Los “muchachos” en la revolución sandinista (Nicaragua, 1978-1980)

• Autores: Gilles Bataillon
• Localización: Estudios sociológicos, ISSN 0185-4186, ISSN-e 2448-6442, Vol. 31, Nº. 92, 2013, págs. 303-343
• Idioma: español
• Títulos paralelos:
  • The “muchachos” in sandinista revolution (Nicaragua, 1978-1980)
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• Dialnet Métricas: 2 Citas
• Resumen
  • español

    La imagen de los muchachos armados es emblemática de la revolución sandinista. Estos muchachos encarnaron el símbolo de una renovación política que abría un lugar a jóvenes provenientes de las clases populares, el grupo más abandonado por el somocismo. El papel redentor que los sandinistas confirieron a la juventud no fue, paradójicamente, una innovación dentro de las propuestas políticas nicaragüenses, como lo prueba la “Oda a Franklin Roosevelt” de Rubén Darío y después la obra de Ernesto Cardenal. Cercano al Frente Sandinista, Cardenal desempeña un papel central en la “heroización” de los combatientes del Frente, en lucha contra la barbarie somocista y de sus cómplices estadounidenses. Retomando imágenes extraídas del cancionero popular de los Mejía Godoy, los sandinistas se proclaman portavoces de estos muchachos excluidos del juego político. Más aún, utilizarán la idea de una juventud sacrificada que alimenta el grueso de las milicias antisomocistas, para cimentar su hegemonía al tomar el poder después de la caída de Somoza

  • English

    The image of muchachos bearing arms was the symbol of the novelty of the Sandinista revolution. These muchachos were perceived as the mark of a political revival, which would provide a place for youth from the popular classes who appeared as the ones who had been left behind during Somoza’s reign. The redemptive role given to the youth is paradoxically not a novelty in Latin American political conceptions as the “Ode from Roosevelt” to Ruben Darío and his posterity in Nicaragua proves —notably in the works of Ernesto Cardenal— Rallied to the Sandinista front, that poet played a central role in the heroization of those who fought on the Front and then became the young lions inspired by Darío. Since Somoza’s barbarity occurred under the yoke of the United States, they were in charge of struggling against it. Many of these images were used by songwriters like Mejia Godoy, and the Sandinistas claimed to be the spokesmen of the muchachos that were excluded from the political game. Moreover, they argued that the sacrifices that were made by the youth, who made up the majority of anti-Samoza fighters were important in order to establish from the beginning their hegemony over the power put in place after Somoza’s fall.