The Influence Of Dance In Havana

One of America’s historic strengths have been our ability to incorporate aspects from many different cultures to create a stronger whole. Our music, art, literature, language, architecture, food, fashion and more have all benefitted. I have chosen three key principles (to do them all would be a dissertation for me) and combined them with an art focus so as to show the importance and powerful role the arts can have in effective leadership and empowering the body of an organization. Again, in a world that has become increasingly Global, we can no longer deny the presence of ‘the other’ and their importance in our communities. Especially those within and around our faith communities.

     This type of dance has not only developed and evolved differently according to country, but also to the different regions and individuals. Its spread to other countries has coincided with the emigration of Dominicans to other parts of the world, specifically New York and Puerto Rico. This way of dance serves as something that immigrants can take with them and can enable them to identify themselves with their points of origin. Its simple rhythmic style of dancing makes it a specific target for individuals trying to learn something new and exciting. In the

For the purpose of this project, I have chosen the Puerto Rican Bomba Dancing as my artifact. This artifact is not something you can physically hold in your hands or go to a store and purchase, it is intangible and yet pure. It represents a culture and embodies the idea of freedom. Unlike most dances where the person follows the rhythm, in Bomba dancing, the dancer leads the drummer with the tap of their feet and movement of the hips and shoulders. The parties involved mostly dress in white with the females wearing plantation style outfits and head scarves. The lyrics sung normally evoke a sense of freedom and an escape from the hardships of slavery. (Bomba, n.d.). The most important elements of Bomba Dancing are the lyrics, the drums and the traditional outfits. The combination of these 3 elements truly enhance the experience. Moreover, Bomba dancing is one of those things that the medium of experience should be in person. This is due to it having the potential to take you back in time to the 17th century where you

Self belief is shown through the realistic dancing of the Spanish community and Fran’s family compared to the exaggerated and unreal images of the ballroom community, dominated by flashy costumes and insincerity. At the Toledo Milk Bar the earthy and sensual colours of reds and browns allows us to feel the real spirit of dancing. When Rico, Fran’s father challenges Scott to dance the Paso doble, Scott is laughed at by the way he dances. “What is so funny about the way I dance?” Fran’s Family and the Spanish community soon teach Scott that the real value of dancing comes from the heart and Fran’s grandmother shows him where he needs to really feel the rhythm in his body.

Salsa also can be known for the most familiar and biggest impact form of music from Puerto Rico. Salsa is a big part of Latin pop music. (Centralhome) There is no real evidence has to who invented salsa music. (Centralhome) Most of the cultures that do listen to salsa music are the Cubans or Puerto Ricans. (Centralhome) Many people of the Latin culture feels that the salsa really gathers the feeling of many emotions into

Music and Dance of Puerto Rico Through the years, music has changed drastically all throughout Puerto Rico. Originating from the Taíno people, music has become one of the most noteworthy exports of the small island nation. From selling instruments across the world, to exporting gifted children to further their learning in the musical art. The music of Puerto Rico has evolved in several ways throughout the years, transforming from classic to modern as the years themselves changed. Origins of Puerto Rican Music

According to Holger Henke in his The West Indian Americans, Jamaican Rex Nettleford was correct when he said, “’dance was a primary instrument of survival’.” As such a vital part of cultural traditions, dance plays and integral role in the history culture. Three of the most influential styles of dance in the Caribbean are the Rumba, The Merengue, and the Salsa.

In her book, Salsa Dancing into Social Science, Luker discuss the importance of sampling, operationalization and generalization in canonical social science research while highlight the believe that each of these ideas can also be applied to qualitative research. While all three concepts are important to consider when it comes of qualitative research. It is import to definite that similar and differences. The following gives an overview of how each competent uses within canonical social science research, how that translates into effect qualities and explore the ways in which Hochschild utilizes these methods in her research for Strangers in Their own Land

