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Journal articles on the topic 'Latin Dances'
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Liébana, Encarnación, Cristina Monleón, Consuelo Moratal, and Amador Garcia-Ramos. "Heart Rate Response and Subjective Rating of Perceived Exertion to a Simulated Latin DanceSport Competition in Experienced Latin Dancers." Medical Problems of Performing Artists 36, no. 1 (March 1, 2021): 39–44. http://dx.doi.org/10.21091/mppa.2021.1006.
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This study aimed to describe the response of heart rate (HR) and the subjective rating of perceived exertion (RPE) during a simulated DanceSport competition. The mean and maximum HR of 18 dancers of the highest level were evaluated during a simulated DanceSport competition consisting of 5 Latin dances. RPE values were recorded immediately after each dance. The dances were ranked as follows according to the mean HR (samba [165.3 ± 16.3 bpm] < rumba bolero [176.9 ± 9.9 bpm] < cha-cha-chá [179.1 ± 11.4 bpm] = paso doble [182.5 ± 12.5 bpm] = jive [184.3 ± 11.4 bpm]); maximum HR (samba [185.6 ± 8.9 bpm] = rumba bolero [187.0 ± 9.1 bpm] < cha-cha-chá [190.1 ± 8.0 bpm] = paso doble [191.4 ± 9.0 bpm] < jive [194.2 ± 8.1 bpm]); and RPE (rumba bolero [5.22 ± 1.40] < samba [6.42 ± 2.06] = cha-cha-chá [6.78 ± 1.31] = paso doble [7.39 ± 1.04] < jive [8.33 ± 0.91]). The only significant correlation between RPE and HR values was observed for the maximum HR during the first dance of the competition (samba) (r = 0.485). A simulated DanceSport competition causes high physiological stress being influenced by the type of dance.
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Banio, Adrianna. "The Influence of Latin Dance Classes on the Improvement of Life Quality of Elderly People in Europe." Sustainability 12, no. 6 (March 11, 2020): 2155. http://dx.doi.org/10.3390/su12062155.
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The aim of this paper addresses the problem of the quality of life of elderly people by presenting the energy of Latinos that arouses optimism in European citizens and provides them with joy through Latin dances on a regular basis. The research covered 163 people in the old, so-called third, age, from the European countries with the highest aging rate, namely: Italy, Germany, Greece and Poland. Results shows that physical activity in the form of Latin American dances has a beneficial effect on the functioning of the body. Not only does it allow for maintaining physical fitness and inhibiting the development of many ailments and diseases, but also stimulates the brain to constant activity, which results in improvement of the ability to make associations, concentration and, above all, memory. It is also a way to fill the gap that arises as a consequence of the completion of certain life stages. Through making new social contacts, it is possible to forget about loneliness, stagnation and the monotony of everyday life. However, above all, Latin dance is a source of satisfaction, joy and happiness, i.e., determinants of the quality of life.
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Issaliyev, A., А. Abakayeva, and A. Karymbaeva. "The main stages and trends in the development of sports ballroom dance in the Republic of Kazakhstan (period 1968-1988)." Pedagogy and Psychology 44, no. 3 (September 30, 2020): 263–69. http://dx.doi.org/10.51889/2020-3.2077-6861.32.
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The article describes the main stages and trends in the development of sports ballroom dancing in the Republic of Kazakhstan. The method of data presentation was chosen chronological, since it allows us to trace the dynamics of the process of development and formation of the pedagogical activity of trainers of ballroom dance. Two main stages of the formation and development of domestic sports ballroom dancing are given. The contribution of such figures as Leonid Petrovich Vekshin, Valentina Vasilyevna Evseeva, Valery Valentinovich Antsyshkin to the development of sports and ballroom dancing in the Republic is described. The first schools for European and Latin American dances, dance-sport clubs in our country, as well as the first competitions in these dances were established. The names of foreign experts who helped the development of sports dancing in Kazakhstan are given. The difficulties with which ballroom dancing was encountered during the existence of the USSR are described. The information on the formation of the dance-sport club «Raduga».
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Šifrar, Tina, Kim Majoranc, and Tanja Kajtna. "Matching of personality traits, emotional intelligence and social skills among dance partners in competitive dancing." Kinesiology 52, no. 2 (2020): 242–49. http://dx.doi.org/10.26582/k.52.2.9.
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We investigated whether there was more matching in personality traits, emotional intelligence, and social skills in better performing dance couples than in their less successful counterparts and if better- and lower-performing dancers individually have more equivalent personality traits, emotional intelligence, and social skills. Twenty-four dance couples (i.e. 24 male and 24 female dancers), performing both the Latin and standard dances at a competitive level, were included in the study. Among the measured metrics were: personality traits (using the Big Five Questionnaire), social skills (using the Interpersonal Skills Questionnaire), and emotional intelligence (using the Emotional Competence Questionnaire). When comparing differences between couples, results showed that the better dance couples were more orderly, agreeable and conscientious than the lower-performing dance couples who seemed to be more open. When comparing differences between individual dancers, results showed that the better-performing dancers tended to be older, more experienced, with a higher “competitive mileage” and better-trained bodies, more diligent with a firm belief in their success, confident in attaining their goals, and more motivated. They were also more emotionally stable – a trait that stemmed from their maturity and many years of competing. Findings obtained by our study will certainly allow us to view competitive dancers from a different, as yet undiscovered and potentially deeper viewpoint of psychology. One of the practical aspects of our research lies in understanding how to keep dance couples together for a longer time, allowing dancers to perform in unison for longer periods than would be otherwise possible.
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Kwon, Byoung Ju, and Youn Sun Oh. "Approximate Exercise Intensity in Dancesports(Latin American Dances)." Journal of Sport and Leisure Studies 30 (September 30, 2007): 423–35. http://dx.doi.org/10.51979/kssls.2007.09.30.423.
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Kovaleva, N. V., N. P. Ieremenko, and V. A. Kovalev. "Attitude of first mature ages to zumba dance aerobics." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 3(133) (March 22, 2021): 54–58. http://dx.doi.org/10.31392/npu-nc.series15.2021.3(133).11.
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The article considers the factors that affect the attitude of women of the first period of adulthood to dance aerobics. The significance of zumba dance aerobics classes is substantiated.
Zumba is a physical activity that has been practiced in the world for almost 30 years. However, it has become very popular in the last decade. Most gyms offer this dance or something similar, as ZUMBA was patented by its inventor Alberto Perez.
Zumba for weight loss is based on various Latin American rhythms, such as bachata, salsa, mirenga, cumbia and samba.
These dances are combined with aerobic exercises to effectively support weight loss.
During zumba, your body burns a lot of calories, toning muscles and gaining flexibility. In addition, these dances help to learn Latin rhythms in an interesting and accessible way for everyone, even children. Now there are variants of zumba in the water. Zumba a combines aerobic exercise and anaerobic. That is, in addition to intense exercise that makes you sweat, do not forget to strengthen muscles. The more muscle you have, the more you speed up your metabolism and the more calories you burn.
