Relevant bibliographies by topics / Rumba (danse)

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Academic literature on the topic 'Rumba (danse)'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Rumba (danse)"

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Ross, Karen. "Danse Macabre: Politicians, Journalists, and the Complicated Rumba of Relationships." International Journal of Press/Politics 15, no. 3 (May 6, 2010): 272–94. http://dx.doi.org/10.1177/1940161210367942.

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Grau, Andrée, Yvonne Daniel, Barbara Browning, Marta Savigliano, and Andree Grau. "Rumba: Dance and Social Change in Contemporary Cuba." Dance Research: The Journal of the Society for Dance Research 15, no. 1 (1997): 79. http://dx.doi.org/10.2307/1290955.

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Cone, Theresa Purcell, and Yvonne Daniel. "Rumba: Dance and Social Change in Contemporary Cuba." Dance Research Journal 30, no. 2 (1998): 79. http://dx.doi.org/10.2307/1478842.

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Lewis, J. Lowell, Yvonne Daniel, Barbara Browning, and Marta E. Savigliano. "Rumba: Dance and Social Change in Contemporary Cuba." TDR (1988-) 40, no. 4 (1996): 164. http://dx.doi.org/10.2307/1146599.

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Chasteen, John Charles, and Yvonne Daniel. "Rumba: Dance and Social Change in Contemporary Cuba." Hispanic American Historical Review 77, no. 1 (February 1997): 97. http://dx.doi.org/10.2307/2517074.

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Rodriguez, Olavo Alen, and Yvonne Daniel. "Rumba: Dance and Social Change in Contemporary Cuba." Latin American Music Review / Revista de Música Latinoamericana 20, no. 2 (1999): 313. http://dx.doi.org/10.2307/780026.

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Chasteen, John Charles. "Rumba: Dance and Social Change in Contemporary Cuba." Hispanic American Historical Review 77, no. 1 (February 1, 1997): 97. http://dx.doi.org/10.1215/00182168-77.1.97.

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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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Seo, Se-Mi, and Tae-Sam Kim. "Kinematic Character istics to Skill Degree during Dance Sports Rumba Forward Walk." Korean Journal of Sport Biomechanics 20, no. 3 (September 30, 2010): 293–301. http://dx.doi.org/10.5103/kjsb.2010.20.3.293.

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Lee, Jin, Cheong-Hwan Oh, and Eun-Hye Huh. "Kinematic Analyses of Scapula Depression in Cucarachas Movements in Dance Sport Rumba." Korean Journal of Sport Biomechanics 21, no. 1 (March 31, 2011): 77–83. http://dx.doi.org/10.5103/kjsb.2011.21.1.077.

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Dissertations / Theses on the topic "Rumba (danse)"

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Grabli, Charlotte. "L’urbanité sonore : auditeurs, circulations musicales et imaginaires afro-atlantiques entre la cité de Léopoldville et Sophiatown de 1930 à 1960." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0138.

