Mis “manos sonoras” devoran la histérica garganta del mundo: sonoridades y colonialidad del poder
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Universidad Distrital Francisco José de Caldas
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La historia colonial de las Américas y El Caribe es constitutiva con el surgimiento de Europacomo poder dominante, producto de un sistema taxonómico de identidades que generaría formas de clasificación en “etnias” y en “razas”, desde las cuales se ha ensamblado un modelo civilizatorio basado en la explotación total pero discontinua y heterogénea de su otro necesario, que hoy denominamos como América. La generación sonora y sus prácticas pensada desde las particularidades de las historias coloniales, puede contribuir a desestabilizar o al menos tensar postulados dominantes como aquel de que el mundo es una “composición sonora”, plana y libre de tensiones; lo cual abona a la nación del sonido como uno de los elementos innovativos del arte.
This article illustrates how the colonial history of Latin America and the Caribbean is cons titutive with the appearing Europe as a dominant power, which has produced a taxonomic system of identities, and generated classification forms into “ethnics”, and “races”, from which a civilizing model of exploding –nonetheless discontinuously and heterogeneously of its necessary other– has resulted, nowadays, this model is known as America. Sound genera tion and its practices viewed from the particularities of colonial histories, can contribute to somehow consider different affirmations in contrast to those being considered as dominant ones such as the conception that the world is a plane and free of tension “sound com position”, this fact highlights the implementations of sound, as an innovative element, for artistic works.
This article illustrates how the colonial history of Latin America and the Caribbean is cons titutive with the appearing Europe as a dominant power, which has produced a taxonomic system of identities, and generated classification forms into “ethnics”, and “races”, from which a civilizing model of exploding –nonetheless discontinuously and heterogeneously of its necessary other– has resulted, nowadays, this model is known as America. Sound genera tion and its practices viewed from the particularities of colonial histories, can contribute to somehow consider different affirmations in contrast to those being considered as dominant ones such as the conception that the world is a plane and free of tension “sound com position”, this fact highlights the implementations of sound, as an innovative element, for artistic works.
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Cultural Studies, Latin-American sound studies, sound, acousticsn