query: the 19th-century cuban dance form that later developed in mexico

pos: Music of Mexico Deorro and Mexican Institute of Sound. Other popular forms of music found in various parts of Mexico – mostly with origins in other parts of the Caribbean and Latin America include rumba, mambo, bolero, and cumbia. Rumba came from the black Mexican slaves in Veracruz, Mexico City, and Yucatán. The style began in Cuba and later became famous in the black community of Mexico. From the beginning of the 20th century, bolero arrived to Yucatán, and Danzón to Veracruz. Both styles became very popular all over the country, and a Mexican style of both rhythms was developed. In the 1940s,

pos: Cuban rumba well as Spanish flamenco, and contemporary expressions of the dance often incorporate breakdancing and hip hop moves. In recent decades, women are also beginning to dance columbia. Cuban rumba Rumba is a secular genre of Cuban music involving dance, percussion, and song. It originated in the northern regions of Cuba, mainly in urban Havana and Matanzas, during the late 19th century. It is based on African music and dance traditions, namely Abakuá and yuka, as well as the Spanish-based "coros de clave". According to Argeliers León, rumba is one of the major "genre complexes" of Cuban music, and the term

pos: Rumba in the first third of the 20th century, "rumba" entered the Spanish flamenco world as a fast-paced "palo" (style) inspired in the Cuban guaracha, and which gave rise to other forms of urban music now known as "rumba". Throughout Latin America, "rumba" acquired different connotations, mostly referring to Cubanized, danceable, local styles, such as Colombian "rumba criolla" (creole rumba). At the same time, "rumba" began to be used a catch-all term for Afro-Cuban music in most African countries, later giving rise to re-Africanized Cuban-based styles such as Congolese rumba. During the second half of the 19th century, several secular dance-oriented

pos: Cuban rumba Cuban rumba Rumba is a secular genre of Cuban music involving dance, percussion, and song. It originated in the northern regions of Cuba, mainly in urban Havana and Matanzas, during the late 19th century. It is based on African music and dance traditions, namely Abakuá and yuka, as well as the Spanish-based "coros de clave". According to Argeliers León, rumba is one of the major "genre complexes" of Cuban music, and the term rumba complex is now commonly used by musicologists. This complex encompasses the three traditional forms of rumba (yambú, guaguancó and columbia), as well as their contemporary derivatives

pos: Rumba flamenca Rumba flamenca Rumba flamenca, also known as flamenco rumba or simply rumba (), is a "palo" (style) of flamenco music developed in Andalusia, Spain. It is known as one of the "cantes de ida y vuelta" (roundtrip songs), music which diverged in the new world, then returned to Spain in a new form. The genre originated in the 19th century in Andalusia, southern Spain, where Cuban music first reached the country. Rumba flamenca was primarily influenced by guaracha, an uptempo style of vocal music which originated in Havana's musical theatre. Some elements from Cuban rumba were also incorporated, although minor,

pos: Music of Cuba been developing separately during the second half of the 19th century, took place. The guaracheros and rumberos that used to play with the Tiple and the Guiro finally met other Rumberos that sang and danced accompanied by the wooden box (cajón) and the Cuban Clave, and the result was the fusion of both styles in a new genre called Son. Around 1910 the Son most likely adopted the clave rhythm from the Havana-based rumba, which had been developed in the late 19th century in Havana and Matanzas. The mass popularization of Son music led to an increased valorization of Afro-Cuban

pos: Cuban rumba mambo. Due to its broad etymology, the term rumba historically retained a certain degree of polysemy. By the end of the 19th century, Cuban peasants ("guajiros") began to perform "rumbitas" during their parties (guateques, changüís, parrandas and "fiestas patronales"). These songs were actually in the form of urban guarachas (not proper rumbas), which had a binary meter in contrast to the ternary meter of traditional rural genres such as tonada and zapateo. Similarly, in Cuban bufo theatre at the beginning of the 20th century, the guarachas that were sung at the end of the show were referred to as "rumba

pos: Rumba Rumba The term rumba may refer to a variety of unrelated music styles. Originally, "rumba" was used as a synonym for "party" in northern Cuba, and by the late 19th century it was used to denote the complex of secular music styles known as Cuban rumba. Since the early 20th century the term has been used in different countries to refer to distinct styles of music and dance, most of which are only tangentially related to the original Cuban rumba, if at all. The vague etymological origin of the term rumba, as well as its interchangeable use with guaracha in

