Relevant bibliographies by topics / Folk dancing, Latin American

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Folk dancing, Latin American'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Folk dancing, Latin American"

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Massidda, Myosotis, Lucia Cugusi, Maurizio Ibba, Iosto Tradori, and Carla M. Calò. "Energy Expenditure during Competitive Latin American Dancing Simulation." Medical Problems of Performing Artists 26, no. 4 (December 1, 2011): 206–10. http://dx.doi.org/10.21091/mppa.2011.4033.

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The aims of this study were to estimate the energy expenditure (EE) and the intensity of physical activity (PA) during a competitive simulation of Latin American dancing and to evaluate the differences in PA and EE values between the sexes, between different dance types, and between the various phases of the competition. METHODS: Ten Italian dancers (five couples, 5 males and 5 females) competing in Latin American dancing at the international level were examined in this study. The EE (kcal) was measured during the semifinal and final phases of the competition using the SenseWear Pro Armband (SWA). Paired-sample t-tests were used to determine differences in the metabolic equivalent (MET) and EE values between the semifinal and final phases and between each dance. One-way analysis of variance was used to analyze the differences in the MET and EE values between the sexes. RESULTS: The intensity of PA during the dance sequence ranged from moderate (3 to 6 METs) to vigorous (6 to 9 METs). The male dancers had higher EE values than the female dancers during all phases of the simulation. Similar MET values were observed in both sexes. The PA intensity during the finals phase was vigorous for 56% of the time of dance. Of all the dance styles, the rumba had the lowest MET and EE values. CONCLUSION: Our results demonstrate that competitive Latin American dancing is a heavy exercise and suggest that monitoring variables during normal training can improve training protocols and the dancers’ fitness levels.
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Prickett, Stacey. "Dancing the American Dream: José Limón's War Choreography." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 166–72. http://dx.doi.org/10.1017/s2049125500000285.

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José Limón's early choreography on themes of war and conflict and the dances he created while serving in the U.S. Army during World War II represent diverse identities and ideological perspectives, ranging from antiwar statements to those perpetuating myths of the “American dream.” This paper will examine the myriad of symbols in his dances linked to national identity, which moved beyond “folk” representations, theorized through concepts such as the “imagined community” and a “pan-ethnic Americanism.”
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Nilsson, Mats. "From Local to Global: Reflections on Dance Dissemination and Migration within Polska and Lindy Hop Communities." Dance Research Journal 52, no. 1 (April 2020): 33–44. http://dx.doi.org/10.1017/s0149767720000042.

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This article discusses dissemination of dances in and out of Sweden, and the dancing communities these processes create. The examples are the African-American Lindy Hop, which originated in New York City, and the polska, a couple dance considered to be the number one Swedish folk dance. Both dances were once used in local community dancing, while today they belong to dancing communities in many places around the world.
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Rodriguez, Nestor P., and Scott B. MacDonald. "Dancing on a Volcano: The Latin American Drug Trade." Contemporary Sociology 18, no. 6 (November 1989): 929. http://dx.doi.org/10.2307/2074214.

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Heath, Dwight B. "Dancing on a Volcano: The Latin American Drug Trade." Latin American Anthropology Review 3, no. 2 (May 8, 2008): 70. http://dx.doi.org/10.1525/jlca.1991.3.2.70.1.

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Block, Elena. "Dancing Jacobins: A Venezuelan Genealogy of Latin American Populism." Hispanic American Historical Review 98, no. 4 (November 1, 2018): 711–13. http://dx.doi.org/10.1215/00182168-7160391.

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Bruner Reyes, Patrick. "Relational Bodies: Dancing With Latina, Chicana and Latin American Bodies." Feminist Theology 22, no. 3 (April 29, 2014): 253–68. http://dx.doi.org/10.1177/0966735014527198.

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Heath, Dwight B. "Dancing on a Volcano: The Latin American Drug Trade:Dancing on a Volcano: The Latin American Drug Trade." Latin American Anthropology Review 3, no. 2 (December 1991): 70. http://dx.doi.org/10.1525/jlat.1991.3.2.70.1.

