Articoli di riviste: "Danse salsa"

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Jacobs, Marjorie Lee. "The Medicine of Salsa". Music and Medicine 10, n. 4 (28 ottobre 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 e Chris Easton. "Salsa Dance and Zumba Fitness". Medicine & Science in Sports & Exercise 46 (maggio 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 e Carlo Baldari. "Psychophysiological Responses to Salsa Dance". PLOS ONE 10, n. 4 (10 aprile 2015): e0121465. http://dx.doi.org/10.1371/journal.pone.0121465.

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Simpson-Litke, Rebecca, e Chris Stover. "Theorizing Fundamental Music/Dance Interactions in Salsa". Music Theory Spectrum 41, n. 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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Domene, Pablo A., Michelle Stanley e Glykeria Skamagki. "Injury Surveillance of Nonprofessional Salsa Dance". Journal of Physical Activity and Health 15, n. 10 (1 ottobre 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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Delgado, Celeste Fraser. "Salsa Crossings: Dancing Latinidad in Los Angeles". Dance Research Journal 46, n. 2 (agosto 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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Borland, Katherine. "Embracing Difference: Salsa Fever in New Jersey". Journal of American Folklore 122, n. 486 (1 ottobre 2009): 466–92. http://dx.doi.org/10.2307/40390082.

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Abstract Studio-based salsa dance in Northern New Jersey has succeeded in creating an ethnically diverse social space in which Latin style represents both a specific ethnicity and an alternative pan-ethnic identity that encompasses and embraces difference. The wide appeal of the dance y however, rests in its dramatic and provocative display of gendered interactions. Attention to dancers’ subjective understandings of their own practice provides a female-centered perspective on the emerging cultural scene.

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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, n. 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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Carwile, Christey. "“The Clave Comes Home”: Salsa Dance and Pan-African Identity in Ghana". African Studies Review 60, n. 2 (22 maggio 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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Schneider, Britta. "Multilingual Cosmopolitanism and Monolingual Commodification: Language Ideologies in Transnational Salsa Communities". Language in Society 39, n. 5 (novembre 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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Perez, Brittmarie Janson. "Political facets of salsa". Popular Music 6, n. 2 (maggio 1987): 149–59. http://dx.doi.org/10.1017/s026114300000595x.

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Late at night, in a discotheque in a Latin American country whose political system is dominated by the military and is not particularly known for its respect for human rights, a crowd is dancing salsa, a generic term covering Caribbean dance music. The song is Willie Colón's ‘El general’. It starts with a roll of drum beats and a sarcastic description of the general getting up in the morning to put on his uniform and dictate orders to the president. A thrill of fifes follows and a stentorean shout: ‘To the right!’ The verse describes citizens as delighted not to have a free press and a dangerous democratic system with its tricky politicians. The military gazette is very enjoyable and it is reassuring to have a regime which puts men with strange ideas behind bars. In the discotheque, the crowd continues dancing. The next stanza says the general is rumoured to be about to retire: What will happen to the country and the people without him? ‘For a long time I've wanted to thank you,’ is the refrain, ‘goodbye and thank you, my general.’

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Simpson-Litke, Rebecca. "Flipped, Broken, and Paused Clave". Journal of Music Theory 65, n. 1 (1 aprile 2021): 39–80. http://dx.doi.org/10.1215/00222909-9124726.

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Abstract This article examines some of the complex interactions between salsa music and dance by focusing on physical interpretations of specific types of metric ambiguities and disruptions. It explores both the fairly frequent displacement dissonances that arise when the established clave pattern is flipped, paused, or broken and the grouping dissonances that are somewhat rare occurrences in salsa music, showing how dancers' responses to these metric disruptions depend heavily on the unique features of each musical context. Annotated videos break down salsa's fundamental dance and musical structures, encouraging readers to contemplate the artful interpretations presented by experienced dance practitioners and to engage with these interesting musical passages more intimately by trying out the dance steps for themselves.

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Hanrahan, Stephanie J., Rachel Pedro e Ester Cerin. "Structured Self-Reflection as a Tool to Enhance Perceived Performance and Maintain Effort in Adult Recreational Salsa Dancers". Sport Psychologist 23, n. 2 (giugno 2009): 151–69. http://dx.doi.org/10.1123/tsp.23.2.151.