The urgency of the topic is due to various factors of modern society, because scientific and technological progress and growing urbanization are constantly accelerating the life of the population, resulting in growing needs for recovery, relaxation and the desire to indulge in a favorite pastime. Therefore, in today's world, fitness is really increasingly used to improve well-being, raise morale and to adjust your body to further work.
The survey was conducted for one month on the basis of the fitness club "Sport & Spa" in Kiev. 20 women aged 20 to 30 took part in the survey.
The data analysis was used to identify the needs and motivations of women and to assess the attitudes of early adult women to Zumba classes.
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Sinha, Tanusri. "REFLECTION OF MUSIC & DANCE IN ANCIENT INDIAN INSCRIPTION." International Journal of Research -GRANTHAALAYAH 9, no. 4 (May 6, 2021): 375–78. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3875.
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The word ‘inscription’ is derived from the Latin word ‘Inscripto’ which means something that is inscribed or engraved. It was engraved on clay (terracotta), stone pillars, copper plates, walls of temples, caves, and on the surface of much other metal and also even palm leaves. Very often we’ve seen it on coins and seals. It consists of important texts or symbols that reveal crucial information and evidence of ancient kings and their empires. Music is the soul of Indian culture. Indian music has an affluent tradition with its root in Vedic time. It is said that Indian music owes its origin to the Sāma Veda. The Vedic hymns were chanted with a particular pitch and accent which are used in religious work. Dance in India also has a rich and vital tradition since the beginning of our civilization. Dances of Indi were to give symbolic expressions which are also enlightened to religious ideas. Ancient Inscriptions, Engraving of Inscription, Music, Dance, Epigraphical Evidence.
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Moskvin, V. A. "Sports ballroom dances as a method of correction of anxiety at teenagers." European Psychiatry 26, S2 (March 2011): 166. http://dx.doi.org/10.1016/s0924-9338(11)71877-6.
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IntroductionBallrom dancing as a sport now has a great popularity in Russia, therefore it is necessary to determine features of its influence on dancer's personality.ObjectivesThe hypothesis of this date has the following issue: regular employment of sports dances (under the European and Latin American program) are a method of correction of anxiety 13–14 years old teenagers.AimsAt a preliminary investigation phase we selected ten teenagers (4 boys and 6 girls), which hadn’t been engaged in any kinds cognitive activity, except school classes and having high anxiety indicators. At the basic investigation phase teenagers became members of a dance sports club and the psychological monitoring was carried out.MethodsDuring our research work we applied the test of R.Cattell (form HSPQ), the test of Ch. Spiellberger. Various methods of observation, interview, and also methods of mathematical statistics, particularly factor of correlation of K. Pearson, criterion of F. Wilcoxon were used.ResultsAccording to the R. Cattell test the tendency of anxiety decrease is fixed. Anxiety (scale O) was stably normalized at 80% of testees that positivly correlates with the results under the Ch. Spiellberger test results (r = 0,85). Two girls showed fluctuations of anxiety on the eve competitions.ConclusionsDancing sports develop ability to fruitful cooperation with adults and peer at teenagers, raise selfconfidence, form skills of self-organizing of their life. Reliable results on anxiety normalization are reached (p ≤ 0,005), hence, sports ballroom dances can be considered as a correction method for high by anxious teenagers.
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Horbenko, O., and A. Lysenko. "Methods of judging dance couples at different stages of technical improvement." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 5(125) (September 27, 2020): 49–53. http://dx.doi.org/10.31392/npu-nc.series15.2020.5(125).08.
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In this article, based on the analysis and systematization of literature sources, the method of judging couples at different stages of technical improvement is theoretically substantiated. The specificity of the European and Latin American program is manifested not only in the integration of sports, cultural, aesthetic and artistic activities, as a combination of sports and art, but also in a comprehensive approach to education and creative cultural environment, which helps to eliminate the traditional priority of physical development. spiritual formation of the person in the course of sports activity. In turn, the specificity of sports dances, in the field of dance sports, is determined by various motor actions, synchronously performed by dance duos accompanied by music. When moving on a parquet turns or rotations, rises and descents, inclinations, separate movements of arms and legs, heads, consecutive movements of separate parts of the case are connected in parallel or in series. As, the technique of judging of couples at different stages of technical improvement assumes detailed consideration of each period of time of performance of dancing couples.
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Dehon, Pierre-Jacques. "Poètes Latins Et Rondes Des Saisons : Un Thème Et Ses Variations." Acta Antiqua Academiae Scientiarum Hungaricae 60, no. 1-2 (June 24, 2021): 121–48. http://dx.doi.org/10.1556/068.2020.00009.
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SummaryFrom Ennius onwards, Latin poets have repeatedly described in their verses dances or processions of the seasons. When commenting on the regularity of their cycle or succession, they have given specific overtones to their pictures of this natural phenomenon, inspired by their own perception of life or by proper philosophical systems, such as pythagorism and epicureanism. A close examination and comparison of texts by Ennius, Lucretius, Horace, Ovid, and the anonymous authors of the Laus Pisonis and the Aetna, shows that these poets engaged into a mutual dialogue over the centuries. Not only did they establish a true Latin topos, but they also used it so as to give free rein to their originality, in full compliance with the ancient concept of creative mimesis.
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Ershova, Olga, and Evgeny Smirnov. "Sports and ballroom dancing competitive infrastructure analysis in the context of international organizations on sports and ballroom dancing." Tambov University Review. Series: Humanities, no. 182 (2019): 123–29. http://dx.doi.org/10.20310/1810-0201-2019-24-182-123-129.
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We consider current problems of scientific and theoretical representations development about competitive infrastructure of Sports and ballroom dancing which are not provided with sufficient scientific comprehension. The purpose is to determine the basis of division used in the world practice of international organizations for sports and ballroom dancing for the classification of competitions, performers, their skills, etc. Interest in sports and ballroom dancing, as a form of social, cultural and leisure activities, increases every year not only abroad but also in Russia. Sports and ballroom dancing in its structure have two programs: Latin American, which includes dances – Cha-cha-cha, Rumba, Samba, Jive, Pasodoble and European, dance – slow waltz, Viennese (fast) waltz, Slow Foxtrot, Quickstep, Tango. Dance and sports clubs cover in their work all age categories from children of three years to people of retirement age. Dance associations are based in cultural institutions, cultural and leisure type, in secondary schools, and in higher educa-tion institutions in the framework of additional education or the organization of cultural and leisure activities. Each dance and sports club, as an element of the structure, is registered in any Russian official organization for ballroom dancing, which, in turn, is a regional and part of the international organization for ballroom dancing. Now, there are actively there are four: 1) WDSF – World DanceSport Federation; 2) WDC – World Dance Council; 3) IDSU – International Dance Sport Union; 4) IDSCA – International Dance Studios and Clubs Association. Each of the organizations provides, contests, competitions, tournaments, Championships of Europe, Asia, world, etc. To analyze the material, we use a comparative typological method. We discover the similarities features and differences in the international organizations activities in sports and ballroom dancing, this information is scientifically investigated for the first time. We define the importance of sports and ballroom dancing competitive and amateur infrastructure for the development of culture and strengthening of a population healthy lifestyle. Also, for the first time in scientific circulation we introduce a systematic material on the activities of international organizations in sports and ballroom dancing.
