Download Free Spinning Mambo Into Salsa Book in PDF and EPUB Free Download. You can read online Spinning Mambo Into Salsa and write the review.

Arguably the world's most popular partnered social dance form, salsa's significance extends well beyond the Latino communities which gave birth to it. The growing international and cross-cultural appeal of this Latin dance form, which celebrates its mixed origins in the Caribbean and in Spanish Harlem, offers a rich site for examining issues of cultural hybridity and commodification in the context of global migration. Salsa consists of countless dance dialects enjoyed by varied communities in different locales. In short, there is not one dance called salsa, but many. Spinning Mambo into Salsa, a history of salsa dance, focuses on its evolution in three major hubs for international commercial export-New York, Los Angeles, and Miami. The book examines how commercialized salsa dance in the 1990s departed from earlier practices of Latin dance, especially 1950s mambo. Topics covered include generational differences between Palladium Era mambo and modern salsa; mid-century antecedents to modern salsa in Cuba and Puerto Rico; tension between salsa as commercial vs. cultural practice; regional differences in New York, Los Angeles, and Miami; the role of the Web in salsa commerce; and adaptations of social Latin dance for stage performance. Throughout the book, salsa dance history is linked to histories of salsa music, exposing how increased separation of the dance from its musical inspiration has precipitated major shifts in Latin dance practice. As a whole, the book dispels the belief that one version is more authentic than another by showing how competing styles came into existence and contention. Based on over 100 oral history interviews, archival research, ethnographic participant observation, and analysis of Web content and commerce, the book is rich with quotes from practitioners and detailed movement description.
Arguably the world's most popular partnered social dance form, salsa's significance extends well beyond the Latino communities which gave birth to it. The growing international and cross-cultural appeal of this Latin dance form, which celebrates its mixed origins in the Caribbean and in Spanish Harlem, offers a rich site for examining issues of cultural hybridity and commodification in the context of global migration. Salsa consists of countless dance dialects enjoyed by varied communities in different locales. In short, there is not one dance called salsa, but many. Spinning Mambo into Salsa, a history of salsa dance, focuses on its evolution in three major hubs for international commercial export-New York, Los Angeles, and Miami. The book examines how commercialized salsa dance in the 1990s departed from earlier practices of Latin dance, especially 1950s mambo. Topics covered include generational differences between Palladium Era mambo and modern salsa; mid-century antecedents to modern salsa in Cuba and Puerto Rico; tension between salsa as commercial vs. cultural practice; regional differences in New York, Los Angeles, and Miami; the role of the Web in salsa commerce; and adaptations of social Latin dance for stage performance. Throughout the book, salsa dance history is linked to histories of salsa music, exposing how increased separation of the dance from its musical inspiration has precipitated major shifts in Latin dance practice. As a whole, the book dispels the belief that one version is more authentic than another by showing how competing styles came into existence and contention. Based on over 100 oral history interviews, archival research, ethnographic participant observation, and analysis of Web content and commerce, the book is rich with quotes from practitioners and detailed movement description.
This study chronicles histories of salsa dance in the United States, starting from its incarnation as mambo in the late 1940s, through the creation of salsa as a musical genre in the 1970s, into the formation of a global salsa dance industry in the 1990s and 2000s. Equally informative for those interested in the dance's changing aesthetics and its relationship to evolving music styles and those concerned with how sociopolitical issues related to race, class, ethnicity, nationality, and gender played into this history, the text considers dance as both an object and an agent of change.
One woman embarked on a dance journey around the world, finding out how each dance tells a story of its country and learning how beautiful life can be when you take the lead. If you could do anything you wanted, what would it be? Aliénor Salmon was working as a happiness researcher in Bangkok when a friend asked her the question that turned life as she knew it on its heels. A novice dancer but experienced social researcher, the Franco-British Aliénor headed west from Bangkok to dance her way through Latin America. As she learns eighteen dances, each native to the countries she visits, she engages with esoteric customs, traditions, and cultures. Through conversations and arduous studio hours, she learns that every step, pivot, and shake thrums with an undeniable spirit of place. And that in a world where we are over-connected but increasingly disconnected from one another, dance offers an authentically human experience. One that allows her to develop tolerance, kindness, truth, and love by holding the hands of a stranger and gazing into their eyes for the time of a song. With her fearless and candid approach, Aliénor will inspire you to take the reins of your own life—and have some fun along the way. In this dance-travelogue, you’ll learn the history and steps of dances like salsa, samba, and tango, enjoy a resplendent meditation on happiness and wanderlust, and receive a life-affirming answer to the question: How do I take the first step?
