From November 2-5, 2017 is the date for the eight version of CIRCULART, the cultural platform for Latin-American music, that brings together professionals from the world stage in Medellin (Colombia). This version of Circulart’s assemblage, within a frame that assumes its role as a witness of its time, has the objective of making everyone feel included in these “national dialogues” that open as a part of building the peace process we’re lucky enough to live through.

Culture doesn’t refer just to the arts and their consumption anymore. Rather, it has been reconstructed as the place where fighting for new and better collective life projects, without discounting programmed, theoretical and political conflicts. New dimensions appear for a culture in times of freedom and creativity.

The contemporary musical creation, especially in the juvenile, ethnic and gendered worlds, of those spaces that from dissent strive to make themselves visible, give us an account of the erosion at the bottom of current social structures. You can see and hear them in the new student movements and in the citizen movements for an economy based on solidarity and made to serve human development.

It isn’t about what it was about in decades past, where movements were pro a utopia, such as the cultural vanguards in Latin American during the first lights of the twentieth century, or referenced in code from May of ‘68. Now, these “turns of the screw” that we attend, present the strengthening of local government structures, a greater participation in the definition of development programs, and singularly new community projects open to dialogue with diversity. It’s a dissent that “recreates the real from new joys” (P Rivas). It counters the notion of traditional public policy that’s usually understood just as state policy and never as a policy of the people and of cultural movements.

Circulart, then, presents itself as a meeting place and, beyond cultural markets’ own logic, as a platform for ideas and a broad range of opportunity.