History Of The Merengue Dance

  history of the merengue dance: Merengue Paul Austerlitz, 1997-01-22 Merengue is a quintessential Dominican dance music. This work aims to unravel the African and Iberian roots of merengue. It examines the historical and contemporary contexts in which merengue is performed and danced, its symbolic significance, its social functions, and its musical and choreographic structures.
  history of the merengue dance: Merengue and Dominican Identity Julie A. Sellers, 2004-10-15 The merengue is internationally recognized as the Dominican Republic's national dance. It is an integral and unifying element of Dominican identity both within that nation and among emigrants abroad. Although Dominicans often make the claim that merengue has always been in their blood, the dance is relatively young, and its popularity among Dominicans of all social classes and ages is an even more recent occurrence. This book presents three convincing arguments about the merengue's longevity as a unifying symbol of Dominican identity: Dominican identity and the merengue have necessarily been extremely fluid in order to encompass the different cultural and ethnic groups present; historically, the merengue has become a stronger identity symbol when the nation is or is perceived to be threatened from outside; and the white, Catholic, Hispanic Dominican has long been held as the true Dominican identity, causing the dance to become progressively whitened in terms of performers and style to reflect this notion and gain wider appeal at home and abroad. A map of the Dominican Republic, related photographs of key figures of Dominican history and merengue artists across the decades, and a complete bibliography are included.
  history of the merengue dance: Merengue Paul Austerlitz, 1997-01-22 Merengue is a quintessential Dominican dance music. This work aims to unravel the African and Iberian roots of merengue. It examines the historical and contemporary contexts in which merengue is performed and danced, its symbolic significance, its social functions, and its musical and choreographic structures.
  history of the merengue dance: Bachata Deborah Pacini Hernandez, 1995 Defining Bachata -- Music and Dictatorship -- The Birth of Bachata -- Power, Representation, and Identity -- Love, Sex, and Gender -- From the Margins to the Mainstream -- Conclusions.
  history of the merengue dance: From Quebradita to Duranguense Sydney Hutchinson, 2007 Salsa and merengue are now so popular that they are household words for Americans of all ethnic backgrounds. Recent media attention is helping other Caribbean music styles like bachata to attain a similar status. Yet popular Mexican American dances remain unknown and invisible to most non-Latinos. Quebradita, meaning “little break,” is a modern Mexican American dance style that became hugely popular in Los Angeles and across the southwestern United States during the early to mid 1990s. Over the decade of its popularity, this dance craze offered insights into the social and cultural experience of Mexican American youth. Accompanied by banda, an energetic brass band music style, quebradita is recognizable by its western clothing, hat tricks, and daring flips. The dance’s combination of Mexican, Anglo, and African American influences represented a new sensibility that appealed to thousands of young people. Hutchinson argues that, though short-lived, the dance filled political and sociocultural functions, emerging as it did in response to the anti-immigrant and English-only legislation that was then being enacted in California. Her fieldwork and interviews yield rich personal testimony as to the inner workings of the quebradita’s aesthetic development and social significance. The emergence of pasito duranguense, a related yet distinct style originating in Chicago, marks the evolution of the Mexican American youth dance scene. Like the quebradita before it, pasito duranguense has picked up the task of demonstrating the relevance of regional Mexican music and dance within the U.S. context.
  history of the merengue dance: Spinning Mambo Into Salsa Juliet E. McMains, 2015 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.
  history of the merengue dance: Caribbean and Atlantic Diaspora Dance Yvonne Daniel, 2011-12-15 In Caribbean and Atlantic Diaspora Dance: Igniting Citizenship, Yvonne Daniel provides a sweeping cultural and historical examination of diaspora dance genres. In discussing relationships among African, Caribbean, and other diasporic dances, Daniel investigates social dances brought to the islands by Europeans and Africans, including quadrilles and drum-dances as well as popular dances that followed, such as Carnival parading, Pan-Caribbean danzas,rumba, merengue, mambo, reggae, and zouk. Daniel reviews sacred dance and closely documents combat dances, such as Martinican ladja, Trinidadian kalinda, and Cuban juego de maní. In drawing on scores of performers and consultants from the region as well as on her own professional dance experience and acumen, Daniel adeptly places Caribbean dance in the context of cultural and economic globalization, connecting local practices to transnational and global processes and emphasizing the important role of dance in critical regional tourism.
  history of the merengue dance: Oxford Bibliographies Ilan Stavans, An emerging field of study that explores the Hispanic minority in the United States, Latino Studies is enriched by an interdisciplinary perspective. Historians, sociologists, anthropologists, political scientists, demographers, linguists, as well as religion, ethnicity, and culture scholars, among others, bring a varied, multifaceted approach to the understanding of a people whose roots are all over the Americas and whose permanent home is north of the Rio Grande. Oxford Bibliographies in Latino Studies offers an authoritative, trustworthy, and up-to-date intellectual map to this ever-changing discipline.--Editorial page.
  history of the merengue dance: Music in Latin America and the Caribbean: An Encyclopedic History REANNOUNCE/F05: Volume 2: Performing the Caribbean Experience Kuss, Malena, The music of the peoples of South and Central America, Mexico, and the Caribbean is treated with unprecedented breadth in this multi-volume work. Taking a sociocultural and human-centered approach, Music in Latin America and the Caribbean gathers the best scholarship from writers all over the world to cover in depth the musical legacies of indigenous peoples, creoles, African descendants, Iberian colonizers, and other immigrant groups that met and mixed in the New World. From these texts, music emerges as the powerful tool that negotiates identities, enacts resistance, performs beliefs, and challenges received aesthetics. More than two decades in the making, this work privileges the perspectives of cultural insiders and emphasizes the role that music plays in human life. Volume 2, Performing the Caribbean Experience, focuses on the reconfiguration of this complex soundscape after the Conquest and on the strategies by which groups from distant worlds reconstructed traditions, assigning new meanings to fragments of memory and welding a fascinating variety of unique Creole cultures. Shaped by an enduring African presence and the experience of slavery and colonization by the Spanish, French, British, and Dutch, peoples of the Caribbean islands and circum-Caribbean territories resorted to the power of music to mirror their history, assert identity, gain freedom, and transcend their experience in lasting musical messages. Essays on pan-Caribbean themes, surveys of traditions, and riveting personal accounts capture the essence of pluralistic and spiritualized brands of creativity through the voices of an unprecedented number of Caribbean authors, including a representative contingent of distinguished Cuban scholars whose work is being published in English translation for the first time in this book. Two CDs with 52 recorded examples illustrate the contributions to this volume.