pos: La tecnica cubana vibrant dance community and was a key contributor to the expanding Cuban national sentiment. The national sentiment of Cuba today is still influenced by the original creation of "técnica" and its continued growth throughout the years. "La técnica cubana" is a hybrid of Afro-Cuban dance traditions, European ballet, rumba, flamenco, Cuban nightclub cabaret, and North American dance. The goal in creating "técnica" was to establish a distinctly Cuban modern dance form that represented Cuba’s multicultural population. The major African dance traditions currently in Cuba are derived from four major African groups: Carabali, Kongo-Angolan, Arará, and Yoruba. African heritage is characterized

pos: Son cubano where the encounter of the rumba rural and the rumba urbana that had been developing separately during the second half of the 19th century took place. The guaracheros and rumberos that used to play with the Tiple and the Guiro finally met other Rumberos that sung and danced accompanied by the wooden box (cajón) and the Cuban clave, and the result was the fusion of both styles in a new genre called son. Around 1910 the son most likely adopted the clave rhythm from the Havana-based rumba, which had been developed in the late 19th century in Havana and Matanzas.

pos: Rumba music styles were developed by Afro-Cuban workers in the poor neighbourhoods of Havana and Matanzas. These syncretic styles would later be referred to as "rumba", a word that also meant "party". Traditionally, the three main styles of rumba are yambú, columbia and guaguancó, each of which has a characteristic dance, rhythm and singing. Although still a purely folkloric genre, numerous innovations have been introduced in rumba since the mid 20th century, including new styles such as batá-rumba and guarapachangueo. In the US, the term "rhumba" (anglicised version of rumba), began to be used during the 1920s to refer to ballroom

pos: Cuban rumba instead of the congas, and frying pans, spoons and sticks instead of guaguas, palitos and claves. While these early precursors of rumba have been barely documented, the direct precursors towards the mid- and late-19th century have been widely studied. Urban rumba styles are rooted in the so-called "coros de clave" and "coros de guaguancó", street choirs that derived from the Spanish "orfeones". In addition, the widespread yuka dance and music of Congolese origin became integrated into such choirs, lending its percussion instruments and dance moves. In addition, the secret Abakuá traditions rooted in the Calabar region of West Africa that

pos: Kékélé out that Cuban rumba -- both the word and the dance -- derives from the Congolese "nkumba", with the Spanish "r" added to the word, and that it was brought from Congo to Cuba in the transatlantic slave trade. When Congolese rumba developed after World War II, it was heavily influenced by Cuban music. Thus, "Kinavasa" incorporates at least three successive cultural crossings of the Atlantic -- music and dance from Congo combining with other influences to become Cuban rumba, that same Cuban music then contributing to the Congolese rumba, and then bringing the music of Portabales into Congolese music

pos: Cuban rumba the end of the eighteenth century. Rebellion was difficult and dangerous, but protest in a disguised form was often expressed in recreational music and dance." Even after slavery was abolished in Cuba, there still remained social and racial inequality, which Afro-Cubans dealt with by using rumba's music and dancing as an outlet of frustration. Because Afro-Cubans had fewer economic opportunities and the majority lived in poverty, the style of dance and music did not gain national popularity and recognition until the 1950s, and especially after the effects of the 1959 Cuban Revolution, which institutionalized it. The first commercial studio recordings

neg: Ballroom dance Spanish bolero was developed in the late 18th century out of the "seguidilla", and its popularization is attributed to court dancers such as Sebastián Cerezo. It became one of the most popular ballroom dances of the 19th century and saw many classical adaptations. However, by the 20th century it had become old-fashioned. A Cuban music genre of the same name, bolero, which became popular in the early 20th century, is unrelated to the Spanish dance. Although Cuban bolero was born as a form of "trova", traditional singer/songwriter tradition from eastern Cuba, with no associated dance, it soon became a ballroom

