also the limitless potential of human endurance. The video turns against the dehumanizing narratives that often surround migration, turning migrants into statistics or stereotypes, and focuses on what they have left behind. This artwork is a powerful reminder that each person’s journey is a testament to their courage and a reflection of an unjust reality (Martinez, 2017).

Protest music in the digital era: reach, resonance and revolt
One of the coolest things about Pa’l Norte is how it epitomizes the power of digital media in protest music. Thanks to the proliferation of streaming platforms, the song could quickly spread across borders and have an impact for of those away from home, specially Latin American migrants. When Calle 13 released the song, they took advantage of the access to different digital platforms to convey they message and became an anthem for those that could identify with this reality.

The digital age has changed the way protest music works. It is no longer just about local or regional movements but solidarity and visibility become globally available. Pa’l Norte was able to reach many more people than it could have ever done before the digital area, is now able to connect people that are far away from each other but share a common story.

This accessibility was and is crucial for today’s movements. Social media allows activists to come together, share their struggles and amplify their voices in real time. And Pa’l Norte is a prime example of how music can serve as a bridge connecting people with common causes (Peddie, 2019).

Why Pa’l Norte Still Matters

So why is Pa’l Norte still relevant today, over a decade after its publication? Well, for one thing, the issues it addresses – migration, inequality and identity – are unfortunately, still relevant and far from being solved (if ever). But today they seem perhaps even more urgent than ever before with Governments that rely on hate speech and discrimination, finding tools to unite and feel a sense of belonging becomes extremely necessary.

Calle 13 has created something that goes beyond entertainment – it’s a tool for social change, a piece of music that not only entertains, but inspires thought and action – becoming a proud example of what protest music can and should do. So, go ahead and listen (or re-listen) to Pa’l Norte, remember that it’s not just a song, it is the summary of the voice of many that unfortunately continue to fight for their right to be treated as human.

 

References

  • Calle 13. (2007). Pa’l Norte [Song]. On Residente o Visitante. Sony BMG Latin.
  • Kallio, A. A., Karlsen, S., & Westerlund, H. (2020). Music, Education, and Religion: Intersections and Entanglements. Routledge.
  • Martinez, M. E. (2017). Borderlands and the Politics of Resistance in Music Videos: A Visual
  • Discourse Analysis of Calle 13’s “Pa’l Norte.” Journal of Latin American Cultural Studies, 26(2), 149-168.
  • Peddie, I. (2019). The Resisting Muse: Popular Music and Social Protest. Routledge.

Insights from Two Interviews – Job Transitioning Corporate vs NGO

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This time the blog is all about interviews! A very important skill to have and an easy way to understand and be inspired by others. Due to my personal interest and current life-career questions, I wanted to focus on the experience of moving from the corporate world to an NGO and vice versa. For this, I chose two people who had the opportunity to do this and who could share their experiences of transition with me.

During the interviews, I found it fascinating how a change can bring so many benefits, as skills can be transferred and used in areas that sometimes seem so contradictory.

So, how did the interviews happen? I choose two people that went through a transition in the past years and made sure I reached out with enough time and making sure I clearly stated the purpose of my request. Once both accepted, it was time to set up all the details.

The first interview would be conducted over Zoom and the second in person over coffee. One of the people I interviewed, had left the corporate sector to bring her skills to an NGO, the other had done the exact opposite. Both had to adapt their expertise in storytelling and strategic messaging to their organizations. But I will go now into more details about the set up and content of the interviews. 

 

The Interview Questions 

I asked each interviewee the same three open-ended questions to guide our discussion:

1. What motivated you to leave corporate work for an NGO role (or the opposite)?
2. How do you use your communication skills in your current role?
3. What challenges have you faced in adjusting to an NGO/corporate environment?

These questions led to interesting insights, some of which were very similar but viewed from two different angles, which enriched my learning. The physical and virtual aspects of the conversation also had a lot to do with the experience, but they did not stop me from getting information that was worth listening to.

Interview 1 – A virtual experience

We got started right away with an opening introduction from both sides and some small talk to make sure we both felt comfortable. Once the ice had broken, I started with the topic questions – at this point quick check-ins, a few head nods and lots of “aha’s” and “I get it” were necessary to show engagement in the conversation. While remote interviews are convenient, non-verbal cues such as eye contact and subtle gestures are limited and this made verbal communication more important than ever. However, Trier-Bieniek (2012), notes that virtual interviews sometimes encourage more honesty as participants can speak from the comfort of their chosen space and this was something very noticeable in my experience. The “safe distance” of the virtual environment, did help both of us to open up about sensitive topics and almost created a nice connection and desire to keep the conversation rolling after the planned time was over.

The conversation was focused and productive, but I had to work harder to keep the interviewer on task by actively nodding and verbally responding to show that I was present. Due to the virtual barrier, it was important to ask clear, specific follow-up questions and give regular verbal acknowledgements to keep the dialog going. Research by Irvine (2012) shows that virtual interviews require more verbal acknowledgements to convey attention as non-verbal cues are limited in this environment. Still, the screen provided a buffer that could help us feel less vulnerable, and my interviewee was willing to share insights about the shift from corporate to non-governmental organizations without hesitation.