Given that this “visit” was more like a virtual experience, I was still able to access a couple of my senses, just as if I was at the actual exhibition. Through the use of anecdotes and detailed images, I am able to see all of the personal experiences an individual had while practicing a particular dance and what it meant to them. In this exhibition, there are ten different dances displayed, including the: Yup´ik Yurapiaq and the Quyana (Thank You) Song Dance, Yakama Girl’s Fancy Shawl Dance, Cubeo Óyne Dance, Yoreme Pajko’ora Dance, Mapuche Mütrüm Purun, Tlingit Ku.éex ' Entrance Dance, Lakota Men’s Northern Traditional Dance, Seminole Stomp Dance, Hopi Butterfly Dance, and finally, Quechua Danza de Tijeras (Scissor Dance). All parts of the exhibit were insightful, but the two that sparked my interest the most were the Yup´ik Yurapiaq and the Quyana (Thank You) Song Dance and the Quechua Danza de Tijeras (Scissor Dance).

Dancing had long been a backbone of New Orleans nightlife, and Bolden’s popularity was based on his ability to give dancers the music they wanted to swing to. During the nineteenth century, string bands, led by violinists, had conquered dance, offering dancing styles such as waltzes, quadrilles, polkas, and schottisches. By the turn of the century, an instrumentation borrowing from both brass marching bands and string bands was predominant: usually a front line of cornet, clarinet, and trombone with a rhythm section of guitar, bass, and drums (National Park). Dance audiences, especially the younger ones, wanted more excitement in their movement. Since the jazz clubs were being filled with young folk a demand for newer faster music was the challenge

Los Angeles doesn't have its signature type of Salsa. Bands here adopt the classical Puerto Rican music. The dancing style moves are both exciting and sexy. In Cuba, the type of Salsa is called Timba. The movement is fast influenced by Afro Cuban music. Musicians blend in the popular Reggae and Pop music in between the breaks. The dancing style is called "Casino" simply because when it was started it was played in gambling joints or casinos. One notable difference is that Cuban Salsa is circular rather than linear. The man keeps moving around the woman. The Columbians have maintained their Salsa Dura up-to-date. The dancing style is spectacular with a swift movement of feet and tight spins. The dancers stay close; bodies almost touching. The West Africans also have their Salsa. Traditional music instruments are relied upon to give the rhythm. The dancing style is what they call Salsa Mbalax more African than Latino. Some contemporary Salsa musicians are:

We were the center of attention. This was our moment—our time—to make a statement on the raging political events. It was evident from the speechless, astonished faces of the audience that we were successful. I smiled as I watched my activism and dance group, Bailamos, dance with pride on the stage. After all the countless hours of organizing dance routines and spreading the Hispanic-Latino culture throughout school, I was finally able to witness the outcome for myself.

Dayna Sandberg Writing 121 May 20, 2016 The Criminal Justice System and Minorities The prison system in America started around the American Revolution between 1765 and 1783. Initially, the prisons were in the form of dungeons and detention facilities. Around the time of the American Civil War, the prisons were just starting to implement systems such as parole, probation, and indeterminate sentencing.

In act 1 scene 5, Lady Macbeth stated “Unsex me here, and fill me from the crown to the toe topful of direst cruelty!” at this point, she is being a misogynistic person and wants to gain masculinity with the help of the ‘three witches’. Also she is showing two of her qualities; by being a powerful and having the ambition of being higher in ‘The Great Chain of Being’. However, Lady Macbeth’s femininity made her actions invalid-perhaps because of the social constraints of the time. She therefore cajoles her husband to act on her behalf.

There have been a lot of contributions by scholars to the widely discussed topic of European citizenship. In his article Espen D.H. Olsen argues in contrast to many others, “that the Maastricht Treaty was not year zero in the EU citizenship discourse” (Olsen 2008, p. 40). His study deals with the time before the general discussion over the European citizenship started in the 1970s (cf. ibid, p. 41ff.) The article’s main finding states that European citizenship has been in existence from the European integration’s starting point, the European Coal and Steel Community (ECSC). Olsen defines his concept of citizenship “as a status of individuals in relation to a political unit” (ibid, p. 41) which he divides in the four dimensions