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The purpose of this study was to determine if the use of structured self-reflection in community dance classes would influence achievement goal orientations, levels of intrinsic motivation, or perceived dance performance. The Task and Ego Orientation in Sport Questionnaire (TEOSQ) and the Intrinsic Motivation Inventory (IMI) were modified slightly to reflect involvement in salsa dancing rather than sport and then were administered to 139 Latin dance students at the beginning and end of an 11-week term. The dance classes were divided into control and intervention groups, balanced in terms of sample size and level of instruction. The intervention group completed a salsa self-reflection form during or after class for 9 weeks. At the posttest all students rated their salsa performance and the intervention group evaluated the self-reflection process. Results indicate that although achievement goal orientations were not affected, structured self-reflection is perceived to be a positive tool and may be a useful technique to enhance perceived performance and maintain effort and perceived importance. The participants’ perceptions of the self-reflection process were positive, with no negative effects of engaging in the process reported.

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Syahrial, Triani, e Inggit Prastiawan. "PENERAPAN PEMBELAJARAN TARI SALSA MELALUI MEDIA AUDIO VISUAL UNTUK MENINGKATKATKAN HASIL BELAJAR SISWA DI SMA NEGERI 6 MEDAN". Gesture: Jurnal Seni Tari 10, n. 1 (4 maggio 2021): 1. http://dx.doi.org/10.24114/senitari.v10i1.24706.

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ABSTRACT, This study aims to describe the application of the learning salsa dance through audio visual media to improve student learning outcomes at SMA Negeri 6 Medan. The theory used in this research is the theory of application using Ali theory 2007, experimental theory using Roestiyah theory 2001, and learning outcomes using Purwanto theory 2009. The method used in this research is desccriptive quantitative. The population in this study were 139 students in class XII and the sample in this study was class XII- MIA-2, totaling 30 students.The result showed that the application of salsa dance learning through audio-visual media was very effective because students became more active,enthusiastic and could improve student learning outcomes.Increasing student learning outcomes becomes more active with the presence of audio-visual learning media which contains foreign dance material.In the audio visual media, there is an explanation of dancers. The results of the mean value at the pretest are 38.83 and the postest 90. From the distribution list t for 0 =0,05 the price of tcount> t table dance (1.723> 1.699). So it can concluced that Ha accepted an increase in learning outcomes in salsa dance material through audio visual media. Keywords: Application, Audio Visual Media, Learning Outcomes ABSTRAK, Penelitian in bertujuan untuk mendeskripsikan penerapan pembelajaran tari salsa melalui media audio visual untuk meningkatkan hasil belajar siswa di SMA Negeri 6 Medan. Teori yang digunakan dalam penelitian ini adalah teori Ali 2007,teori eksperimen menggunakan teori Roestiyah 2001, dan hasil belajar menggunakan teori Purwanto 2009. Metode yang digunakan pada penelitian ini adalah deskriptif kuantitatif. Populasi dalam penelitian ini adalah siswa kelas XII yang berjumlah 139 siswa dan sampel pada penelitian ini adalah kelas XII-MIA-2 yang berjumlah 30 siswa. Hasil penelitian menunjukan bahwa penerapan pembelajaran tari salsa melalui media audio visual sangat efektif karena siswa menjadi lebih aktif, semangat serta dapat meningkatkan hasil belajar siswa. Peningkatan hasil belajar siswa menjadi lebih aktif dengan adanya media pembelajaran audio visual yang berisikan tentang materi tari mancanegara. Di dalam media audio visual tersebut terdapat penjelasan gerak tari berdasarkan elemen ruang, waktu, dan tenaga ditambah dengan gambar penari. Hasil nilai rata-rata pada pretest yaitu 38,83 dan postest 90. Dari daftar distribusi t untuk 0 = 0,05 harga hitung > tabel (1,723 > 1,699). Maka dapat disimpulkan bahwa Ha diterima adanya peningkatan hasil belajar dalam materi tari salsa melalui media audio visual.Kata Kunci : Penerapan, Media Audio Visual, Hasil Belajar

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Lloyd, Rebecca. "The Feeling of Seeing: Factical Life in Salsa Dance". Phenomenology & Practice 11, n. 1 (11 luglio 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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Skinner, Jonathan. "Women Dancing Back—and Forth: Resistance and Self-Regulation in Belfast Salsa". Dance Research Journal 40, n. 1 (2008): 65–77. http://dx.doi.org/10.1017/s0149767700001376.

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It's a Tuesday night in Belfast. Christina and Leanne are running their salsa class in Mercury's basement dance room. Afterwards, Christina has arranged to go dancing at the Hairy Hound with her friend Annabel, who is attending Christina and Leanne's class. Leanne will go home and prepare for her school teaching the following day. Christina wants to forget the illnesses and stresses back home for the night and needs no preparation to be at her reception desk the next day. Annabel is in her mid-fifties. She won't go to any classes, or she won't go out, alone. It's not healthy, seemly, or the done thing in her mind. This attitude makes it difficult for Annabel. She's been a widow for nearly thirty years, and now that the children have grown up, her time to herself has to be carefully coordinated with others. She loves to dance but she is fearful that she might appear single, desperate, alone, and looking for a mate beyond the three-minute dance partner. She sits in the Hairy Hound with Christina, who is more youthful, in her thirties, dressed to attract attention, but in a married way. For Annabel, the salsa nights are a night out rather than a night in alone. They are a chance to move to the music she loves and to gossip and socialize and catch up with her female friends. For Christina, the salsa night is an opportunity to dance after the salsa job and a chance to show off how attractive she still is before going home to the husband she so dearly loves.

