Relevant bibliographies by topics / Salsa dance

Contents

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

Academic literature on the topic 'Salsa dance'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Salsa dance"

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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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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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Domene, Pablo A., Hannah Moir, Elizabeth Pummell, and Chris Easton. "Salsa Dance and Zumba Fitness." Medicine & Science in Sports & Exercise 46 (May 2014): 667. http://dx.doi.org/10.1249/01.mss.0000495474.71910.2f.

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Guidetti, Laura, Cosme Franklim Buzzachera, Gian Pietro Emerenziani, Marco Meucci, Francisco Saavedra, Maria Chiara Gallotta, and Carlo Baldari. "Psychophysiological Responses to Salsa Dance." PLOS ONE 10, no. 4 (April 10, 2015): e0121465. http://dx.doi.org/10.1371/journal.pone.0121465.

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Turabian, Jose Luis. "Doctor-Patient Relationship as Dancing a Dance." Journal of Family Medicine 1, no. 2 (November 29, 2018): 1–6. http://dx.doi.org/10.14302/issn.2640-690x.jfm-18-2485.

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The transcendence of the doctor-patient relationship is given by the confirmed fact of its influence on the results of health care. Several models of doctor-patient relationship can be described, but evidence of improved compliance, satisfaction and recall of physician information has been found in patient-centered consultations. Since these concepts of doctor-patient relationship and patient-centered consultation have multiple facets, they are complex to understand and teach. Using a metaphor is a tool that can be useful in these situations. We could say that the "good" doctor-patient relationship is a process where an "alliance" is created: a process in which the doctor adapts to the rhythm of the patient and little by little can help him move towards healthier scenarios; that is, detect "what dance the patient dances and like a good dancer, take a step back, another forward, dancing and pacing with the patient. But there is not a single type of "good" or "adequate" doctor-patient relationship; there is not "a single dance that the patient dances". If "the doctor has to dance with the patient", he has to know that there are many types of dance! The doctor will have to dance dances such as Cha-Cha (which has to be slow or very fast to dance), the Mambo (where the music is faster and the rhythm more complicated - the relationship with an urgent patient); the Merengue (which is danced like walking - informal doctor-patient relationship); el Pasodoble (that you have to dance with a haughty air, but not with rigidity -synchronizing assertiveness and empathy); The Salsa (where you have to learn the basic step separately - discontinuity of the doctor-patient relationship), among others.
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Domene, Pablo A., Michelle Stanley, and Glykeria Skamagki. "Injury Surveillance of Nonprofessional Salsa Dance." Journal of Physical Activity and Health 15, no. 10 (October 1, 2018): 774–80. http://dx.doi.org/10.1123/jpah.2017-0498.

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Background: The investigation sought to (1) establish the extent of injuries, (2) determine the odds of sustaining an injury, and (3) calculate the injury incidence rate in nonprofessional salsa dance.Methods: Salsa dancers completed an anonymous web-based survey containing 11 demographic background and 10 (1 y retrospective) injury history questions.Results: The response rate was 77%. The final sample of respondents included 303 women and 147 men, of which 22% and 14%, respectively, sustained ≥1 injury during salsa dance in the past year. The odds of injury was 2.00 (95% confidence interval [CI], 1.14–3.50) times greater (P < .05) for women than for men. Age, body mass index, and salsa dance experience were also found to be significant (allPs < .05) predictors of injury. The injury incidence rate for women and men was 1.1 (95% CI, 0.9–1.4) and 0.5 (95% CI, 0.3–0.7) injuries per 1000 hours of exposure, respectively.Conclusions: This is the first study to have described salsa dancers in terms of their injury history profile. Results indicate that the likelihood of sustaining an injury during this physical activity is similar to that of ballroom, but lower than that of Spanish, aerobic, and Zumba®, dance.
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Lloyd, Rebecca. "The Feeling of Seeing: Factical Life in Salsa Dance." Phenomenology & Practice 11, no. 1 (July 11, 2017): 58–71. http://dx.doi.org/10.29173/pandpr29338.

