Performance in the Borderlands ated by Ramén H, Rivera Servera and Harvey Young, palgrave macmillancA Lind, Din eed on Cal ots ora Tae Chinon, DC! Satcentan Uniesty res 1598) Cates Veer Tae Boner Uo Menon Cate of Sat Und Sie Cason Dana Web om unea Heder A Nedtton on te egy of Ver Tare fo Aonian Cull ts" sme Cuore 473 (1985) S253 “rane ira ua’ werk on oth lads Aida ad here Mag tay and tbr werk rela soe fhe mow eigen st ea Soe Yone alr “ke tena Safe Chie Teste Sema, abe ahi Joma 284 80 99-407; "Gs ary Stlests Cua Ctr 281594) $2 and The te He Whe a Chr erp i Te Univer afne Pes, 200, at Anan, ena Frere De New Mere tn Hence, CA ‘tate books 190, sii rt Matin: oan Cit Sas ce Sits san, ll a crn: ay on he Now abil of ape ‘Sony Kew Vr New Des 08 Aj hppa ada of Lrg ‘oa eso ataton nora ares a esa Po $store ep iret Mies eg mi “Prepare tron on he a wand Sj, “Bordes Unbound: Globlation, Ryton, and. the ea Hui, ery an toe Unde Sc, athe Sn nla fs Curr, NC: De est Pes 207, 2 Playing the Fence, Listening to the Line: Sound, Sound Art, and Acoustic Politics at the US-Mexico Border Josh Kun Inthe language of realestate, Tivane’s Colonia Federal is “checkpoint Diacent lings on te neighborhood's aoe edge have clear views Ste US intestate tat feds Int the Sim Wado Port of Entry and have propety tine hat slo ight up aginst he Mean ispetion salons fs ental tai rotary lst favorite border pickup and dop-atf shortcut fn its outdoor poesia arket~ sted with steamy tage, tours ‘endors and newspaper asters ~f the fist consumer 2one that anyone talking fom te eter side af the line i immerse nt Duss tet 1 {hnarmacy Row, an owesthe counter dscount parasite of pls nd crams “romned by #hcDonalds Is eorvers crowded with taxis wating 0 take fyone somewbere ws, The human tursover of the border checkpotn egy Colona Federal in 8 shopestiftng sate of constant motion and tly ansformation aod 5 rma, the place has cetain sonic buz 0 {leonsnentewenunbing hum of chattering bilingual voices and sputtering ‘oullr, the sound of spats, hos cement, ne exas. here Ib one sound, though, that never goes away, one sound that Is sways Tuking in the neghbortood aural background ~ the repeating insti see cla ofthe cheekpotot tse Ut grates and knocks with each pason who walls through if, sunk and knock that 8 made Towsnds Of tmes each day at the words buslest land bore. Ths i the border as sound. The Intervals vary withthe ow of pedestrian tai though the hey sie urntle ho in these days of constant crossing In this er of exhausting incessant pasage and weny backeandlorts a mlnute "arely pases when somsane le aot pushing trough to doth sie, When Somane snot apg a rllingstiease rl of coshes and apts bought ula Vist, when someon lot hea fora ax ett Ue equa heat of la Reva when someone Is not lumbering rushing acs 2 ne teeter into a natonsl secur complex, when someone iol making that sound The border fs tobe sue, many things. But hee at the peotona trllwsy into Tijuana, the border I, wamistakaby, a sound the metictumstle plunk and thump of monitoring an inspection that makes all Nth South pedestrian crossings aucble, The tutte the border’ tick Ing lock, the clanging bell of ech tore ts de fact doe chime "Yee i is alo the sound of the checkpoint ae 4 cantiadction of state sovesigaty While borders te allegedly designed to mack od el the imi ofthe nation state, to cleanly define the ee of soverelgny and separate fone state fom another, ane side fom the ther, Us fom Them, the eeck polnt sa 2one of state bluring where the ate naldes and outsides fold Into each ete. athe han mit ora edge, botder cckpolnt are uid ones of inspection and political these were the sate eroded as auch {Sits solidied “predicments of tate power” to borrow Wendy Bown phrase! The dank ofthe tual he sound of beng neither in nor out, but always both Untke a wall ra fence, the tse manages page allowing and regulating I; the waste Is defied for perforation snd passage: The tumstle’clank tthe sound ofboth sdes at nce, a alas ‘pen, always closed doorway in an out ofthe sate’ confines, Soundmarks, keynotes, and ethical listening ‘Theclank ofthe tse, nthe soundscape lexicon of R. Muay Schafe, 1 "soundark” of the Tijuana beedee Comments no ony poses lan maths that gant a sense of communal space and Belonging Schafer has twten, they also poses "soundmarks” pooacourt traces that define Community etary ehrough unite, charters sounds? Yet sound ars re not the ony ehaacterste sounds of a given soundicpe, Tete also ae what Schafer calls “Keynotes,” the soul that exit in ether bce {round or foreground that ate so common toa given sound environment that they become pt ofits dently nd character, "The brotaly clogged taf lanes heading noth out of Tana price 2 daly eacophony of nots and musi. Anyone who walts Ove a ding motor, Jocieyng for lane space between grinding brakes and uit bump, hears the score in th seep, knows ts melodies and myths by hear the barked pitches of vendor, the alms pleas of orphanage us rs, the ating rulers of beaten fated, the bas booms of tours Tealades, andthe each concerts that travel through open windows yng bits of bands sialon, Li” Wayne, Jose Jone, and Cami Ite Soundscape tke ro other, a sole symphony of tio sons tale ‘conducted by glbaluaton’sinsible 9S crunch ad plays! with dee mination by ufban ranchers in Ford Ranges mporvexpor asestants on tei way to San Diego otis, ging in college sense heading howe after mountain biking ia Ensenada, nd Tiana mothers ox tl way to Jo Penney on the ober si, These ae keynote that ell bosder iy ones of desperate migrancy afc trade fob Insect, of tourist fexe and deste, ‘of narcocapis hse and ter, of dally Job commtes, and school carpool pick-up, Everyday these locals keynotes get remade by anew ‘opulaton of border sounder and everysy they are ther stened O or gored to a dangerous sence Ad listening ie the operative act hee. Before local Tuanenses get tn tui eats to wat inline to crow, they often perform a daly act of boxder cowstcs: they tun on the rao to ste for ccepaint tale upéates— (0 casi the et lane, 200 onthe, closet the mid. They tune Into stations ike 1048 ao Latina or #XA 91.7 todo te itil Arwen 35 ttc lana, tenng to Uh Hine. Heore you gti ln, before you wal cross, you listen to. The Hae makes ose tm ths chapter 1 want {© consider "itening othe line” a acti abc. What does It ean 10 fen to the ln, to think about the Doeder ab a sons tertony? How