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Falcone, Jessica Marie. ""Garba With Attitude": Creative Nostalgia in Competitive Collegiate Gujarati American Folk Dancing." Journal of Asian American Studies 16, no. 1 (2013): 57–89. http://dx.doi.org/10.1353/jaas.2013.0010.

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Lowder, Stella. "Dancing to Different Tunes: Conveying Latin American realities to composite classes." Journal of Geography in Higher Education 26, no. 3 (November 2002): 381–92. http://dx.doi.org/10.1080/0309826022000019945.

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Dissertations / Theses on the topic "Folk dancing, Latin American"

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Sánchez, Cacheiro Rafael. "Dancing Jacobins, a genealogy of Latin American populism (Venezuela)." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2004. http://dare.uva.nl/document/73151.

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Gainer, Natalie. "Dancing Latinidad: Salsa Practices and Latino/a Identity at Brasil's Nightclub." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/396279.

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Dance
M.A.
This thesis investigates Brasil’s Nightclub, a Philadelphia salsa club, as a site at which notions of Latino/a identity are produced and performed. Research for the thesis was conducted over the course of five months and was ethnographic in nature. From February 2016 until June 2016, the author attended Brasil’s Nightclub and collected participant observations and interviews. Findings reveal how the club accommodates multiple conflicting narratives of Latino/a identity and how these narratives are embodied through salsa dance practices.
Temple University--Theses
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Gumbar, Dziyana P. "Autobiographical subjectivity in Judith Ortiz Cofer's Silent dancing and Marjorie Agosín's The alphabet in my hands." Fairfax, VA : George Mason University, 2009. http://hdl.handle.net/1920/4567.

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Thesis (M.A.)--George Mason University, 2009.
Vita: p. 154. Thesis director: Ricardo F. Vivancos Pérez. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies. Title from PDF t.p. (viewed Oct. 12, 2009). Includes bibliographical references (p. 147-153). Also issued in print.
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Santiago-Saavedra, Fanny V. "Understanding the nature of Puerto Rican folk health practices through the healers perceptions and the somatic assumptions." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1092853553.

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Brown, Stacy Suzanne. "Curanderismo: Teresa Urrea and the Legacy of Dissent." Thesis, Boston College, 2008. http://hdl.handle.net/2345/527.

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Thesis advisor: Dwayne E. Carpenter
The thesis offers an introduction to curanderismo and a critical analysis of the legacy of nineteenth century curandera and folk saint Teresita Urrea. The daughter of an indigenous servant in rural Mexico, Teresita ultimately became an icon of powerful social influence, a political threat to the Mexican dictatorship, a harsh critic of formalized medicine, and an enemy of the Catholic Church. Her legacy, however, is nuanced by her complex and, at times, contradictory life
Submitted to: Boston College. College of Arts and Sciences
Discipline: Romance Languages and Literature
Discipline: College Honors Program
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Rondón, Tulio Jose. "Cultural hybridization in the music of Paul Desenne: An integration of Latin American folk, pop and indigenous music with Western classical traditions." Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/267912.

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This project is an analytical and comprehensive study of the music of Venezuelan composer Paul Desenne, concentrating on his sonata, 'Jaguar Songs' for cello solo, written in the year 2002. The sonata, 'Jaguar Songs,' was written for French cellist Iseut Chuat and received the premiere performance by the composer Paul Desenne the following year in London. This sonata is a perfect tool for understanding Desenne's work and what I call his musical hybridization, which I consider to be a groundbreaking compositional style that will shape not only Venezuela's, but also Latin America's musical identity. After several personal interviews with the composer, I was able to deepen my understanding of his work. In the following pages I have analyzed 'Jaguar Songs' for cello solo and explained the influences and characteristics of Desenne's music.
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Rivera, Chicas Iler Leticia. "Dancing with Culture| A Grounded Theory Study on Latin American and Spanish Speaking Caribbean Women Living in the United States Process for Dealing with Internal Conflicts." Thesis, Nova Southeastern University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10830583.

