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Books on the topic 'Latin Dances'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Kulp, Jonathan. Three Latin-American dances. Saint-Romuald, QC: Productions d'Oz, 2004.

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2

Learn to dance: A step-by-step guide to ballroom and Latin dances. Bath, UK: Parragon, 2008.

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3

Latin dance. Minneapolis: Lerner Publications, 2012.

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4

Latin dance made easy. [Charleston, SC]: Sunvillage Publicatons, 2010.

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5

Musmon, Margaret. Latin and Caribbean dance. New York: Chelsea House Publishers, 2010.

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6

Musmon, Margaret. Latin and Caribbean dance. New York: Chelsea House Publishers, 2010.

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7

Banks, John Amos. Dancing guide: Basic art of the dance, ballroom, latin, disco, country, line, latino. Panama City, FL: Jordan Book Co., 1999.

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8

Hamilton, Sue L. Latin. Edina, Minn: ABDO Pub. Co., 2011.

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9

Latin and ballroom. Chicago, Ill: Heinemann Library, 2008.

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10

Laird, Walter. Technique of Latin dancing. (Great Britain): (International Dance Teachers' Association), 1988.

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11

Latin and ballroom. Oxford: Heinemann Library, 2010.

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12

Patrick, McMillan, and College Ballroom Dance Association, eds. Ballroom dance American style: Smooth-rhythm-Latin. Dubuque, Iowa: Eddie Bowers Pub., Inc., 1997.

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13

Malins, Jed. Start ballroom & Latin dancing for adults. London: Dance Books, 1991.

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14

Trautman, Shawn. Picture yourself dancing: Step-by-step instruction for ballroom, Latin, country, and more. Boston, MA: Thomson Course Technology, 2006.

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15

Shakespeare, Nicholas. The dancer upstairs. London: Harvill, 1995.

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16

Shakespeare, Nicholas. The dancer upstairs. New York: Nan A. Talese, 1997.

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17

Shakespeare, Nicholas. The Dancer Upstairs. London: Random House Group Limited, 2010.

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18

The dancer upstairs. London: Picador, 1997.

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19

Shakespeare, Nicholas. The dancer upstairs. Thorndike, Me: G.K. Hall & Co., 1997.

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20

Roddick, Jacqueline. The dance of the millions: Latin America and the debt crisis. London: Latin America Bureau, 1988.

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21

Dance and the Hollywood Latina: Race, sex, and stardom. New Brunswick, N.J: Rutgers University Press, 2010.

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22

Ovalle, Priscilla Peña. Dance and the Hollywood Latina: Race, sex, and stardom. New Brunswick, N.J: Rutgers University Press, 2010.

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23

Taylor, Gerard. Capoeira 100: An illustrated guide to the essential movements and techniques. Berkeley, Calif: Blue Snake Books, 2006.

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24

The joy of dancing: The next steps : ballroom, Latin and jive for social dancers of all ages. London: Carlton, 2005.

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25

Tango y misoginia: Cultura popular en América Latina. La Plata: Editorial de la Universidad Nacional de La Plata, 2001.

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26

Dante and medieval Latin traditions. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.

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27

Dance between two cultures: Latino Caribbean literature written in the United States. Nashville: Vanderbilt University Press, 1997.

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28

Betty White Practice Dance Music: Latin Dances. Conversa-Phone Inst, 1998.

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29

Betty White Practice Dance Music: Latin Dances. Conversa-Phone Inst, 1998.

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30

Folk Dances of Latin America (World Dance Series). Alfred Publishing Company, 1994.

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31

Folk Dances of Latin America (The World Dance Series). Columbia Pictures Pubns, 1997.

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32

Smith, Faye, Allen G. Darnel, and Dixie Rodkey. Beginner's-Only Dance Book: How to Learn Social, Ballroom & Latin & Ballroom Dances. Beginners-Only Publishing Company, 1997.

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33

Joseph, Smith. Tangos, Milongas and Other Latin-American Dances for Solo Piano. Dover Publications, 2003.

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34

Ten Dances (in a Popular Latin-American Style) (Easier Piano Pieces S.). Associated Board of the Royal School of Music, 1993.

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35

Leymarie, Isabelle. La música latinoamericana: Ritmos y danzas de un continente. Ediciones B, 2001.