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Salsa dancing, a partnered dance premised on the felt sense of connection, is well suited to an exploration of Henry’s radical phenomenology of immanence and Heidegger’s facticity of life. Birthed in social celebratory contexts, salsa carries a particular motile freedom. What matters most is not how the dance movements are created from an outer frame of reference, but the experience of interactive responsiveness that emerges from unanticipated acts of giving life to another. Connecting to one’s partner and exuding a presence filled with life is revealed in an indepth interview with two-time world champion salsa dancer, judge, choreographer and coach, Anya Katsevman. This interview attempts to invoke the kinetic, kinesthetic and affective registers of the lividness and livingness of salsa dancing. As a phenomenological inquiry into factical life, the inter-view is presented not so much as a matter of shared perspectives or viewpoints, but more in the way of an inter-feeling, a practice of life engagement. This affectively-oriented approach provides both promise and challenge to the field of phenomenology. It invites us to delve more deeply into feeling acts of seeing. It also helps us understand how, through attending more fully to acts of seeing, we can increase the intensity with which we feel the upsurge of life.
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García, Cindy. "The Great Migration: Los Angeles Salsa Speculations and the Performance of Latinidad." Dance Research Journal 45, no. 3 (December 2013): 125–36. http://dx.doi.org/10.1017/s0149767712000289.

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“The Great Migration” considers danced formations of latinidad in Los Angeles. Through close analysis of the spectacularized “migration” within one east Los Angeles County nightclub, the author argues that the politics of Mexican migration interlock with salsa dance practices.
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Simpson-Litke, Rebecca, and Chris Stover. "Theorizing Fundamental Music/Dance Interactions in Salsa." Music Theory Spectrum 41, no. 1 (2019): 74–103. http://dx.doi.org/10.1093/mts/mty033.

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Abstract Communication between music and dance can take many forms. In salsa, this communication begins with and builds upon two simple but crucial criteria: for music, a metric-rhythmic foundation based on clave and other essential performance strata, and for dance, the flow and metric orientation of one of three basic footwork patterns. Most of the rich complexity of music, dance, and their interaction stems from these fundamental gestures. In this article we analyze the basic structures of salsa music and dance, theorize how they interact, and investigate three scenarios where dancers have to make decisions about how to attend to musical features via their footwork orientations.
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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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Dissertations / Theses on the topic "Salsa dance"

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Pontal-Sanchez, Marion. "La danse salsa en France : Transmission de techniques et genèse de corporéités interculturelles." Electronic Thesis or Diss., Université Côte d'Azur, 2022. http://www.theses.fr/2022COAZ2041.

