Afro Argentinean heritages were dealt in two different manners: on the one hand, part of this heritage is appropriated by the hegemonic national story, erasing its Afro diasporic trace. An example of this occurred with the tango, which went from being a marginal and denigrated musical genre – at the end of the 19th century – for its origins as a music/dance of the popular sectors, to being considered the national genre par excellence – averaging the 20th century – as it was appropriated by the middle class and the economic elites. In this course, the strong musicological ascendancy of certain African genres over tango became concealed and disappeared from its analysis and public discussion (Rodriguez Molas, 1993). On the other hand, that cultural production with an Afro Diasporic base which does not get appropriated by the westernized matrix of Argentina gets discarded as one part of the exoticization process. To this end, the inferiority assigned to Blacks extends to their symbolic practices, trivializing their artistic production, which is described as simple or exclusively festive, as opposed to profound / relevant.