can Tsering to he line help to etter understand the ine sel 2 a plead soar, wall a the works and cultures that permeate and suround the line 3 sound eavionetent? In 1997, the compensa tombonist George Lewis delves lctre short chive noth of tis sue line and hese TjoaaSan Yao sone thar end Keynote, in whi he warmed against the danger silencer of fon-lstelng stlene ethics aa empathy, the sound of nobody istening Speaking expily asa musica rested in the tmprovisatory waditons of Afca-American nae cultane to hae spent i esting to te sounds {fothesin order fo koow low and when to bs rake sw san, Lew {Sued a eal for sening ts bl ccl and an eel prac. Decrying ‘what he named an Stutisn of cular Ina soley eft wlth a aly to thera the presence of xe mins, oer souls of agency” Lents pro pote Istening tsa means of socal healing and estrative communication, Ereverday means of theorising the en the presence ofthe ther andthe tier Inthe presence of the sell The nay of people to hear the exper ce of oes” he ate “the insouant wings to presen thelr own ‘xpeenge tsa meaning red to judge tose of eer, orm of ela ‘san hat sno oten arcuate 8 power = the power of aot needling To lisen to the experience of afference”™ ot Lewis Ike Its for 30 many others, musi at is Hear a daloge proces of interpersonal cornmunication betwsen payers and tenes, sd Player ar Ksteners throug the perfomance and reception of sou com its of tisteners ae foge Ins ecent sty of ethics inthe age of bobalaton, Zygmunt Hautala posts stoning a3 Key atin ethical arenes we kom we ae loved, Bauman args, when we are Ustened tor "We know tye beieve that we know Ut, and we are essured that our Ti enot mistaken when We are walked 1 and lsened to; when we ae ‘stn to attentively, lth an Interest that signal he listener’ redines, forespond. Far Ls, an “awatenes of ound ead to "he afirnaon of ‘en, the section of agency, nd the formation snd nursrance of com Int.” He emphasizes lstenng a8 performative practice that is acaveaul generaive, a practice that dwsnt merely lee fo the pasive eeption af musical mestages but to the ue of thone menage to ear fleet to hea alternatives to pore Listening a Roland Bates ied to sy, pea, ‘ad there isa shared esponsibility to se to what eeing say ‘Which is wy Is important o emerber the original context of Lewis ears, fe delivered tem or the second ialiment of IIT, the bina tonal ants initiative tat since 1992 has been exploring the shared aura fand social networks of the Tijsans:Sin Diega horerands. Lew ght hve intended his comments a general commentary and equ, but i ‘ard otto heat them in iret rastlonehi to the acoute eccogls std Sound would ofthe US-Mesen border region that surrounded hia dur ng the seme year that the Nor American Be ade Agrectent Was put nto action, fs naming of a maelstonng to dferace a a9 artiation of power terial concept atthe border in th age of economic glbalzn on and glotal miltaration, when the border both one of ee tage and feefowing economic uate on the one ha and survelled sone of Homeland Secunty pacing and tte brtaty onthe oer = key expe of what Ruth Wilson Gilmore sseans by a atl pomerdfesence coupling” ‘ke withthe psons Gilmore wits about, borders ae also mechanisms tnd Icons of domestic mits, “geographies solutions to oda and conome ci, plitealy organza bya racial state ha sen il,” sin 1994 Grid a they ine 199, the border eee synonyms with “ese” both globl and atonal? In this chapter T hope to explore the US-Menico border a8 ste for understanding Istening a «citura, poll, and etic pace within ‘lobalzaton. am intersted the reatnship between stening, stein to thelin and the linked procerses of migancy and deinen “listening tole in the border dete of enclosure and mobili, or what sah Heyman and Hilary Conningham have decid asthe border’ “mobs encosurs continuum’ ~ with is "afexenal mobil ffs" by whlch some ae allowed to move, the “knees” and ors ema detained” The border becomes sk management Hater for "ate ravers and & lefese against sky” ones. While ny, incadng mye have Ise 0 ‘the sounds and musi of border crossing we oogt to lo conde the ond ofthe inspections dst make all cosings posable, the sound of sti ton bumping heads wth the sounds of balation {or furs nat echo Cf Heyman atid Robert Palio’ work to start undesand he sound fp baiition atthe sun of securtantion and veers. Aken Lag, fo ‘example, has argued against the alleged commen sense of border ax places of ‘tossing, insisting instead at ordes are primary ples ot nepecton ca acterize by the "pervasive patter of elfral surance To peak aly Df the crostngs themselves mass the ispections tha ake pace Blot ad iter crosing Gf xssng i even permite) For Lug, the, national eden ear tot beng the romanticized vane of yb Pig Fa, Leg te Line 2 denis tat becane the familar subject of so much cultura theory Ini 1990 rather boners canbe edelined a “ethnographic oblets that etnaaly chartered by supervision and sti" My intrest Is inthe story polis of the borers enclosures aed mete, the ole that sone permanent cs, etic Intering can pay ta understanding te a {ean wot of lol captallsm and mlltarted eit ‘he border as acoustic community We ype think of borders n visual tess something we an see Tine I the sand fence between tighbor «wall betwen maton, forrest theoute miso arpa sothing that can sce uy the geo teillance camera, he visa racking of thea aging night Vson gases, the itera visual of beet retinal sans. et ote te also sone spaces be soa paces, accuse eons fll f Soa a fall of lsenings they tis cit up and cteate cultural eceoges rch in sone sediment And the inna bose Hel a» phyal mechani of separation, slowing, and ‘dusticatin, a8 eral and severe poll achteture 13 nol thing, 50 ‘eh of contemporary scholarship onthe Darr has ban dominated bythe fonmer pareign by ess wocabularis of es and a hatpatention ro the politi of the val =the gare of the coca ordeal resent. tons of bonds, ena poxtyals of Immigrants and the recurence ot ‘the fence andthe vee the not fala bode tropes. ave been intersted sted in what Fe named the aural onde,” the extent fo which the border i B-netionaltetory of sone pet ice and listening, of mica and musieaking of Satie ane noise 0 teladie convergence and dscns clashing" As esl, we ght gan fot only a deeper understanding of borer culture and Boeder poles, but espe senoe of sound ad music oe in both the formation of national tnd cuitaat enti inthe face of tte policy and domenie tara, fn in the eration of what Bijan Fnok! is called the woos tnreasing, “spite sublime” of "border plagued urbans.