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Tsybova, I. A. "On Debov’s dictionary." Philology at MGIMO 6, no. 4 (December 28, 2020): 167–69. http://dx.doi.org/10.24833/2410-2423-2020-4-24-167-169.
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B.M. Debov’s dictionary Romanic component in rhymes of French rap (On the specificity of youth’s word-creation)”. Ivanovo: Publishing House of Ivanovo State University, 2020. – 221 p. is the continuation of the preceding works of the author – dictionaries of abbreviations and deviating from norm vocabulary of youth (verlan, rap). The selection and analysis of Romanic (Italian, Spanish, Portuguese, Provensal) vocabulary is an evident quality of the dictionary. Among the words forming the rhymes are internationalisms (maestro, opera, villa, etc), names of well-known national dishes (macaroni, pizza), popular Latin American dances (lambada, samba, tango) and also the names of drugs used by some youngsters (cocaїna, marijuana). One can consider rap as a source to supplement vocabulary. The dictionary by V.M. Debov is undoubtedly interesting for those who study Romanic languages.
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Miletic, Alen, Radmila Kostic, Ana Bozanic, and Durdica Miletic. "Pain Status Monitoring in Adolescent Dancers." Medical Problems of Performing Artists 24, no. 3 (September 1, 2009): 119–23. http://dx.doi.org/10.21091/mppa.2009.3026.
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Various dance techniques and performances have different effects on the biomechanics of the body and may lead to different injury profiles. Few studies have analyzed the risk of injury associated with particular types of dance, especially in adolescents when accelerated growth compounds the risk of injury. Ninety-six female dancers with international competitive dance experience from four Balkan European countries were selected from a population of 347 adolescent dancers for this study. Their average age was 13.8 yrs (range, 12 to 16). The subjects were divided into four groups according to their dance styles: cheerleading, dance show, disco dance, and standard and Latin dance. The first aim of the study was to identify differences between the various dance style groups in body mass index (BMI) and dance sport involvement. According to Wilks' test (oneway MANOVA), there was a significant multivariate effect (F = 13.8; p < 0.001) between the four dance groups. The dancers belonging to the disco group started systematic training earlier than the other dancers, the standard and Latin dancers practiced the most intensively, and the show dancers had considerably lower BMI than the disco dancers. The second aim of the study was to define the pain status in 14 body regions for dancers in the various dance styles by monitoring their pain status with the SEFIP questionnaire. The most common locations for pain were the calves (43.7%), knees (32.7%), and ankles (27.2%). According to the χ2 test, cheerleading dancers reported a significantly higher frequency of knee injuries, and standard and Latin dancers reported a significantly higher frequency of toe injuries. The specific way in which some dance disciplines are practiced and their dance techniques do induce characteristic injuries.
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Bellemare, Luc. "De Montmartre à Broadway : le cabaret Au matou botté de Montréal (1929-1932)." Mens 16, no. 1 (February 20, 2017): 63–105. http://dx.doi.org/10.7202/1038984ar.
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L’existence éphémère du cabaret Au matou botté (1929-1932) de Montréal illustre à merveille la « crise de l’homme et de l’esprit » entrant dans la modernité, telle que décrite par l’historien Yvan Lamonde. En novembre 1929, les revuistes Roméo Poirier et Albéric Bourgeois fondent le cabaret Au matou botté à l’étage du restaurant Kerhulu & Odiau, dans le Quartier latin. Envers et contre tous les obstacles, ce café-concert va vivre trois grandes périodes créatives. De l’ouverture jusqu’à mai 1930, la boîte calquée sur le modèle de Montmartre connaît un vif succès en occupant une niche identitaire canadienne-française laissée vacante par les autres lieux de divertissement de la ville. La programmation inclut des chansons françaises, des récitals lyriques, des sketches comiques et des thés dansants. En mai 1930, lorsque Paul Max et Eugène Vivez reprennent la direction artistique, le cabaret adopte le style plus rentable d’un nightclub de Broadway, avec orchestre de jazz, chansons anglaises, pantomimes italiennes et animal dances – fox-trot et autres danses aux pas inspirés d’animaux. Les touristes apprécient bien l’ambiance renouvelée, mais la clientèle des fastes débuts a déserté. À l’automne 1930, le cabaret semble se chercher une identité basée sur un compromis entre Montmartre et Broadway. Nous verrons pourquoi l’organisation d’événements spéciaux, la présence d’artistes locaux et internationaux, la contribution de vedettes de cinéma et la diffusion d’une émission au poste radio CKAC ne suffiront malheureusement pas à assurer la viabilité des lieux.
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Danilović, Mirjana. "Las danzas indígenas del centro de México según las fuentes coloniales / The indigenous dances of Central Mexico according to colonial sources." Revista Trace, no. 78 (July 31, 2020): 179. http://dx.doi.org/10.22134/trace.78.2020.688.
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El objetivo de este artículo es el estudio de las descripciones de la danza indígena del centro de México prehispánico según las fuentes coloniales escritas en español, latín y náhuatl. Por primera vez se hace una síntesis completa de la información de los exploradores, misioneros y cronistas españoles y de las fuentes escritas por indígenas o con indígenas acerca de la danza nativa. A través del análisis se puede observar cómo los soldados o conquistadores, los cronistas oficiales de la Corona española y los frailes ofrecieron una visión de acuerdo con sus intereses, creencias y modos de conceptualizar el mundo.Abstract: The aim of the present paper is to study the descriptions of the indigenous dance of Central pre-Hispanic Mexico according to the colonial sources written in Spanish, Latin and Nahuatl. For the first time, a complete synthesis of the information obtained by the Spanish explorers, missionaries, and chroniclers, and of the sources written by indigenous people or with indigenous people about the native dance is made. Through the analysis one can observe how the official chroniclers of the Spanish Crown, the friars and the soldiers or conquerors offered a vision in accordance with their interests, beliefs and their ways of conceptualizing the world.Keywords: dance; New World; Mesoamerican studies; historical records; worldview.Résumé : L’objectif de cet article est l’étude des descriptions de la danse autochtone du Mexique central à l’époque préhispanique selon les sources coloniales écrites en espagnol, latin et nahuatl. Pour la première fois, une synthèse complète est réalisée avec des informations des explorateurs, des missionnaires, des chroniqueurs espagnols ainsi que des sources écrites par, ou avec les peuples autochtones à propos de la danse indigène. Tout au long de cette analyse nous pouvons constater la manière dont les chroniqueurs officiels de la Couronne espagnole, les moines et les soldats ou conquérants ont offert une vision en fonction de leurs intérêts, croyances et façons de conceptualiser le monde.Mots-clés : danse ; Nouveau Monde ; études mésoaméricaines ; sources historiques ; vision du monde.
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Jacobs, Marjorie Lee. "The Medicine of Salsa." Music and Medicine 10, no. 4 (October 28, 2018): 233. http://dx.doi.org/10.47513/mmd.v10i4.624.
