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This article is part of the research project, "Youth musical mediations," that explores the appropriation of alternative means of communication which allow the young to develop identities sharply differentiated from those of the adult world. In particular, the article examines the world of hip hop in Medellin and the ways that youth participate in it. To follow key trajectories of women in hip hop, their voices, feelings, and memories must be uncovered. This will allow us to see how the few women who are currently part of the hip hop scene in Medellin and Colombia enter, move through, and persevere in it. Since women constitute only a small percentage of the youth who live and remake hip hop in Medellin, it is important to understand how they manage to live in a male-colored world. If hip hop is about strength, denunciation, confrontation, and resistance, it seems that these qualities are more appropriate for men than for women. [ABSTRACT FROM AUTHOR]

During the seventies years the appropriation's phenomenon of the international youth culture raised in Colombia by the local youth. Multiples musical bands of rock grew up in Bogotá committed to the rescue of traditional and folkloric values of the country. This project motivated the search for the Andean and Caribbean rhythms, the learning of new sonorities and instruments, and the change of their whole way of life. However, the cultural history of these years has remained in the historiographic forgetfulness because the youth of this period did not generate the commercial and advertising impact that were generated by the subcultures of the sixties and eighties. Although this was a really short period, it left the most important musical legacy that appeared in Latin America during the second half of the twenty century: the Latinoamericanism. Taking into account the lyrics, the concert's images, the personal photos and more diverse iconographic resources, the intention is to understand the social and political imaginaries of the youth that were confront by many different ideological tendencies. Also the press reports, the interviews and the scarce instrument market are the clue to understand the ideological change of the generations in the sixties and the seventies years. It's very important to continue exploring the cultural history either in the present or in the distant past without glorifying the period and the artist. The challenge for the social analyst is to find out more primary resources that allow us to understand how the cultural action of the subject are develop in a specific period. [ABSTRACT FROM AUTHOR]

This article addresses the relevance of music in the construction, knitting and constant transformation of youth cultures such as Punk, Hardcore, Skinhead, Metal and Hip Hop, which appered in the second half of the 20th century - after the Second World War - as cultural formations which have become landmarks in the mapping of new, global and mutant subjectivities. The authors understand these cultures as complex, labyrinthic and multilayered realms in which young people carry on the task of creation. Since these cultures are articulated in an expressive world, their constitutive processes are inevitably filled, moved and driven by music. By viewing youth cultures through the aesthetic dimension which emphasizes creativity, it is possible to understand youth cultures in Colombia as huge levers of transformation, both destructive and creative, born in a context of adversity. [ABSTRACT FROM AUTHOR]