* Does the fencing of the world have a sound? To approsch the aural border in this way of course, assumes particular kind orlatonshy between itening sound, and place Toston by necess, to jon ar expeieneof both son and pace, an couse geographic nt ‘etion between the sublet, the sound, ant che geography of ation that irings them together When we Iter, we Hse i place, ont exper Df sound and self always dependent onthe ground beneath vs and on the physta cultura acd synbolic wodde that surround ws Nimerous solar hd sound ats have theorand the sone dimensions and posses of pace and plc what Sus J Stith as called "geographies whieh he22 Paras ods beyond the visual wot Fr Smith, these geographies crested by sound nd musica, inherently, political geographer wel in at Uy Ope ap "4 parteaar Kn! of politcal space" Thesnos peominent and influential workon sound and space comes fom te 1970s soundscape” schon that emerged ovt ofthe Word Sundae Project of Canada’s Simon Fraser Unverty under Schafer leadership vas sebafee wo Intodced the ter "soundscape" into both eitel an artistic woczbularls, his shorthand fora grand tory ofthe wold Sound and the acousi elds of sy and composition (sonography) that preserve that would. While Schafer war more apt to tune ho the pista! propre of sound and the tunings ofthe sound envionment, his colleague ery Tarr extended his ations of the souncscape into what Trunk called “acoustic communication,” which rered to "ie intlockng ‘behavior of sound the listener and the environment a6 93m of ration hips nota oad entities" a Schafer won, sound cold be abstacted From the soc In Tuan, sound Is asoetl network withthe Ise athe cntal node In onder to explore the notion of aeoustl commuites at the bone 1 want to now tun to see of sound att projects that all explore the pallial geography ofthe US-Mexio border through various ats of snc Peformance snd performative listening. Iwill fist consicer two proeets from ‘jana that use sound 10 capture the complexities ofthe border, sity (Octavio Hemaider und Pepe Mogs, Nina Wstsman and CUBOY ed then move to work rom Aszona (Glen Weyns, Rind Leta), Texas (Deborah Stztman and Steve Badge), and Tiana San Diego orl, ‘eatdo Domingues tha focus on survelance tcctnologles, gation, and ‘the mnllarzation ofthe borderands as a perlous,cacera te of national security. refering to these paces as *sound ar” lam invoking a loose {tation of experimental at paces that utes Sound, scouts, and aio both » prarymediuin and 2 peimary subject tradition chat mor {ate to the ery 1980s Gn 8 mst formal contigraions) and back othe 19808 work of composer John Cage and the early twentieth-entury work ofthe Futurists and Dadaist i ts broadest configurations) lan Licht has ‘hazacerzed sound ar ax having a generally shat cocen or "the apne ‘tion ofthe total environment of sounds, both wanted and unwanted" laether that comes inthe form of sor ination vial mt fear Ing soni elements, White Lit fas egucd tas sound thas bern fy ‘aly uninterested Ia socal Interaction or hans and more focused "Sound as a phenomenon of ature andor technology" Brandon Lablle argues for 3 mre soll and pola interventionist motivation Sound art wansgrsses the hleratchy of the ess, sceking the dams of the aul to make objets, create martes, amply of nate ean Ings and invade space. Oveapping and ates drawing from misc pig the Ron, Liga te Line 23 culture the practice of sound art pursues more active reatons to pata presentations, duaional stuctues beyond the concert experienc, and titi more general public environments tat ofen engage other med, Tocting the aetitory imagination." Mare specifically the pices ve chosen to focus on he echo the wosk cf Max Neohaus and tut ploncering public Sound works of the 19605 and {70 that explored the spatlalizstin of sound tha publ tneracton vith die atist and with the chosen physical sts, In Newhas's iting, Tevordings, peormances, and urban “sounwalls," he repeatedly agus thot our senve of place aped by how we expesience at sound through lenin aid hang. Rather than paves sounds theznsetes over the socal ad politcal ecologies the sounds revel, what cae! Clon has filed “rede Histeninge™ ~ Neuhaus’ work and the sound att adres flow employ something more Uke what we sight cll an expanded is tuning” Ustening thst understands sound as always Bnked to Us Socal sd polis contents sound se inseparable fom 1s pola, pata bin cultwal geographies, Orin the words of soundscape aes Hlldegard ‘Weserkanp, they ceate "a stong oppositional place of conscious Ist ing” tat encourage ust unk eteally about place an sound, so thatthe sind of geography never eases to haves plies The sound of the city: CUBO and Z00 Sonico In is nama 1960 urban planning study, The Drage of the Cy, Kevin [yc introduced the notion of citys "egibity” and “ils.” The ost sueceflly planned ees, he argeed, are those that are the most Tei those that lave city dwellers with tinct sts of ges in thei tind lege na hat make them eany to navigate and char But what out the suo ofthe ct, wat about the aveblty ofthe ity? What ‘howt how sound can help ws navigate drecon and neighborhood, how Sour cam create memorable an usable acouste maps? ‘Ae pat of that very same InSITR exhibition where Gorge Les isued his callforalstening for dference sl gains powes a project was cased out Bytwa staplesoFhjusna's music scene that examined jana a the border ssaudible rather that ele tra Zon Si aides Sosy ado on nts de Doe Mundt Gone Zoo: Notes, Sound, atid Heats athe Bonde, (oF Two World), A collaboration betwen Fepe Mogan econ matic then willy unknown ouside of Mjuana who would go an to Interna tonal fame a par of Me Norte Collective and asthe solo arts Latins, tn veteran Tana muse urate Octavio Herndnder, Zoo Sanico mixed foundcund aco collage Ceeoded by Los Cazadores de Sond, a OUD of students ftom Unlveridad Autonom de Hof California) wich og ‘i electron compton to ceste a sere of audio snapsos of borderronments on bot sides ofthe ine, Hernder ner nos, which ead ikea bordeied ff on Walt Whitman (' Hea Tuan Sng”), outined the projet asa mediation on border nol and «document ofthe everyay sounuseapes of the tansvontera zones of Tana and San Diego (n bots sss ofthe bower, nase the must af the sets, of things ‘nd mater motion. 