  history of the merengue dance: Creolizing Contradance in the Caribbean Peter Manuel, 2011-10-14 The contradance and quadrille, in their diverse forms, were the most popular, widespread, and important genres of creole Caribbean music and dance in the nineteenth century. Throughout the region they constituted sites for interaction of musicians and musical elements of different racial, social, and ethnic origins, and they became crucibles for the evolution of genres like the Cuban danzón and son, the Dominican merengue, and the Haitian mereng. Creolizing Contradance in the Caribbean is the first book to explore this phenomenon in detail and with a pan-regional perspective. Individual chapters by respected area experts discuss the Spanish, French, and English-speaking Caribbean, covering musical and choreographic features, social dynamics, historical development and significance, placed in relation to the broader Caribbean historical context. This groundbreaking text fills a significant gap in studies of Caribbean cultural history and of social dance.
  history of the merengue dance: Musica! Sue Steward, 1999-10 Salsa, the irresistible dance music of the Spanish-speaking world, has made its way into the lives of millions around the globe. But salsa is only one of many popular Latin rhythms. The first comprehensive guide to the music, its history, and its legends, Musica! charts the vast territory of this lively Latin heritage, which began in Cuba and spread throughout the Caribbean and into North and South America. Illustrated with contemporary and vintage photos, Musica! features a gallery of legendary musical performers, plus sections on the musical styles and dances including the rumba, mambo, cha-cha, and merengue. A discography and bibliography complete this comprehensive story of Latin America's extraordinary rhythmic tradition.
  history of the merengue dance: Focus: Music of the Caribbean Sydney Hutchinson, 2019-10-22 Focus: Music of the Caribbean presents the most important issues of Caribbean musical history and current practice, discussing thought-provoking questions in a student-friendly fashion. It uses current ethnomusicological research on Caribbean music to tell the stories of Caribbean history—those of colonialism and neocolonialism, race and nationalism, marginalization and globalization—and to explore that history’s continuing impact on the lives, cultures, musics, and dance of modern-day people in the Caribbean and beyond. In three parts, the text presents an embodied understanding of the sounds, rhythms, and movements that exemplify the history, culture, and politics of Caribbean music: I. Caribbean Music and Caribbean History establishes a framework for thinking about Caribbean musical history and the roles race and migration play II. Music and Dance in Caribbean Societies considers how contrasting forms of dance music reconcile competing ideas about Caribbean identities past and present III. Focusing In: The Social Lives of Musical Instruments in Merengue Típico explores the music of the Dominican Cibao region through a focus of the genre’s dominant musical instruments Accessible to all students regardless of musical background, Focus: Music of the Caribbean is bolstered by web resources, including more than sixty detailed listening guides and accompanying playlists, vocabulary lists, and student quizzes. Discussion questions and activities for each chapter are featured in the text.
  history of the merengue dance: Everynight Life José Esteban Muñoz, 1997 The function of dance in Latin/o American culture is the focus of the essays collected in Everynight Life. The contributors interpret how Latin/o culture expresses itself through dance, approaching the material from the varying perspectives of literary, cultural, dance, performance, queer, and feminist studies. Viewing dance as privileged sites of identity formation and cultural resistance in Latin/o America, Everynight Life translates the motion of bodies into speech, and the gestures of dance into a provocative socio-political grammar. This anthology looks at many modes of dance--including salsa, merengue, cumbia, rumba, mambo, tango, samba, and norteño--as models for the interplay of cultural memory and regional conflict. Barbara Browning's essay on capoeira, for instance, demonstrates how dance has been used as a literal form of resistance, while José Piedra explores the meanings conveyed by women of color dancing the rumba. Pieces such as Gustavo Perez Fírmat's I Came, I Saw, I Conga'd and Jorge Salessi's Medics, Crooks, and Tango Queens illustrate the lively scope of this volume's subject matter. Contributors. Barbara Browning, Celeste Fraser Delgado, Jane C. Desmond, Mayra Santos Febres, Juan Carlos Quintero Herencia, Josh Kun, Ana M. López, José Esteban Muñoz, José Piedra, Gustavo Perez Fírmat, Augusto C. Puleo, David Román, Jorge Salessi, Alberto Sandoval
  history of the merengue dance: Tigers of a Different Stripe Sydney Hutchinson, 2016-11-21 In Tigers of a Different Stripe, ethnomusicologist Sydney Hutchinson examines a variety of music genres in the Dominician Republic, and its diasporic communities, to shed light on how gender is performed through music, especially merengue tipico, a traditional, accordion-based genre that has undergone great change since the 1960s. Hutchinson goes beyond looking at just the music itself, to how dancing and listening, as well as viewing and discussing music, all play a part in gender performance and construction. Dominican gender roles are usually defined by a binary understanding of gender that is at its worst sexist and patriarchal, with macho men and subservient women. Hutchinson shows how wrong this is in musical performance, where musicians like Rita Indiana bend both gender and genre. The discussion naturally expands to movement, migration, race, class, and notions of tradition and modernity. In the end, Tigers shows how music can either reinforce entrenched gender roles or help to open up possibilities by imagining new roles and identities for all.
  history of the merengue dance: When the Spirits Dance Mambo Marta Morena Vega, 2018-04-15 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.
  history of the merengue dance: The Oxford Dictionary of Dance Debra Craine, Judith Mackrell, 2010-08-19 This comprehensive and up-to-date dictionary provides all the information necessary for dance fans to navigate the diverse dance scene of the 21st century. It includes entries ranging from classical ballet to the cutting edge of modern dance.
