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Abstract
In Poetics of Relation, Glissant reflects on poetics, which, by acting on the imaginary, allows us to renegotiate power dynamics. At the same time, in the context of decolonial theory, philosophy often takes on a hybrid form with strong literary and poetic influences. This work aims to investigate the link between musical practice and feminist and decolonial studies, arguing that music constitutes a form of thinking from/about the margins, characterised by continuous dislocation, which allows us to think differently. This discussion is accompanied by an analysis of Tania León’s Indígena, in which the composer explores the border between the USA and Cuba and the relationship between the various identities that make up the island. Close to Anzaldúa’s frontier thinking, the composer’s rejection of labels – gender, musical, cultural – means that her work becomes, when read in an intersectional key, a true political manifesto.