115 the language of uma att, the eter hymn make ole therefore Lexis. We ate olee and we move tour in this pandemonium. Stes vendors who sll uel object es Sans ngs who sao se ra une tut of tune cantata the roar ofthe olley in motion with its ec Soul and 1s Freeway § bret the taco vents who chop onions and Pound steaks without losing thelr innate sls rhythms mechanis who Rammer out industalized art sounds the passionate creme of bo ‘ngs the base of tet feats athe Gas Lamp Quarter eaivas the sy hole cater of maqeladors Me Sone 200 they ssvembled in many ways petted what Lewis cle fora listening to dferenc, alter fo the play of otherness, and os Sich, Tt refused the power gained by not listening tothe boner, by not leaning from seat it sound wos seve! about the pay of alte and society scons an inctessingly ccc nd mtaicd lie T heat 200 Sonie's 13 sound portraits atthe miscalization of wht ward Soja us dubbed “s new fultrat police of the postntropoi fone masked by a tag between detertonalzation and retertrlization, 4 polies markedly diferent fem that of moderustuebanism, instead of “ine nd of geography this new cultural polit is increasingly attaching itself othe spatial splices of aebaiam and to's sete conslousnes of ow space acts ba means of subordination and sol contol Sj ‘iting on the "postmetropale’ efeqaetly informed by lan Chambers Insstenee on the nanatives of ees = dhe postmesrops, Soja ay, 1s ‘metaphysical wally, place where the real ad the imaged are persis ently commingled." Mase su sound are rial mans of stein othe ‘natives of border paces lke Tan, act whose geaistory and whove ‘lyspace, ace both defined by the feverish comanigng o the Peal ad the lnnagined The voniemash-psofZo0 Sonic ake the Tijuana bower sound es le coherent natonally grounded asustie community sd more be {he b-national bordered product of what Tijuana writer Rafa Saved as talledTyjuuna's principal aesthetic analogue the coset In the loge of 'DYsmixing board instead of channel soni put tat real separate, the crssader is where ditinct sone soures Interne and mee nt new mines Por Soave, THjuana ta ity of crosfades and sone lends, here bests are juggled nd msodies med, and dillent sounds fae in Sin out of each aes, cing paces of batmonious overlap and dissonant r clashing. In ls short story, “Drinking tn Toa,” Saved offer one pa telanly conc example of how the Tijuana costar soundscape impacts the ly sont est Sometimes when {am very drunk, {steno know whee 1am. If fe tee wie gis dancing to Nek on fop of a table, T know 1 In Prsblo Amigo ir everyting blr» maik of Soca Slee, Hock, Shaka, Relig Sones, Molotov ies ebwious | an in Maza Rest If exerywbere Tec ow ies dancing to "me so hon" Canon Revolution. HI heat St Dalenne pital, Panorama, or Wu Tang anda porter of Andre The Glont gress nese cago, yo gan {got drunk before leaving, the bose That commingling sao the focus of Madia Womb, «plc from CUBO, «bination af collective composed of Nina Waisman, Felipe Zig, Camilo Ontiveros, and Glacomo Castagnoa. In the spt of watk by Maryanne Arche, Michael Rrewser, an Berard Leite, "Media hyages border sound in tem of both spatial narcative and questions of {nivel enltodiment by cresting susersctivate, wae etermined sound envionment within an audio “womb = an enclosed seig ea — but of, stacked recced cardboard cats. Hanging from the cllng ae a sees of sensors deslgned by Walaman tha, when tlguered by the user body, Drona ferent sets of prerecorded sounds. The sounds come tom two Separate sound culate witha Tuna: the fst, TV and rio broadcasts that report on and Sensational ijuana violence, the second, fone sret sous and voles fon the Tijuana ban soundscape. Meats have been pli abowt ther intentions with MediaWom, fuse sound and aco Struct event of sonic scary to itervene in contempoeary pecoplons fuses of pace in Tiana, Specie, Hey ee ee pace sa response tO ‘wo ssues within the politcal geography of Huan’ bordel: “the os ‘ot puble space and decompostion of cal neworks” and the “prevalence ‘of mada a the space of representation ands an ens of domination, Teproducion, and dtbution of fez, paranios By recording the sound. {apes of Tijaci and forelng vistors into an intimate relationship with them, COBO propose new seal arangements snd new politealretion ‘hip via the eas and resplts offered bythe raed an preg space of te gallery or miseu, In i wie of sound technologie, “MedieWomt" is an echo of one of Walsman's cake solo works, “teen Bodies," which she tsa n 2008 Intheentrance foyerofCECUL Tjuana'sclaral centr spar of he Poco Cio exitition, and which ls employed weestagered neared print ‘Semon to ctete imgrovisory Tijuana soundreapes. While °MediaWora focset on te cla Between the “re” ofthe eonerete urban enronment and the “imaginary of the mais envioaent, “Between Bolles wed Sonecepture and release o comment ono, clas, and ibn infest an {o'lmaglne new, vital Socal dynamics of urban experience. The sounds reli hy the Sensors drew fom Four pica sours: ythic sound of constrctve abo” ike sewing ling nd typing all recorded! wth members of various Tutne neighborhoods, om the maqulloracloala {of Chupancingo to the middleclass beach community of Playas, “nent nelghboshood sounds” suchas crowing rosters and ambient sret woes rom vendor, til horn anaounce, and ce hone wer.” As listenes move through the foyer spaces and st off the sensors, an Improvised sound collage constantly created and recreated, composed and rembxed, depending on each stor to the space. As are, the bodes of ‘stor Become theses for sone ubanity, ach new body cresting nen experience ofthe soni chy, a Hf bos were acedental Djs ming at ‘coslading the soarcape of Tian. As Warman hs explained, "The vi ‘ors body can Become ia sense 2 tung instrument forthe recoded bo ea transduce of ter bodes ehetgles” in other words, the serwonsiged foyer becomes a staging ound lor a meting between physi bodies of sn ely and sone Dodie ofthe cy, putting the agency ofthe cy ind iogue with that ofthe visor." Here Walsman's work sems tobe eet echo of uae notion of acoustic communities ates forthe exchange of infoemation where lienets an sound envionatents ae constantly mal ing and reenaking cach ofr In stn "Retwes Bodie” bot showenes ‘he sone vray of ana and uses sound Yo “ake able” the ther Wise sent woud of juan’ laboring inde. That does trough Interaction with individual uses emis of Steen Connor aston ‘hat How something sounds i itealy contingent, depending pon wt touches or cone nto contat with it geeae the ound We bea, were he event ofthe thing not the thing Hall The woe of Waa {nd CUBO turn Tijuana toa sere of contingent sound event, el tu ty atte mere, and him, of monymous tenes wiho enone the ‘iy by manipulating the Inve ene of ts sounds, ‘The sound of security: Torolab, immigrant GPS, and fake horses The use of nar proxtmly sensor in a plece of interactive sound ast nls goes beyond the sca space ofthe cy of Tvana ls It becomes ‘ize atempt to reprpose tecinologles of survellance used up and down the US-Meeo borer bythe US Deparment of Homeland Securty andthe Us Customs and Borde Protection (C3P) agency. WSNE, or witless sensor networls,ar commonly used in border serty and monitoring eaties (as pare of what the CBP refers to a6 vatuatonsl swarnes). Based on aces sensing technology developed by tse Navy, the networks operate ‘3s Tocational systems that ean detect and send information wien noe or vibrations fro movement tigers the sensor. Advancing such sound su Fellance as been hey got ofthe new border secuty think tank atthe University of Anzona~ the Department of Homeland Sect’ National (Center for order Socrty and nunigation ~ as Welle of sec feseatch {rs and tech developing fms busy inaginig the cate length ofthe border ts laced with "ntision detection” sou Sensors an estiated 140000) ‘ha wll patch mesages to nearby Border Farol posts (an estimated 155 stations. ‘Sound surellanc, then, is now a central pit of border sirveilnce lasiiation ad detection work inten ih eater forms of visa survelance and wi the “astaveiance”ofdgtal indexes lke TECS/IBIS {iressiry Enforcement Computer System/inteagency Borde Inellgence System) and IDENT (ausomated ngerprint record database) which track Clectronic information as a means of tacking people and regulating the fmovement of bodies. Wsisnan and CUSO wie sensors o gather a dfrent dat suvellance and senda diferent typeof mesiage iste of rater Ing the teioity of the state throug» tetnoiogy of bio power, they tne hat very sie tecology to actvate embod socal eationships in the shadow of the state Heard through the car of the at, the border i poled nto sence, «negative noise devold of socalty and Interpersonal ‘yamics where bodes ae peed and monitored. Heard through the ea of ‘he cy, the ear fa dalogte society the border becomes «nosy soundscape fof bodies engaged with family and fled with work and suv, wh 3 ‘iy alive with sound. ‘A numberof sound artists have responded fo these increasing dives to mali the Border ~ which began to tae on ther contemporary inten ties Inthe 1970 ~ by wing ive pefornance and recorded sound expe: tents olstn in on Rate irene ad ake ase oa ofthe lencngs ‘poner funded dinate by acts such a 1994 Operation Gatekecer 1120s Secure Ronde Iniaive. The iter’s creation of SBINE tu the border into a val network of management, avareness, mobile Sen {or towers, ad “Ineligent fences" designed in Tene laboratories” While es suvellance att indeed belong to the sound st tradition, Vals tee tem in dialogue withthe countersurvelane "geo-tagging” werk of Tevet Hlcitive medi” projet such ar Rleatdo Dominguers Transborder Inumigran Too and Tosa "La Regn de los Pantalones Fonteion” in tht they perform an inverted, jacked GPS, 2geotagang of southwest US fn nortnem Mexican Iangicapes and human movement that generates, Boderlands nape outs of the rai of pla seus Ta the 205 Trolabintallston or the ARCO "isa Sessions exhibition ln Madi, Spin, the deg and architecture collective led by Raul Calenas installed GPS tacts in custom designed pons (Trarbordr Pans” wlth ‘pedal pockets for sports, vias, cameras moble phones, and money “The pans were vento ive people om Tijana whose mevereals overfive days within the Souter Calor Baja Calforna exon ~ Tana, San Diego, Los Angels Tecate, Meical, Rosato, Ensenada ~ were tacked via GTS satelite, monitoring distances tawled, wave veloctes, and ie “consumption. "Te data wat then projec on 4 topogeapbic tlle! map In an elghtsninate loop, accompast by node and sound econdd rom bor er checkpoint survellance cmers, The slant aado-visal map of te Tijuana-San Diego regon yi the words of Clndenas, "a document of ban ‘eunography tat proposes 3 ew form of cartogtapby forthe trnsbocder region between Merle and te Un that purposely asthe ma ngs of political border rd only highlights the movement sd dat ofthe five jana travels Instead of a pied pola! andseape, the region shown as3 one of mobil and consumption, movement and trav ‘A attertion toa diferent kind of mobility eat the He of Doris ‘eansborderLmmigrant Tool which ses the platforms and agatha of rablle phone GPS technology to create humanitarian maps of southwest rn deset teas frequented by undocumented border crows heading orth. Applying Brett Sialbeam’ Virus Hiker Agoriths, which allows ker to generte thelr own maps of king walls to racked Nextel mobile phones, te TransborderTaungzant Tool allows the craton of maps that Siect desert border erasers to water stations and ale center, and alt ‘them to bazardous tran and highway crossings. A geospatial response to the increasing danger of South-North crossings though the dese of the 1s southiest whic leave unreds dead each yar, the Tool enables what Domingues fs aed "a wits! geography to mack new trl std poten tly sates totes across this dese ofthe ea” Sound atts who invert the ‘sof spond survellance technologies ave sini eeting vital soar ples that reveal ved border landscape ypc obscured hy those tacked by government agencies and private scuty rns. Prete tht foc om ‘he sound of the border wal the border Fees andthe order radar towee ofthe ne viral border give hem a sone genealogy story ad a es fence we can hear, where GPS technologies were designed by the military to mento ilct enemy movement these plecs ae designed to lxalize survellance cbject and track migrant movement tn order to cee ond Sespes of ney and migrant sustainably. I wal ences and survellonce towers are presented as natual extensions of sate securty and moverlgnty (no mater now recent tel constuction, they are meant fo be experienced 8 always having been there), sou atta manipulates these very see ‘objets eval ern a newly bi environments an emporay thesia [ops that make nose and music where ether le supposed to ext ‘The reveal of sone suveliance technologfe fat the