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La danse salsa est une pratique musico-chorégraphique hybride qui entremêle les propriétés techniques et esthétiques à la fois d'une danse, d'un univers culturel, d'un art du spectacle mais aussi d'un genre musical. Le nouveau contexte de la scène au sein de laquelle cette danse populaire évolue s'est avéré déterminant pour la reconnaissance et le développement de la création chorégraphique. Les festivals spécialisés de salsa se sont multipliés à partir des années 2000, invitant les danseurs français à s'approprier une danse venant d'une culture éloignée. Affectée par les facteurs historiques, commerciaux et politiques, la danse salsa voit se modifier les manières de la chorégraphier et de la pratiquer. Les éléments fondamentaux de base de la création chorégraphique tels que le corps, l'espace, le temps, l'énergie sont transgressés par une mixité de styles contrastés et de formes provenant d'imaginaires, de sons ou de gestes. Comment les performances scéniques participent-elles à l'évolution et à la redéfinition de cette pratique ? Que reste-t-il alors de la « salsa traditionnelle » ? À partir d'un travail de terrain en France et dans les Alpes-Maritimes, cette thèse aura pour objet de montrer que cette pratique internationale est marquée par de nombreux débats autour des questions de tradition et modernité du fait de la diversité de ses styles de danse, de ses cultures, de ses moyens de transmission et de diffusion ainsi que de ses pratiquants. L'engagement corporel du danseur dépend de plusieurs facteurs : sa motivation liée au contexte dans lequel il évolue, sa sensibilité par rapport aux choix musicaux, sa capacité physique à exécuter les mouvements corporels et enfin son identification sociale et culturelle
Salsa dancing is a hybrid multi-choroegraphical exercise which mixes technical and aesthetical properties from a dance, a cultural universe, a performing art but also a musical genre. The new concept of performing on stage in which this popular dance is evolving was crucial for the recognition and the development of the choreographic creation. The specialized salsa festivals have multiplied in the 2000s, inviting french dancers to appropriate a dance coming from a distant culture. Influenced by historical, commercial and political factors, salsa dancing has seen its practice and choreography change along the time. The basic fundamental elements of the choreographic generation like the body, the space, the time, the energy have been infringed by a diversity of contrasted styles and forms coming from imaginations, sounds or gestures. How stage performances engage into the evolution and the redesign of this practice ? What is left then from the "traditional salsa" ? From the field work in France and in the Alpes-Maritimes, this thesis will have as an objective to show that this international activity is marked by a myriad of discussions and questions between traditions and modernity because of the diversity of dance styles, cultures, transmission and broadcasting mediums and because of its practitioners and performers. The body engagement of the dancer depends on multiple factors : motivation linked to the context in which it evolves, its sensibility with respect to its musical choice, its capacity to execute body moves and, at last, its social and cultural identification
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Baker, Christina. "Salsa's moves and salsa's grooves in Mexico City." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464670.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 2, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 112-118).
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Marion, Jonathan Saul. "Dance as self, culture, and community the construction of personal and collective meaning and identity in competitive ballroom and salsa dancing /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3213856.

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Thesis (Ph. D.)--University of California, San Diego, 2006.
Title from first page of PDF file (viewed June 27, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 853-893).
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Gainer, Natalie. "Dancing Latinidad: Salsa Practices and Latino/a Identity at Brasil's Nightclub." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/396279.

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Dance
M.A.
This thesis investigates Brasil’s Nightclub, a Philadelphia salsa club, as a site at which notions of Latino/a identity are produced and performed. Research for the thesis was conducted over the course of five months and was ethnographic in nature. From February 2016 until June 2016, the author attended Brasil’s Nightclub and collected participant observations and interviews. Findings reveal how the club accommodates multiple conflicting narratives of Latino/a identity and how these narratives are embodied through salsa dance practices.
Temple University--Theses
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Poole, A. I. "Groove in Cuban dance music : an analysis of son and salsa." Thesis, Open University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680519.

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Pietrobruno, Sheenagh. "Salsa and its transnational moves : the commodification of latin dance in Montreal." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38417.

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In Montreal, salsa dancing is both an expression of Latin identity and a cultural commodity. Many Montrealers of Latin descent adopt salsa dance as part of their cultural heritage only after arriving in Canada, connecting, through salsa, to a transnational Latin identity that crosses the Americas. This situation illustrates how cultural affiliations are not necessarily fixed, but can be acquired in response to changing circumstances. Since salsa is not indigenous to the city, residents of Montreal can only access it through cultural institutions and community media outlets. This commodification influences the manner in which salsa expresses Latin identity in the city. At the same time that salsa dancing proclaims Latin identity for certain individuals in the city, the practice thrives in a multicultural context: the Montreal salsa scene comprises diverse individuals who promote, teach, and dance salsa. This dissertation addresses points of division and cooperation among diverse cultures, ethnicities, races, and both sexes, as they are played out in aspects of salsa dancing in the city. The unfolding of these relationships is influenced by both the commodification of salsa dancing and its link to Latin culture. This analysis seeks to provide a theoretical account of the tension between salsa's expression of identity and its status as a commodified cultural practice. This perspective integrates various approaches to the study of dance and culture stemming from anthropology, sociology and cultural studies. Analyzing the Montreal salsa scene, I draw from in-depth interviews with individuals involved in the promotion of Latin dance and music, as well as participant observations in salsa dance classes, clubs and events. The methodology of this research combines ethnography with various areas of concern: the history of salsa, Latin immigration patterns in Montreal, theories of multiculturalism, transnationalism and diaspora, the Latin influence in ballroom dance, Europe
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González, Smeja Alba Marina. "Salsa Nómada. Escena musical, bailable e itinerante de la salsa brava en Barcelona." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/397701.

