Peruvian trap as an aesthetic practice of dissent. Approach to the musical proposalof the ayacuchanx composer Renata Flores

Abstract

The following meditations on aesthetics in the musical production of the ayacuchanx artist Renata Flores emerge from the tension established between the categories of autonomous art, popular culture, and media culture. At this crossroads, the contributions of Jacques Rancière and his aesthetics of dissent have been fundamental to thinking about the link between contemporary aesthetic and political phenomena, mainly the way in which artistic practices are inserted in the globalized system-world and the relationships they establish with other spheres of human practice. Rancière’s conception of art, distanced from Modernism and the affirmative postulations of postmodernity, seeks to reconfigure the distribution of the sensible on which consensus is simulated, thus making visible that which has been excluded from the distribution of spaces and temporalities in force. The elements considered in this analysis are two music videos by the composer, María Parado de Bellido (2021) and Tijeras ft. Kayfex (2018), both available on her YouTube channel; elements of personal and artistic trajectory; and the possible articulation of a Peruvian musical “artistic field” from the fusion of native elements (such as the Quechua language), elements of popular musical culture, and strategies and modalities of production, circulation, and reception enabled by the cultural industry.