neg: Dance in Cuba also an active musical form in Mexico and is still beloved in Puerto Rico. The danzón evolved from the Cuban contradanza (also known as the habanera). In Cuba, these dances were influenced by African rhythmic and dance styles and so became a genuine fusion of European and African influences. The danzón developed in 1879, and has been an important root for Cuban music up to today. Its precursor is the habanera, which is a creolized Cuban dance form. The danzón was developed, according to one's point of view, by either Manuel Saumell or Miguel Faílde in Matanzas. The form of

neg: Guaracha Guaracha The guaracha () is a genre of Cuban popular music, of rapid tempo and comic or picaresque lyrics. The word had been used in this sense at least since the late 18th and early 19th century. Guarachas were played and sung in musical theatres and in low-class dance salons. They became an integral part of bufo comic theatre in the mid-19th century. During the later 19th and the early 20th century the guaracha was a favourite musical form in the brothels of Havana. The guaracha survives today in the repertoires of some trova musicians, conjuntos and Cuban-style big bands.

neg: Guaracha and Piel Canela. Guaracha The guaracha () is a genre of Cuban popular music, of rapid tempo and comic or picaresque lyrics. The word had been used in this sense at least since the late 18th and early 19th century. Guarachas were played and sung in musical theatres and in low-class dance salons. They became an integral part of bufo comic theatre in the mid-19th century. During the later 19th and the early 20th century the guaracha was a favourite musical form in the brothels of Havana. The guaracha survives today in the repertoires of some trova musicians, conjuntos and

neg: Music of Cuba dance music in the 19th century was the contradanza, which commenced as a local form of the English country dance and the derivative French contredanse and Spanish contradanza. While many contradanzas were written for dance, from the mid-century several were written as light-classical parlor pieces for piano. The first distinguished composer in this style was Manuel Saumell (1818–1870), who is sometimes accordingly hailed as the father of Cuban creole musical development. According to Helio Orovio, "After Saumell's visionary work, all that was left to do was to develop his innovations, all of which profoundly influenced the history of Cuban nationalist

neg: Dance in Cuba of the típica were over. Mambo is a musical form and dance style that developed originally in Cuba, with further significant developments by Cuban musicians in Mexico and the USA. The word "mambo" means "conversation with the gods" in Kikongo, the language spoken by Kongo slaves taken to Cuba. Modern mambo began with a song called "Mambo" written in 1938 by brothers Orestes and Cachao López. The song was a danzón, a dance form descended from European social dances like the English country dance, French contredanse, and Spanish contradanza. It was backed by rhythms derived from African folk music. The

neg: Contradanza Contradanza Contradanza (also called "contradanza criolla", "danza", "danza criolla", or habanera) is the Spanish and Spanish-American version of the contradanse, which was an internationally popular style of music and dance in the 18th century, derived from the English country dance and adopted at the court of France. Contradanza was brought to America and there took on folkloric forms that still exist in Mexico, Venezuela, Colombia, Peru, Panama and Ecuador. In Cuba during the 19th century, it became an important genre, the first written music to be rhythmically based on an African rhythm pattern and the first Cuban dance to gain

neg: La Paloma habaneras, a musical style developed in 19th-century Spain that is still today very much present in the form of folk songs and formal compositions, particularly in the Northern Basque region and east coast (Catalonia and Valencia) regions of the country. Like all "Habaneras", its characteristic and distinct rhythm reflects the fusion of the local Cuban songs that the Spanish sailors of the time brought back with them from their travels to the island, with the rhythm structure of the flamenco “tanguillo gaditano” (original from Cádiz, Andalusia). Very quickly, "La Paloma" became popular outside of Spain, particularly in Mexico, and soon

neg: Chinelos uptilted beard and arrogant stance also makes fun of the salon dancing of the upper classes during the period of the French intervention as well as Porfirio Díaz’s attempts to “Europeanize” Mexico at the end of the 19th century. The dance developed in the state of Morelos, part of the State of Mexico, part of the Federal District of Mexico City (generally in the south) and even as far as the municipality of Taxco in Guerrero . They are the best known Carnival dancers in Mexico with Morelos having the most groups. The dance became most developed in the state

neg: Ballet (music) Ballet (music) Ballet as a music form progressed from simply a complement to dance, to a concrete compositional form that often had as much value as the dance that went along with it. The dance form, originating in France during the 17th century, began as a theatrical dance. It was not until the 19th century that ballet gained status as a “classical” form. In ballet, the terms ‘classical’ and ‘romantic’ are chronologically reversed from musical usage. Thus, the 19th century classical period in ballet coincided with the 19th century Romantic era in Music. Ballet music composers from the 17th–19th centuries,

