We found 44 instances of reference to the first person in the lyrics. The first-person can be singular (I, yo) or plural (we, nosotras). From those instances, 33 were of the first singular person and 11 of the first plural person. 

In Spanish the person doing the action is expressed by the termination of the verb; this termination is called a morpheme. We observe the first-person singular deixis mainly via the morpheme of the verbs. For the singular we find forms such as “quisiera”, “tengo”, “decido”, “voy”, and “soy.” For plural, we find: “estamos” and “somos”. We do not observe other personal pronouns in the lyrics, but we observe first-person singular and plural object pronouns (“me”, “nos”) and first-person possessive pronouns (“mí”, “mis”, “mío”). From the analysis, other pronouns emerged as an important part of the song for creating an identity, particularly the indefinite feminine pronouns “todas” and “otras.”

This collective identity is established in the shift from one voice (Lane’s first person perspective) to many voices (‘we’) also throughout the video. The video amplifies the lyrics by adding feminist chants from the demonstrations at the beginning and the end of the song. Some of them are “quiero dinero pa’ salud y educación”, “Aquí se lucha, aquí las pibas luchan”, “si tocan a una respondemos todas”, “la vía feminista”, and “qué se dice en la esquina, qué se dice”. 

The video also amplifies the sense of the collective identity by including handwritten banners, which are held by individuals or groups at demonstrations. The messages of these banners align with the ideas of the lyrics, such as “Estado feminicida”, “Feminism is intersectional”, “ni santas ni putas, solo mujeres”, “marcho por las que ya no están”, among others. At the very beginning of the video (0:10’’) we even see in the foreground “vivas nos queremos” (see Figure 1), which is usually the phrase that completes “ni una menos” in the collective chants. These messages have similar pronouns to those in the lyrics, from the first person singular and plural to others. Among them, the use of todas stands out (“no estamos todas, faltan las muertas”), which makes the case for the collective identity. In addition to the banners, we find words materialized in handwritten messages, for example on balloons held by children we find “nos duelen 56” (Figure 2). We also find handwritten messages on walls and in the body (we will comment on these later).

Finally, there is text added digitally to the video as part of the edition. We have text repeating parts of the lyrics, such as in “no soy pacifista” (Figure 3) and “bisabuelas” (Figure 4). 

We also find text in the title of the song (“Ni Una Menos”) and all the credits (Figures 5 & 6). For the latter, it is important to mention that they appear integrated with images from diverse documented mass public demonstrations, which integrate the names and information with the collective actions.