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Este trabajo de investigación es un aporte etnográfico e histórico sobre la sociedad barcelonesa a través de su cultura, su música y su salsa. Para la realización de esta contribución me he centrado en un sector muy específico de la escena musical salsera identificada con un estilo de salsa que evoca su origen diaspórico, marginado, bravo y el cual ha terminado siendo rememorado, legitimado e identificado como símbolo de alta y heterogénea cultura salsera. Además, un estilo musical que ha adquirido relevancia social en Barcelona a través de diferentes espacios en los que confluyen la sociabilidad festiva, la creación o re-creación musical, la melomanía salsera más y menos profesionalizada, las propuestas de pedagogía bailable y la capacidad emprendedora focalizada en el ocio musical nocturno. Dicho de otro modo, he realizado un análisis de las áreas de afluencia de un estilo de salsa proveniente de barrios latinos de Nueva York, emblemática de los años 1960 y 1970 y monopolizada a través del sello y de las estrellas de la Fania, además representativa de una manera rítmica, imitativa y más bien espontánea de bailar, y he centrado la atención en las sesiones festivas en Barcelona a través del estudio de caso de la fiesta Entren que caben 100. Ahora bien, para que pudiera llegar a este nivel de concreción, fue necesario que detectara que la salsa brava es una más de varias escenas que existen en la capital catalana sujetas a gustos personalizados y a la sociabilidad que se genera en torno a éstos. Además, si he apostado por una mirada diferenciada del escenario salsero, como contenedor de prácticas musicales y como metáfora teatral, es por un doble y amplio ejercicio de subjetividad académica. El de otras personas con sus respectivas miradas investigativas así como vinculaciones musicales, y el propio apostando a un atrevimiento de igual tipo. En este sentido, mi intención ha sido centrarme en una escena hasta ahora un tanto huérfana, inadvertida y escurridiza que me ha servido sobre todo para la experimentación metodológica a través de la incorporación de mi experiencia desdoblada en la investigación. Así pues, la principal problemática que presentó lo que ha sido una afición y mi escenario de estudio fue el de entretejer las múltiples dimensiones de su cualidad nómada, su evocación geográfica, histórica, religiosa y social, así como referenciada en la metáfora globalizadora empleada por el etnomusicólogo Ramón Pelinski para el tango. Exactamente lo que quiero decir, es que primero tuve que caer en cuenta de que la salsa brava en Barcelona es itinerante, se escenifica a través de sesiones festivas que aparecen, desaparecen y cambian de “espacio”; que a través de ésta y otras programaciones se le rende culto a un estilo de salsa cuya época de auge comercial ha quedado anclado en el pasado, qué quienes integran la escena son personas que, por un lado, coquetean con la otredad y, por el otro, gozan de capital simbólico haciendo posible que ciertas músicas marginadas pasen a ser legitimadas. Y mi principal pregunta fue, ¿cómo se materializa y se entreteje todo esto?
Despite the historical absence of women in "Entre que caben cien" and of their directing roles in the scene, an interesting aspect of the ethnography is that when they assume a certain visibility within the scene they appear to be more permissible than men regarding the selection of other salsa songs and of other music styles that distance themselves from the so-called "salsa brava", questioning at this point whether the latter really exists, or does it perhaps ceases to be such when it begins to be called like this? This lends us to other significant questions such as to what extent the more one insists on otherness the more one tries to legitimate what he doesn't want to be? While bigger gets the desire for authenticity and alternative, more massive and hegemonic it becomes? While the bigger the quest for own manifestations derived from subaltern and marginalized culture gets, more extended get the petit bourgeois practices that end up disguising or adapting the first to the taste of the second?
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Enríquez, Arana Eddy Magaliel. "The dynamics of salsiology in contemporary Germany reconstructing German cultural identity through salsa music and dance /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1177697944.