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POOLE, ADRIAN. "Groove in Cuban Son and Salsa Performance". Journal of the Royal Musical Association 146, n. 1 (maggio 2021): 117–45. http://dx.doi.org/10.1017/rma.2021.2.

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AbstractUsing a combination of ethnography, empirical measures of microtiming between rhythm-section musicians and ethno/musicological analyses, this article examines and measures groove in three real-world performances of the popular dance tradition of Cuban son and salsa. The findings paint a complex picture of groove that is shaped by rhythmic-harmonic structure, shared concepts of timing, individual preferences, group dynamics and rhythmic interactions between musicians as they work together to negotiate a groove with the ‘correct’ feel. Microtiming analyses produce a snapshot of how rhythmic timing relationships are ‘played out’ between musicians in live performances and provide quantitative measures of the level of synchrony and separation within the rhythm section. They also suggest that microtiming is influenced by certain metric locations within the rhythmic-harmonic structure, particularly those locations that anticipate harmonic changes and mark the beginning of repeated rhythmic-harmonic sequences.

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Schneider, Britta. "Heteronormativity and queerness in transnational heterosexual Salsa communities". Discourse & Society 24, n. 5 (30 maggio 2013): 553–71. http://dx.doi.org/10.1177/0957926513486071.

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Salsa dance and music has become popular worldwide and Salsa communities outside of Latin America offer a fertile environment for studying gender and heteronormativity in cultural contact zones. Often, the desire to reconstruct ‘traditional’ heteronormative gender roles in these contexts is striking. Interestingly, informants of the qualitative, ethnographic study presented here display high degrees of reflexive consciousness regarding the constructed nature of their gendered performance. This article also discusses and analyses non-heteronormative performances that do not adhere to ‘traditional’ gender roles, which may be understood as queer performances. These are found frequently; however, an analysis of discursive data that relates to these performances makes their subversive potential debatable.

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Reichhardt, M. P., U. Holmskov e S. Meri. "SALSA—A dance on a slippery floor with changing partners". Molecular Immunology 89 (settembre 2017): 100–110. http://dx.doi.org/10.1016/j.molimm.2017.05.029.

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Moss, Suzan. "Learning from Latina Students: Modern Dance Meets Salsa and Merengue". Journal of Physical Education, Recreation & Dance 71, n. 3 (marzo 2000): 39–42. http://dx.doi.org/10.1080/07303084.2000.10605111.

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Romano, Gianluca, Jan Schneider e Hendrik Drachsler. "Dancing Salsa with Machines—Filling the Gap of Dancing Learning Solutions". Sensors 19, n. 17 (23 agosto 2019): 3661. http://dx.doi.org/10.3390/s19173661.

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Dancing is an activity that positively enhances the mood of people that consists of feeling the music and expressing it in rhythmic movements with the body. Learning how to dance can be challenging because it requires proper coordination and understanding of rhythm and beat. In this paper, we present the first implementation of the Dancing Coach (DC), a generic system designed to support the practice of dancing steps, which in its current state supports the practice of basic salsa dancing steps. However, the DC has been designed to allow the addition of more dance styles. We also present the first user evaluation of the DC, which consists of user tests with 25 participants. Results from the user test show that participants stated they had learned the basic salsa dancing steps, to move to the beat and body coordination in a fun way. Results also point out some direction on how to improve the future versions of the DC.

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García, Cindy. "The Great Migration: Los Angeles Salsa Speculations and the Performance of Latinidad". Dance Research Journal 45, n. 3 (dicembre 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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Lee, Rebecca E., Scherezade K. Mama, Ashley Medina, Raul Orlando Edwards e Lorna McNeill. "SALSA: SAving Lives Staying Active to Promote Physical Activity and Healthy Eating". Journal of Obesity 2011 (2011): 1–7. http://dx.doi.org/10.1155/2011/436509.

