Abstract
This study evaluated empirical data from musical listening workshops to analyze the communicational aspects of hybrid musical productions by artists from the global South. The discourse of workshop participants open a premise to consider the mixture of rhythms, instrumentation, timbres, and bodies as the production of situated knowledge about different cultures. Thus, the activities in the workshops represent other community dynamics and new ways of populating the experience of musical fruition. Nomadism (Deleuze and Guattari) and cultural frontiers (Lotman) were used as theoretical concepts to understand the production of some artists and the shared enjoyment of their works in the workshops. This study aimed to analyze how this communicational experience can rearticulate subjectivities in a sense of alterity considering Latin American and decolonial perspectives.
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