Welcome to the Nineteenth Century: Venezuelan Elections
by Fernando Calzadilla

Printer-friendly version

Social Imaginaries at play

I said that for the August 15, 2004 referendum, Chavez opponents’ biggest fear is abstention, because the opposition does not have a counter-figure to oppose him. They have no 19th-century caudillo figure, and people have no confidence in the institutions (political parties, civil associations). On the other side, Chavez has based his referendum electoral campaign on "Florentino y El Diablo," a poem set to music depicting a Manichaean fight between the forces of good and evil (a familiar theme, we recall, promoted by President George W. Bush, who spoke of the “axis of evil” and the U.S. and its “allies” as the forces of good). Composed by Alberto Arvelo Torrealba, the popular llanero musical form is identified by most as the Venezuelan emblematic music. The popular hero Florentino defeats Satan in a singing duel by the sheer force of his poetry and wit. The devil challenges him to no other place than Santa Ines, the place where federalist Ezequiel Zamora won a battle against centralist forces. But the imaginaries keep adding up. In the last verse, Florentino invokes the virgin for his protection:

“Sácame de aquí con Dios
Virgen de la Soledá,
Virgen del Carmen bendita,
sagrada Virgen del Real,
tierna Virgen del Socorro,
dulce Virgen de la Paz,
Virgen de la Coromoto,
Virgen de Chiquinquirá,
piadosa Virgen del Valle,
santa Virgen del Pilar,
Fiel Madre de los Dolores
dáme el fulgor que tú das,
¡San Miguel! dáme tu escudo,
tu rejón y tu puñal,
Niño de Atocha bendito,
Santísima Trinidá.

Chavez opponents have used the virgin as a counter-icon to his association with Jesus. The virgin and the nation have had an enduring metonymy through the nation’s representation in a female body and through Venezuela’s patroness, la Virgen de Coromoto. Florentino’s invocation dismantles the use of the virgin as an oppositional figure. The holy trinity (“Santísima Trinidá”) is also an association Chavez supporters have made using Jesus, Chavez, and Bolivar. During his acceptance speech for the referendum in front of the presidential palace (Miraflores), the backdrop framing Chavez's discourse was the close-up of a hand holding the constitution and a crucifix. He wore a black suit, white shirt without a tie, an obvious resemblance to a pastor’s costume. His performance was emotional, contrived, solemn. He rose to the occasion and played to his supporters an act of faith. God is on my side.

By invoking Florentino, Chavez is bringing all these imaginaries into play and more. The “Battle of Santa Ines” is the name given by the chavismo to the August 15 referendum. Florentino represents the good singer, the poet, and the llanero who defeats the devil using his wit, not force. The virgin is on Florentino’s side. But in addition to that, as the campaign poster illustrates, the revolutionary Che is transformed into a Jesus-like figure while Chavez in fatigues and red beret holds a sword, the symbol of Bolivar and Zamora’s fight. Thus, Chavez is the embodiment of the holy trinity representing the revolutionary/Jesus, the independence hero, and Florentino. The main devil opposing good Chavez is a mixture of Hitler and Bush (David and Goliath scenario at play) while the devil’s acolytes in flames represent Venezuela’s private media owners, business associations and traditional political party leaders. Even at the strictly rhetorical level, Chavez campaign uses an action verb in the slogan “No Volverán” while the opposition uses the abstract “Sí Por Venezuela.” Religious, cultural, and military social imaginaries are triggered by Chavez's electoral campaign while his opponents are left with a Chavez-ousting unique motive that has no scenario at play other than changing cast without a promise.