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Physical inactivity, poor dietary habits, and obesity are vexing problems among minorities. SAving Lives, Staying Active (SALSA) was an 8-week randomized controlled crossover design, pilot study to promote regular physical activity (PA) and fruit and vegetable (FV) consumption as a means to preventing weight gain among women of color. Participants completed measures of demographics, PA, and dietary habits. Women ( years) who participated were overweight ( kg/m2; ) and reported low levels of leisure time PA ( MET-min/wk) and FV consumption ( servings/day). All were randomized to a four-week (1) semiweekly Latin dance group or (2) internet-based dietary education group. All participants reported a significant increase in weekly leisure time PA from baseline ( MET-min/wk) to follow up ( MET-min/wk, ), and FV consumption increased over time by group (). Data suggest that Latin dance interventions to improve PA and web-based interventions to improve dietary habits show promise for improving health among women of color.

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Kavasoğlu, İrem, Merve Rençbereli e İbrahim Fatih Yenel. "Dancing manly men: Gender analaysis of experiements of male dancersDans eden “erkek adamlar”: Erkek dansçıların deneyimlerine toplumsal cinsiyet analizi". Journal of Human Sciences 14, n. 2 (16 maggio 2017): 1768. http://dx.doi.org/10.14687/jhs.v14i2.4553.

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Gendered nature of sports excludes women and also men in some sports. The patriarchal culture’s way of coding dance as a feminine act is creating some restrictions for men. The aim of this study is to examine the meaning and limits of being a male dancer in Adana. Datas were collected by semi-structured interviews using phemonologhy which is one of research methods of qualitative research method. The participants was constituted by 5 male dancer (salsa). Data were analyzed by the content analysis method. The findings of the data obtained from the analysis collected under three themes: 1 Masculine Norms: Does a man dance? 2 Humiliated femininity: Do not wiggle like a girl, 3 Homophobia: You look like a gay son, you have to wear this? As a result, a significant domination generated by the dominance over the body acts set by gender differences over male dancers was observed. The strategy to get rid of prejudice and oppression is to insist, to prove that they are successful and not to wear tights.Extended English abstract is in the end of PDF (TURKISH) file. ÖzetSpor dallarının toplumsal cinsiyetlendirilmiş yapısı bazı sporlarda kadınları bazılarında ise erkekleri dışlamaktadır. Ataerkil kültürün dansı dişil bir edim olarak kodlaması, erkekler için bir takım kısıtlamalar yaratmaktadır. Bu çalışmanın amacı, Adana’da erkek dansçı olmanın anlam ve sınırlarını incelemektir. Nitel araştırma yöntemlerinden fenemonoloji yönteminin kullanıldığı araştırmanın verileri yarı yapılandırılmış görüşme yöntemi ile toplanmıştır. Araştırmanın katılımcılarını 5 erkek dansçı (salsa) oluşturmuştur. Veriler içerik analizi yöntemi ile analiz edilmiştir. Veri analizi sonucunda elde edilen bulgular 3 tema altında toplanmıştır: 1 Eril Normlar: Erkek adam dans eder mi? 2 Aşağılanan Kadınlık: Karı gibi kıvırtma, 3 Homofobi: Oğlum gey gibi olmuşsun bunu giymek zorunda mısın? Sonuç olarak, cinsiyet farklılıklarının bedenin edimleri üzerinde kurduğu hakimiyetin, erkek dansçılar üzerinde önemli bir tahakküm oluşturduğu görülmüştür. Dansçılar için önyargı ve baskıdan kurtulma stratejisi ise ısrarcı olmak, başarılı olduklarını ispat etmek ve tayt giymemektir.

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Skinner, Jonathan. "Sydney Hutchinson (ed.), Salsa World: A Global Dance in Local Contexts". Dance Research 35, n. 1 (maggio 2017): 134–36. http://dx.doi.org/10.3366/drs.2017.0189.

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Subiabre Vergara, Malucha. "Sydney Hutchinson (editor). Salsa World: A Global Dance in Local Contexts". Revista musical chilena 70, n. 225 (giugno 2016): 121–24. http://dx.doi.org/10.4067/s0716-27902016000100011.

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Gebruers, V., N. Morimoto, F. Maiorana, R. M. Otto e J. W. Wygand. "THE METABOLIC COST OF SALSA AEROBICS VS LOW-IMPACT AEROBIC DANCE". Medicine & Science in Sports & Exercise 35, Supplement 1 (maggio 2003): S155. http://dx.doi.org/10.1097/00005768-200305001-00857.

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Boulila, Stefanie Claudine. "Salsa cosmopolitanism? Consuming racialised difference in the European social dance industry". Leisure Studies 37, n. 3 (20 novembre 2017): 243–55. http://dx.doi.org/10.1080/02614367.2017.1405459.

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Domene, Pablo A., Hannah J. Moir, Elizabeth Pummell e Chris Easton. "Salsa dance and Zumba fitness: Acute responses during community-based classes". Journal of Sport and Health Science 5, n. 2 (giugno 2016): 190–96. http://dx.doi.org/10.1016/j.jshs.2015.04.004.