Interview 2 – A coffee break in the office

For the second interview, I choose a colleague who I had seen a few times before, but with whom I had not yet built up a relationship. When I emailed her to ask if she would agree to an interview, she seemed pleasantly surprised, which made me feel like we were on the right track. At the arranged appointment, we had a coffee together and chatted.

As Holstein and Gubrium (1995) argue, face-to-face conversations benefit from this “interactive richness” that makes it easier to build a genuine relationship through shared context. And so it was. There was something about the familiar activity of drinking coffee that put us at ease, and this setting encouraged a relaxed, open conversation right from the start. The physical aspect allowed for more spontaneity as each of us paid attention to small non-verbal cues such as a slight tilt or raised eyebrow.

Since we were in the same room during the face-to-face conversation, we were able to respond naturally to each other’s body language, which made clarification easier and faster. For example, if my colleague seemed unsure about a question, I could simply rephrase or adjust my approach based on her expression or posture. This echoes the findings of Trier-Bieniek (2012), who notes that collaborative activities (such as coffee breaks) can create a supportive environment for sharing more detailed, nuanced insights.

I also found it fascinating how important eye contact is and how, even if I would break eye contact for a few seconds, I can feel the conversation slowing down because I might be signaling distraction or lack of interest.

Key Insights from Each Interview Mode

Building Empathy and Comfort: The coffee chat in person created an easy-going atmosphere that helped establish a strong connection early on. In contrast, the Zoom interview required more verbal encouragement and attention to active listening cues to build that same level of rapport. Each setting demanded different tactics to make the interviewee feel comfortable sharing their story. Trier-Bieniek (2012) notes that virtual interviews are increasingly familiar to most people, making them a valuable tool, especially when in-person meetings are not feasible.’

Clarifying and Responding in Real-Time: The in-person setting naturally supported clarity and understanding since non-verbal cues could be picked up instantly. This allowed for a smoother, more unfiltered exchange. In virtual settings, however, questions need to be structured thoughtfully to compensate for limited non-verbal communication (Holstein & Gubrium, 2011).

Talking to both participants highlighted just how different these two interview modes can feel. In-person interviews have an undeniable advantage in fostering natural conversation, while Zoom offers practicality and can sometimes make people feel more at ease discussing personal topics. Adjusting to each mode’s strengths—using verbal affirmations and specific follow-up questions on Zoom, for example—helped keep both conversations flowing.

Understanding the interplay between interview mode and rapport-building strategies is key in communication research. Ultimately, this experience highlighted the importance of flexibility in interviewing, helping me refine techniques that keep the conversation meaningful and insightful, regardless of the setting.

 

References
  • Holstein, J. A., & Gubrium, J. F. (1995). The active interview. SAGE Publications.
  • Irvine, A., Drew, P., & Sainsbury, R. (2012). ‘Am I not answering your questions properly?’ Clarification, adequacy and responsiveness in semi-structured telephone and face-to-face interviews. *Qualitative Research, 13 (1), 87-106. https://doi.org/10.1177/1468794112439086
  • Trier-Bieniek, A. (2012). Framing the telephone interview as a participant-centred tool for qualitative research: A methodological discussion. Qualitative Research, 12 (6), 630-644. https://doi.org/10.1177/1468794112439005

Protest Music: Amplifying Activism in the Digital Age

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The World of Protest Music: Amplifying Political Messages in the Digital Age

Think about this: when do you typically listen to music? At home, bars, restaurants and nightclubs, at concerts, on TV? All these might seem like the obvious answers. However, music has historically been more than just entertainment; it has also been a powerful tool for social and political resistance. Protest music has accompanied movements, bringing people together through a common voice. From the anthems of the 1960s civil rights movement to today’s digital activism, music continues to play a powerful role in driving and amplifying social change. In the digital age, where much activism occurs both online and in physical spaces, protest music has evolved to meet new technological and social realities. In this post, we are going to explore the history of protest music, its transformation in the digital age and its role in hybrid activism, where it transcends both online platforms and street demonstrations.

Protest Music along time…

Throughout history, music has been a core element of social movements, as we all seem to find a really special connection with rhythms and lyrics that allow us to connect in much deeper levels. Whether through union songs, spiritual music, or anti-war ballads, music has conveyed messages that are often more effective than speeches or pamphlets. According to Eyerman and Jamison (1998), music plays an important role in the collective identity formation of social movements, providing a cultural space for participants to express shared values and grievances. Songs like “We Shall Overcome,” which became a central anthem during the U.S. civil rights movement, becoming a great example of the power of music to unify protesters by allowing them to express their demands for justice (Dunaway, 2008).

What makes protest music such a force for change? Perhaps it’s the fact that it’s connected to our own history and brings people together because of shared emotions. Music allows us to connect with others and find common ground on values, struggles and needs. The complexity yet simplicity of music makes it accessible to people all over the world, across language barriers and cultures. Think back to your childhood when you hummed a song in a language you didn’t even understand, but you felt the power and beauty of the melody.

