'Lo único que tengo' en las tomas y en las poblas. El género y sus reescrituras poéticas a partir de Víctor Jara

Chile since 1950 and till 1970 had a high social and political life, marked by migration between country and city. Trough this period, it was conceived a social rhetoric over development where the working class would take the main role. However, in Victor Jara's Album La población (1972), this representation of the working class bumps into their minority otherness. From this point of view, based on the mentioned album, it is pretended to expose an enunciation made by a vulnerable group of the population: children, elderly people and women, who had been excluded of the rhetoric about social transformation. In this way, these subjects make a feminine and subversive poetic against the rhetoric of progress, generating a breaking off in the representation of the outcasts. To illustrate these strategies of enunciation, will be exposed the different rhetorical resources, included in this album, La Población, and specially the song "Lo único que tengo", where a peasant woman turned proletarian, sings to the creative strength of her hands.