  history of the merengue dance: A Kid's Guide to Latino History Valerie Petrillo, 2009-08-01 A Kid's Guide to Latino History features more than 50 hands-on activities, games, and crafts that explore the diversity of Latino culture and teach children about the people, experiences, and events that have shaped Hispanic American history. Kids can: * Fill Mexican cascarones for Easter * Learn to dance the merengue from the Dominican Republic * Write a short story using &“magical realism&” from Columbia * Build Afro-Cuban Bongos * Create a vejigante mask from Puerto Rico * Make Guatemalan worry dolls * Play Loteria, or Mexican bingo, and learn a little Spanish * And much more Did you know that the first immigrants to live in America were not the English settlers in Jamestown or the Pilgrims in Plymouth, but the Spanish? They built the first permanent American settlement in St. Augustine, Florida, in 1565. The long and colorful history of Latinos in America comes alive through learning about the missions and early settlements in Florida, New Mexico, Arizona, and California; exploring the Santa Fe Trail; discovering how the Mexican-American War resulted in the Southwest becoming part of the United States; and seeing how recent immigrants from Central and South America bring their heritage to cities like New York and Chicago. Latinos have transformed American culture and kids will be inspired by Latino authors, artists, athletes, activists, and others who have made significant contributions to American history.
  history of the merengue dance: Caribbean Currents Peter Manuel, Kenneth Bilby, Michael Largey, 2012-06-20 The classic introduction to the Caribbean's popular music brought up to date.
  history of the merengue dance: Recreational Dance Ballroom, Cajun and Country-western Jerry Duke, 1996-03-01
  history of the merengue dance: The Global Reach of the Fandango in Music, Song and Dance K. Meira Goldberg, Antoni Pizà, 2017-01-06 The fandango, emerging in the early-eighteenth century Black Atlantic as a dance and music craze across Spain and the Americas, came to comprise genres as diverse as Mexican son jarocho, the salon and concert fandangos of Mozart and Scarlatti, and the Andalusian fandangos central to flamenco. From the celebrations of humble folk to the theaters of the European elite, with boisterous castanets, strumming strings, flirtatious sensuality, and dexterous footwork, the fandango became a conduit for the syncretism of music, dance, and people of diverse Spanish, Afro-Latin, Gitano, and even Amerindian origins. Once a symbol of Spanish Empire, it came to signify freedom of movement and of expression, given powerful new voice in the twenty-first century by Mexican immigrant communities. What is the full array of the fandango? The superb essays gathered in this collection lay the foundational stone for further exploration.
  history of the merengue dance: How To Become A Good Dancer Arthur Murray, 2013-01-09 This early work by Arthur Murray is both expensive and hard to find in its first edition. Its 250 pages contain a wealth of information on how to learn the art of dancing and include chapters on the Fox Trot, the Rumba the Mambo, all accompanied by instructional diagrams. This fascinating work is thoroughly recommended for anyone with an interest in ballroom dancing and a willingness to learn. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
  history of the merengue dance: Salsa Teachers Guide Book Thomas O'Flaherty, 2009 A teacher's guide covering everything from the origins of Salsa; different styles of salsa dancing, a 20 week learning syllabus of moves from Cuba, New York, LA and Colombia, teaching methods, learning styles and how to start your own salsa dance practice. This book starts with my personal experience of salsa dance and explains the history of salsa from a worldwide historical view point. It traces England's influence on the roots of salsa dancing and the development of the UK salsa scene. This book is divided into practical guidance and theoretical exercises. The book will tell you about the different ways to teach salsa, the rules and regulations you must follow and how to set-up a salsa dance school. It shows you everything you need to set yourself up as a salsa dance teacher.
  history of the merengue dance: Rumba Yvonne Daniel, 1995-06-22 Using dance anthropology to illuminate the values and attitudes embodied in rumba, Yvonne Daniel explores the surprising relationship between dance and the profound, complex changes in contemporary Cuba. From the barrio and streets to the theatre and stage, rumba has emerged as an important medium, contributing to national goals, reinforcing Caribbean solidarity, and promoting international prestige. Since the Revolution of 1959, rumba has celebrated national identity and cultural heritage, and embodied an official commitment to new values. Once a lower-class recreational dance, rumba has become a symbol of egalitarian efforts in postrevolutionary Cuba. The professionalization of performers, organization of performance spaces, and proliferation of performance opportunities have prompted new paradigms and altered previous understandings of rumba.
  history of the merengue dance: Waltzing Richard Powers, Nick Enge, 2013 In the 85 chapters of this guidebook, you will find many ideas about waltzing, dancing, and living. Dance descriptions and tips to improve your dancing are accompanied by down-to-earth ways to find greater fulfillment in your dancing and in your life. 25 different kinds of waltz are completely described, including: cross-step waltz, Viennese waltz, box step waltz, rotary waltz, polka, schottische, redowa, mazurka, hambo, zwiefacher, and more. In addition, you will find 85 waltz variations completely described, and a concise compendium of an additional hundred variations, accompanied by 50 illustrations of waltzing through the ages. Then beyond waltzing, much of this book applies to all forms of social ballroom dancing. You'll learn how you can be a better dance partner, how to develop your style and musicality, how to improvise more confidently, how to learn new dances by observation, and how to create your own social dance variations. You'll also learn about the many ways that the practice of social dancing can enrich our lives. Drawing on the latest research in social psychology, Waltzing includes chapters on the essential benefits of: music, physical activity, connection, play, mindfulness, acceptance, conditional learning, and many other topics.
  history of the merengue dance: Anita and the Dragons Hannah Carmona, 2021-04-06 A beautifully tender story touching on the range of emotions immigrants may feel when leaving their home countries – excitement and sorrow, fear and courage. Anita watches the dragons high above her as she hops from one cement roof to another in her village in the Dominican Republic. But being the valiant princesa she is, she never lets them scare her. Will she be brave enough to enter the belly of the beast and take flight to new adventures? A Barnes & Noble Bookseller Favorite. A BookTrust Book of the Month. A Love Reading For Schools Book of the Month. “A gorgeous story about the love of one’s homeland and the courage it takes to emigrate”—Kirkus Reviews, STARRED “Anita's courage as she flies off with the dragons to a new land will linger long after the final page”—Girls Read The World “What a punch this book packs. Hannah Carmona’s lyrical narrative is paired with THE dreamiest artwork by Anna Cunha – I’m obsessed with the color palette, and the gentle simplicity of her spreads is calming, yet full of energy”—The Little Literary Society
