Colombia's protracted civil war is characterized by cycles of pervasive distrust and violence. The people I work with are involved in projects across the north of the country aimed in part atbreaking these cycles. In this dissertation I offer an applied ethnographic analysis of the dynamicrelations between local forms of trusting, music making and (non)violence. While I recognizemusic's impact is sometimes minimal or negative, I focus on projects with demonstrable positiveimpact as part of my commitment to the struggles of my interlocutors. My account iscomparative, describing individuals and groups from different towns, sub regions, andpositionalities within the conflict, and engaging with similar but contrasting musical styles andprojects. I show that musical practices in which participants aim to maximize the breadth ofparticipation (the number of people engaged) tend to foster thin trusting across a broad radius ofpeople, whereas musical practices aimed at the maximum depth of experience of a reducednumber of performers tend to generate thick trusting among reduced pools of people.Peacebuilding requires both thin and thick trusting, but the latter can preclude broadorganization. I consider festivalization of the musical practices I describe as a means ofconstructing a parallel peace. While partly successful it can reproduce in miniature some of theviolences associated with clientelistic coercive trusting. I present one national project as anexemplar of best practice. The Legión del afecto works to generate an imbricated peace throughradically inclusive projects in which young people practice and champion both thick and thintrusting, and peaceful living together, using a wide range of musical practices as part of anintegrated, reflexive methodology. My arguments are based in, and seek to finesse, semiotic andphenomenological accounts of music as social life.
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Trust in music: Musical projects against violence in northern Colombia
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