Global Popular Music: A Research and Information Guide offers an essential annotated bibliography of scholarship on popular music around the world in a two-volume set. Featuring a broad range of subjects, people, cultures, and geographic areas, and spanning musical genres such as traditional, folk, jazz, rock, reggae, samba, rai, punk, hip-hop, and many more, this guide highlights different approaches and discussions within global popular music research. This research guide is comprehensive in scope, providing a vital resource for scholars and students approaching the vast amount of publications on popular music studies and popular music traditions around the world. Thorough cross-referencing and robust indexes of genres, places, names, and subjects make the guide easy to use. Volume 2, Transnational Discourses of Global Popular Music Studies, covers the geographical areas of North America: United States and Canada; Central America, Caribbean, and South America/Latin America; Europe; Africa and Middle East; Asia; and areas of Oceania: Aotearoa/New Zealand, Australia, and Pacific Islands. It provides over twenty-four hundred annotated bibliographic entries covering discourses of extensive research that extend beyond the borders of the United States and includes annotated entries to books, book series, book chapters, edited volumes, special documentaries and programming, scholarly journal essays, and other resources that focus on the creative and artistic flows of global popular music.
"Published with the assistance of the Getty Foundation"--Title page
The Palgrave Handbook of Race and the Arts in Education is the first edited volume to examine how race operates in and through the arts in education. Until now, no single source has brought together such an expansive and interdisciplinary collection in exploration of the ways in which music, visual art, theater, dance, and popular culture intertwine with racist ideologies and race-making. Drawing on Critical Race Theory, contributing authors bring an international perspective to questions of racism and anti-racist interventions in the arts in education. The book’s introduction provides a guiding framework for understanding the arts as white property in schools, museums, and informal education spaces. Each section is organized thematically around historical, discursive, empirical, and personal dimensions of the arts in education. This handbook is essential reading for students, educators, artists, and researchers across the fields of visual and performing arts education, educational foundations, multicultural education, and curriculum and instruction.
Behind the scenes of DanceSport.
When rock and roll was transforming American culture in the 1950s and '60s, East Harlem pulsed with the sounds of mambo and merengue. Instead of Elvis and the Beatles, Marta Moreno Vega grew up worshiping Celia Cruz, Mario Bauza, and Arsenio Rodriguez. Their music could be heard on every radio in El Barrio and from the main stage at the legendary Palladium, where every weekend working-class kids dressed in their sharpest suits and highest heels and became mambo kings and queens. Spanish Harlem was a vibrant and dynamic world, but it was also a place of constant change, where the traditions of Puerto Rican parents clashed with their children's American ideals. A precocious little girl with wildly curly hair, Marta was the baby of the family and the favorite of her elderly abuela, who lived in the apartment down the hall. Abuela Luisa was the spiritual center of the family, an espiritista who smoked cigars and honored the Afro-Caribbean deities who had always protected their family. But it was Marta's brother, Chachito, who taught her the latest dance steps and called her from the pay phone at the Palladium at night so she could listen, huddled beneath the bedcovers, to the seductive rhythms of Tito Puente and his orchestra. In this luminous and lively memoir, Marta Moreno Vega calls forth the spirit of Puerto Rican New York and the music, mysticism, and traditions of a remarkable and quintessentially American childhood.
In power for forty-four years and counting, Fidel Castro has done everything possible to define Cuba to the world and to itself -- yet not even he has been able to control the thoughts and dreams of his people. Those thoughts and dreams are the basis for what may become a post-Castro Cuba. To more fully understand the future of America's near neighbor, veteran reporter Eugene Robinson knew exactly where to look -- or rather, to listen. In this provocative work, Robinson takes us on a sweaty, pulsating, and lyrical tour of a country on the verge of revolution, using its musicians as a window into its present and future. Music is the mother's milk of Cuban culture. Cubans express their fondest hopes, their frustrations, even their political dissent, through music. Most Americans think only of salsa and the Buena Vista Social Club when they think of the music of Cuba, yet those styles are but a piece of a broad musical spectrum. Just as the West learned more about China after the Cultural Revolution by watching From Mao to Mozart, so will readers discover the real Cuba -- the living, breathing, dying, yet striving Cuba. Cuban music is both wildly exuberant and achingly melancholy. A thick stew of African and European elements, it is astoundingly rich and influential to have come from such a tiny island. From rap stars who defy the government in their lyrics to violinists and pianists who attend the world's last Soviet-style conservatory to international pop stars who could make millions abroad yet choose to stay and work for peanuts, Robinson introduces us to unforgettable characters who happily bring him into their homes and backstage discussions. Despite Castro's attempts to shut down nightclubs, obstruct artists, and subsidize only what he wants, the musicians and dancers of Cuba cannot stop, much less behave. Cubans move through their complicated lives the way they move on the dance floor, dashing and darting and spinning on a dime, seducing joy and fulfillment and next week's supply of food out of a broken system. Then at night they take to the real dance floors and invent fantastic new steps. Last Dance in Havana is heartwrenching, yet ultimately as joyous and hopeful as a rocking club late on a Saturday night.