ABSTRACT
This article is part of a set of elaborations on art and politics that I have been carrying out over the last decade. Unlike other publications, my focus here is the relationship between music and politics or, rather, the terrorist musicking of a specific artist, Linn da Quebrada. I am interested in how this musicking affects the construction of a locality and is mutually constructed by it, creating coalitions that serve as seed for imagined dissident communities that are also communities of practice. Subsequently, I use both disidentification, as conceptualized by José Estebán Muñoz, and the notion of reXistence (ours, political, daily) to reflect on some motivations inherent in this musicking, paying attention to how the approximation between music and politics makes any formalist sense of musical style falter. Finally, in my final hallucinations, I bring questions related to the coloniality of thought and bodies to think that musicking and locality converge in the creation of ethical and aesthetic public spheres in which the dominant logic of the necropolitical colonial CIStem is not a common rule.
KEYWORDS:
Music; politics; reXistence; disidentification; artivism