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Cette thèse examine les rapports entre musique et politique dans l’espace de circulations musicales s’étendant entre Sophiatown, à Johannesburg, en Afrique du Sud, et la « cité indigène » de Léopoldville (aujourd’hui Kinshasa), au Congo belge, de 1930 à 1960. L’étude envisage à la fois la fabrique musicale de ces quartiers ségrégués – l’usage des nouvelles technologies d’écoute, l’appropriation des styles afro-atlantiques, la profusion des fêtes et la vie des bars – et la formation de l’espace transcolonial de la musique congolaise moderne, mieux connue sous le nom de « rumba congolaise », à l’ère de la radio. Bien que souvent occulté, le développement précoce de l’industrie musicale sud-africaine joua un rôle important dans l’émergence et la mobilité des premières célébrités médiatiques congolaises qui parcouraient les routes transimpériales entre Léopoldville, Elisabethville (Lubumbashi), Nairobi et Johannesburg. Étudiés conjointement, l’ancrage et le déploiement de ce que nous appelons l’« urbanité sonore » permettent d’éclairer la place des célébrités et chansons transcoloniales dans l’imaginaire politique des auditeurs africains. Ces phénomènes témoignent également des nouvelles possibilités d'émancipation que l'économie des plaisirs offraient aux catégories les plus marginalisées de la ville coloniale, telles que les « femmes libres » et/ou membres des sociétés d'élégance.A la cité de Léopoldville, comme à Sophiatown, auditeurs, danseurs et musiciens contestaient la définition coloniale de l’urbanité alors que le gouvernement monopolisait la définition de « la ville », en même temps qu’il en conditionnait l’accès, symbolique et concret. Jusqu’au lendemain de l’Indépendance du Congo en 1960, la scène musicale de la cité s’établit comme le principal espace d’expression politique et d’affirmation de la place du Congo moderne dans l’Atlantique noir.L’étude considère ainsi la musique dans la continuité de l’écologie sonore de la ville afin d’« écrire le monde depuis une métropole africaine ». Il ne s’agit pas seulement de penser la musique en contexte, mais aussi comme contexte, en tant que paysage, en l’étendant au-delà de la performance pour inclure les différents jeux d’échelle qui façonnaient les mondes musicaux. Pour comprendre la dimension politique des échanges afro-atlantiques impliqués dans la création de la rumba congolaise – un style africain né de l’écoute des musiques afro-cubaines –, il importe de prendre en compte le contexte de globalisation des modes d’écoute et de l’ethnicité. A une époque où le nationalisme racialisé des États-Unis façonnait la compréhension du jazz, comment repenser l’opposition d’une « Afrique latine » à une « Afrique du jazz », dont les pôles respectifs se situeraient à Johannesburg et Léopoldville ? Cette thèse cherche à déconstruire ces représentations tout en observant la puissance d’agir de la musique noire – « sa réalité et son inexistence » – en fonction des contextes, des acteurs et des lieux
This thesis studies connections between music and politics within the space of music circulation stretching from Sophiatown, in Johannesburg, South Africa, to the cité (the “native quarters”) of Léopoldville (today Kinshasa), in the Belgian Congo, from 1930 to 1960. This study considers the music making of these segregated areas – the uses of new sound technologies, the appropriation of Afro-Atlantic styles, the profusion of festivities and nightlife – as well as the formation of the trans-colonial space of modern Congolese music—better known as “Congolese rumba”—in the age of radio. Although often overlooked, the early development of the South African record industry played an important role in the making and mobility of the first Congolese media celebrities who circulated across the trans-imperial roads between Léopoldville, Elisabethville (Lubumbashi), Nairobi and Johannesburg. Studied together, the grounding and the deployment of what I call “sonic urbanity” highlight the place of trans-colonial celebrities and songs in the political imaginary of African listeners. These phenomena also show how the economy of pleasure offered new possibilities of emancipation to the most marginalized categories such as the "free women" and members of women’s fashion associations.Both in the cité of Léopoldville and in Sophiatown, listeners, dancers and musicians challenged ideas of black exclusion to urbanity enforced by the government that conditioned symbolic and material access to “the city”. Until the day after independence in 1960, the musical scene represented the main space for political expression in the modern Congo, allowing it to claim its place in the Black Atlantic.This thesis thus conceptualizes music as part of the city’s ecology of sound in an attempt to “write the world from the African metropolis”. It does not merely think of music in context but also regards it as context and soundscape, extending it beyond performance by including the different “scale games” that shaped musical worlds. Understanding the political dimension of the AfroAtlantic exchanges involved in the creation of Congolese rumba – an African style born out of listening to Afro-Cuban music – requires a consideration of the globalisation of ways of listening and ethnicity. How can we rethink the opposition of a “Latin Africa” to an “Africa of jazz”, whose poles would be located respectively in Léopoldville and Johannesburg, at the moment when U.S. racialized nationalism shaped understandings of jazz? This thesis seeks to both deconstruct these representations and examine the power of black music to act—its “reality and non-existence”— depending on contexts, actors and places
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Holden, Patsy. "Civilized Dancing: The Evolution of Ballroom Dancing from African Trance and Folk Dance." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1173.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
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Arts and Humanities
Philosophy
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Romaguera, Lauren D. "Identification Through Movement: Dance as the Embodied Archive of Memory, History, and Cultural Identity." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3666.

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Chaves, Vanessa. "L’influence des musiques populaires urbaines sur l’écriture des romanciers s’exprimant dans une langue d’origine coloniale : le cas du tango dans le roman argentin et de la rumba congolaise dans le roman du Congo-Brazzaville." Paris 4, 2007. http://www.theses.paris-sorbonne.fr/chaves/paris4/2007/chaves/html/index-frames.html.

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Cette étude comparative sur l’Argentine et le Congo–Brazzaville traite de l’impact des cultures populaires urbaines, telles que le tango et la rumba congolaise, sur l’écriture romanesque. Il s’agit de cerner le dilemme auquel sont confrontés les écrivains s’exprimant dans une langue d’origine coloniale. L’objectif est de saisir comment ces musiques populaires et les langages hybrides qu’elles ont développés – le lunfardo et le lingala - contribuent à émanciper la production littéraire de ces jeunes nations. Ce rapprochement nous a paru pertinent en raison du décalage historique entre l’Argentine et le Congo, l’une accédant à l’indépendance en 1816 et l’autre, en 1960. Tout d’abord, nous analysons les tensions auxquelles ces littératures nationales sont soumises, du fait de leur passé colonial. Nous étudions ensuite comment le tango et la rumba congolaise, nés dans les faubourgs de capitales tentaculaires, s’imposent comme phénomènes culturels majeurs, au point d’asseoir leur influence sur la littérature. Enfin, nous examinons dans quelle mesure musique et écriture constituent une alliance salutaire pour une création littéraire singulière et universelle
This comparative study on the Argentina and the Congo-Brazzaville deals with the impact of popular urban cultures - such as the tango and the Congolese rumba - on the novel style. The aim is to define the novelists’ dilemma expressing in a language of a colonial origin. These popular musics have expanded two hybrid languages : the lunfardo and the lingala. The objective is to explain how these forms of expression contribute to emancipate the literary production of these young nations. This comparison seems judicious because of the historic gap between the Argentina and the Congo, the first one coming to the independence in 1816 and the other one, in 1960. At first, we analyse the tensions which influence these national literatures, because of their colonial past. Then, we study how the tango and the Congolese rumba, born in the suburbs of these octopus capital cities, reveal themselves as major cultural phenomena, so that they established their influence on the literature. Finally, we examine how music and writing constitute a salutary alliance for a singular and universal literary creation
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Chaves, Vanessa Chevrier Jacques. "Etude comparatiste entre l'Afrique et l'Amérique latine l'influence des musiques populaires urbaines sur l'écriture des romanciers s'exprimant dans une langue d'origine coloniale /." Paris : Université Paris Sorbonne - Paris IV, 2007. http://www.theses.paris4.sorbonne.fr/chaves/paris4/2007/chaves/html/index-frames.html.