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36

Campoy, F. Isabel, George Ancona, and Alma Flor Ada. Mis Bailes/my Dances (Somos Latinos / We Are Latinos). Children's Press (CT), 2005.

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37

Bosse, Joanna. Performing Race, Remaking Whiteness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0007.

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This chapter explores the intersection between race and ballroom dance by focusing on the racial stereotypes encoded within Standard and Latin genres. More specifically, it considers more tacit aspects of ballroom dance, race, whiteness, and exoticism, and how they are encoded as different aspects of beauty in American expressive forms. The chapter first considers the performance of Standard and Latin dances before discussing the competition dances of both genres. It also examines a third category employed at the Regent Ballroom and Banquet Center, the Nightclub/street dances, and proceeds by looking at the relationship between essentialism and the performance of race. It argues that the performance of ballroom dance is structured by the dualistic and racialized notions of a rational self, a normalized whiteness, and an embodied, explicitly racialized other.

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38

McMains, Juliet. “Hot” Latin Dance. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.006.

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Through a brief history of Latin dance within the American ballroom dance industry, this paper reveals how participation in Latin dance by non-Latinos in the United States has, throughout much of the twentieth century, relied on and reinforced harmful stereotypes of ethnic Latinos. The author argues, however, that when Latin dance is practiced in integrated communities in which Latinos and non-Latinos share the dance floor, such stereotypes can be weakened. Two case studies of integrated Latin dancing are offered as examples: mambo dancing at New York’s Palladium Ballroom in the 1950s and salsa dancing practiced at international salsa congresses since 1997. In both cases, the evidence suggests that Latinos are able to strengthen their own ethnic identity through participation in Latin dance while simultaneously challenging non-Latino dancers to move toward a more nuanced understanding of Latino people and cultures.

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39

Gotman, Kélina. Madness after Foucault. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0003.

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The nineteenth-century imagination of the Middle Ages—specifically the St. John’s Day dances that intensified in the wake of the bubonic plague, or ‘Black Death’—emphasized bacchanalian raucousness. Yet the medicalization of post-plague dances overlooks an important history of pilgrimage, processions, and pre-Christian festivities. This chapter examines the recuperation of medieval histories of dance—barely legible in Latin chronicles and annals—into a history of epidemic madness. This contributes to rewriting Foucault’s history of madness by emphasizing collective exuberance and the emergence of choreomania in the nineteenth century as a figure of ecological reverberation, benignly excessive inarticulacy, and passage, rather than confinement, difference, or danger. Further reading Friedrich Nietzsche’s recuperation of the St. John’s and St. Vitus’s dances into a critique of asceticism, the chapter suggests that the ‘genealogy’ of choreomania is found in the fantasy of a dark and orgiastic medievalism.

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40

Quien Canta Su Mal Espanta Singing Drives Away Sorrow Songs Games And Dances From Latin America. Schott, 2006.

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41

Latin Dance. Greenwood, 2011.

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42

Thomas, Isabel. Latin Dance. Lerner Publishing Group, 2011.

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43

Carwile, Christey. From Salsa to Salzonto. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.026.

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Since its emergence among Spanish-speaking immigrants in New York City in the 1960s, salsa dance (and music) has become a quintessential symbol of Latin identity in and outside of the United States. The worldwide adoption of the dance has opened up new possibilities for identity construction. Using field research from Accra, Ghana, this chapter explores the ways in which salsa dance has come to inform a pan-African identity, creating moments where local ethnicities become deemphasized. “Traditional” dances in Ghana have historically been viewed as reflecting local “tribal” and/or ethnic identities and later appropriated by national dance companies as a way to construct and display a Ghanaian “national culture.” However, the adoption of salsa dance in Ghana is what I call an “inventive dance tradition,” one not espoused by colonial administrators or postcolonial leaders, but pioneered by a new generation of urban youth with more global agendas.

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44

DANCE the Latin groove. London: Charly Records, 1989.

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45

Bieber, Justin. Dance Latin #1 hits. 2016.

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46

Thomas, Isabel. Latin. Wayland, 2011.

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47

Fonsi, Luis. Dance Latin #1 hits 2.0. 2017.

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48

Thomas, Isabel. On the Radar: Latin Dance. Lerner Publishing Group, 2011.

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49

Astor. Dance in a Minute: Latin. Cimino Publishing Group, 1988.

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50

Cantell, Margaret. Teach yourself Latin American Dancing. McGraw-Hill, 2000.

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