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This text addresses the continuous creation of a shared experience of time through spontaneous street musicality in everyday practices in Latin American cities. Starting from a rhythmanalysis (Lefebvre) of the old centre of Salvador (the third largest city and historical first capital of Brazil), and comparing with examples from other Latin American cities, such as Valparaíso (Chile) and Mexico City, similar rhythmic tactics can be observed, which create a sense of belonging among locals. The notion of ‘centre’ here refers more to time than space: the centro antigo (‘ancient’ centre), by coming first in history, spreads the city’s development over time, evoking the importance of repetition shaping space through continuous action across generations. This diachronic perspective intersects with another, synchronic one, which generates “common time”—an expression ‘detoured’ from the term that denotes the most widespread metric structure in global pop/popular music (the 4/4 time signature)—taken here in its literal sense of shared durations and rhythms, a temporal analogue to “public space.”

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Creating Common Time: Shared Rhythms and Spontaneous Musicality in Latin American Cities’ ‘Old Centres’

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  • 发表日期：

    2025年

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  • Pedro Filho

摘要

This text addresses the continuous creation of a shared experience of time through spontaneous street musicality in everyday practices in Latin American cities. Starting from a rhythmanalysis (Lefebvre) of the old centre of Salvador (the third largest city and historical first capital of Brazil), and comparing with examples from other Latin American cities, such as Valparaíso (Chile) and Mexico City, similar rhythmic tactics can be observed, which create a sense of belonging among locals. The notion of ‘centre’ here refers more to time than space: the centro antigo (‘ancient’ centre), by coming first in history, spreads the city’s development over time, evoking the importance of repetition shaping space through continuous action across generations. This diachronic perspective intersects with another, synchronic one, which generates “common time”—an expression ‘detoured’ from the term that denotes the most widespread metric structure in global pop/popular music (the 4/4 time signature)—taken here in its literal sense of shared durations and rhythms, a temporal analogue to “public space.”