Latin dance is a general label, and a term in partner dance competition jargon. It refers to types of ballroom dance and folk dance, and includes a wide range of dances originating in Latin America, Cuba and Puerto Rico.
Social Latin dances include salsa, mambo, merengue, tumba, bachata, bomba, plena, and the Argentine tango. There are many dances which were popular in the first part of the 20th century, but which are now of only historical interest. The Cuban danzón is a good example.
Perreo is a Puerto Rican dance associated with Reggaeton music with Jamaican and Caribbean influences. Latin folk dances of Argentina include the chacarera, gato, escondido and zamba. Typical Bolivian folk dances are the morenada, kullawada, caporales and the recently created tinku. In Colombia one of the typical dances is the cumbia.
- Lavelle, Doris 1983. Latin & American dances. 3rd ed, Black, London, p108.
- The reason jive is included with the latin dances is because its dance style is similar: "... a non-progressive dance which can be danced in a small space when the floor is crowded". and "The hold is similar to latin dances" [meaning, it is quite different from the modern or ballroom dances]. Silvester, Victor 1977. Dancing: ballroom, latin-american and social, 105/6. ISBN 0-340-22517-3. Teach Yourself Books
- Santos, John. 1982. The Cuban Danzón (liner notes). New York, Folkways Records FE 4066
- Box, Ben (1992 [and subsequent editions]). South American Handbook. New York City: Trade & Travel. At the beginning of each chapter (except the Guianas) is a section on "Music and Dance" written by Nigel Gallop, an Englishman, fluent in Spanish and Portuguese, who lived and worked in almost every country of South America.
- Box, Ben; Cameron, Sarah (1992 [and subsequent editions]). Caribbean Islands Handbook. New York City: Trade & Travel. Dance information is provided under "Culture" headings.
- Sévigny, Jean-Pierre. Sierra Norteña: the Influence of Latin Music on the French-Canadian Popular Song and Dance Scene, Especially as Reflected in the Career of Alys Robi and the Pedagogy of Maurice Lacasse-Morenoff. Montréal: Productions Juke-Box, 1994. 13 p. N.B. Published text of a paper prepared for, and presented on, on 12 March 1994, the conference, Popular Music Music & Identity (Montréal, Qué., 12–13 March 1994), under the auspices of the Canadian Branch of the International Association for the Study of Popular Music.
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