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Daniel, Yvonne LaVerne Payne. "Ethnography of rumba dance and social change in contemporary Cuba /." 1989. http://catalog.hathitrust.org/api/volumes/oclc/22546588.html.

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Molloy, Felicity. "Dancing into the classroom = Te kanikaniki roto i te ruma [i.e. Te kanikani ki roto i te ruma] : the student and teacher experiences of somatic practices in a New Zealand intermediate school. A thesis submitted for the degree of Master of Education at Unitec, Auckland, New Zealand /." Diss., 2009. http://www.coda.ac.nz/cgi/viewcontent.cgi?article=1021&context=unitec_educ_di.

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Books on the topic "Rumba (danse)"

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Rumba: Dance and social change in contemporary Cuba. Bloomington: Indiana University Press, 1995.

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González, Nancy Grasso. Rumba: Toques y cantos. Matanzas, Cuba: Ediciones Vigía, 2001.

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Orovio, Helio. La conga, la rumba: Columbia, yambú y guaguancó. Santigo de Cuba: Editorial Oriente, 1994.

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Günther, Helmut. Vom Schamanentanz zur Rumba: Die Geschichte des Gesellschaftstanzes. 3rd ed. Stuttgart: F. Ifland, 1993.

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Rumba rules: The politics of dance music in Mobutu's Zaire. Durham: Duke University Press, 2008.

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Martré, Gonzalo. Rumberos de ayer: Músicos cubanos en México (1930-1950). Veracruz, México: Instituto Veracruzano de Cultura, 1997.

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Danses "latines" et identités, d'une rive à l'autre--: Tango, cumbia, fado, samba, rumba, capoiera--. Paris: L'Harmattan, 2000.

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

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Carvajal, Moraima. Caracas una rumba: De las danzas cortesanas al mago de la música bailable (1700-1960). Caracas: FUNDARTE, 1996.

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

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Book chapters on the topic "Rumba (danse)"

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Ana, Ruxandra. "Rumba:." In Collaborative Intimacies in Music and Dance, 163–86. Berghahn Books, 2017. http://dx.doi.org/10.2307/j.ctvw048hp.12.

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"Rumba Encounters." In Making Caribbean Dance, edited by Juliet Mcmains, 37–48. University Press of Florida, 2010. http://dx.doi.org/10.5744/florida/9780813034676.003.0003.

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Leymarie, Isabelle. "De la rumba brava à la rumba de salon." In Danses latines, 95–105. Autrement, 2007. http://dx.doi.org/10.3917/autre.dorie.2007.01.0095.

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"The Political Life of Dance Bands." In Rumba Rules, 195–223. Duke University Press, 2008. http://dx.doi.org/10.1215/9780822389262-007.

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"THE POLITICAL LIFE OF DANCE BANDS." In Rumba Rules, 195–224. Duke University Press, 2008. http://dx.doi.org/10.2307/j.ctv125jfnp.11.

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"7. The Political Life of Dance Bands." In Rumba Rules, 195–224. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822389262-009.

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Abra, Allison. "English style: foreign culture, race and the Anglicisation of popular dance." In Dancing in the English Style. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994334.003.0006.

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This chapter examines the creation and commodification of national identity within popular dance. The discussion focuses on the efforts of the dance profession to standardise the steps of the English style, and demonstrates that there was far more invested in that process than simply establishing a formal set of steps and figures. Within the context of broader fears about Americanisation, dance professionals sought to transform foreign dances like the foxtrot and tango in a way that made them more suitable to the national character or temperament. This vision of the nation was explicitly articulated in opposition to racialised American and stereotypically Latin others, and emphasised English virtues like reserve and refinement. With its specific syllabus of standard steps and figures, the English style also became a marketable commodity which was sold at home as well as abroad. Yet the chapter shows that the profession’s efforts to craft a national dancing style were greeted with a mixed response from the British dancing public. Instead, they retained a strong interest in foreign dances like the rumba and truckin’, especially as they began to view the English style technique as stagnant and excessively regimented by the 1930s.
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