Alabaos and gualies are singlets of Colombian Patifico singled to hung and in community, initiated by a singer or singer and followed by the respondents. Through history, their letters have been changing and the spaces they also live, resulting today in a mix of letters and places where they are present. For example, in the years of conquest, the wetlands, so called at that time, were found in the barrles (settlements) of the enslaved ones to commemorate the deceased. These pebbles were accompanied by drums, dance and plain, becoming a means of resistance to the oppression of the Spanish conquest, which considered them to be pro-fouled and therefore punished for the tenderness, making them hidden and secret and thus maintained for the 18th and 19th centuries (Friedeman, 1992; Lucena, 1995; Maya, 1996). Subsequently, during the early 20th century, they occupied the sacred spaces as a strategy of the Catholic Church to have a better attachment. However, in the middle of the century, with the appearance of guerrillas, the pebbles lost some spaces, due to curfews and threats to their inhabitants. For this reason, the singing turned into a reporting strategy about events in their communities, and also as a repository for historical memory. Finally, in the 1990s, in the context of the rise of multiculturalist policies, these pebbles began to inhabit theatrical spaces, transiting between cultural, social, political and entertainment.