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This grounded theory study explored the competing cultural expectations and cultural approaches by women from Latin American and Spanish-speaking Caribbean countries living in the United States. The study explored the following questions: In what ways do women from Latin America living in the United States establish priorities among potentially conflicting cultural expectations or roles? What internal conflicts result out of living between two cultures? What does the process for making sense of cultural expectations look like? How do Latin American women living in the United States make sense of this process? Using a constructivist grounded methodology, the research reflects the insights of 20 female participants from various Latin American and Spanish-speaking Caribbean countries. The data analysis resulted in five major findings, illuminating a framework for understanding the process for making sense of conflicting cultural norms, expectations, and cultural approaches. This is presented in four stages, (1) confronting the new norm/expectation, (2) recognition/acknowledgment of the conflicting cultural value/norm/expectation, (3) adapting to the new context/situation and (4) managing from a cultural standpoint. The main decision-making process related to cultural expectations was tied to: (a) what it meant to be a woman from their native country in the United States and (b) what this means when they return to their country of origin. Concluding with “creating a new norm/dynamic,” this becomes the “balancing act” or “the dance between cultures.”

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Carballo, Erick. "De la pampa al cielo : the development of tonality in the compositional language of Alberto Ginastera /." Link to electronic version Proquest document ID: 1288649231 Publication number: AAT 3254318 Electronic version, 2006. http://proquest.umi.com/pqdlink?did=1288649231&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Thesis--Indiana University, 2006.
Computer printout. "While the present study will focus specifically on the evolution of tonality in Ginastera's compositional style, I begin by surveying the small body of general scholarship pertinent to Ginastera, starting with his own published comments. This critical survey serves two purposes: it provides a general overview of the scholarship to date regarding Ginastera; and it demonstrates the shortcomings of that scholarship in relation to the study of tonality's evolution in Ginastera's music--hence the rationale for the present study."--Leaves 1-2. Includes bibliographical references (leaves 269-284), abstract, and vita.
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Murray, Peggy L. "Dancing in the Seminary: Reconstructing Dances for a 1749 Viceregal Peruvian Opera." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1448985385.

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Minonne, Francesca. "“Yo Soy Joaquín Murrieta”: Los múltiples rostros de Joaquín a través del espacio y el tiempo." Oberlin College Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1243514276.

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Books on the topic "Folk dancing, Latin American"

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Guerra, Ramiro. Calibán danzante: Procesos socioculturales de la danza en América Latina y en la zona del Caribe. Caracas, Venezuela: Monte Avila Editores Latinoamericana, 1998.

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Calibán danzante. La Habana, Cuba: Editorial Letras Cubanas, 2008.

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Cantell, Margaret. Latin American dancing. Lincolnwood, Ill: NTC/Contemporary Pub., 2000.

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Ring of liberation: Deceptive discourse in Brazilian capoeira. Chicago: University of Chicago Press, 1992.

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1952-, Laufman Jacqueline, ed. Traditional barn dances with calls and fiddling. Champaign, IL: Human Kinetics, 2009.

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City folk: English country dance and the politics of the folk in modern America. New York: New York University Press, 2010.

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Walkowitz, Daniel J. City folk: English country dance and the politics of the folk in modern America. New York: New York University Press, 2010.

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Keller, Kate Van Winkle. "If the company can do it!": Technique in eighteenth-century American social dance. Sandy Hook, Conn: Hendrickson Group, 1991.

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MacDonald, Scott B. Dancing on a volcano: The Latin American drug trade. New York: Praeger, 1988.

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Quang, Anh. Tu hoc khiêu v~u =: Latin va American dancing. Sunnyvale, Calif: Tissafy, 1987.

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Book chapters on the topic "Folk dancing, Latin American"

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Christenson, Allen. "Folk Saints." In Encyclopedia of Latin American Religions, 1–6. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-08956-0_202-1.