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Fernández Sánchez, Higinio, Claudia Beatriz Enríquez Hernández, Souraya Sidani, Crescencio Hernández Osorio, Edith Castellanos Contreras e Javier Salazar Mendoza. "Dance Intervention for Mexican Family Caregivers of Children With Developmental Disability: A Pilot Study". Journal of Transcultural Nursing 31, n. 1 (4 aprile 2019): 38–44. http://dx.doi.org/10.1177/1043659619838027.

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Introduction: There are 7.1 million people living with a disability in Mexico. Of these individuals, 7% are children and adolescents with developmental disabilities. Mexican women caring for children with a developmental disability are at risk of psychological stress, which may be prevented with physical activity such as dance. Therefore, the purpose of this pilot study was to examine (a) the feasibility of implementing the dance intervention, (b) the mothers’ satisfaction with the intervention, and (c) the changes in stress level experienced by the mothers on completion of the intervention. Method: A one-group pretest–posttest design was used. The Salsa dance intervention was given in nine 60-minute sessions, twice a week in Veracruz, Mexico. The sample included 14 mothers of children with disabilities. The outcome, stress level, was measured with the validated Questionnaire of Perceived Stress. Feasibility of intervention implementation was maintained by having the interventionist follow the interventionist manual. Satisfaction was assessed by the Satisfaction with Therapy and Therapist Scale. Results: The intervention was feasible as all participants completed the intervention sessions. They reported high satisfaction (100%) with the intervention and interventionist. At posttest, participants showed reduced stress levels ( p = .028). Discussion: The dance intervention is promising in reducing women’s stress levels and worth further development in order to benefit the Mexican women caring for children with developmental disability and experiencing stress. Nurses can implement the Salsa dance intervention with the Mexican population while improving the clients’ retention, outcomes, and overall satisfaction.

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Dormani, Carmela Muzio. "So You Think You Can Salsa: Performing Latinness on Reality Dance Television". Journal of Popular Culture 53, n. 3 (giugno 2020): 720–38. http://dx.doi.org/10.1111/jpcu.12929.

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WAXER, LISE. "Record grooves and salsa dance moves: the viejoteca phenomenon in Cali, Colombia". Popular Music 20, n. 1 (gennaio 2001): 61–81. http://dx.doi.org/10.1017/s0261143001001313.

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Disfrutar recordando tiempos de ayer al compás de música aprendida a fuerza de bailarla. Revivir la emoción de aquellos Momentos involvidables y sentir que somos los mismos . . .To enjoy while remembering moments of yesteryear to the rhythm of music learned by force of dancing to it. To live again the emotion of those unforgettable moments and feel that we are the same . . .Slogan on a poster for Changó Viejoteca, 1995In the southwest Colombian metropolis of Cali, recorded music has come to exert an unusually strong force on local popular culture in this century. Not only did recordings play a key role in establishing Cuban music, and later, salsa, as the principal musical style of the city, they also became the basis for the record-centred dance scene that predominated in Cali during the 1940s through to the 1970s, and continued to be important as the live scene flourished during the 1980s and 1990s. The centrality of recorded music for Caleños (the inhabitants of Cali) challenges the privileging, in most scholarly work, of live performance as more ‘real’ or ‘authentic’ than its mediated versions. Indeed, for many decades, ‘playing music’ in Cali literally meant putting on a record, as a source of music for other social and expressive activities. The term disco (literally, record disc) still exists as a local synonym for ‘song’, even when it is a live rendition of a song, e.g. ‘vamos a tocar ese disco’ (let's perform that song).

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Senecal, Simon, Niels A. Nijdam, Andreas Aristidou e Nadia Magnenat-Thalmann. "Salsa dance learning evaluation and motion analysis in gamified virtual reality environment". Multimedia Tools and Applications 79, n. 33-34 (23 giugno 2020): 24621–43. http://dx.doi.org/10.1007/s11042-020-09192-y.

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Ramirez, Jeannelle. "Spinning Mambo Into Salsa: Caribbean Dance in Global Commerce, by Juliet McMains". New West Indian Guide 93, n. 1-2 (7 giugno 2019): 174–75. http://dx.doi.org/10.1163/22134360-09301038.

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TÜRKERİ, Cenab, e Gonca INCE. "The Effect of Twelve-Week Karate and Salsa Dance Training on the Physical Fitness Performance of University Students". Cukurova University Faculty of Education Journal 52, n. 1 (30 aprile 2023): 160–79. http://dx.doi.org/10.14812/cuefd.1194276.