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Psychiatric rehabilitation aims to promote health recovery from significant losses, both physical and psychological, that have derailed the lives of adults and young adults so that they can actively participate in rebuilding and recreating themselves. The population faces premature morbidity and experiences higher than average rates of chronic and life-threatening disorders, including diabetes, obesity, metabolic syndrome, cardiovascular disease, depression, anxiety, autism, ADHD, trauma- and stressor related disorders, and schizophrenia. When participants join any of the BU Center for Psychiatric Rehabilitation programs, they take on the role of student, increasing their knowledge, skills, and supports to further their personal goals and recovery journeys.Several of the mind-body, rehabilitation interventions I design and teach utilize music, singing, and dance to boost mood and motivation, facilitate social connection, increase concentration, improve memory, create new positive memories, deepen respiration, promote movement, and elicit the relaxation response. In addition, I use seated and walking meditation (often combined with nature sounds, music, chanting, and/or singing) to cultivate attention, curiosity, awareness, acceptance, an expanded perspective, accurate perceptions, compassion, and optimism. The poem The Medicine of Salsa was inspired primarily by my 13-week intervention entitled Mindful Music, Dance, and Meditation that I have been teaching and developing since 2014. The students learned to dance a variety of upbeat West Indian and Latin dances, starting with the English language lyrics of reggae, calypso, soca and advancing into the unfamiliar rhythms of cumbia, merengue, cha-cha-cha, and salsa, all sung in Spanish lyrics. My intention was to introduce new songs with wholesome and optimistic lyrics so that they would not trigger negative or distressing memories.Each 90 minute class was structured by a check-in, listening to and singing new music, a review of dance steps from the previous class, learning and practicing a new dance with recorded music (in the large group and then in small groups, and/or with partners), a seated meditation, and a short feedback session. At the end of each class, students reported feeling energized yet calm, present, hopeful, and more positive, confident, connected to each other, happy, and focused.
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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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Iwai, Daisuke, Toro Felipe, Noriko Nagata, and Seiji Inokuchi. "Digital Contents: Identification of Motion Features Affecting Perceived Rhythmic Sense of Virtual Characters through Comparison of Latin American and Japanese Dances." Journal of The Institute of Image Information and Television Engineers 65, no. 2 (2011): 203–10. http://dx.doi.org/10.3169/itej.65.203.
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Fairley, Jan. "Dancing back to front: regeton, sexuality, gender and transnationalism in Cuba." Popular Music 25, no. 3 (September 11, 2006): 471–88. http://dx.doi.org/10.1017/s026114300600105x.
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In this Middle Eight using ethnographic observation and interviews made in Cuba in May–July 2005 and March–April 2006 I problematise the new Latina/o dance music ‘reggaetón’ which in the USA is being heralded as ‘‘an expression of pan-Latino identity … the latest Latin musical style to sweep the world … the one with the most promise of finding a permanent, prominent place not just in US but in global popular culture …” (Marshall, 2006). Notably along with hip-hop with which it is now related in Cuban cultural politics, this is the first pan-Latin style of non-Cuban origin to have a strong presence in post-‘Special period’ 1990s revolutionary Cuba. I focus on the significance and possible history of the dance moves and the lyrics of two key songs, discussing possible political double meanings and implications within a Cuban context. While focusing particularly on issues of regeton in Cuba, I place regeton in Cuba in the larger context of reggaetón history in the Latin world and of Latin dance history and discuss it within the constant construction of an appropriate Cuban national identity. I pose open questions about gender, sexuality and generational attitudes. The overall theoretical context falls within the context of Järviluoma et al's work on ‘gender as cultural construction’ (2003). It builds on work on gender and dance which forms a small part of Fairley (2004).
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Ptashenko, Serhii. "Song and dance genre specifics in works for button accordion by the composers of the Department of Folk Instruments of Ukraine of Kharkiv I. P. Kotlyarevsky National University of Art." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 67–82. http://dx.doi.org/10.34064/khnum1-59.05.
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Recent years have provoked an increasing interest in button accordion arts of Ukraine therefore a great demand for button accordion performance based on song and dance genre features is to be of great importance. Our research work deals with the embodiment of the song and dance genres features in academic button accordion art. The above-mentioned phenomenon has led to the appropriate systematization of their transformations in the musicological viewpoint therefore is stated to be very novel. This systematization is revealed from stylization to various arrangements, further transcriptions, fantasies, paraphrases, works on the theme of other artists that is to create the genre-style transformation. The aim of the research is to determine the genre-style methods of composers’ work for button accordion on the basis of song and dance genre. Present scientific research scope led to the solution of the following tasks: the disclosure of methods of author’s song and dance originals processing, identifying the specifics of drama and means of musical expression, justifying the popularity of works in the domestic musical performance. The following methods are used: analytical, comparative-historical and structural-functional. Summing up the results, it can be concluded that stylizations of dance and song genre are stated to be a great component of button accordion art. The use of European modeling samples (gavotte, mazurka and musette) contributed to the button accordion performance leading to sound production sophistication, high refinement of the sound palette and dynamic nuance, which enriched the artistic means of expressiveness, contributed to the evolution of interpretive experience. In the arrangements and transcriptions (by other authors) of Latin American dance genres there was an enrichment of rhythmic intonation structures and timbre palette of the instrument that lead to great popularity among performers and listeners by the interaction of academic art and genres belonging to the ‘third layer’. Among the opuses created in the genre-style transformation of songs and dances, the re-intonation of the original musical compositions received high artistic results. The use of modern means of button accordion expression, construction of new musical forms, application of elements of musical polystylistics, modification of genres are aimed at multifaceted reproduction of the figurative content of the original source, giving it a new artistic value and concert life. In the musical works of button accordion composers, the direction of song and dance genres features continuously enriches the quantitative and qualitative musical literature, so the prospects for further scientific research are relevant and promising.
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Carwile, Christey. "“The Clave Comes Home”: Salsa Dance and Pan-African Identity in Ghana." African Studies Review 60, no. 2 (May 22, 2017): 183–207. http://dx.doi.org/10.1017/asr.2017.6.
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Abstract:While salsa dance is popularly, and now globally, understood to be a symbol and expression of Latin identity, its adoption in non-Latin contexts has produced new meanings and cultural configurations. This is particularly the case in West Africa, where salsa is not only catching on among urban youth, but is becoming understood and approached from an African perspective. This article explores the ways in which salsa dance in Ghana serves as an innovative, embodied expression of a contemporary, pan-African identity. This is seen in Ghanaian dancers’ ideological reinvigoration of salsa’s African history and in the physical incorporation of local styles and presentations. Salsa in Ghana is recast through global networks, which in turn contributes to its global character while refashioning it to better suit local motives and desires. Thus, rather than emphasizing salsa’s African roots alone, dancers in Ghana equally engage with the complexroutesof the dance.
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Sekulic, Damir, Dasa Prus, Ante Zevrnja, Mia Peric, and Petra Zaletel. "Predicting Injury Status in Adolescent Dancers Involved in Different Dance Styles: A Prospective Study." Children 7, no. 12 (December 16, 2020): 297. http://dx.doi.org/10.3390/children7120297.