So, what’s the role of music in the Digital Age?

Digital platforms, social media, the internet in general have changed us all and become an important part of society, social movements have also adapted to the new ways in which we communicate and interact with one another. This has meant that the reach and potential influence of protest music has expanded in many ways. Thanks to the democratization of music production and distribution, it has become easier for anyone to produce and distribute music online. According to Serrano (2021), digital platforms have turned music into a global language of protest, with songs frequently going viral and inspiring movements across borders.

Many impactful example have been present in the past years, one of them was during the #BlackLivesMatter protests in 2020, where Kendrick Lamar’s song “Alright” was frequently sung at rallies and widely shared on social media as an unofficial anthem of resistance against systemic racism (Brown & Volpe, 2020). The power to viralize moments, is a very powerful tool for citizens and a way to ask for social change, something that before could not even be imaged. It’s crazy then to think that the normalized reality we have today didn’t exist just a few decades ago; today it’s easy to make a viral event on the other side of the world, making the globe much smaller and the causes we fight for much more connected.

Music has always been an important instrument of digital activism and will remain so. Songs serve as anthems for movements, rallying cries that capture the emotional intensity of a protest while conveying its political message. Social media platforms in particular enable the wide distribution of protest songs, which can be remixed and adapted by different movements around the world. According to Nayar (2018), digital platforms have democratized the production and dissemination of protest music, allowing new and diverse voices to emerge in the space of political expression.

For instance, feminist movements have effectively used music to spread their message online. The Chilean feminist collective Las Tesis created the viral song and performance piece “Un Violador en Tu Camino” (A Rapist in Your Path) in 2019, which quickly spread across Latin America and Europe, being performed and remixed by women protesting gender violence (Fischer, 2020). This example shows how digital platforms enable protest music to transcend geographical borders and create a common language of resistance across different countries and movements.

Additionally, the accessibility of digital music production tools has allowed for greater collaboration among artists and activists from different parts of the world. Artists can now create and share protest music in real time, contributing to a global conversation about justice and equity. This global network of protest music has reinforced the notion that social movements are interconnected, regardless of geography, as artists build on each other’s work to address universal struggles such as racism, gender violence, and climate change (Nayak, 2021).

Let us know what you think and stay tuned for the next blog post about music and other relevant topics related to digital activism.

References

  • Beer, D. (2013). Popular culture and new media: The politics of circulation. Palgrave Macmillan.
  • Brown, M., & Volpe, M. (2020). Music and the Movement: Protest, Intervention, and Political Music During Black Lives Matter. Journal of African American Studies, 24 (4), 402-417.
  • Bunaway, D. K. (2008). How can you keep on moving? Labor, music, and migration. In R. D. Cohen (Ed.), Songs about work: Essays in occupational culture for Richard A. Reuss (pp. 40–56). Indiana University Press.
  • Eyerman, R., & Jamison, A. (1998). Music and social movements: Mobilizing traditions in the twentieth century. Cambridge University Press.
  • Fischer, E. (2020). “Un Violador en Tu Camino”: The Anthem of Feminist Resistance in Chile and Beyond. Gender, Place & Culture, 27 (5), 717-719.
  • Nayar, P. (2018). Digital world: A critical introduction. Polity.
  • Nayak, A. (2021). Protest Music in the Digital Age: The Intersection of Music and Social Movements. *Cultural Sociology, 15 (3), 346-358.
  • Rosenstone, R. A. (2013). The historical film as real history. Routledge.
  • Serrano, F. (2021). The Soundtrack of Resistance: Music and Protest in the Digital Age. Journal of Media and Cultural Studies, 35 (4), 565-580.
  • Tufekci, Z. (2017). Twitter and tear gas: The power and fragility of network

Hello and Welcome! 🎶✨

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I’m Ana, one of the five voices behind this blog, and I’m thrilled to be here! I’m a Communication for Development student at Malmö University with a passion for exploring how music can be a powerful tool for change. I’ll be diving into the vibrant world of protest music, exploring how it acts as a megaphone for social movements—especially in the digital age.

In my section of the blog, we’ll delve into the role of music in activism, considering its impact across different communities and issues. Together, we’ll explore how music not only reflects social movements but also shapes them, fueling development and sparking social change.

Here’s a fun fact to get us started: Did you know that the famous protest song “Give Peace a Chance” by John Lennon was recorded in a hotel room? Lennon and Yoko Ono invited friends, reporters, and peace supporters to join them in their “Bed-In for Peace,” turning the recording session into an accessible protest for all (Schinder, 2007). 🎤✌️

Stay tuned for my posts, where we’ll journey through everything from historical anthems to today’s digital protest playlists. And don’t be shy—I’d love to hear your thoughts, suggestions, and favorite protest songs, so feel free to drop a comment and join the conversation!

Let’s tune in for change together! 🎧✨

 

Reference

Schinder, S. (2007). The encyclopedia of recorded sound. Routledge.