Latin dance: a socio-cultural exploration of body and dance

Year 2024, Volume: 5 Issue: 3, 175 - 183, 30.09.2024

Goknur Ege , Ezgi Omuris

https://doi.org/10.5281/zenodo.13765651

https://izlik.org/JA68MP27NJ

Abstract

Any dance culture inherently carries the social and cultural values of the society in which it originated. Dance, as a performance-based art form, relies on the body, and thus, various dance styles and forms are influenced by and influence social norms and values related to the body. This article examines Latin dances such as salsa, merengue, bachata, and cha-cha-cha from a historical and sociocultural perspective. Latin dances, like other dance cultures, are not merely artistic practices but encompass much more. The sociology of dance seeks to illuminate how dance reflects and shapes and shaped by social norms and values by focusing on all these socio-cultural aspects of dance. Latin dances offer rich insights into the interplay between dance and society. They are not merely forms of entertainment but are deeply embedded with social meanings and cultural significance. The sociology of dance provides a framework for understanding these intricate connections, highlighting the importance of dance as a vital component of cultural expression and social life. Through this exploration, we gain a deeper appreciation for the ways in which dance both reflects and shapes the world in which we live. To understand the cultural and social dimensions of Latin dances, one must consider the historical context in which these dances developed. For example, salsa originated in the Caribbean with influences from African rhythms and Spanish melodies, merging into a dance that reflects the history of colonization, migration, and cultural fusion. The lively and expressive nature of salsa showcases a cultural narrative of resilience, celebration, and communal connection.

Keywords

sociology of dance , Latin dances , body image , salsa , merengue , bachata , cha cha cha

References

• Adair, C. (1992). Women and Dance: Sylphs and Sirens. The Macmillan Press.
• Denis, R. S. (2011). Bir hayat tecrübesi olarak dans (dance as a life experience). In Ş. S. Aksan & G. Ertem (Eds.), Yirminci yüzyılda dans sanatı: Kuram ve pratik (The art of dance in the twentieth century: theory and practice ) (I. Kemer, Trans.) (pp. 99-103). Boğaziçi University Publishing.
• Desmond, J. C. (1993). Embodying difference: Issues in dance and cultural studies. Cultural Critique, 26, 33–63. https://doi.org/10.2307/1354455
• Foster, S. L. (2011). Dans eden bedenler (Dancing bodies). In Ş. S. Aksan & G. Ertem (Eds.), Yirminci yüzyılda dans sanatı: Kuram ve pratik (The art of dance in the twentieth century: theory and practice ) (İ. Kemer, Trans.) (pp. 92-98). Boğaziçi University Publishing.
• Fuller, L. (1913). Fifteen years of a dancer's life, with some account of her distinguished friends. H. Jenkins Limited.
• Kāretu, T. S. (1993). Haka!: The dance of a noble people = Te tohu o te whenua rangatira. Reed.
• Leymarie, I. (2002). Cuban fire: The story of salsa and Latin jazz. Continuum Press.
• Musmon, M. (2010). Latin and Caribbean dance. Chelsea House, Infobase Publishing.
• Nahachewsky, A. (1995). Participatory and presentational dance as ethnochoreological categories. Dance Research Journal, 27(1), 1-15.
• Ospina, H. C. (1996). Salsa! Havana ateşi (Salsa! Havana heat) (B. Topbaş, Trans.). Gökkuşağı Publishing.
• Şişman, A. (2011). Sanata ve sanat kavramlarına giriş (Introduction to art and art concepts). Literatür Publishing.
• Turner, V. W. (1982). From ritual to theatre: The human seriousness of play. Performing Arts Journal Publications.
• Turner, V. W. (1969). The ritual process: Structure and anti-structure. Cornell University Press.
• Wigman, M. (1966). The language of dance. Wesleyan University Press.