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Enríquez, Arana Eddy M. "THE DYNAMICS OF SALSIOLOGY IN CONTEMPORARY GERMANY: RECONSTRUCTING GERMAN CULTURAL IDENTITY THROUGH SALSA MUSIC AND DANCE." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1177697944.

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Osborn, Shyla Elizabeth. "Hybrid spectacles: Performance and power in the circulation of Latinidad /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181119.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 264-268). Also available for download via the World Wide Web; free to University of Oregon users.
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Books on the topic "Salsa dance"

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Hickman, Michael Leon. Me, salsa dance?: Can you imagine learning how to salsa dance in 60 minutes? Place of publication not identified]: [publisher not identified], 2013.

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Bottomer, Paul. Salsa! Madrid: Susaeta, 1996.

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Ludvig, Maritza Martínez. El diario de una salsera. [Rio Piedras, Puerto Rico?: s.n.], 2003.

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Uribe, Hilda Constanza, Matilde Olave Arango, Isabel Cristina Restrepo Erazo, and Walter Germán Magaña. Memorias de la salsa. Cali: Cámara de Comercio, Sedes Obrero y Yumbo, 2007.

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Darío, Tejeda, and Yunén Rafael Emilio, eds. El son y la salsa en la identidad del Caribe: Memorias del II Congreso Internacional Música, Identidad y Cultura en el Caribe. Santo Domingo, República Dominicana: Centro León, 2007.

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Dunn, Samantha. Faith in Carlos Gomez: A memoir of salsa, sex, and salvation. New York: H. Holt and Co., 2005.

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Pérez, Eugenio. La salsa en la República Dominicana: Padres, líderes y propulsores históricos. Santo Domingo: Ministerio de Cultura, 2015.

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ill, Valiant Kristi, ed. Feel the beat: Dance poems that zing from salsa to swing. New York: Dial Books, 2017.

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Rivera, A. G. Quintero. Salsa, sabor y control: Sociología de la música "tropical". La Habana, Cuba: Fondo Editorial Casa de las Américas, 1998.

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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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Book chapters on the topic "Salsa dance"

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García, Cindy. "Dancing salsa wrong in Los Angeles." In The Routledge Dance Studies Reader, 285–96. New third edition, Expanded and updated edition. | New York : Routledge, 2019. | “Second edition published by Routledge 2010”–T.p. verso.: Routledge, 2018. http://dx.doi.org/10.4324/9781315109695-26.

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Anaya, Elizabeth. "“Salsa con Afro”: Remembering and Reenacting Afro-Cuban Roots in the Global Cuban and Latin Dance Communities." In Cultural Memory and Popular Dance, 39–60. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5_3.

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Coutinho, Murilo, Iago Passos, Juan C. Grados Vásquez, Fábio L. L. de Mendonça, Rafael Timteo de Sousa, and Fábio Borges. "Latin Dances Reloaded: Improved Cryptanalysis Against Salsa and ChaCha, and the Proposal of Forró." In Advances in Cryptology – ASIACRYPT 2022, 256–86. Cham: Springer Nature Switzerland, 2022. http://dx.doi.org/10.1007/978-3-031-22963-3_9.

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Russo, Ersilia. "Manzoni postillatore della Crusca veronese: le unità fraseologiche." In Studi e ricerche del Dipartimento di Lettere e Filosofia, 71–89. Firenze: Società Editrice Fiorentina, 2024. http://dx.doi.org/10.35948/dilef/978-88-6032-750-5.05.