  history of the merengue dance: Cross-Step Waltz Richard Powers, Nick Enge, Melissa Enge, 2019-11-23 Cross-Step Waltz is one of the newest social dance forms, spreading quickly because it's easy to learn yet endlessly innovative, satisfying for both beginners and the most experienced dancers. It rotates and travels like the original waltz, but the addition of the cross-step opens up a wide range of playful yet gracefully flowing variations. In this comprehensive dancer's guide to Cross-Step Waltz, you will learn: ● How to dance more than 250 variations of Cross-Step Waltz, including basics, turns, grapevines, pivots, Tango-inspired figures, variations in cradle and shadow position, and ways to conclude a dance with flair. ● How to become a better dance partner, whether you dance as a Lead, a Follow, or both. ● How to dance more musically, and how to create your own Cross-Step Waltz variations. ● How to dance Cross-Step Waltz to a wide variety of music, and how to transition between Cross-Step Waltz and other dances. ● Finally, in a series of essays by our students, you'll learn how dancing Cross-Step Waltz can change your life! In addition to being fully described in writing, each of the 250+ variations is illustrated by a demo video on a companion website.
  history of the merengue dance: Cuban Fire Isabelle Leymarie, 2003 In Cuban Fire, the prize-winning author Isabelle Leymarie tells the thrilling story of popular music of Cuban origin and its major artists from the 1920s to today. Afro-Cuban music derives its richness from the fusion of many cultures. On the island of tobacco, rum and coffee, nicknamed 'The Green Caiman' because of its long and curvy shape, the wedding of sacred and secular African musical genres with Spanish and French melodies gave rise to numerous genres that have gained international fame- son, rhumba, guaracha, conga, mambo, cha-cha-cha, pachanga, and nueva timba. The history of Cuban music also unfolds in the United States, where large Cuban, Puerto Rican, Dominican and other Hispanic communities have established themselves over the years. It was in New York, indeed, that the boogaloo, salsa and Latin jazz, created by such musicians as Machito, Mario Bauz , Dizzy Gillespie and Chano Pozo, emerged out of the contact with the Puerto Ricans and African-Americans of that city. This major reference book also deals with the incandescent rhythms of Puerto Rico and -- to a lesser degree -- Santo Domingo, integrated today into salsa and Latin jazz.
  history of the merengue dance: Dance and Authoritarianism Anthony Shay, 2021
  history of the merengue dance: In the Time of the Butterflies Julia Alvarez, 2010-01-12 Celebrating its 30th anniversary in 2024, internationally bestselling author and literary icon Julia Alvarez's In the Time of the Butterflies is beautiful, heartbreaking and alive ... a lyrical work of historical fiction based on the story of the Mirabal sisters, revolutionary heroes who had opposed and fought against Trujillo. (Concepción de León, New York Times) Alvarez’s new novel, The Cemetery of Untold Stories, is coming April 2, 2024. Pre-order now! It is November 25, 1960, and three beautiful sisters have been found near their wrecked Jeep at the bottom of a 150-foot cliff on the north coast of the Dominican Republic. The official state newspaper reports their deaths as accidental. It does not mention that a fourth sister lives. Nor does it explain that the sisters were among the leading opponents of Gen. Rafael Leónidas Trujillo’s dictatorship. It doesn’t have to. Everybody knows of Las Mariposas—the Butterflies. In this extraordinary novel, the voices of all four sisters--Minerva, Patria, María Teresa, and the survivor, Dedé--speak across the decades to tell their own stories, from secret crushes to gunrunning, and to describe the everyday horrors of life under Trujillo’s rule. Through the art and magic of Julia Alvarez’s imagination, the martyred Butterflies live again in this novel of courage and love, and the human costs of political oppression. Alvarez helped blaze the trail for Latina authors to break into the literary mainstream, with novels like In the Time of the Butterflies and How the García Girls Lost Their Accents winning praise from critics and gracing best-seller lists across the Americas.—Francisco Cantú, The New York Times Book Review This Julia Alvarez classic is a must-read for anyone of Latinx descent. —Popsugar.com A gorgeous and sensitive novel . . . A compelling story of courage, patriotism and familial devotion. —People Shimmering . . . Valuable and necessary. —Los Angeles Times A magnificent treasure for all cultures and all time.” —St. Petersburg Times Alvarez does a remarkable job illustrating the ruinous effect the 30-year dictatorship had on the Dominican Republic and the very real human cost it entailed.—Cosmopolitan.com
  history of the merengue dance: History of dancing ring and Casino-Salsa Alan Silvano Borges, Alicia J. Sardiñas, 2017-03-23 The experiences we describe in this book are part of our lives; we intend to offer an image of the surging of casino dancing and ring (Rueda) in Cuba. To do so, we have requested the experiences and anecdotes of the dancers who participated from the very prodigious beginning of a dance that is as Cuban as the palms, the sugar cane, the rum and the tobacco... ...We dedicate this book to ah the founders of casino dance and ring, who definitely are the creators of this dancing style, that later has been called Salsa in other countries. We will make it extensive to ah the professors, promoters, directors of casino rings and to the good dancers that are already hundreds of thousands in Cuba and ah over the world.
  history of the merengue dance: Feel the Beat: Dance Poems that Zing from Salsa to Swing Marilyn Singer, 2017-03-07 An irresistible book of poems about dancing that mimic the rhythms of social dances from cha-cha to two-step, by the acclaimed author of Mirror Mirror Marilyn Singer has crafted a vibrant collection of poems celebrating all forms of social dance from samba and salsa to tango and hip-hop. The rhythm of each poem mimics the beat of the dances’ steps. Together with Kristi Valiant’s dynamic illustrations, the poems create a window to all the ways dance enters our lives and exists throughout many cultures. This ingenious collection will inspire readers to get up and move! Included with the e-book is an audio recording of the author reading each poem accompanied by original music.
  history of the merengue dance: A Day for the Hunter, a Day for the Prey Gage Averill, 2008-04-15 The history of Haiti throughout the twentieth century has been marked by oppression at the hands of colonial and dictatorial overlords. But set against this day for the hunter has been a day for the prey, a history of resistance, and sometimes of triumph. With keen cultural and historical awareness, Gage Averill shows that Haiti's vibrant and expressive music has been one of the most highly charged instruments in this struggle—one in which power, politics, and resistance are inextricably fused. Averill explores such diverse genres as Haitian jazz, troubadour traditions, Vodou-jazz, konpa, mini-djaz, new generation, and roots music. He examines the complex interaction of music with power in contexts such as honorific rituals, sponsored street celebrations, Carnival, and social movements that span the political spectrum. With firsthand accounts by musicians, photos, song texts, and ethnographic descriptions, this book explores the profound manifestations of power and song in the day-to-day efforts of ordinary Haitians to rise above political repression.
