Disencounters between Music’s Allure and the Expediency of Culture in Colombia

In recent years the idea of “culture as resource” has been hailed as a new epistemological paradigm for assigning value and significance to artistic practice. This article acknowledges this idea as determining values assigned to art in the recent context of globalization. Yet it questions the heuristic hold of such an episteme for the interpretation of some cultural practices, especially those of musicians in a world where many of them are not so much administering resources as managing their scarcity. It thus explores the disjuncture between the idea of care of the self, invoked by using the performativity of culture as the basis of the resource paradigm, and the actual practices of musicians in promoting careers that demand investments of money, affect, time, and other resources in order to sustain those careers. In such situations, musicians often privilege other values of music—aesthetic desires, stylistic options, and so on—as primary epistemic and affective reasons for determining their choices and what they find valuable in music. I explore this through the work of two Colombian musicians with contrasting careers and musical styles and practices, Lucía Pulido and Charles King.