neg: Contradanza been introduced to Havana directly from Spain, France or England several decades earlier. The earliest Cuban contradanza of which a record remains is "San Pascual Bailón", which was written in 1803. Certain characteristics would set the Cuban contradanza apart from the contredanse by the mid-19th century, notably the incorporation of the African cross-rhythm called the "tresillo". The habanera rhythm can be thought of as a combination of tresillo and the backbeat. The habanera is also slower and as a dance more graceful in style than the older contradanza but retains the binary form of classical dance, being composed in two

neg: Dance like opera, generally depends for its large-scale form upon a narrative dramatic structure. The movements and gestures of the choreography are primarily intended to mime the personality and aims of the characters and their part in the plot. Such theatrical requirements tend towards longer, freer movements than those usual in non-narrative dance styles. On the other hand, the "ballet blanc", developed in the 19th century, allows interludes of rhythmic dance that developed into entirely "plotless" ballets in the 20th century and that allowed fast, rhythmic dance-steps such as those of the "petit allegro". A well-known example is "The Cygnets' Dance"

neg: History of the tango Argentina and Uruguay. The dance derives from the Cuban habanera, the Argentine milonga and Uruguayan candombe, and is said to contain elements from the African community in Buenos Aires, influenced both by ancient African rhythms and the music from Europe. Even though the present forms developed in Argentina and Uruguay from the mid 19th century, there are earlier written records of Tango dances in Cuba and Spain, while there is a flamenco Tangos dance that may share a common ancestor in a minuet-style European dance. All sources stress the influence of the African communities and their rhythms, while the instruments

neg: Mughal-e-Azam actions to his desire to marry Anarkali, which is historically inaccurate. Further, there were also discrepancies in sets, costumes, and music of the film. The Sheesh Mahal, actually the royal bath of the queen, was depicted in the film as a dancing hall, and much larger. Music and dancing styles from the 19th century were depicted, although the story takes place in the 16th century. For example, "thumri", a semi-classical music form developed in the 19th century, is adopted in a dance sequence in Kathak style, which is a 16th-century dance form. The soundtrack was composed by music director Naushad,

neg: Mambo (dance) derived from Cuban son, with which it shares its timing (234 - 678, with pauses on 1 and 5) both styles derived from the American Mambo with the freestyle steps based on jazz and tap steps. Mambo (dance) Mambo is a Latin dance of Cuba which was developed in the 1940s when the music genre of the same name became popular throughout Latin America. The original ballroom dance which emerged in Cuba and Mexico was related to the danzón, albeit faster and less rigid. In the United States, it replaced rhumba as the most fashionable Latin dance. Later on, with

neg: Dance in Cuba Dance in Cuba Cuban culture encompasses a wide range of dance forms. The island's indigenous people performed rituals known as areíto, which included dancing, although little information is known about such ceremonies. After the colonization of Cuba by the Spanish Kingdom, European dance forms were introduced such as the French contredanse, which gave rise to the Cuban contradanza. Contradanza itself spawned a series of ballroom dances between the 19th and 20th centuries, including the danzón, mambo and cha-cha-cha. Rural dances of European origin, such as the zapateo and styles associated with punto guajiro also became established by the 19th century,

neg: Danzón de Simpson" was first performed (in Matanzas), danzón had emerged as a distinct genre. Danzón went on to interact with 20th-century Cuban genres such as son, and through the danzón-mambo it was instrumental in the development of mambo and cha-cha-chá. The danzón developed from the habanera, a creolized Cuban dance form. By 1879, the year "Las alturas de Simpson" composed by Miguel Failde (leader of the Orquesta Faílde) was first performed in Matanzas, danzón had emerged as a distinct genre. Creation of the new danzón form is generally attributed to Faílde. The classical composer Manuel Saumell has also been cited