  history of the merengue dance: The Playford Ball Kate Van Winkle Keller, Genevieve Shimer, 1990
  history of the merengue dance: Music and Revolution Robin D. Moore, 2006 Annotation A history of Cuban music during the Castro regime (1950s to the present.
  history of the merengue dance: Carla and Leo's World of Dance Agatha Relota, 2011 An introduction to ballroom dancing around the world for budding dance stars.
  history of the merengue dance: Music in the Hispanic Caribbean Robin D. Moore, 2010 ** Music in the Hispanic Caribbean is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. ** The Spanish-speaking islands of Cuba, Puerto Rico, and the Dominican Republic make up a relatively small region, but their musical and cultural traditions have had a dramatic, sweeping impact on the world. The first brief, stand-alone volume to explore the music of these three islands, Music in the Hispanic Caribbean provides a vibrant introduction to diverse musical styles including salsa, merengue, reggaeton, plena, Latin jazz, and the bolero. Ethnomusicologist Robin Moore employs three themes in his survey of Hispanic Caribbean music: the cultural legacy of the slave trade, the creolization of Caribbean musical styles, and diaspora, migration, and movement. Each theme lends itself to a discussion of the region's traditional musical genres as well as its more contemporary forms. The author draws on his extensive regional fieldwork, offering accounts of local performances, interviews with key performers, and vivid illustrations. A compelling, comprehensive review, Music in the Hispanic Caribbean is ideal for introductory undergraduate courses in world music or ethnomusicology and for upper-level courses on Caribbean and Latin American music and/or culture. Packaged with a 70-minute CD containing musical examples, the text features numerous listening activities that actively engage students with the music. The companion website includes supplementary materials for instructors.
  history of the merengue dance: The Dominican Republic Reader Eric Paul Roorda, Lauren H. Derby, Raymundo Gonzalez, 2014-04-28 Despite its significance in the history of Spanish colonialism, the Dominican Republic is familiar to most outsiders through only a few elements of its past and culture. Non-Dominicans may be aware that the country shares the island of Hispaniola with Haiti and that it is where Christopher Columbus chose to build a colony. Some may know that the country produces talented baseball players and musicians; others that it is a prime destination for beach vacations. Little else about the Dominican Republic is common knowledge outside its borders. This Reader seeks to change that. It provides an introduction to the history, politics, and culture of the country, from precolonial times into the early twenty-first century. Among the volume's 118 selections are essays, speeches, journalism, songs, poems, legal documents, testimonials, and short stories, as well as several interviews conducted especially for this Reader. Many of the selections have been translated into English for the first time. All of them are preceded by brief introductions written by the editors. The volume's eighty-five illustrations, ten of which appear in color, include maps, paintings, and photos of architecture, statues, famous figures, and Dominicans going about their everyday lives.
  history of the merengue dance: Dirty dancing Various Contributors, 2007 A songbook that features over twenty songs from the hit stage show, Dirty Dancing and one bonus song, arranged for piano, voice and guitar.
  history of the merengue dance: Music in Latin America and the Caribbean: An Encyclopedic History Malena Kuss, 2004 The music of the peoples of South and Central America, Mexico, and the Caribbean has never received a comprehensive treatment in English until this multi-volume work. Taking a sociocultural and human-centered approach, Music in Latin America and the Caribbean gathers the best scholarship from writers all over the world to cover in depth the musical legacies of indigenous peoples, Creoles, African descendants, Iberian colonizers, and other immigrant groups that met and mixed in the New World. Within a history marked by cultural encounters and dislocations, music emerges as the powerful tool that negotiates identities, enacts resistance, performs belief, and challenges received aesthetics. This work, more than two decades in the making, was conceived as part of The Universe of Music: A History project, initiated by and developed in cooperation with the International Music Council, with the goals of empowering Latin Americans and Caribbeans to shape their own musical history and emphasizing the role that music plays in human life. The four volumes that constitute this work are structured as parts of a single conception and gather 150 contributions by more than 100 distinguished scholars representing 36 countries. Volume 1, Performing Beliefs: Indigenous Cultures of South America, Central America, and Mexico, focuses on the inextricable relationships between worldviews and musical experience in the current practices of indigenous groups. Worldviews are built into, among other things, how music is organized and performed, how musical instruments are constructed and when they are played, choreographic formations, the structure of songs, the assignment of gender to instruments, and ritual patterns. Volume 2, Performing the Caribbean Experience, focuses on the reconfiguration of this complex soundscape after the Conquest and on the strategies by which groups from distant worlds reconstructed traditions, assigning new meanings to fragments of memory and welding a fascinating variety of unique Creole cultures. Shaped by an enduring African presence and the experience of slavery and colonization by the Spanish, French, British, and Dutch, peoples of the Caribbean islands and circum-Caribbean territories resorted to the power of music to mirror their history, assert identity, gain freedom, and transcend their experience in lasting musical messages. Essays on pan-Caribbean themes, surveys of traditions, and riveting personal accounts capture the essence of pluralistic and spiritualized brands of creativity through the voices of an unprecedented number of Caribbean authors, including a representative contingent of distinguished Cuban scholars whose work is being published in English translation for the first time in this book. Two CDs with 52 recorded examples illustrate the contributions to this volume. [Publisher description].
  history of the merengue dance: Encyclopedia of African-American Culture and History Colin A. Palmer, 2006 Contains primary source material.
The History Of Modern Dance
The History Of Modern Dance Liying Dong The History of Modern Dance: A Rebellion, an Evolution, and a Legacy Modern dance, a far cry from the structured rigidity of classical ballet, emerged as a powerful rebellion against established norms, reflecting societal shifts and artistic explorations. Its history is not a linear progression but a ...