center of the 2008 ple Caballo de Viana, created ty Debata Stan an Steven Badge. Instae forthe 2008 Maca Sesansexhiilon of commisioned sitespeiesoune In Mies, eras, Calor de Vigan 0 of take ead horse listening stations sped hn gray flld us beyond the fences oF Maras local order Patrol headquarter stato (a frmee mary Dave tt now host minor rdaraecosot that patos the wet Texa-orth tim Mexico bordrlands), The hore are mole after the hore decoys — ‘wo aad paper mich’ nltations of desl horas ~ used in Weld Wat T 35 Camouflage survellunce posts, but tatinan and Baget ig each hore with = Stal speaker sein the carves ofthe hore’ fakeblly, When visors happen "pon the ed oct alongside a trequenly traveled local road, the horses Me fst ing there, a simulated ead nas among sas of ass and uncles ‘nl lowers tthe loser you get ther, the moe you ale they are ‘ral sone bodes alive with eekling broadets td Baating nodes Tach hots broadcast diferent soundteae n the Est, bagpipe muse an somage to Maras attic patton sant and bagpipe fan Donat Ju it the Second, @ mix of Mexican nrteno and banda wih the 1880s country Song Whee the Heck ie Mata? an the third hors hack nt the Hort petro ado scanner and eaveadzops on the statons suvllance transmis ‘ons Istening in onthe Ustenes om the belly of fake corpse. The horses ‘Sabla a sonic sense of oes! west Tos place a soni ealogy of Marts hulp cutural histories inseparable rom se rauencts of auto su elle and border cc. They fc a soni portals a Staten hs ‘Isms into the cifeent polit cenomies nd ell hitore of Mala tsa borders fom eaught between Border Patrol management, Western Inyth, snd at wort antsy. They force the Dstener to conser what plants Dane Barenboim has seed toa “the mal rxponablty ofthe ex” ‘ue fb as Utero think critealy though sound as both am arts and plea! fre, sound len the formation of poltcl realities nd cultural ‘tes ance posits a oo of tansormation and agua Fences, walls, ears: Richard Lerman and Glenn Weyant tn 1997, Rand Lerman, a veteran Arizona-bse sound arts est known {focusing etre transducers to evel the ntl sonic fe of re, eat, fn biggles towe tothe border fence that separates Naco, Aeon from Nico, Sonor, and nook small pez disk wo a stad offence wie. AS he told the order Patrol agent who came by to queson him, eV recording the fence” It wae the begining of overs cade of work that would ind Lesa attempting o eapte the sounds aad noises made by Azan Bot de ences, both the intemal sounds ofthe packly roe wie self and the Picky soins of the wie fnferacting with win, sand, ad eck 1 th ftretch of desert the border lea wie fence, then Lerman Was Out, ule literal, eapace the sound of the bode, the sotind ofthe hander a 2 Dal ronment of ational secu. "The fence i a baer with sound” rm told me," las wow, everything has sound.” “Te etic of listening and the socal force of sound are impulses that Ue | atthe center of Leman’ border fence projet, whidh ave grown into 3saves of performances and instalatins that he his done worlds aay fo Sonora desert in tems of geography — kt Ageing, Chil, the formes "ase Germany, and the Manan ineriiett camp ~ but clove to ome in tems of debits sound national police a atonal clare. Using sound seconde at Atzons order ences in Naco and Crngo Pass and tenes i Calexeo, California a5 well as ecto plants fiom Avizone’ Cano {et Diao and Tila Ata Range ~ popular eosing ae for Mexican ‘lant non fr its natal rckole water outers ~ Laan crete lar and museum isallstons that we he recordings eo make altespecie commen’ on border altastzation and immigation pots. in allo his ower Fences ieamations, Leman ist on sounds pola resides, Sound maybe disembodied and inmate, batt sl contain taces of his ‘ory, meatng, ad conte esl ha stores otal The spec sone nat. ‘ati that Lerman te intrested in he one bors Feces ul aed ‘nd bsren stretches of desert dit and sad along the US Mesico bone nat Faves of migants and refuges, of deportation and delainment, of aman Fights abuses and maguladea economics "or me, these fener witnesed {Feat" he hs expats,“ hope to record the presence fans preset a) far the Tence wale also hoping some of what this placelence has wines mes though." Recording the fence becomes an aulo ato beasag ib nes an acoustic testimony to the pola arte of oct visions — ‘what the border sw rendre through wht the border had To teense te sonke natal af te feces he works with, Leman con vert the mates of the fence (urbe wie, zo we, cali) Int ot auto equipment an actual do soures by pacing miniature mcr hones and ples dss ~ inexpensive let traneduces commonly used In doorbells xo buzers tha ean at as speakers and microphones onthe Fences themselves and In sounding vegestion and aes recordings of the borders mately, He mixes those sounds ith yon sengs,tnmed hagptchord wie, and cotton sings that he des to te fet and then hows lke 2 gant desert found violin, Wht the reconds canbe trying Wind grumbles, planes roa cats whi. And tere conan clanging ke arene smackng ste pipe, snd continous metalic chugging the Industral underbely of nation security a 0 ated house (Gung is bower fence recording sexions, Lerman was frequently questioned by onder Patol agents who all ltmately slowed hi to coats wit Bs sound captures, As Lerman explains "We Is an incredible conductor Souind moves faver trough mie ta does through ior water, Soi you Pt your ea tothe re you beat ary of sound = wind bowing ins BILSors of thing. AS @ sound ats one of my aligtions i to reves! new sounds wherever they may be." ‘Terman ose the fences purl as ste specific sound sources which he then rmantpolatesin his oltite peroranoes and installs ngalleer actos the Weald. Ding his installations, the recordings ae played bck on ie and he adds to them by paying a variety of sound-emiting objec with ‘ymboie devert horderlands value ~ compasses, pusports rose ances, bougainvillea that are then deed bowed, and ample to emulate the nuns of ren and ecole. Types, Lerman plays the fee materials Stuading on one side, whe the audience gathers on the oer, dramatizing, Desh the rer ive to division andthe eat fs porousness. Lemans fence performance often chide et of how-to instructions ow thumb to make heleapter sounds") and pertomative cretion (play the ence ‘ral one,” play fence wi passport) ax wel as istration andouts that tach people to bulld homemade microphones, encouraging them tovuse fences to Isten, to tansform them