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This study was performed to determine the effect of 12-weeks Karate and Salsa Dance training on the physical fitness performances of university students. A total of 124 students (age: 21.35 ± 1.59 year; height: 1.70 ± 0.08 cm; body weight: 67.1 ± 10.78 kg) have voluntarily participated in the study. The participants were divided into three groups using a random coin toss. The numbers of Karate group (KG), the Salsa Dance Group (SDG) and Control Group (COG) are 43 people (20 female, 23 male), 40 people (17 female, 23 male) and 41 people (12 female, 29 male), respectively. Technical training programs including two days a week and 90 minutes a day for 12 weeks were applied to the KG and SDG members accepting to the study. Body weight, height measurement, BMI calculation, bass stick balance test, handgrip strength test in upper and lower extremity strength measurements, wall squat leg strength test and plate tapping test for movement speed were performed to all participants before and after 12 weeks training. Since the data did not show normal distribution, Kruskal Wallis test was used in more than two groups and Mann Whitney-U test was used in binary comparisons. Looking at the results of KG and SDG, it was found that the BMI and muscle strength values of KG were better than the SDG values (p= .00). It was determined that the static balance values of SDG were higher than KG (p= 0.00). However, there was no significant difference between the movement speed of both groups (p> .05). All physical fitness parameters of both groups were found to be better than COG. We can suggest that sedentary individuals can benefit from karate technique training in gaining muscle strength. In addition, we can emphasize that it may be more appropriate to use salsa dance training in the development of static balance.

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Domene, Pablo A., e Chelsey Lawson. "Salsa dance and perceived mental health benefits: a servant leadership theory-driven study". Central European Journal of Sport Sciences and Medicine 28 (2019): 107–17. http://dx.doi.org/10.18276/cej.2019.4-10.

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Djebbari, Elina. "Transpolitanisme, mobilités et appropriation : danser la salsa en Afrique de l’Ouest (Bénin/Ghana)". Revue européenne des migrations internationales 35, n. 3-4 (1 dicembre 2019): 63–83. http://dx.doi.org/10.4000/remi.13397.

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Kusmiati, Sri, Endeh Nurgiwiati e Ali Hamzah. "Salsa Dance Could Improve Effectively to Body Balance in Elderly with Risk of Falls". Open Journal of Nursing 08, n. 11 (2018): 771–78. http://dx.doi.org/10.4236/ojn.2018.811058.

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Bosse, Joanna. "Salsa Dance as Cosmopolitan Formation: Cooperation, Conflict and Commerce in the Midwest United States". Ethnomusicology Forum 22, n. 2 (agosto 2013): 210–31. http://dx.doi.org/10.1080/17411912.2013.809256.

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Stevenson, Deborah. "Feel the Beat: Dance Poems That Zing from Salsa to Swing by Marilyn Singer". Bulletin of the Center for Children's Books 70, n. 7 (2017): 335. http://dx.doi.org/10.1353/bcc.2017.0232.

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Granacher, Urs, Thomas Muehlbauer, Stephanie A. Bridenbaugh, Madeleine Wolf, Ralf Roth, Yves Gschwind, Irene Wolf, Rui Mata e Reto W. Kressig. "Effects of a Salsa Dance Training on Balance and Strength Performance in Older Adults". Gerontology 58, n. 4 (2012): 305–12. http://dx.doi.org/10.1159/000334814.

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Carvalhaes, Cláudio. "‘Gimme de kneebone bent’: Liturgics, Dance, Resistance and a Hermeneutics of the Knees". Studies in World Christianity 14, n. 1 (aprile 2008): 1–18. http://dx.doi.org/10.3366/e1354990108000026.

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Shall we all dance to the Lord? But what Lord? To whose Lord shall we bend our knees in prayer, honour, dance and praise? Can our knees be naked? Can we open our legs? How much skin can we show without apologizing? Are we allowed to get the sensuous fever while dancing a tango, a salsa, or a samba? How should our knees behave in the house of the Lord? And whose house is God's house? Is there a proper way to dance in a worship service? What parts of our bodies can we move without distressing the proper liturgical order rooted in respect, faith, rationality, tradition and good manners? Our knees connect liturgy with ecclesiology, theology, colonialisation, dance and bodies. I was asked to write about dance in Brazil/Latin America, perhaps because Brazil is well known for its dancing spirit, as one can see in our carnival, samba, joy and beautiful women. All of that is true. But the task for this article was more specific. I had to write about dance within Christian communities. Then, the whole aspect of dance was turned upside down in my head. In truth, we do not dance in historic Protestant churches in Brazil and in that regard, we do not differ one inch from many of our brothers and sisters in Edinburgh, Rome, Geneva or the United States – at least when dance is concerned. We just do not dance. Only our Pentecostal brothers and sisters can dance.

