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Добірка наукової літератури з теми "Danse salsa"

Автор: Grafiati

Опубліковано: 22 червня 2024

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Статті в журналах з теми "Danse salsa":

1

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.

2

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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3

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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4

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.

5

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.

6

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.

7

Borland, Katherine. "Embracing Difference: Salsa Fever in New Jersey." Journal of American Folklore 122, no. 486 (October 1, 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.

8

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.

9

Carwile, Christey. "“The Clave Comes Home”: Salsa Dance and Pan-African Identity in Ghana." African Studies Review 60, no. 2 (May 22, 2017): 183–207. http://dx.doi.org/10.1017/asr.2017.6.

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Abstract:While salsa dance is popularly, and now globally, understood to be a symbol and expression of Latin identity, its adoption in non-Latin contexts has produced new meanings and cultural configurations. This is particularly the case in West Africa, where salsa is not only catching on among urban youth, but is becoming understood and approached from an African perspective. This article explores the ways in which salsa dance in Ghana serves as an innovative, embodied expression of a contemporary, pan-African identity. This is seen in Ghanaian dancers’ ideological reinvigoration of salsa’s African history and in the physical incorporation of local styles and presentations. Salsa in Ghana is recast through global networks, which in turn contributes to its global character while refashioning it to better suit local motives and desires. Thus, rather than emphasizing salsa’s African roots alone, dancers in Ghana equally engage with the complexroutesof the dance.

10

Schneider, Britta. "Multilingual Cosmopolitanism and Monolingual Commodification: Language Ideologies in Transnational Salsa Communities." Language in Society 39, no. 5 (November 2010): 647–68. http://dx.doi.org/10.1017/s0047404510000643.

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AbstractSalsa, a global urban music and dance phenomenon, is an interesting example for the emergence of transnational cultural spheres. Salsa has its roots in the Americas and in many Salsa communities outside of Latin America, the Spanish language is seen as the authentic means of expression. However, attitudes to multilingualism can differ strongly from Salsa community to Salsa community.In this paper, the Salsa-scene of Sydney is introduced with its various stances towards multilingualism. These are connected to different styles of the dance, where one style is practiced in English only, while dancers of another style are often bilingual speakers of Spanish and English. Monolingualism and multilingualism here mediate the affiliation to different local scenes. Simultaneously, both language ideologies relate to different global discourses of competitive and cosmopolitan culture. It will be asked whether the introduced language ideologies challenge traditional frameworks of society and reified discursive concepts of language. (Multilingualism – Transnationalism – Cosmopolitanism)*

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Дисертації з теми "Danse salsa":

1

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

2

Person, Elise. "Le langage de la salsa : étude culturelle et lexicologique des musiques populaires dans la Caraïbe hispanique." Brest, 2000. http://www.theses.fr/2000BRES1011.

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Cette thèse propose une approche culturelle et lexicale de la chanson populaire caraïbe dans quatre zones : Cuba, Porto Rico (et New York), la République dominicaine et la Colombie. La première partie est une introduction d'ordre historique, culturel et littéraire qui donne les informations essentielles quant à la naissance et l'évolution des principaux rythmes ruraux et urbains de la caraïbe. Ces musiques donnent naissance ensuite à la salsa urbaine à New York. La salsa se propage ensuite dans les pays de la caraïbe où elle fusionne avec les musiques locales. Une analyse thématique permet de replacer les chansons dans leur contexte, démarche essentielle pour la bonne compréhension du lexique ensuite étudié. La deuxième partie est principalement lexicale. Sur la base d'un chansonnier de 380 chansons (150 pour Cuba, 130 pour Porto Rico et New York, 50 pour la République dominicaine et 50 pour la Colombie). Elle aborde les différenciations lexicales de chaque zone étudiée, met en relief les caractéristiques extra hispaniques (indigénismes, africanismes etc. ) de l'espagnol véhiculé dans les chansons et montre ainsi les spécificités lexicales de chaque pays. Elle analyse aussi les glissements de sens et la double interprétation dans la chanson populaire et étudie la presence du parler populaire et/ou musical dans la lexicographie actuelle. Le parler de la chanson conserve et diffuse l'héritage linguistique de l'espagnol caraïbe. Nous constatons aussi que l'intégration du lexique cubain dans la chanson des autres pays est indéniable alors que l'inverse ne se vérifie pas ou beaucoup moins. Cuba exerce une sorte de domination lexicale sur la chanson caraïbe. Une enqueêe de terrain en Colombie nous permet de dzmontrer que la chanson caraïbe insulaire diffuse un parler particulier qui s'intègre dans le parler caraïbe péninsulaire. Cela nous permet d'affirmer que la chanson et la musique populaires exercent une influence certaine sur le parler populaire à notre époque.