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L’attenzione manzoniana nei confronti delle unità fraseologiche – le unità minime della fraseologia – confluisce, oltre che negli scritti linguistici e nell’epistolario, anche nell’operazione sistematica di postillatura del Vocabolario degli Accademici della Crusca, nell’edizione curata dall’abate Cesari del 1806. L’esemplare manzoniano, conservato presso la Sala Manzoniana della Biblioteca Nazionale Braidense, costituisce uno dei principali «ferri del mestiere» dello scrittore per la creazione del tessuto linguistico dei Promessi sposi. In particolare, il suo ruolo nella definizione della lingua del romanzo diventa cruciale nel momento di revisione della Prima minuta, in vista della stampa. Tra il 1823 e il 1825, Manzoni si dedica allo studio del vocabolario, dialogando con le sue voci attraverso una fitta rete di note, che ne arricchiscono il patrimonio lessicale e fraseologico attraverso i rimandi alle letture dei testi toscani svolte in quel periodo. Tra le postille, di cui Dante Isella ha proposto una classificazione per cronologia e tipologia, numerosi sono i riferimenti alle unità fraseologiche. Tali strutture diventano essenziali a partire dalla Seconda minuta, perché capaci di veicolare nella scrittura un maggiore senso di oralità e di medietà. Scopo del contributo sarà, dunque, quello di portare alla luce la ricerca manzoniana svolta a livello fraseologico attraverso le tracce lasciate sulle pagine della Crusca veronese, in cui è possibile ricostruire l’innovativo canone letterario utilizzato per dare forma alla lingua della seconda stesura del romanzo
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McMains, Juliet. "From Social Dance Floors to Professional Stages." In Spinning Mambo into Salsa, 315–65. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199324637.003.0009.

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Menet, Joanna. "Becoming a salsa dance professional." In Entangled Mobilities in the Transnational Salsa Circuit, 131–47. Routledge, 2020. http://dx.doi.org/10.4324/9781003002697-5.

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McMains, Juliet. "Commercialization of New York Salsa Music and Dance." In Spinning Mambo into Salsa, 75–110. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199324637.003.0003.

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Menet, Joanna. "“Bailamos, shall we dance?”." In Entangled Mobilities in the Transnational Salsa Circuit, 1–5. Routledge, 2020. http://dx.doi.org/10.4324/9781003002697-0.

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Njoroge, Njoroge. "“Cosa Nuestra”." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0005.

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This chapter explores the history of Salsa in New York City. In the late 1960’s Salsa became the vehicle for the cultural expressions of community, aesthetics, and identity for the Puerto Ricans, Nuyoricans, and other Latinos. Salsa was a musical celebration and valorization of Nuyorican identity and became the voice of the alienated and disenfranchised barrio youth in New York City and beyond. Though in the main, its practitioners heralded from the Puerto Rican diaspora: from its very inception “salsa” has been a pan-Caribbean creation. With the Cuban Revolution, the subsequent recording ban of 1961 and the embargo of 1962, New York City displaced Havana as the center of Latin music. After the brief but rich Boogaloo explosion of the mid-Sixties, salsa took over the airwaves and dance-floors. If Boogaloo can be seen as an anticipation of and response to the Civil Rights movement, salsa was “Black Power.”
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"The Space of Salsa: Theory and Implications of a Global Dance Phenomenon." In From Conflict to Recognition, 205–17. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401208109_012.

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Conference papers on the topic "Salsa dance"

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Karavarsamis, Sotiris, Dimitrios Ververidis, Giannis Chantas, Spiros Nikolopoulos, and Yiannis Kompatsiaris. "Classifying Salsa dance steps from skeletal poses." In 2016 14th International Workshop on Content-Based Multimedia Indexing (CBMI). IEEE, 2016. http://dx.doi.org/10.1109/cbmi.2016.7500244.

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Senecal, Simon, Niels A. Nijdam, and Nadia Magnenat Thalmann. "Motion analysis and classification of salsa dance using music-related motion features." In MIG '18: Motion, Interaction and Games. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3274247.3274514.

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Senecal, Simon, Niels Nijdam, and Nadia Thalmann. "Classification of Salsa Dance Level using Music and Interaction based Motion Features." In 14th International Conference on Computer Graphics Theory and Applications. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0007399700002108.

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Senecal, Simon, Niels Nijdam, and Nadia Thalmann. "Classification of Salsa Dance Level using Music and Interaction based Motion Features." In 14th International Conference on Computer Graphics Theory and Applications. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0007399701000109.

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Novikova, Irina A. "Psychological Potential Of Social Latin Dances: Russian Salsa Dancers Example." In Psychology of subculture: Phenomenology and contemporary tendencies of development. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.07.61.

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