Hemiolas and Displaced Metric States in Joropo

Joropo , a Colombian and Venezuelan folk genre, frequently employs simultaneous and successive multi‐level hemiolas, which are often displaced from one another – features which existing models of rhythmic dissonance cannot concisely account for. This article integrates Richard Cohn's theory of hemiolic metric spaces (2001) and Harald Krebs's concept of displacement dissonance (1999), developing a blended analytical model that more effectively captures the complex relationships between metric states used in joropo music and dance. Through analyses of recorded joropo performances by Palo Cruza'o and Grupo Cimarrón and of a dance performance from the 2017 Torneo Internacional de Joropo (International Tournament of Joropo ), the article demonstrates that while some aspects of the rhythmic play are rooted in the genre's basic patterns, performances often extend far beyond these foundations, creating virtuosic and highly intricate rhythmic textures. In addition to highlighting the rhythmic richness of joropo , the proposed approach suggests broader applicability for analysing syncopated hemiolas in other repertoires, contributing to ongoing discussions of rhythm, meter and performance practice in a wider range of musical traditions.