3

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).

4

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).

5

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

6

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?

7

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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8

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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9

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

10

Escalona, Saúl. "Négritude et chanson dans les Carai͏̈bes : contribution à l'étude de la salsa comme phénomène socioculturel dans le Vénézuela contemporain." Paris 3, 1997. http://www.theses.fr/1997PA030061.

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Анотація:

Cette these essaie d'explorer le developpement de la musique salsa et le phenomene socioculturel qu'elle constitue dans la societe venezuelienne. Partant d'une analyse historique nous avons situe le contexte de l'evolution de la musique afro-cubaine, son expansion dans les caraibes hispaniques jusqu'a sa transformation en musique afro-caraibe, puis, plus recemment jusqu'a l'acquisition du nom de "salsa". En utilisant la technique de l'analyse de contenu que nous avons appliquee a un corpus de deux cents chansons representatives de ce genre musical, nous avons etabli une typologie de chansons de salsa, reparties en cinq types : descriptives, romantiques, politiques, erotiques et combinatoires. D'une maniere generale, dans nos resultats nous avons constate que leur recit se situe dans une perspective ideologique ; que la musique salsa est une coherence caracteristique de la culture de la region des caraibes hispaniques ; que cette musique en racontant les faits de la vie quotidienne met l'accent sur la complexite du fonctionnement de la societe. Enfin, que la salsa utilise un langage, que nous avons appele le langage salsero, lequel est constitue de mots, de phrases et d'expressions qui, vehicules par les chansons, divulgue une certaine maniere de parler et d'agir et, constitue ainsi un element unificateur, voire de communication, du public de salsa
This thesis tries to explore the development of salsa music and the socio-cultural phenomenon it represents in venezuelan society today. Starting with an historical analysis, the position of the evolution of afro-cuban music is defined as is its expansion into the hispanic caribean until the transformation of the afro-caribean music and more recently, the acquisition of the name "salsa". By using the technique of content analysis concerning two hundred typical songs from this type of music, a topology of salsa songs has been grouped into five categories : descriptive songs, romantic songs, political songs, erotic songs and songs which blend all groups. In a general way, the results show that the song contents are in an ideological perspective, that salsa music is a characteristic of the regional culture of the hispanic caribean and that by telling stories of everyday life this music places the accent over the complex workings of the hispanic caribean society. In conclusion, it's shown that salsa music uses a language that can be called the "language of salsa", in which we find words, phrases and expressions which, projected by the songs, show a certain way of speaking and behaving and that these become a unifyting factor in the way in which salsa listeners communicate

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Книги з теми "Danse salsa":

1

Villar, Eva. Le voyage salsa: Une danse de société pour la pluralité. Paris: Harmattan, 2012.

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2

Escalona, Sau l. Si la Pen a m'e tait conte e !: Une histoire de la salsa a Paris. Paris: l'Harmattan, 2010.

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3

Denholtz, Roni S. Salsa with me. New York: Avalon Books, 2008.

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4

Denholtz, Roni S. Salsa with me. Waterville, Me: Thorndike Press, 2009.

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5

Storey, Rita. Samba and salsa. London: Franklin Watts, 2010.

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6

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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7

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

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8

Gutiérrez, Bárbara Balbuena. El casino y la salsa en Cuba. La Habana, Cuba: Letras Cubanas, 2005.

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9

Gutiérrez, Bárbara Balbuena. Salsa y casino: De la cultura popular tradicional cubana. Buenos Aires: Balletin Dance Ediciones, 2010.

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10

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

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Частини книг з теми "Danse salsa":

1

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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2

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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3

Leymarie, Isabelle. "La salsa." In Danses latines, 115–25. Autrement, 2007. http://dx.doi.org/10.3917/autre.dorie.2007.01.0115.

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4

Poupon, Bernard. "Salsa All Stars." In Danses latines, 150–61. Autrement, 2007. http://dx.doi.org/10.3917/autre.dorie.2007.01.0150.

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5

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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6

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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7

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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8

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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9

Argyriadis, Kali. "Glossaire des danses cubaines et de la salsa." In Danses latines, 162–65. Autrement, 2007. http://dx.doi.org/10.3917/autre.dorie.2007.01.0162.

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10

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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Анотація:

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.”

Тези доповідей конференцій з теми "Danse salsa":

1

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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2

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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3

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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4

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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