The present investigation aimed to analyze the consolidation and configurations of Trap in Brazil, in order in the sense of re-existence of peripheral art in contemporary times. To this end, the dissertation sought, at first, to address what peripheral art consists of, taking the genre under analysis as a starting point. Faced with this, peripheral art was approached not as a limitation of the space it can occupy and/or reach, but rather as the production of social actors who experience the realities of a capitalist and excluding society. Soon after, he treated Trap, from Hip Hop and Rap, from a memorialistic perspective, as an identity factor, in which productions range from words, from fictional writings to performance. The initial bibliographical study culminated in a field research, of a qualitative nature, with interviews, through an open questionnaire, with producers and trappers. Through a discursive analysis, the hybridity of Trap with other genres, such as Hip Hop, Rap and Funk, was understood, but presenting another enunciation of black people, in other spaces, denouncing racism, through elitist scenarios and objects. Therefore, although they are hybridized in some respects, in others they distance themselves, not only due to the narratives of the songs, but also with Trap having a stronger beat, with faster sounds, with the use of multidimensional synthesizers, from several electronic sounds, which bring the feeling of sound echoing everywhere. It was noticed, therefore, that Trap comes to demonstrate the new scenarios and social spheres that the periphery reaches in contemporary times.