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Mama, Scherezade K., Lorna H. McNeill, Erica G. Soltero, Raul Orlando Edwards e Rebecca E. Lee. "Contribution of Psychosocial Factors to Physical Activity in Women of Color in the Saving Lives Staying Active (SALSA) Study". Journal of Aging and Physical Activity 25, n. 3 (luglio 2017): 351–59. http://dx.doi.org/10.1123/japa.2015-0239.

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Culturally appropriate, innovative strategies to increase physical activity (PA) in women of color are needed. This study examined whether participation in SALSA, an 8-week randomized, crossover pilot study to promote PA, led to improved psychosocial outcomes and whether these changes were associated with changes in PA over time. Women of color (N = 50) completed Internet-based questionnaires on PA, exercise self-efficacy, motivational readiness, stress, and social support at three time points. Women reported high socioeconomic status, decreases in exercise self-efficacy, and increases in motivational readiness for exercise and a number of stressful events (p < .05); changes in motivational readiness for exercise varied by group (p = .043). Changes in psychosocial factors were associated with increases in PA. Latin dance improved motivational readiness for PA. Future studies are needed to determine whether Latin dance improves other psychological measures and quality of life in women of color in an effort to increase PA and reduce health disparities.

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Rodrigues Costa, Camila, Ana Paula Leite de Souza e Matheus Augusto Mendes Amparo. "ANÁLISE DOS BENEFÍCIOS DA DANÇA PARA A QUALIDADE DE VIDA DE IDOSOS MORADORES DE UMA INSTITUIÇÃO DE LONGA PERMANÊNCIA". Colloquium Vitae 10, Especial 5 (1 dicembre 2018): 125–34. http://dx.doi.org/10.5747/cv.2018.v10.nesp5.000343.

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The objective of this study was to analyze the influence of a dance program on the quality of life of elderly people living in a long-stay institution located in the interior of the State of São Paulo. This is an action research. Nine elderly, aged between 63 and 93 years, of both sexes, participated in the study. The Quality of Life Questionnaire - SF-36 was applied. Subsequently, the interventions were initiated, through the dance (zumba) from the rhythms: Salsa, Cumbia, Merengue, Reggaeton, twice a week. After two months of intervention, the questionnaire was reapplied. The data were analyzed from the parameters for quality of life classification in which zero corresponds to a poor rating and 100 to an excellent rating. There was an improvement in general health and social aspects. It is concluded that a dance program can contribute to the improvement in the quality of life of elderly people living in a long-term institution.

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Gibson, N. Jade. "Moving bodies, shifting selves: integration and incorporation through ‘jazzing’ and ‘salsa’ dance in Cape Town". Journal of the Musical Arts in Africa 10, n. 1 (dicembre 2013): 33–52. http://dx.doi.org/10.2989/18121004.2013.846980.

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Shackleton, Claire, Soshi Samejima, Tiev Miller, Ali Hosseinzadeh, Amanda H. X. Lee, Rahul Sachdeva, Tom E. Nightingale e Andrei V. Krassioukov. "May I Have This Dance: A Case-Series on the Acute Cardiometabolic Demand of Wheelchair Dancing in Recreational Dancers with Spinal Cord Injury". Medical Problems of Performing Artists 37, n. 4 (1 dicembre 2022): 269–77. http://dx.doi.org/10.21091/mppa.2022.4035.

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OBJECTIVES: This case-series investigated energy expenditure, cardiovascular responses, and psychosocial outcomes during two wheelchair dancing routines with different tempos. METHODS: Three individuals with chronic, non-traumatic spinal cord injuries [males, mean age 42 (13) years, C3-T12, AIS D, schwannoma=1, poliomyelitis=1, ependymoma=1] performed slow (rumba, 80 bpm) and fast (salsa, 170 bpm) wheelchair dance routines. Physiological [heart rate, blood pressure, relative oxygen consumption (VO2), metabolic task equivalent] and psychosocial parameters [ratings of perceived exertion, enjoyment and Brunel Mood Score] were measured pre, during, and post-dancing. RESULTS: All participants showed an elevation in heart rate and relative VO2 from rest to dancing with a subsequent decrease in these parameters post-dance for both routines. Relative to the slow dance routine, two out of three participants demonstrated greater heart rate, relative VO2, ratings of perceived exertion, and enjoyment during the fast dance routine. For all three participants, metabolic task equivalents ranged from 1.7–2.4 (slow) and 2.1–3.8 (fast), suggesting the intervention was of light to moderate intensity for slow and fast dance routines, respectively. Enjoyment ratings ranged from “quite a bit” to “extremely.” No differences in Brunel mood subscales were observed. CONCLUSION: This case-series offers a preliminary understanding of the acute cardiometabolic and psychosocial responses to wheelchair dance routines of differing intensities performed by individuals with spinal cord injury. Responsiveness observed among these participants suggests the potential use of wheelchair dance for promoting physical activity and improving psychological well-being.