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The positive effects of dance on health indices in youth are widely recognized, but participation in dance is accompanied with a certain risk of injury. This prospective study aimed to investigate injury occurrence and to evaluate the possible influences of specific predictors on the occurrence of musculoskeletal problems and injuries in adolescent dancers. Participants were 126 dancers (21 males; 11–18 years), who were competitors in the urban dance, rock and roll, and standard/Latin dance genres. Predictors included sociodemographic factors, anthropometric/body build indices, sport (dance) factors, and dynamic balance. The outcome variable was injury status, and this was evaluated by the Oslo Sports Trauma Research Centre Overuse Injury Questionnaire (OSTRC). Predictors were evaluated at baseline, and outcomes were continuously monitored during the study period of 3 months. During the study course, 53% of dancers reported the occurrence of a musculoskeletal problem/injury, and dancers suffered from an average of 0.72 injuries over the study period (95% CI: 0.28–1.41), giving a yearly injury rate of 280%. Gender and dance styles were not significantly related to the occurrence of injury. Higher risk for injury was evidenced in older and more experienced dancers. Dynamic balance, as measured by the Star Excursion Balance Test (SEBT), was a significant protective factor of injury occurrence, irrespective of age/experience in dance. Knowing the simplicity and applicability of the SEBT, continuous monitoring of dynamic balance in adolescent dancers is encouraged. In order to prevent the occurrence of musculoskeletal problems/injuries in youth dancers, we suggest the incorporation of specific interventions aimed at improving dynamic balance.
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Fortuna, Victoria. "Dancing Argentine Modernity: Imagined Indigenous Bodies on the Buenos Aires Concert Stage (1915–1966)." Dance Research Journal 48, no. 2 (August 2016): 44–60. http://dx.doi.org/10.1017/s0149767716000206.
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This article argues that the unrealized balletCaaporá(1915), conceived for choreography by Vaslav Nijinsky, and Oscar Araiz'sLa consagración de la primavera(1966,The Rite of Spring) fundamentally shaped the establishment and reimagination of concert dance as a site of modernity in Argentina. Both works danced modernity through imagined pre-Columbian indigenous myths choreographed in Euro-American concert dance forms. In Argentina, “unmarked” ballet and modern dance forms signaled a universalized cultural advancement aligned with the West, while indigenous myths staged “marked” Latin American origins that held racial difference at a distance from the modern present.CaaporáandConsagraciónnegotiated the “marked” and the “unmarked” toward different ends. WhileCaaporástrove to “Argentinize” European ballet at the turn of the century,Consagraciónmarked the move to claim concert dance as Argentine at midcentury. By focusing on the role of indigenism in these two works, this article contributes to scholarship on the modernist negotiation of the marked and unmarked in Latin American concert dance as a strategy for staging—and transcending—the nation.
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Bosse, Joanna. "Salsa Dance and the Transformation of Style: An Ethnographic Study of Movement and Meaning in a Cross-Cultural Context." Dance Research Journal 40, no. 1 (2008): 45–64. http://dx.doi.org/10.1017/s0149767700001364.
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Over the last century perennial surges in the popularity of Latin American couple dance genres such as tango and rumba in the United States have served as lightning rods for debate on issues of morality, performance, and identity. These “crazes” have fueled the collective American imagination, reinforcing a type of Latin American exotica that prevailed throughout the twentieth century and into the next. Consequently, they have also fostered an entirely new style of performance as white Americans borrowed—or perhaps better stated, appropriated—these genres for their own. For instance, the two styles of tango performed by ballroom dancers today, some one hundred years after its introduction to American audiences in theaters and exhibition performances, is sufficiently distant from its Argentine roots to be considered an entirely different dance employing different movements, rhythms, and musical accompaniment.This article explores this particular brand of cross-cultural borrowing through an ethnographic accounting of a salsa dance formation team in central Illinois. Salsa is the latest of the Latin dance crazes, and since the earl. 1990. the genre has experienced increased attention from mainstream American audiences who have invested significant resources in order to learn to dance salsa. Formation teams are presentational performance ensembles, in this case combining salsa; ballroom; and staged, theatrical dance, and generally draw their enthusiasts from ballroom dance circles.
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Wanke, Eileen M., Jasmin Haenel, and David Alexander Groneberg. "Musculoskeletal Pain in Latin American Formation Dance: Localization, Assessment, and Related Behavior." Journal of Dance Medicine & Science 24, no. 1 (March 15, 2020): 24–32. http://dx.doi.org/10.12678/1089-313x.24.1.24.
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Competitive Latin formation dance, a form of dancesport, places extreme physical demands on dancers that can cause pain. Due to the sex-specific requirements of dancesport, sex-specific differences in pain are probable. The aim of this study was to analyze pain with regard to prevalence, localization, perception, assessment, and related behavior in male and female Latin formation dancers. The quantitative cross-sectional observational study was carried out with 41 female and 31 male dancers of a national premier league by use of an anonymous online survey, with 3- and 12-month pain intervals being recorded. Of all participating subjects, 33 females and 26 males confirmed having been in pain during the most recent 3 months and provided detailed information on the pain factors being studied. In order to operationalize pain characteristics, existing pain assessment measures were adapted for dancers. For the most painful body regions, accompanying symptoms, pain intensity, pain perception, and pain evaluation were surveyed. The pain behavior section included questions about trusted persons and dancing despite pain, as well as pain management strategies. As to pain localization, several parts of the lower extremity (hip joint, groin, ankle joint, forefoot, and toes) were significantly more affected in females than in males (p < 0.05). Sensory and affective pain perception ranged from "hardly" to "moderate," with female dancers being more severely affected. Almost 80% of each sex continued dancing despite pain. Intrinsic motives and solidarity with the dance team were most often given as reasons for this behavior. Primarily, sex-specific physical requirements seemed to be most relevant in the occurrence of pain; in addition, pain assessment characteristics and personal behavior were related to attitudes regarding pain and injury. Therefore, in addition to sex, motivational and socio-cultural factors should be considered in future studies of this subject.
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Delgado, Celeste Fraser. "Salsa Crossings: Dancing Latinidad in Los Angeles." Dance Research Journal 46, no. 2 (August 2014): 105–10. http://dx.doi.org/10.1017/s0149767714000308.
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It appears to be a ritual among salsa dance scholars to open by sharing a personal salsa experience. I will follow their lead: My introduction to Los Angeles–style salsa came on a Saturday night in the spring of 1999, when I had the pleasure of taking a tour of the city's salsa scene with dance scholar Juliet McMains. Already an established professional ballroom dancer, McMains was just beginning her graduate studies at the University of California–Riverside where I was visiting faculty, having recently co-edited a collection on Latin/o American social dance. Lucky for me, McMains was among the many brilliant students who enrolled in my class on race and dance. The night of our tour, she invited a handsome friend and fellow ballroom dancer to partner first one of us, then the other, throughout the night. He drove us around the city as we stopped at a cramped restaurant-turned-nightclub in a strip mall, at a glamorous ballroom in Beverly Hills, then ended the night downtown at a massive disco in a former movie palace, the Mayan nightclub.
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Khan, Cristina. "Constructing Eroticized Latinidad: Negotiating Profitability in the Stripping Industry." Gender & Society 33, no. 5 (July 26, 2019): 702–21. http://dx.doi.org/10.1177/0891243219864912.
