Writing about hope is complex, possibly even daunting, particularly in an era where hope often seems scarce. Paradoxically, despite its perceived elusiveness, hope pervades our surroundings, manifesting in self-help books, charitable acts, and media representations that champion optimism. These manifestations, however, are not neutral; they reinforce societal norms favoring positive emotions. This chapter explores hope through a distinct lens, focusing on its intrinsic link to extremity, especially within the colonial context. The concept of extremity, often perceived in extraordinary events, is proposed to be a quotidian reality, embedded in daily life and normalized to the point of invisibility. This “quotidian extreme” can be polymorphic, polysemic, and polyfunctional, taking various forms, meanings, and uses. To fully grasp hope, it must be examined alongside extremity, as they are fundamentally interconnected. Studying sound and music, particularly within the colonial experience, can enrich this examination, which encapsulates profound extremity and enduring hope. Colonialism, characterized by brutal oppression and permanent resistance, offers a vivid backdrop to investigate this dyad. This chapter uses Puerto Rico’s colonial history as a case study to illustrate how extremity and hope coexist and manifest in artistic expressions. By analyzing local artistic practices that reflect on colonial violence and resistance, the chapter aims to elucidate the dynamic relationship between extremity and hope, contributing to a nuanced understanding of these intertwined concepts and their implications for decolonial thought and practice.
