ABSTRACT

Son jarocho practitioners understand the craft of making music beyond the mere production of organised sounds. Their performances are essentially integrated by dancing, singing verses and playing specific musical instruments. This chapter illustrates how the ways of enacting a musical practice produce specific spatial and temporal dynamics that stem from continuous movement during performances. It examines how musicians, dancers, instruments, verses, dance steps and other instances are in motion during performances. The chapter discusses the cultural significance of the tarima, an artefact that materialises and articulates collective action at fandangos. It analysis fandango to discuss the constant motion of various elements that hang together and resonate around a fixed artefact. The seamless integration of dance, instrument playing and verses that takes place at fandango acquires its full collective meaning by being enacted in relation to a stomp-box called the tarima.