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Through the analysis of an 18-month ethnography at an exotic dance club located in the Northeastern United States (referred to as Playpen), I uncover how Latina exotic dancers manage their participation in exotic dance by deploying constructions of Latinidad as embodied cues. I focus on Playpen’s weekly event, “Latina Night,” to demonstrate how racialized, sexualized, and gendered constructs relative to Latinidad are produced and regulated in this exotic dance setting. Study participants draw on embodied markers to negotiate how their bodies are read. Those markers include nationality-based appeals, time elapsed since migration, and the ability to express constructions of Latinidad through dance performance. I draw on intersectionality as a conceptual tool, filtered through a sensibility to Latina/o/x lives and experiences, to analyze the nuances of racialization as experienced by Latinas. This approach destabilizes the U.S. black–white racial binary and opens intersectionality to a more nuanced understanding of the production of Latinidad. By approaching racialization as an embodied phenomenon, I elucidate how bodily markers, beyond skin color, become imbued with racialized meaning and condition racialized erotic capital. No less important is how participants draw on racialized, gendered, and sexualized tropes to benefit racialized erotic capital.
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Aguiñaga, Susan, Isabela G. Marques, Spyros Kitsiou, Guilherme M. Balbim, Ben S. Gerber, Susan W. Buchholz, Eduardo E. Bustamante, and David X. Marquez. "BAILAMOS With mHealth Technology! Improving Physical Activity and Well-Being in Middle-Aged and Older Latinxs: A Pre–Post Feasibility Study." Health Education & Behavior 48, no. 5 (September 14, 2021): 575–83. http://dx.doi.org/10.1177/10901981211027517.
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Older Latinxs engage in lower levels of leisure-time physical activity (PA) compared with non-Latinx Whites. Latin dance is a culturally relevant type of leisure-time PA that may engage older Latinx populations, particularly when coupled with mobile health technologies (mHealth). This single group pre–post feasibility study described the PA and health outcomes of middle-aged and older Latinxs participating in BAILA TECH—an intervention that combines the BAILAMOS Latin dance program with mHealth (Fitbit Charge 2, Fitbit app, and motivational text messages). Participants ( n = 20, Mage = 67 ± 7.1, female n = 15, 75%) were enrolled in the 16-week BAILA TECH intervention held twice a week. Participants received a Fitbit Charge 2 to assess PA at baseline, during the intervention, and postintervention. An mHealth platform (iCardia) collected Fitbit data and staff delivered weekly motivational and informational text messages. Participants completed questionnaires about PA, sedentary behavior, cardiorespiratory fitness, social support, quality of life, and cognitive function at baseline and postintervention. Paired t tests evaluated change in pre–post measures. There was a significant increase in device-assessed moderate-to-vigorous PA ( d = 0.69), self-reported light-leisure ( d = 1.91) and moderate-to-vigorous PA ( d = 1.05), moderate-to-vigorous leisure PA ( d = 1.55), predicted cardiorespiratory fitness ( d = 1.10), and PA social support ( d = 0.81 [family]; d = 0.95 [friends]) from baseline to postintervention. Although nonsignificant, there was a small effect on physical health–related quality of life ( d = 0.32) and executive function ( d = 0.29). These data describe an increase in PA levels and health-related outcomes of middle-aged and older Latinxs from participation in an mHealth-infused Latin dance intervention. An adequately powered trial is necessary to establish efficacy.
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Marquez, David X., Robert Wilson, Susan Aguiñaga, Priscilla Vásquez, Louis Fogg, Zhi Yang, JoEllen Wilbur, Susan Hughes, and Charles Spanbauer. "Regular Latin Dancing and Health Education May Improve Cognition of Late Middle-Aged and Older Latinos." Journal of Aging and Physical Activity 25, no. 3 (July 2017): 482–89. http://dx.doi.org/10.1123/japa.2016-0049.
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Disparities exist between Latinos and non-Latino Whites in cognitive function. Dance is culturally appropriate and challenges individuals physically and cognitively, yet the impact of regular dancing on cognitive function in older Latinos has not been examined. A two-group pilot trial was employed among inactive, older Latinos. Participants (N = 57) participated in the BAILAMOS© dance program or a health education program. Cognitive test scores were converted to z-scores and measures of global cognition and specific domains (executive function, episodic memory, working memory) were derived. Results revealed a group × time interaction for episodic memory (p < .05), such that the dance group showed greater improvement in episodic memory than the health education group. A main effect for time for global cognition (p < .05) was also demonstrated, with participants in both groups improving. Structured Latin dance programs can positively influence episodic memory, and participation in structured programs may improve overall cognition among older Latinos.
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Bendrups, Dan. "Latin Down Under: Latin American migrant musicians in Australia and New Zealand." Popular Music 30, no. 2 (May 2011): 191–207. http://dx.doi.org/10.1017/s026114301100002x.
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AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture.
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Schneider, Britta. "Multilingual Cosmopolitanism and Monolingual Commodification: Language Ideologies in Transnational Salsa Communities." Language in Society 39, no. 5 (November 2010): 647–68. http://dx.doi.org/10.1017/s0047404510000643.
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AbstractSalsa, a global urban music and dance phenomenon, is an interesting example for the emergence of transnational cultural spheres. Salsa has its roots in the Americas and in many Salsa communities outside of Latin America, the Spanish language is seen as the authentic means of expression. However, attitudes to multilingualism can differ strongly from Salsa community to Salsa community.In this paper, the Salsa-scene of Sydney is introduced with its various stances towards multilingualism. These are connected to different styles of the dance, where one style is practiced in English only, while dancers of another style are often bilingual speakers of Spanish and English. Monolingualism and multilingualism here mediate the affiliation to different local scenes. Simultaneously, both language ideologies relate to different global discourses of competitive and cosmopolitan culture. It will be asked whether the introduced language ideologies challenge traditional frameworks of society and reified discursive concepts of language. (Multilingualism – Transnationalism – Cosmopolitanism)*
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Chavarrias, Manuel, Santos Villafaina, Ana Myriam Lavín-Pérez, Jorge Carlos-Vivas, Eugenio Merellano-Navarro, and Jorge Pérez-Gómez. "Zumba®, Fat Mass and Maximum Oxygen Consumption: A Systematic Review and Meta-Analysis." International Journal of Environmental Research and Public Health 18, no. 1 (December 25, 2020): 105. http://dx.doi.org/10.3390/ijerph18010105.
