Afterlives of Anticolonial Dissent: Performances of Public Memory within and against the United States of América

ABSTRACT

Examining how Puerto Rican nationalist icon Lolita Lebrón is celebrated through artistic performances of public memory, this essay investigates how social movement rhetorical histories are used to propel contemporary sovereignty struggles in Puerto Rico. In it, I argue that situating the afterlives of Lebrón’s anticolonial dissent requires that scholars and activists pay specific attention to the unique interlocking systems of oppression and privilege distinctive to the Caribbean territory, influenced by centuries of colonialism. Describing “la trinchera cultural” – or “the cultural trenches” – as the battleground for the urgency of sovereignty for Puerto Ricans, I describe how Las Lolitas, the group responsible for Lebrón’s centennial celebration, engaged in performances of public memory that took place in spaces that would showcase a Puerto Rican nationalist rhetorical repertoire. This repertoire emphasizes networks of solidarity, feminist concerns, and revolutionary spirit across time, highlighting resistance to past colonial transgressions to aid in present/future struggles over Puerto Rican self-determination.

Acknowledgments

This piece would not be possible without the important cultural and political work of the women who organized Lolita Lebrón’s centennial celebration, especially Jessica Martinez Birriel, who pointed me to Las Lolitas. Thank you to Christa Olson, and to the anonymous reviewers who offered guidance in the development of this piece. Gracias to my partner in life and struggle, Jared Whear, for his editorial assistance and general support.

Disclosure Statement

No potential conflict of interest was reported by the author.

Notes

1. Lebrón was a prominent figure in activist campaign against the U.S. Navy using the municipal island town as target practice (Soto Vega 2020), which explains why Las Lolitas would include Vieques as part of the centennial celebration.

2. “Puerto Rican Protesters Got Creative: Dancing, Singing, Diving … ” and in numerous other ways, like a horseback ride, a motorcycle club rally, and wearing art created for the occasion (Henríquez 2019). Refer to Aurora Santiago-Ortiz and Jorell Meléndez-Badillo (2019) for an insightful analysis of the multiple solidarities emerging from these creative protests.

3. A nod to the Arab Spring, but also a play on the words for summer and sovereignty for Boricuas, itself a linguistic geopolitical nod to Taíno indigenous resilience.

4. Refer to José Cortez and Romeo García (2020) for a critical consideration of “The Absolute Limit of Latinx Writing” and decolonial debates in rhetorical studies.

5. A corpus of scholarship regarding race in Puerto Rico challenges the racial democracy myth of mestizaje, among them Alamo-Pastrana (2016), Godreau (2015), and Llorens (2014).

6. The Grito de Lares may very well have been inspired by Mexico’s Grito de Dolores, which is a marker of independence from Spain (Latino Voices 2012; Library of Congress 2009), and is another instantiation of the distinct yet related anticolonial histories between Puerto Rico and other Latin American countries.