This text is one of the evidence of the process that have been taking place on the investigation group CorpoTango which focus around tango and his social, cultural and musical aspects. It’s propose a traking about the tango-dance as a way to inhabit a new space, highlighting some historical events like inmigration on it consolidation. The tango-dance then arise as a way of resistence and evocation, standing out the need of an individual to feel that belongs somewhere.

Between August and September 2017, the First International Seminar on Decolonial Music Education between universities in Costa Rica and Argentina was held in order to problematize music training models to undertake an arts education free of Eurocentric hegemonic standards in favor of multi and inter -culturality that crosses Latin America. This work gathers conclusions that collectively addressed some participants from Argentina, Colombia, Costa Rica and Nicaragua.

Bandoneon, instrument that evokes bohemian feelings in tango, a genre that came into being masculine because it was exclusive for men as well as the bandoneon, until the argentinean Francisca Bernardo play the instrument at the beginning of the 20th century, a feat for the liberation of the feminine gender the tango. That first step that Francisca took, or “Paquita” as it is known, opened the opportunity to many other women who came to play the bandoneon. One of those great bandoneonists is Carla Algeri who, in addition to play the instrument, is a composer, director and arranger in tango; cultural ambassador of tango in Buenos Aires City and cultural manager. Among her great works is the writing of tango as heritage of humanity for Unesco, besides being a disciple of one of the forts in the bandoneon as the master Rodolfo Mederos.

This text approaches the reflections, on musicology and mu-sic research, that Venezuelan musicologist Juan Francisco Sans presented at the First International Research Seminar in Artistic Practices Débora Arango 2017. In his speech, Sans spoke about three current and sensitive topics, but which are scarcely treated by the specialized literature. From documen-tary sources, we pretend to examine the antinomies between musicology and music research, with the purpose of demon-strating how these affect the current research processes in the context of the postgraduate music education in Colombia.

This work presents a techno-aesthetic analysis (Simondon, 2017) of three singing styles - the lyric, the popular and the folkloric - through a comparative study of their morphological characterization and the audio waves that each of them emits. To sustain our study empirically, we have drawn on two feminine musical referents in Colombian tropical music: Totó la Momposina and Doris Salas. For this, we have designed an interface that allows comparing the similarities and differences between this type of vocalities through its sound modulation, with which we observe not only its aesthetic but also its technical dimension.

This text pretends to do a reflection about how the glance, being practiced, can draw attention to hidden stories in the territories, generating memory, identity and consciousness of oneself. It is an exploration through the hidden stories behind what the eyes judge as obvious; it suggests an exercise to try to see beyond the senses, to accept that the untold is more important, what is not said and is behind each occurrence and keeps a whole memory about territory, body and identity.

This text, written by the artist herself in third person as to preserve academic format, has given the audience the op-portunity to gain insight into the artist ´s point of view that otherwise would not be known. This work takes a conceptual look at an artistic experience made by using a thousand-year-old technique. These challenges are faced by taking a deeper look at muralism, an art form that artists have had to fight to turn art into a device that could effectively integrate and affect the masses. Rendering this result proposes the idea that art is a conscious process and that the artist is responsible for his own environment and social awareness. Such struggle has allowed the aforementioned technique to survive the times as well as current discussions attempting to call into question its validity as a modern technique. For example, thinkers such as Marta Traba have questioned its value but it has continued to prosper thanks to Nelly Richard and Marchan Fiz, among others, who have been successful in highlighting where the aesthetics of the reception goes to the aesthetics of participation.