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Background and objectives: Obesity or overweight is associated with many health risk factors and preventable mortality. Even people with normal weight and without history of obesity or overweight should avoid weight gain to reduce health risks factors. In this regard Latin aerobic dances involved in Zumba® practice make this modality motivating for people. Apart from weight loss and VO2peak benefits, Zumba practice is also interesting by the increase in adherence which can also avoid weight regain. The aim was to systematically review the scientific literature about the effects of any randomized intervention of Zumba® practice on total fat mass (%) and maximum oxygen consumption (VO2peak), besides establishing directions for the clinical practice. Evidence acquisition: Two systematic searches were conducted in two electronic databases following the PRISMA guidelines. The eligibility criteria were (a) outcomes: body mass or VO2peak data including mean and standard deviation (SD) before and after Zumba® intervention, (b) study design: randomized controlled trial (RCT) and (c) language: English. GRADE guidelines were used to assess the quality of evidence. A meta-analysis was performed to determine mean differences. Nine and four studies were selected for fat mass percentage and VO2peak in the systematic review, respectively. However, only eight studies for fat mass percentage and three for VO2peak could be included in the meta-analysis. Evidence synthesis: The overall standardized mean difference for fat mass was −0.25 with a 95% CI from −0.67 to 0.16 with a p-value of 0.69, with large heterogeneity. On the other hand, the overall effect size for VO2peak was 0.53 (95% CI from 0.04 to 1.02 with a p-value of 0.03) with large heterogeneity. Conclusions: Based on the evidence, we cannot conclude that Zumba® is effective at reducing body mass but it may improve VO2peak. However, the limited number of studies that met the inclusion criteria makes it too early to reach a definite conclusion, so more research is needed.
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Stevens, Kym, Rachel A. Pedro, and Stephanie J. Hanrahan. "Building an authentic cultural curriculum through tertiary cultural dance." Arts and Humanities in Higher Education 19, no. 3 (March 6, 2019): 264–84. http://dx.doi.org/10.1177/1474022219833648.
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This study identified a range of pedagogies developed to promote global citizenship within a university Latin American dance unit. It implemented changes to teaching and learning approaches in the unit using the Biological Sciences Curriculum Study (BSCS) 5E Instructional Model, supporting learning that privileges transcultural connections to Latin America. The action research used a range of dance teaching pedagogies that were adapted, and evaluated, using the Structure of Observed Learning Outcomes (SOLO)Taxonomy, to support a culturally enriched student learning experience. The findings challenge traditional dance teaching pedagogies through meaningful engagements with the local Latin American dance community and a range of student and teacher reflective approaches.
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Coelho, Conrad, and Shobha Menon. "Online Dance Training in a Social Distancing Environment: Examining Preferences of Latin and Ballroom Dancers." Dance Education in Practice 6, no. 4 (October 1, 2020): 23–29. http://dx.doi.org/10.1080/23734833.2020.1831856.
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권세영 and Soo-Woen Lim. "Erotism of Latin American Dancers." Korean Society for the Sociology of Sport 27, no. 3 (September 2014): 89–113. http://dx.doi.org/10.22173/jksss.2014.27.3.89.
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Masters, Bonny, B. Jenny Kiratli, and Minna Hong. "Physical Benefits in Dancers with Spinal Cord Injury Participating in Six Week Mixed Ability Latin Dance Class." PM&R 5 (September 2013): S236. http://dx.doi.org/10.1016/j.pmrj.2013.08.377.
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Aguiñaga, Susan, and David X. Marquez. "Feasibility of a Latin Dance Program for Older Latinos With Mild Cognitive Impairment." American Journal of Alzheimer's Disease & Other Dementiasr 32, no. 8 (July 6, 2017): 479–88. http://dx.doi.org/10.1177/1533317517719500.
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This study investigates the feasibility of a Latin dance program in older Latinos with mild cognitive impairment (MCI) via a feasibility mixed methods randomized controlled design. Spanish-speaking older Latinos (N = 21, 75.4 [6.3] years old, 16 females/5 males, 22.4 [2.8] Mini-Mental State Examination [MMSE] score) were randomized into a 16-week dance intervention (BAILAMOS) or wait-list control; the control group crossed over at week 17 and received the dance intervention. Feasibility was determined by assessing reach, retention, attendance, dance logs, and postintervention focus groups. Reach was 91.3% of people who were screened and eligible. Program retention was 95.2%. The dropout rate was 42.8% (n = 9), and attendance for all participants was 55.76%. The focus group data revealed 4 themes: enthusiasm for dance, positive aspects of BAILAMOS, unfavorable aspects of BAILAMOS, and physical well-being after BAILAMOS. In conclusion, older Latinos with MCI find Latin dance as an enjoyable and safe mode of physical activity.
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Komala Sari, Dea Putri, and Matheus Wasi Bantolo. "KEPENARIAN TOKOH KEN DEDES DALAM KEN DEDES: THE SOLILOQUY KARYA MATHEUS WASI BANTOLO." Greget: Jurnal Pengetahuan dan Penciptaan Tari 18, no. 2 (February 6, 2020): 113–21. http://dx.doi.org/10.33153/grt.v18i2.2867.
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The fullness of the work of Ken Dedes: The Soliloquy is an interpretation of a female character named Ken Dedes from the work of Arok The Godfather’s Soliloquy of Matheus Wasi Bantolo. The study discusses the process and forms of fullness from Ken Dedes: the Soliloquy. To describe this, several concepts were used: In reviewing the fullness of matter using the concept of Alma Hawkins, to describe the form of opera using the concept of Peter Sellars and Matheus Wasi Bantolo, while describing the form of In the works using the Suzane K Langer concept is reinforced by the concept of dance analysis according to Janet Adshead. Writing and reviewing using qualitative methods that are descriptive interpretative, with the observation process participant action research. Results of this study showed that the fullness process conducted based on the process of exploration, improvisation and composition as a stage of the work of the fullness of Ken Dedes: the Soliloquy. The present form of presentation is a new interpretation of the character Ken Dedes in the work of Arok The Godfather’s Soliloquy. The fullness of Ken Dedes: The Soliloquy has a form of dish with an opera concept that uses five dancers who each have dual roles as dancers and musicians. Many movements adopted the movement of Javanese traditions in Surakarta style by combining the elements of Latin dance motion in them. It is based on the thought of choreographer to elaborate on The character Ken Dedes as a woman in the past with female figures in The Godfather film and female figures at present. The fullness of the work of Ken Dedes: The Soliloquy has a perspective on how Ken Dedes as women with the various problems faced can be aligned with women today. Keywords: fullness, character Ken Dedes, Opera.
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Propisnova, Elena, Ekaterina Turchina, Darya Degtyareva, and Elena Repnikova. "Using the method of postisometric relaxation for the technique of posers improvement of the Latin American program." BIO Web of Conferences 26 (2020): 00003. http://dx.doi.org/10.1051/bioconf/20202600003.
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The aim of the research to create and experimentally substantiate complexes of exercises, based on the method of postisometric relaxation, directed toward technical poses improvement of the Latin American program by highly-qualified dancers. Research methods: For the pedagogical experiment two groups of dancers were formed (control and experimental group) each group included 12 people. Unlike the control group the training process of dancers from the experimental group included the complexes of physical exercises based on the methodology of postisometric relaxation. Pedagogical experiment was held during 6 months (since September, 2018 till February, 2019). In terms of the research we measured the development level of flexibility of different muscles groups and defined the degree of mastering the technique of poses fulfillment by dancers. Research results. We created the complexes of exercises, based on the methodology of postisometric relaxation, directed toward technique of poses fulfillment of the Latin American program by athletes- dancers. According to the results of statistic data handling it was revealed that the created by us complexes had positive influence on spine and hip joints flexibility development. It provided poses fulfillment technique development during competitive activity of athletes-dancers from the experimental group. Conclusion. Thus, using the method of postisometric relaxation during the training process of athletes- dancers provides purposeful increase of their technical mastery owing to qualitative poses fulfillment during competitive activity.