fm an object controled by survellince technologists Info an agent of sone capture and production that they themselves congo, manipulate, and monitor. nhs fst Border Fences insaltons in 1997, Lerman Dut rele ofthe small concrete Inicts that were nce used to delineate the baren eset tees of the UUsntexicn border before the age offences an walls, Inside i ark, he broadcasted vdeo ofthe Nace, Alzona fence. Overhead he hung oops of ‘noe wie from the cling that were rigged with plezo ds, allowing the tte become & loupe tvough whieh Be played the orignal ence Teconlings The fence was no longer simpy a sound source twas now bath source an! inerument, both Sound sill and Sound machine. In 2000, for his Borer Fenecs perfomance in Buenos Ales, Lena diesed {et toider Patol agent, wave! an simplified piso dik hough the al (H {ounds ke a flag” he says) and hen swept te Hloor wie an amped boo to cestea wall of scraping, satched, whisked sound tke wind on Sand, lke eckson metal wie Tecan i atthe only one casing Arona bores fences wih cr fll found gear In 2005, his work was one by The Anta Project 2 sees of ‘ecordings (made available on CD and onthe web a streaming aude made by Lennan’s flow Arzonan Glen Weyant ofthe wize fences and ste wall that hulk along thre Sonoran desert ies ofthe Nogales bard. Whete Lena records the fence, Weyant pay he wall with various Obes any shandonel in the deser stash, al “bjets with pliteal and meson {clymbolis”)~ chopstics, wal gs, metal was, cardboard tubes, al ‘minum rds and plas the fence wires witha cello baw to create 2 “mas remote terstetalzed border ello” Using small contact miropiones abd "stun peda, he feeds the sounds af the fence and the wall no a aptep ‘where they ae f-purposed into eee often sh and gece ambient co Tages Iced th the oecasional overhead blade thrush of US Department of Homeland Secu nelleopers On a Dieling ip i Atzona's Suenos Aes National Monument in 2008, Weyant ora surprised by 4 ied he hada expected «Blackank hllopter and he decided he wanted to documen {he ait rm the boxder as am open natural andicspe oa fly ears one $0 2005, he west to the Nogales wal telingly constricted ut of{32 ef deans reeyled helicopter landing pads, with a contact mica surat pan 2 recorder and pled it while sitng onthe US side, &patclly desolate patch of southern Arona. Trough the les inthe walle could se peo ‘leon the more busting Mexican sid; he could ea demas sn snl {het dyaseties A Bordet Patrol office ase byt wate an then elle In to his dispatches: "Teresa guy with ello hove playing the wal” ‘Weyant has came that be wants conver the set border wall nt sprawling eleczoacouselnstrument that canbe pled! hy people om eter Sie regs of national o poll bee In onder to deconstu s pr pose and “saneally morph this symbol of avon into one of esto Fehon the ells or an ethic of border stein that have Bat laborating| het, The Anta Prof lms to use Istening as a practice of poll ingay tun lalogue, an aim Ht Weyant tems to relie by nang his recon Ings aval for fee on hls webst, were they have Deen steamed and downloade in over 100 counts acres the worl Whe Weyants wall aid fence recording sessions often draw acidentalaences (people walling to cro, Border Pal agents, otnge vendo, is gst not the ve ptr. ance but the cgay edited, estabuted, and campresed ado fie that he aa howe on nis weit alongside hs wetngs and phoxgraphs stout bot der poles (us mos recat extension ofthe Ant ots Vital Seay” 2 algal collage of both fence and nature recoding). In Wayans Words "hen the steer earns thatthe roaring wae made by anpiying a wall separating two counties, ie of seg rongancally present Why ws this wall bull? Who Is being hep ou? Who fr beng kept in?” In his wings on “nary urbanism,” the ee Bryan Fok! has apc that Weyant dees not sinply ten fees and walls Ano sound instrament bat allows them t spe of thelr own uteletants and deliver shameful Soni canesions oftheir pola! hreeranc: When hear the msc of the Anta Projet, imagine the pyle nature of the bonds fence Ise suddenly being taped, awoken, beckoned Uke 4 sleeping levathan lad ou across the earth, ging With the arc feetural Sensations that only petaps a order ence ean ow i becomes apparent to our ens that sa steetare in pa, caught na ater biy sain existence. What If some of these border fences actualy rit the day of thet bith they ang they wl hey crumble unde the sun plked apart by tine, stuck in tome gestural pose of power tat sakes es and les senses the day go by, Peps some border fences pray for ‘het awn death For Fino when sven chance tae heard, when given achance to makea sound, bode fences and border walls sig thei own ind of pera Divs, fanerel diges born ofthe meting besween loblie domestic mltasn Paying the Fe, Ling te kine 33 the scorching desert sun, between the cots of refugees and the retnologel static of radars and sensor networks in the press, Weyaat as also oxpained tat he was hoping to rake an Inererton into the national polis af oie Hel wich Is pat ofthe eleoptes wit his fence and wall recordings Mere’ actully alot 0 polls! and conceal ramifications for that dedsion "he sas. “What Spe deciles is nose gets polio and coidoned off fromm what ges 10 De ‘onsite noise” Differentiating nose fom msi snot eneely about tate, but about power, about voles and llencing, about the audible wx & fatlsteld over poies donnon, rial txiongng, and cts! estan sbi. Walls and fences ignore the places of pac, tating the deserts ote suthest as expty spaces ead for another geneaton of miltary fanques, The sound art of both Weyant and Lerman restores place t0 place, evel through sound the extent toi all place Is eared Ind stored al place contain he trace of whit war there Beloe, Patri Price ns witen powerfully of the dest borerangs as both plimpsests i sles of petnent of hstocal erie, covedngp,excason, and twtingsover™ But Weyant and Lerman use walls and feces to make us think about the desert sone pentinena and safe palimpsss, the way ‘cand ere snd matk oer sound, sd conver the way Sounds can ‘esp throug lence = Ike the trace of 3 vanished brshstoke that sil ebona fined canvas to tel stores of place subjugated by the workings Dt cangues, apt and scat Indeed, both Lerman and Weysnt a bad i Arion and one of the many kinds of stor ing notes thatthe fences, wal and desert expanses fof tie lal bordelande make le 2 mouenfel ghost nok, the moles of ‘he thousands who go