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Christenson, Allen. "Folk Saints." In Encyclopedia of Latin American Religions, 472–77. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-27078-4_202.

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Lambert, Peter. "Dancing Between Superpowers: Ideology, Pragmatism, and Drift in Paraguayan Foreign Policy." In Latin American Foreign Policies, 67–86. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118270_5.

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Harman, Vicki. "Building a Serious Leisure Career in Ballroom and Latin American Dancing." In The Sexual Politics of Ballroom Dancing, 75–89. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-02939-3_4.

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Marsh, Hazel. "Latin American Nueva Canción: The Leftist Revival of Folk Traditions." In Hugo Chávez, Alí Primera and Venezuela, 25–45. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57968-3_2.

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Crawford, Honey. "The Boundless Dramas of Dancing Mulatas." In Latin American Literature in Transition 1980–2018, 200–214. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108976459.014.

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DeFrantz, Thomas F. "Breaking in My House." In The Oxford Handbook of Hip Hop Dance Studies, 243—C13.P74. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190247867.013.3.

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Abstract Does breaking belong within the forms of dance recognized as “house”? How did Hip Hop and house emerge as separate sorts of dance cultures among African Americans, Latinx folx, Asians, Native, and others, and how have they reconciled in contemporary global circumstances? What are some of the ways that gender and racial identities still function in considerations of Hip Hop and house dance? What are some of the important interstices of Hip Hop and house in academic discourses? What are some implications of race in the articulations of popular dance cultures and their circulations? Constructed as a listing of themes elaborated to performative effect, this chapter wonders at the possibilities to write into Black social dance as a rhythmic playing through words; words that might represent thinking-through-dancing as the source of a communal activity.
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Kowal, Rebekah J. "Staging Ethnologic Dance." In Dancing the World Smaller, 72–119. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190265311.003.0002.

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Chapter 2 examines La Meri’s controversial legacy in American concert dance. An Anglo-American dance artist who specialized in Asian and Latin American dance practices, La Meri fashioned herself as a dance polyglot, having studied with instructors at stops along the way of her worldwide performance tours in the 1920s and 1930s. When World War II commenced in Europe, La Meri settled in New York City in 1940 and established herself as one of the world’s foremost ethnologic performers. This chapter investigates debates that surrounded La Meri in the 1940s to illuminate the tensions that developed between so-called ethnic dance and modern dance, on the one hand, and cultural formations of whiteness, on the other.
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Sacré, Robert. "Black Music USA: From African to African American Music." In Charley Patton, 3–12. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816139.003.0001.

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This chapter discusses the history of African American Music. Many of the roots of black American music lie in Africa more than four hundred years ago at the start of the slave trade. It is essential to realize that the importance given to music and dance in Africa was reflected among black people in America in the songs they sang, in their dancing, and at their folk gatherings. As such, every aspect of jazz, blues, and gospel music is African to some degree. Work songs and the related prison songs are precursors of the blues. One can assume that primitive forms of pre-blues appeared around 1885, mostly in the Deep South and predominantly in the state of Mississippi. However, it was several more years before the famous AAB twelve-bar structure appeared, and when it did, one of its leading practitioners was Charley Patton.
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Perillo, J. Lorenzo. "Robots and Affirmative Choreographies." In Choreographing in Color, 78–108. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054274.003.0004.

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This chapter centers dance theater as an entry point into the relationship between race-based admissions policies (affirmative action) and dance-based articulations of racial agency. The chapter focuses on Pilipino culture nights (PCNs), student-produced annual performances that typically work to affirm a connection to the homeland through the performance of traditional folk forms. However, for Home (2000), a University of California–Berkeley PCN, the dancers and choreographers used hip-hop to emphasize U.S.-based cultural formations. While existing scholarship focuses on the “born again” mode of traditional folk dance within the culture night genre, the analysis centralizes Filipino American use of street dance styles (popping and robotic dancing). The configuration of these elements exaggerates ideologies of multiculturalism and post-raciality in an innovative response to the model minority stereotype.
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