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Vukadinović, Maja. ""Attention please!": The dark side of dancers’ personality". Primenjena psihologija 15, n. 1 (10 marzo 2022): 51–84. http://dx.doi.org/10.19090/pp.v15i1.2357.

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The present study aims to investigate the dark side of dancers’ personality. In recent literature, dark personality traits were conceptualized as the Dark Tetrad which includes Machiavellianism, narcissism, psychopathy and sadism. The participants in this study were 98 dancers, aged between 18 and 57 (M = 34.71, SD = 11.21; 86.7% women), who practiced different dance types (classical ballet, modern dance, flamenco, oriental dance, hip-hop, salsa, tango, merengue, bachata and Latin dances-samba, rumba) both professionally and non-professionally. They answered 13 questions from the pilot version of the list of Indicators of the meaning of dance for dancers, the Short Dark Triad (SD3) and the Assessment of Sadistic Personality (ASP). The results have shown that dancers had higher scores narcissism and lower scores on Machiavellianism and sadism compared to participants from the reference community sample from previous study (Dinić et al., 2018, 2020). Professional dancers had higher scores on narcissism, compared to those who practice dance as recreation meaning that they tend to seek prestige or status and have a need for admiration and attention from other people more than recreationists. Furthermore, a series of regression analyses showed that psychopathy is negatively related to dancers’ evaluation of the dance as an enjoyable and pleasant activity. It is concluded that dark personality traits are a component of dancers’ personality and one of the factors that affect dancers’ evaluation of the meaning of dance. Moreover, practical implications of the obtained results related to the pedagogical dance practice are discussed, as well as the dark traits of creative personality.

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Domene, Pablo A., e Sheriden Morley. "Stepping Into Salsa Culture: An Experiential Account Of Engaging With A University Non-credit Dance Programme". Medicine & Science in Sports & Exercise 53, n. 8S (agosto 2021): 258. http://dx.doi.org/10.1249/01.mss.0000762084.21940.ad.

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Balbim, Guilherme M., Susan Aguinaga, Isabela G. Marques, Jacqueline Guzman, David X. Marquez e Priscilla Vasquez. "MIDDLE-AGED AND OLDER LATINOS’ SATISFACTION OF BAILAMOS LATIN DANCE PROGRAM". Innovation in Aging 3, Supplement_1 (novembre 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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Thomsen, Mikkel Jacobi, Matthew Liston, Merete Grothe Christensen, Peter Vestergaard e Rogerio Hirata. "A Combination of Web-based and In-Person Training Reduced Fall Accidents in Older Adults During the COVID-19 Pandemic". Iproceedings 8, n. 1 (24 agosto 2022): e41105. http://dx.doi.org/10.2196/41105.

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Background Fall accidents in older adults are associated with reduced quality of life, personal health issues, and earlier deaths. Previous studies have found that both physical and cognitive parameters influence the risk of falling in older adults. During the COVID-19 pandemic lockdown (2020-2021) in Denmark, web-based training was the safest option for training, although its effectiveness was uncertain. Objective The purpose of this stratified, block randomized trial was to examine the effect of two types of web-based and in-person training—salsa dance and regular fitness circuit—in two training groups in comparison with a control group. Methods A total of 78 older adults (9 male and 69 female; mean age 70.4, SD 4.4 years; mean height 165.2, SD 6.8 cm; and mean weight 65.7, SD 11.9 kg) completed the 6-months training period: dance (n=25), fitness (n=23), and control group (n=30). Accidental falls were registered during the follow-up test. Participants in the two training groups were assigned to 1-hour training sessions twice a week for 6 months. Prior to the pandemic, training was administered by a skilled instructor at an activity center in the municipality or a dance studio. Following the pandemic, dance training was administered through a web-based meeting platform, whereas fitness training was guided by a video. Adherence to the training was collected weekly. Participants in the control group were encouraged to continue their everyday life. Results Both intervention groups had fewer accidental falls during the 6 months intervention compared with the control group (control group: 9 falls; dance: 4 falls, fitness: 0 falls; chi-square: P<.05). In total, adherence to fitness training was 72.6%, and it was 86.9% for dance. However, adherence to the web-based dance training was 95% (342 dance training hours of possible 360 dance training hours). Conclusions A combination of a 6-months web-based and in-person training (for dance and fitness) reduced the number of accidental falls in older adults. Trial Registration ClinicalTrials.gov NCT03683849; https://clinicaltrials.gov/ct2/show/NCT03683849

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