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Books on the topic 'Rumba (danse)'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

American Latin music: Rumba rhythms, bossa nova, and the salsa sound. Minneapolis: Twenty-First Century Books, 2013.

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12

Bottomer, Paul. Let's dance: Learn to swing, jitterbug, rumba, tango, line dance, lambada, cha-cha, waltz, two-step, foxtrot and salsa with style, grace and ease. New York: Black Dog & Leventhal, 1998.

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13

Bottomer, Paul. Let's dance: Learn to swing, jitterbug, rumba, tango, line dance, lambada, cha-cha, waltz, two-step, foxtrot and salsa with style, grace and ease. New York: Black Dog & Leventhal, 1998.

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14

Daniel, Yvonne. Rumba: Dance and Social Change in Contemporary Cuba (Blacks in the Diaspora). Indiana University Press, 1995.

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15

Daniel, Yvonne. Rumba: Dance and Social Change in Contemporary Cuba (Blacks in the Diaspora). Indiana University Press, 1995.

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16

L, Nelson Thomas, and CoupleDanceWorld (Organization), eds. Rumba dance encyclopedia: And related dance : a reference for coupledancers : a couple's guide to dancing. Bloomington, IN: AuthorHouse, 2008.

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17

L, Nelson Thomas, and CoupleDanceWorld (Organization), eds. Rumba dance encyclopedia: And related dance : a reference for coupledancers : a couple's guide to dancing. Bloomington, IN: AuthorHouse, 2008.

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18

Daniel, Yvonne. Caribbean Popular Dance Transformations. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0005.

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This chapter examines Caribbean popular dances that undergo transformations over time and across borders, with particular emphasis on Cuban community rumba and how it evolved into commercial rhumba. It first considers intra-Caribbean dances and their dance music mixtures before turning to Cuban rumba to illustrate how popular dance changes shape and identities and travels across old and new borders, from local to transnational. It also discusses mixing and (con)fusion that characterize Cuban popular dances by citing the case of mambo, a descendant of son. Finally, it describes quindembo, a mixture of dance movement vocabulary that keeps refreshing itself with new trends, and the concept of liberation within Caribbean popular dance.

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19

Giraffes Can't Dance Number Rumba Counting Book. Scholastic, 2013.

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20

Latin Dance: Intermediate Rumba, Cha-cha & Salsa. Ace of Hearts Publishing, 2005.

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21

White, Bob W. Rumba Rules: The Politics of Dance Music in Mobutu's Zaire. Duke University Press, 2008.

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22

Mukatikoko, Mpyangu O. March of the Rumba: Is Dance Imitating Life? Is LIfe Imitating Dance? or Is Life Simply Dance? Independently Published, 2019.

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23

Daniel, Yvonne. Creole Dances in National Rhythms. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0004.

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This chapter examines social dances that display national dance formation and how they rise to national status in one country, while other nations identify only one dance for hundreds of years. It first considers examples of Creole dances that have become synonymous with island identity, such as Jamaican reggae, Trinidadian calypso, Dominican merengue, and French Caribbean zouk. It then explores the Cuban dance matrix and its various segments, including Native American dance, Spanish dance, African dance, and Haitian dance. It also traces the development of Cuba's national dances, focusing on danzón, son, and rumba and suggests that national dance depends on relevance to historical conditions, which class/group is in power, and the pertinent cultural values that are encapsulated within dance movement. The chapter concludes by noting how Caribbean dances surface toward the national level, match national concerns, and become attached to the national imagination.

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24

Bosse, Joanna. Interlude. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0008.

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In this interlude, the author talks about some of her fellow ballroom dancers at the Regent Ballroom and Banquet Center. She begins with Tony and Sarah, one of the many “empty-nester” couples who arrive at the Regent hoping to reconnect now that their children are grown and gone. When they are on the dance floor, you can see them exchanging gestures of affection and sweetness. Next is Doris, a divorced, independent, small-business owner who runs a seamstress shop from her home. The author then turns to Marty, a middle-aged dentist who says nothing before, during, or after his dance with the author; Don, a computer programmer who works for another ballroom dancer; and Laurie, a lawyer who also competes at the national level in amateur dance competitions with William as her partner. William, one of the most accomplished dancers at the Regent, invites her to dance the rumba.

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25

Hal Leonard Publishing Corporation (COR). Mambos! Sambas! Rhumbas! Hal Leonard Corporation, 2000.

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26

Bottomer, Paul. Let's Dance: Learn to Swing, Foxtrot, Rumba, Tango, Line Dance, Lambada, Cha-Cha, Waltz, Two-Step, Jitterbug and Salsa With Style, Elegance and Ease. Black Dog & Leventhal Publishers, 1998.

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27

Corona, Vicki. [Caribbean fantasies: Hot hot hot island dances : Basics of rumba, mambo, cha-cha, merengue, limbo, samba] (Dance fantasy instruction manuals). Earth Dance Intl. Pub, 1989.

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28

Cabrera, Lydia, and Victor Manfredi. The Sacred Language of the Abakuá. Edited by Ivor L. Miller and P. González Gómes-Cásseres. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829443.001.0001.

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In 1988, Lydia Cabrera (1899–1991) published La lengua sagrada de los Ñáñigos, an Abakuá phrasebook that is to this day the largest work available on any African diaspora community in the Americas. In the early 1800s in Cuba, enslaved Africans from the Cross River region of southeastern Nigeria and southwestern Cameroon created Abakuá societies for protection and mutual aid. Abakuá rites reenact mythic legends of the institution’s history in Africa, using dance, chants, drumming, symbolic writing, herbs, domestic animals, and masked performers to represent African ancestors. Criminalized and scorned in the colonial era, Abakuá members were at the same time contributing to the creation of a unique Cuban culture, including rumba music, now considered a national treasure Translated for the first time into English, Cabrera’s lexicon documents phrases vital to the creation of a specific African-derived identity in Cuba and presents the first ‘insiders’ view of this African heritage. This text presents thoroughly researched commentaries that link hundreds of entries to the context of mythic rites, skilled ritual performance, and the influence of Abakuá in Cuban society and popular music. Generously illustrated with photographs and drawings, this volume includes a new introduction to Cabrera’s writing as well as appendices that situate this important work in Cuba’s history.

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29

Sapoznik, Henry. 1990 Neptune Plaza Concert Series collection. 1990.

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