My research problematizes the historiography and official discourses of the Colombian music genre bambuco, an urban music championed in the nineteenth century as the representative Colombian national music. Its African origins have sparked an evolutionist debate that separates critics between those who deny these origins and those who accept them. While these debates are epistemologically grounded in the binomial discourses of racialized centers and peripheries, my research seeks to suggest a new path on which to analyze race relations present in this music. Taking Bogotá as a center whose history and development is tied to the Black presence since the sixteenth century, I intend to shed light on the production of expressive culture of the working classes in Bogotá, constituted by racial minorities, and from where the urban national bambuco has its origins.