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Meric, Odemis, and Adilogullari Ilhan. "Does 12-Week Latin Dance Training Affect the Self-Confidence of the University Students?" Journal of Education and Learning 5, no. 4 (September 25, 2016): 159. http://dx.doi.org/10.5539/jel.v5n4p159.
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<p>In this research, it is aimed to investigate the effect of 12-week Latin dance training on the self confidence of university students. This research was conducted with a total of 60 students, including 30 students as control and 30 students as working group. 33-item self-confidence scale developed by Akin (2007) was applied to both control and working group. Latin dance training was carried out once a week (2 hours) for a total of 24 hours, in 12 weeks. SPSS 16.0 was used for the evaluation of the data obtained in the study. Percetage, frequency, Paired Sample and Independent t-test were used for the analysis of the data. When post-test scores of self-confidence were evaluated, score of working group was found to be statistically significant compared to control group. According to the result of the research, it might be said that 12-week Latin dance training had increased the self confidence of the participants.<strong> </strong><strong></strong></p>
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Balbim, Guilherme M., Susan Aguinaga, Isabela G. Marques, Jacqueline Guzman, David X. Marquez, and Priscilla Vasquez. "MIDDLE-AGED AND OLDER LATINOS’ SATISFACTION OF BAILAMOS LATIN DANCE PROGRAM." Innovation in Aging 3, Supplement_1 (November 2019): S714. http://dx.doi.org/10.1093/geroni/igz038.2620.
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Abstract Older Latinos engage in low levels of leisure-time physical activity (LTPA). Dance is a culturally appropriate activity which can be used to increase LTPA levels. We examined middle-aged and older Latinos’ satisfaction with the revised BAILAMOS Latin dance program. Healthy and low actives middle-aged and older Latinos (Mage = 64.89±7.08) were randomized to a 4-month dance program (n=167) or health education (n=166). The dance program consisted of four Latin dance styles (Merengue, Bachata, Cha Cha Cha, and Salsa). Classes were held twice a week for one hour. A total of 113 participants completed the program. Participants completed a program evaluation about the 4-months program regarding time, duration, settings, instructor, and overall satisfaction. Items were evaluated on a 1 (strongly disagree/very bad) to 4 (strongly agree/excellent) Likert agreement scale. A total of 73 participants evaluated the 4-month dance program. Participants evaluated the program adequacy agreeing or strongly agreeing as far: time, duration and setting (96-98%); instructor’s enthusiasm, quality of instructions, and eager to help (96-100%); dance program’s progression and enjoyment (93-96%); difficulty level (59%). Participants reported they intended to keep dancing by themselves (93%) and would recommend the program to friends and family (98%). Many participants (88%) reported feeling physically excellent or good as a result of the program, 95% found the program excellent or good, and 100% thought the program was worth their time. Overall, the BAILAMOS program evaluation demonstrated high participants’ acceptability and satisfaction. Those results can promote sustained LTPA and provide initial evidence to translation into community settings.
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Perry, Mark E. "Book Review: Latin American Music and Dance." Latin American Perspectives 33, no. 6 (November 2006): 200–201. http://dx.doi.org/10.1177/0094582x05281118.
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Kant, Marion. "Dance in Exile: The Latin American Connection." Performance Research 3, no. 1 (January 1998): 32–42. http://dx.doi.org/10.1080/13528165.1998.10871586.
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Katherine Borland. "Preface: Latin American Dance in Transnational Contexts." Journal of American Folklore 122, no. 486 (2009): 375–77. http://dx.doi.org/10.1353/jaf.0.0108.
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Barczak, Paulina, and Hanna Bednarek. "Life satisfaction and increased self-perceived attractiveness as psychological benefits of physical activity." Aesthetic Cosmetology and Medicine 9, no. 6 (2020): 477–84. http://dx.doi.org/10.52336/acm.2020.9.6.02.
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The studies demonstrate the relationship between higher level of life satisfaction and exercise. The purpose of this article was to determine what type of physical activity, CrossFit training or Latin Dance, positively impacts the level of life satisfaction and self-perceived physical attractiveness in young adults. After CrossFit and Latin Dance training participants declared greater overall satisfaction with life, greater life optimism, increased self-efficacy and greater self-esteem. The results of the authors’ study may be an important contribution to the discussion about factors influencing human well-being. Furthermore, the research could be a scientific argument to promote physical activity among young adults.
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Hellsten, Laura. "Dance as a contemplative practice." Approaching Religion 11, no. 1 (March 20, 2021): 117–34. http://dx.doi.org/10.30664/ar.98065.
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This article analyses ethnographic material gathered in Sweden amongst dancers in the Church of Sweden. With the help of the writings of Sarah Coakley and Simone Weil I explore if, and how, dancing could be considered a contemplative practice in the Christian traditions of the Latin West.
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Tobey, Cheryl. "The Latin Explosion: Spanish- and Latin-Inspired Dance, Theatre, and Art in Chicago." PAJ: A Journal of Performance and Art 26, no. 3 (September 2004): 72–77. http://dx.doi.org/10.1162/1520281041969039.
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Ravetti, Graciela. "Em estado de tradução: Manuel Puig e Lars von Trier." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 232–40. http://dx.doi.org/10.17851/2317-2096.8..232-240.
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Resumo: Leitura de dois textos (La traición de Rita Hayworth, romance de Manuel Puig e Dancer in the dark, filme de Lars von Trier) nos quais é possível capturar de que maneira certas formas como a dos musicais melodramáticos — muito difundidas e já clássicas do fazer cinematográfico hollywoodiano — foram recepcionadas por pessoas que viviam em sociedades periféricas, estigmatizadas por carências econômicas e culturais, entre outras. Trabalha-se também com a possibilidade de reconstruir hipoteticamente o modo como essas formas e suas significações, habitualmente rotuladas de alienantes, foram transformadas em instrumentos, se não de liberação, pelo menos de consolo e de alimento nas horas de resistência à dor e ao sofrimento humanos.Palavras-chave: cinema; literatura; América Latina; pós-colonialismo.Abstract: This paper presents a reading of two texts, namely La traición de Rita Hayworth, Manuel Puig’s novel, and Dancer in dark, a film by Lars von Trier. This analysis aims at an investigation of the reception of the already widespread classical style of Hollywood movies, like the musical melodrama, by those who live in peripheral societies, marginalized by economic and cultural lack, among others. It deals with the possibility of reconstructing hypothetically the way these forms and their significance, generally labelled as alienating, were transformed into instruments, if not of liberation, at least of solace and nurturing in moments of resistance to pain and human suffering.Keywords: movies; literature; Latin America; post-colonialism.
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Gagné, Nana Okura. "Romance and sexuality in Japanese Latin dance clubs." Ethnography 15, no. 4 (July 4, 2013): 446–68. http://dx.doi.org/10.1177/1466138113490605.
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Rong, Ming, Yongxiang Wang, and Yaodong Gu. "Plantar pressure distribution character in the Latin dance." Footwear Science 1, sup1 (June 2009): 36–37. http://dx.doi.org/10.1080/19424280902977152.
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