misng trying to cxss Next who end up as white ‘roses apse colfine and photos taped the tombs of juan Sldade snd [ents Maver, eho the line fd the Wala the fence) dap) Be since 2004 raltaczation egaton fas posted more and more migrants to had Into the punishing deserts of Arizona to cross the desert border has become synonymous with slgant death, with thousands pershing each yt! By using water ote and ter obs cscarded by slganis onthe FRivand in hiding nsroments for masa rcordings, The Anta Projet fut Borer Fences tap ito the history of mechanical audio peodution fs memo technology, 2 history of speaking withthe dead and never Fetung thet voices fade entirely away. I's what Edson inteaded wit the photograph, I's what James Joyce used sound and muse fran "ibe Dea” $d Uae, i's what js do when they reanimate an old record a new Sample = preserve the dead among the ving, Keep memory from fading ito allen. in the deste wat zone ofthe USMeico border, Weyant and ran make he dtl ats, make the baled ypesk oft dead‘Permanente Art of border noises ‘As cantemporary as these ences and walls ae, the souneapes and aut xchitecttes recall an ear er of nlsemaking and mits. [n 1913, Telanfatust composer Lut Rasolo ln eal fr nolee asthe at of twentcti-century indus modersty and lt» see of intnaer ot dotse-tones to sek ad squall the nos ofthe new agen The A of ‘Nols, Hussolo was particularly swept up by the soundmaris and keynotes, ofthe battlefield soundscape and of miliary survelnce balloons rigged ‘vith lees tekgraphy orn hls words, "the oxcesta ofthe noises of ‘rar selling under a eld note a silence ky the high sky ound 9 golden {mlloon tat observes the fcing# Russolo listened for combat foved the souinisof grenades and shrapnel tae este wth Word War and called {hebattefed “a mode for modem lsening” He was upesciet Ustener = the soundscapes of war would not only inkensiy as the centry moved forward but wou! blend more and more ata the Soundscapes of everyday ‘Me™ and tea to imagine hin ina sat of sural overiond checkpoints ln Myjana, Jur, of Nogaks with all of tee poxeéndta, Beaton ‘camo, hele symphonies of Homdand Security intonarmor. Buk what 1 hope to ave town Ia is chapter stat by listening fo the le, by is ‘ening tothe botde aa sound envtroament ric in acoute communis ‘nd Keynotes both acidental ad intentional, we can also hea nase 38 {tejonder to war and mitarsm, We ean also hea the sound of pict ‘geography tling sown stores abou place, nation, and beenghng, tres {at ust be tstened tn de to be Blvd Notes 1. Wendy sown, “Porous Soverigaty, Walled Democrtoy Solomon Kitz Dtinutied tate ithe Mumanies, Une af Wuhigton, WA 22 A 208, idem haan 2 Muay Safe, The Sade Our Sone Bam and Te Teng of he ‘ond New Yo hes Ka 17 10 4. Geoge Lewis "The. Old Pape Soeak of Sounds Resonaly, Bmp, {Cuan INSITE Pte Pm a MS Sal Yr Son Ble CRINGE hola, 1) 14 4 Dime Baenbln Muse Cone Time (Now York: Vo, 2006, Chines "iscind Toe Eh Sewn: Carte Sr ond amie Cota (sen Yrs Caanna Unter Pe iChat Sl Masag Te Maas of Foon ant Eten acetone, Ck Ween Une re, 5 Zyiua Bouman, Des Eh Haves Chance A Wilf Come? (Cad, Me tarar Ute es, 200), 30. 6 Hand they “stern” Te Rossi of Feros te. ih Howard Gata Oto, 198, Pig os, sing the ie 38 ns te ae ten nae macraeestra eae a > Beane Sarena eat, ene ee ai ray fe Se ip arose ae a See temnniaees ena om a Soha fiertee ome eaten 1s Jase An re Capon hah ldo CE een es ere ation eet eam eee Fe merge mma teat cae ee tame nent tomes ei Soames ee iments eat maar ae es 1 SE ete NES mn icieeemer a SER re are 1 re ce ae 2 Rie oer tee to. 2 EG a sin gt ta sinh 23: iia Weta Unio Sntiape Compton a Acuity Orgtsed Sawn, An ternational ourat of Mase ad Tecedogy 71.2002). omc ee a Be eee Ea anette 3 ire meres fe a 2 HEELS a pn eo et ee ee eee aa ees Evany ita haan hr53, Sophe Lett Ha “Love Meta As Wi Dp 12 (une 208 Mae Tae sou Kags Vel "eyond Lect Mal” Nea Pate A pet ok the USC hanntey Seo for Communit, pein Teste medabeyed teave mes 209, 2 ein, he ie in png the Wa Sa Mae (3 ip, Ensen tsetse 07 oa 0 M1. rc, tse Landpr of alain ad eg Oianene eerste, 2000 1, Pr sreag Bor Camas eg Te US eo Dhide Nee Yorks Col Univer fa 200) Jn Aes Chace Mike Das Ne Oe at {Chie Hymshe e, 2)egn Nein, Dyna Sf gion Ans of lb Aare an ans, Ch ly gh 28, 2 Doug ay, de ert (Ca, MM Ps 199) 3 Transnational Cultural Translations and the Meaning of Danzon across Borders* ‘Aan L. Madtid (on 25 Maich 2007 the Teatro Amica in Havana host the dosing Ceremony othe 2007 Habana Danzin Festival The event,» space to honot the winners of that years anal danzdin competition, started wi 3 sy Jae allevlike choreogeaphy set to 2 jazz compostion loosely based on Some of the most bate stylistic masa fstures ofthe danzén, However, relic the dancing bodes on te ste nor the sounds coming out ofthe theses oudspeakee resembled the evenay dannin practices the eeent meant to henge The ue, playing many vitor solo improwstory Sesons didnot end Kself fo the sensual ut rerrained dance ses of regular danedn aiconades, while the dances on tage son departed fom the dosework couple dancing that characters socal dani, and went fo perform elaborate contortion tat seemed to combine elements am teh alle, contemporary dance, snd baliroom dancing. The event con Sinwed with dann choregraphis presented by some ofthe Cuban and ‘Mexican dancers who had prtlpntel tthe esas dazén competition ‘hring the previous mee, and reac ts limax with, ater the winners of the competion were unounce, jam dance sexson where Mexlans nd Cans danced sogeter. With the perfommanes of some ofthe best kown my datos fo the pute tle and carange fancesa repertoire, the event was a sionease of banda al a tue tribate to the ents natlonal dance, However, for Mexican witnessing the cererpony In Cuba, wate tls spectacte was ite looking at Mexico through «new looking bis The canon, boon In the lack eighborhoads of Matanzas fn the 870, le considered the natlonal dance of Cub; however, its continuous presence asa scial dance In Menico since the en ofthe nineteenth century find ts power to tagger posionatedscsions over isbes of authentity snd local ideality show tha the dance’ meaning ean On be Fly rasp fs Its paceully danced, crossing back and forth the borders of both tonite. The danzny thst experience and performance com: ple sows te cate ways i whch sernngly fixed notions of tinal Belonging aren fact sponses to tansbaionl ows tat affect and often