Modern Dance: A Historical Consideration - De Montfort University
dance history. My most recent one has taken an innovative approach to modern dance, informed by my developed understanding of the idea of dance history. The exposition—volume 1— examines my ideas of dance history. It does so by placing my writings within the context of the development of dance history as a field, especially in the UK.

EL MeReNGue - Andrico Yusran (INA) - August 2023 - CopperKnob
EL MeReNGue Count: 32 Wall: 4 Level: Beginner Choreographer: Andrico Yusran (INA) - August 2023 Music: El Merengue - Marshmello & Manuel Turizo *No Tag No Restart* *Start dance after intro music 32counts* S1. *WALK FORWARD - CLOSE TOUCH - BACKWARD - SIDE TOUCH* 1-4 Step R - L - R walk forward , L close touch beside R 5-8 L - R - L backward , R ...

Year 8 Dance Project Black History Through Dance
A range of dance styles originated through black history including the tribal dances of Africa, the slave dances of the West Indies and the American Deep South, the Harlem social dances of the 1920s and the jazz dance of Broadway musicals. These styles of dance are hugely influential, inspiring new choreography as well as supporting the story of

Juan Luis Guerra and the Merengue: Toward a New Dominican …
13 Aug 2006 · Juan Luis Guerra and the Merengue: Toward a New Dominican National Identity, Raymond Torres-Santos offers a historical account about the devel-opment of merengue in the Dominican Republic from the late 1800’s to the present. In its trajectory, merengue has become a cultural symbol identified with the Dominican people.

Michael Newton © 2012 The Hidden History of Highland Dance
The Hidden History of Highland Dance Michael Newton The following article is my original text from which a series of four articles was adapted and printed in Celtic Life in 2012. A recent controversy over the possibility that the Gaelic College in Cape Breton might reduce support for modern “Highland Dance” in preference to other types of ...

Bringing Métis Children’s Literature to Life—Métis Dance
skills and non-locomotor skills (E.g.: Métis dance).” A Brief History of the Red River Jig Of all the Métis songs and tunes, the “Red River Jig” is the most famous. Known as the Métis National Anthem by many, you can hear the “Call of the Fiddle” from Île-à-la Crosse to the

History of Jazz - The Institute for Arts Integration and STEAM
Jazz dance mirrors the social history of the American people, reflecting ethnic influences, historic events, and cultural changes. Jazz dance has been greatly influenced by social dance and popular music. But, like so much that is “from America”, the history of jazz dance begins somewhere else. The origins of jazz music and dance are found

The Evolution of ‘Bush Dance’ part 1 - VFMC
‘Bush Dance’ part 1 By Peter Ellis Reproduced in Trad & Now Vol.12 No.1 Jan. 2013 I have gone on record saying I think the use of the term ‘bush dance’ is a good name for the type of folk dancing that has emerged since the 1960s and 70s. But to clarify, this type of dancing did not have any real association of history in the bush.

Texas Dance Halls: History, Culture, and Community
Folkins: Texas Dance Halls: History, Culture, and Community Produced by The Berkeley Electronic Press, 2006. combined with their functionality as performance sites, helped styles of ethnic music throughout the So~thwest.~ keep dance hall culture alive and thriving. Although most Texas In the midst of this trading and borrowing of musical styles,

MODERN MERENGUE PIANO BASICS - opus28.co.uk
killer advantage – it’s easy for clumsy beginners to dance to. Even shy, uncoordinated rhythm-illiterate Europeans and North Americans. Sure, merengue dancing can be elevated ... As the dance steps suggest, merengue is played with a two-feel – it’s often written in 4/4, but always felt in two. Tapping the clave in one hand and the pulse ...

DANCE AS COMMUNICATION: HOW HUMANS COMMUNICATE THROUGH DANCE …
15 Jun 2015 · "dance motion is gesture, or an element in the exhibition of gesture" (28). Tossing in his theory on what defines dance a few more pages later in the book, Paul Valery observes that St Augustine once pondered the concept of"dance" and defined dance in terms of time. According to St. Augustine, dance is inseparable from the concept of time; he

Staging the Ethnographic of Dance History: Contemporary Dance
establish the first dance studies M.A. in the German university system. Her research interests are the development of dance studies on methodological grounds with a special focus on rela tionships between performance and politics, theory and …

104 6. the growth of Community dance in Britain
The history of Dance in Britain is for the most part written from the perspective of its evolution as a theatrical art form, the migration of various dance forms and approaches to dance making through the efforts of artists, producers and benefactors into Britain and on to the stage. The history of community dance conversely, is the story of how

A Brief History of Clog Dancing - oursccl.com
such as "Riverdance", syncopated tap dance and other dance styles. Amazing freestyle dancers who topped the competitions and workshops through the 1980's and 1990's also helped to infuse styling changes into the modern clog dance, including Brent Montgomery, Sherry Glass-Cox, Bobby Revis, and many more. Clogging teams like the

A Musical Analysis of the Cuban Rumba - JSTOR
vacunao. The yambu is also a couple dance but differs from the guaguanco in its slower, more stately steps, and in the notable exclusion of the vacunao. In contrast to these two, the columbia is a fast, furious, and highly acrobatic solo dance performed by a male dancer.3 The rumba's musical ensemble consists of percussion and vocal sec-tions.

