| Summary: | The following paper deals with the diverse forms of coloniality as well as with the resultant scenarios of dominance. Through these very scenarios and their particular moments in history, first as individuals and subjugated communities and then through their resistance against the hegemonic view of western modern world, it tracks the historic itinerary of Afro-descendant communities of northern Cauca in Colombia. It is also discussed here the colonial nature of a major part of Colombian musical academy along with its legitimating role of structures of power inherited from colonial times. The main point here is the presentation of two concepts developed in a research work entitled THE ZERO POINT OF COLOMBIAN MUSIC: A decolonizing glance upon the musical practices of traditional Caucan violins, which have been respectively nominated blackening process and cultural hybrid of resistance and are the result of field observation of the already mentioned practices from a decolonizing perspective.
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