Black young people and diasporic music in Colombia: tensions that permeate and articulate communication, aesthetic and politics

Abstract

The aim of this article is to show how the idea of tension between aesthetics and politics may allow new ways and manifestations that do not come to the fore from rational discourses. Musical Colombian groups like Chocquibtown represent and perform that tension through a Diaspora music that mixtures the folk music of the Pacific with rap. They do not form a consensual community, but a political community that is constituted through scenes of dissensus. The musical fusion made by those groups demonstrates a singular aesthetic expression that turns “a damage” into the main focus of their discourse. They propose a context of consensus despite historical marginalization, exclusion and negation of those that have been seen as obstacles for the consolidation of the illustrated rational project
and their modern form of political organization.