Latino/a History in Motion - Redalyc
the popular dance music of the moment (1992: 225). 7 It is precisely because of this close relationship that the dance and music often share the same spaces living rooms at home, street festivals, nightclubs, and stages. It is perhaps for this very reason that the dance and music are often spoken about interchangeably.

Born to dance but beat deaf: A new form of congenital amusia
Article history: Received 29 June 2010 Received in revised form 1 February 2011 Accepted 2 February 2011 Available online 21 February 2011 Keywords: Beat deafness Beat processing Dance Synchronization Congenital amusia Rhythm abstract Humans move to the beat of music. Despite the ubiquity and early emergence of this response, some

Danzón-Cumbia: Audible Legacies of Cuban Music in Panamanian …
the European contradance, a dance form that first appears in the historical record in the mid-17th century where it emerged in England as a popular dance in the countryside but by the close of the century was taken up by European middle classes particularly in France and Spain, where it was called contradanse and contradanza, respectively. It ...

Merengue Roule P.1/2 MERENGUE ROULE - folk-dance.or.jp
Merengue Roule P.1/2 Choreo: Nobuhiro Tsutsui & Motoe Kumagai : 4-27-8-307 Tsurumichuo Tsurumi-Ku, Yokohama-Shi, Kanagawa 230-0051 Japan Music ‘‘Merengue Roule’’ 2021 YouTube RDCD track #5 performance speed is the same as CD Rhythm: Merengue Phase Ⅲ＋2 (Side Separation, Glide) & Phase * Merengue is danced using of 1234.

Shag 101: A Lesson On Our Dance The History of Shag
Shag 101: A Lesson On Our Dance The History of Shag The Shag is a dance that was founded in the culture of the Carolinas. However, many people who enjoy the dance know few facts about it. The shag is the North Carolina official popular state …

Ballroom & Latin, Hip Hop, Belly learn the - poonsthancone
details of music, dance, lessons, and history of Offers online dance instruction in video format. a NEW, AMAZING course in May! Learn Salsa, Bachata, & Merengue in 1 Class! Join our E-mail List to get ... Learn Merengue dance steps online with video lessons. For those who want the very best Latin and Ballroom dance instruction, you need to

By Leonardo Acosta. Translated by Daniel S. Whitesell. (Washing-
two styles of "national music" (e.g., merengue and bachata in the Do-minican Republic; bomba, plena, and mzisica jfbara in Puerto Rico; reggae in Jamaica; calypso and soca in Trinidad), Cuba has developed and suc-cessfully exported a seemingly endless succession of musical styles and infectious rhythms, many of which have gone on to conquer the ...

Andy Blankenbuehler’s Choreography and the Ensemble Body on …
hop dance, you can see little traces of Gene Kelly and Justin Timberlake in the result. When Andy himself dances it, you see a lot of Jerome Robbins. But the movement of Hamilton, in its totality, reaches far beyond conventional dance steps, of any tradition. Andy devised a language of what he calls ‘stylized heightened

DANCE KNOWLEDGE ORGANISER - BOB FOSSE - lfatsf.org.uk
media dance film. It can be seen in Michael Jackson dance videos, the famous Maniac (1983) dance number from Flash Dance, and in Madonna's Vogue (1990). In each case, the choreography takes second place to the ingenious, energetic filming and editing. Jackson’s music video ad (1987) may be the pinnacle of the Fosse dance-film style.

STUDY ON HISTORY OF INDIAN CLASSICAL DANCES - IJNRD
is an invocation song. The first dance item is the alarippu, literally meaning - to adorn with flowers. It is an abstract piece combining pure dance with the recitation of sound syllables. The next item, the jatiswaram is a short pure dance piece performed to the accompaniment of musical notes of any raga of Carnatic music.

MILESTONES IN DANCE HISTORY - api.pageplace.de
future of dance poses the question of what dancing in the new frontiers of space might entail. I hope Milestones in Dance History will inspire young dancers, future choreographers, and dance scholars, as well as audi-ence members, to make dance connections across the globe and between various time periods. After reading Milestones in Dance History

THE STORY OF - Indepen-dance
Indepen-dance itself, including a discussion on how the company differs from approaches taken in the past. The final two sections draw predominantly on testimony from oral history interviews with members of Indepen-dance staff to explain the value of inclusive dance, and to record a selection of stories from the company’s past.

Reading: Two Names, Two Worlds - Facing History and Ourselves
But don’t make me dance Merengue, Bachata Or Salsa — I don’t know the steps I’ve learned throughout these past years I am a mix of cultures, a mix of races “Una Raz encendida, Negra, Blanca y Taina” You can fi nd me in the parts of a song, en una canción You can feel my African Roots en la Tambora My Taino screams en la guira

THE HISTORY OF MODERN DANCE - The Institute for Arts …
THE HISTORY OF MODERN DANCE Ballet Austin’s Michelle Thompson and Frank Shott Compiled and edited by Pei‐San Brown, Community Education Director, Ballet Austin‐ The Pioneers of Modern Dance Modern Dance was born in America during the turn of the 20th century when a number of choreographers and dancers rebelled against

chapter 3_final
This chapter provides a few signposts to an overview of the history of Maya public ritual dance in order to provisionally situate the Baile de la Conquista within that history. 3.1.&IntroductiontoPreEHispanicMaya&Ritual&Dance& Archaeologists have divided the millennia of pre-Hispanic occupation and history in the Maya region into distinct periods.

Dance in Outreach - ICDF
Dance, although a part of faith expression in the Bible, had virtually been lost to the church for around 200 years and so the images it would have brought to peoples’ minds were of secular entertainment, sometimes difficult-to-interpret culture or sexual stimulation. My own parents did not think dance appropriate for Christians so it was

The Origins of Latin American Music - Squarespace
worship. As with most tribal cultures around the world, song, dance and the playing of instruments were used to insure a good harvest, guard against natural disasters, assure fertility of land and people, heal sickness, generate success in war and hunting, mark life's passages, maintain tradition and in some cases provide recreation. Native peoples

EVOLUTION OF BHARATNATYAM: FROM THE DANCE OF GODS TO THE DANCE …
One such country which is the land of dance, drama and arts is India. India is the hub of culture, traditions, rituals, heritage and fine arts. Dance in Indian culture holds a very special place in people’s heart. Every state of India has its own distinct dance style which it adopts for expressing themselves. According to Hindu

GHANA DANCE - University of Ghana
Ghana Dance Ensemble therefore also has a growing package of short pieces and full dance dramas which represent the new vocabulary and symbolism of Ghanaian dance often in conversation with other creative thrusts from other cultures but always acknowledging its roots.

INTRODUCTION TO MERENGUE Peg & John Kincaid - Roundalab
Merengue is probably the easiest dance to learn because of its timing. Merengue is written in 4/4 time (4 beats to a bar of music, and four dance steps to a bar of music). The main characteristic of the basic step is described as stepping side and dragging the other leg to close. It is also known as a “lame duck” motion.

Mamita Choreographed by Ira Weisburd - nvcwda.org
Description: 32 count, 4 wall, ultra beginner merengue line dance Music: Mamita Mia (Special Dance Edit) by Miguel Moly Preview/purchase music Intro: 32 4 BASIC MERENGUE STEPS TO RIGHT: SIDE, CLOSE, SIDE, CLOSE; SIDE, BACK, RECOVER, SIDE 1-2 Step right side, step left together 3-4 Step right side, step left together 5-6 Step right side, rock ...

7 SOCIAL HISTORY AND DANCE AS EDUCATION - Springer
In Thomas Hagood’s A History of Dance in Higher Education (2000) it is emphasized that dance must meet the “charge of the academy” (p. 116): to “push back the bound-aries of knowledge, forward the cultural legacy, and contribute to society” (p. 319). Anyone who attends dance education conferences or works in a dance department is

DANCE IN TOURISM FROM AN ANTHROPOLOGICAL …
the Dominican Republic (bachata, merengue), Mexico (merengue variation) or Jamaica (reggae in the rhythm of the Brazilian samba) is an additional feature of the

Absolute Beginner Merengue - CopperKnob
Absolute Beginner Merengue Count: 32 Wand: 1 Ebene: Absolute Beginner - Merengue Choreograf/in: Unknown - February 2013 Musik: Any Merengue tempo music RIGHT SIDE RECOVER CROSS LEFT SIDE RECOVER CROSS (SCISSORS) MOVING FORWARD: 1 - 4 Step right to right side, left recover, cross right over left moving forward and hold

Chicken Dance History
Chicken Dance History Delve into the emotional tapestry woven by Emotional Journey with in Chicken Dance History . This ebook, available for download in a PDF format ( Download in PDF: *), is more than just words on a page; itis a journey of connection and profound emotion. Immerse yourself in narratives that tug at your heartstrings.

President’s Message
ballroom dance studio in D.C., the Dunbar Dance Studio. It was at the old Dunbar Hotel at 15th & U Streets. NW, and the Frederik Loren Interracial Dance Studio was at the same location. When these two studios were dissolved in 1954, the instructors went to other venues. Stan Kelly opened the Inspiration House on Columbia Road, Tony Texiera ...

Whose History? Kathak Dance and Its Practitioners
India's Kathak Dance in Historical Perspective is a robust and refresh ingly controversial historiography of kathak dance, a major classical Indian dance form that is now a global performance art with a diverse range of prac titioners. The history of kathak is difficult to write about, as the authoritative

Dance A Timeline through U.S. History - btsarts.org
everle Talor Sorenson Arts earning Program Page 1 ntegrated Arts esson Dance A Timeline through U.S. History Author: Tina Misaka Year: 2015 Artform: Dance Subjects: Social Studies Grade: 5th Duration: 6 weeks - based on 45 minute class a week OVERVIEW Social studies should be fun and intriguing for all students, and provide opportunities to make

Ballroom Dance Styles - Rastrick High School
turns, very popular in Latin clubs along with merengue. A style varies depending on where you are from. This dance is also similar to Mambo. Merengue is a fast Latin dance that never slows down. It’s very easy to learn and often refer to this dance as the “marching with style”. Tasks: 1. Read the whole of the information. 2.

Reading: Two Names, Two Worlds - Facing History and Ourselves
merengue singer; — a bachata music group styles of dance — a race that is Black, white, and Taino — a song — percussion — instrument used in merengue; percussion instrument used in the Dominican Republic I am Dominican — a beautiful blend — I listen to Fernando Villalona and Aventura every chance I get, But don’t make me dance ...

REWRITING TRUJILLO, RECONSTRUCTING A NATION: DOMINICAN HISTORY …
17 May 2000 · grant “history” the exclusive privilege of educating future audiences about the trujillato. Their objective is to influence readers, to transform their opinions—and perhaps manipulate their actions—so as to minimize the chances that a dictator like Trujillo will again rise to power. In the end, however, these texts which propose to

CopperKnob - El Merengue - Raymond Sarlemijn (NL), Darren …
El Merengue Count: 32 Wall: 4 Level: Improver Choreographer: Raymond Sarlemijn (NL), Darren Bailey (UK), Ira Weisburd (USA), Roy Anthony Shepherd (NOR) & Roy Verdonk (NL) - January 2024 Music: El Merengue - Marshmello & Manuel Turizo Intro: 32 Counts, Start at approx 16 secs SEC 1 Cross, Point, Cross, Point, Jazzbox Cross

Dance History and Method: A Return to Meaning
history of dance. I am not the first to notice that our craft, dance history, has been more than a little touched by current academic trends - or trendiness - which may not always serve dance history well. In a 1995 article in Dance Chronicle, Richard Ralph pointed to the vast tracts of dance history awaiting excavation from archival and

Merengue Figures and Sources for How to Dance Them
Roundalab.org, defining figures on behalf of the round dance movement, offers subscripAons to Manuals (defining figures) and to Videos of each figure. ... 1999: 49 Ralph & Joan Collipi "Merengue Notes" 1991: 53 George & Mady D'Aloiso "Merengue" 1991: 54 Del & June Wilson "Clinic Notes on Merengue" Title: merengue-ral