neg: Bihu Bihu Geet. According to Hakacham, the first form of modern Bihu dance was developed in a temple now known as Harhi Dewaloi. Later, in the 19th century, this form of Bihu dance was adopted by the other communities as well and started being performed in Mahguli sapori, Dhakuakhana by Chutias, Sonowals, Deoris, Ahoms, Mishing, etc. Bohag Bihu (বহাগ বিহু)(mid-April, also called Rongali Bihu), the most popular Bihu celebrates the onset of the Assamese New Year (around 14–15 April) and the coming of Spring. This marks the first day of the Hindu solar calendar and is also observed in Bengal, Manipur,

neg: Bolero that originated in Spain in the late 18th century, a combination of the contradanza and the sevillana. There are many so-called boleros in art music (i.e., classical music), which are primarily inspired in the original Spanish genre of the same name. In some art music boleros, the root lies not in the bolero but in the habanera, a Cuban precursor of the tango, which was a favourite dance rhythm in the mid-19th century, and occurs often in French opera and Spanish zarzuela of the 19th and 20th centuries. In Cuba, the bolero was perhaps the first great Cuban musical and

neg: Irish dance Irish dance Irish dance or Irish dancing is a group of traditional dance forms originating from Ireland, encompassing dancing both solo and in groups, and dancing for social, competitive, and performance purposes. Irish dance in its current form developed from various influences such as French quadrilles and English country dancing throughout the 18th and 19th centuries. Dance was taught by "travelling dance masters" across Ireland throughout this period, and separate dance forms developed according to regional practice and differing purposes. Irish dance became a significant part of Irish culture, particularly for Irish nationalist movements. From the early 20th century, a

neg: Malaysian pop the musical culture of Malaysia and Indonesia. Starting in the 1920s, local social dance and entertainment music such as "asli", "inang", "joget", "dondang sayang", "zapin" and "masri" were adapted by Bangsawan troupes to Anglo-American dance band arrangement but keeping the local folk character, and developed into modern Malay popular music. The Bangsawan troupes originated in the 19th century as a form of opera called "Wayang Parsi" that developed as an adaptation of Persian theatre brought to Malaya by performers from Bombay. They portrayed stories from diverse groups such as Indian, Western, Islamic, Chinese, Indonesian and Malay with music, dance and

neg: Juego de maní is related to Brazilian "capoeira" in its African roots, as both derive from the Kongo-Angola culture. As with other similar dance and martial artforms arising in the 16th century onward among African slaves in European colonies in the Americas, "juego de maní" developed initially as means for the slaves to disguise fighting practice as a form of dance, in their scarce free time from labor. Some of their masters would recognize it as fighting competition and gamble on the outcomes. It is thought that sometimes slaves were made to fight to the death for their masters' sport. The distinct Cuban

neg: Cuban literature The claves, a percussion instrument, was the main inspiration for incorporating rhythm within Cuban literature. It sounds very different from Western percussion rhythm and was a way to introduce African rhythm into art. These characteristics of the clave and the importance of dance to the Cuban people became a catalyst for integrating musical patterns into their literature, especially within poetry. Cuban literature Cuban literature is the literature written in Cuba or outside the island by Cubans in Spanish language. It began to find its voice in the early 19th century. The major works published in Cuba during that time were

neg: Alejo Carpentier racial tensions between white Cubans and black and criollo Cubans, such preferences were not well received by the Cuban elite of the mid century. Carpentier devoted the majority of his musicology research to the Afro-Cuban influences present in Cuba. For example, Carpentier paid particular attention to Contradanza, a wildly popular Cuban dance derived from the European style of music and dance, Contredanse. The ample room left for musical improvisation and the element of group dance were easily adapted into African musical tradition where improvisation and dance play integral roles. Hence, a hybrid musical form unique to Cuba was created. Carpentier

neg: Fa'ataupati Fa'ataupati The Fa'ataupati is a dance indigenous to the Samoans. In English it is simply the "Samoan Slap Dance". It was developed in Samoa in the 19th century and is only performed by males. The word "pati" in Fa'ataupati means "to clap", Fa'ataupati means to 'forcefully clap or to slap'. Dances in Samoa would reflect on everyday life activities. In the 19th century there was an invasion of mosquitoes to the Kingdom, which later on became another part of everyday life, and it was there that the Fa'ataupati was created from when a man would forcefully slap his body. This

neg: Contradanza international popularity, the progenitor of danzón, mambo and cha-cha-cha, with a characteristic "habanera rhythm" and sung lyrics. Outside Cuba, the Cuban contradanza became known as the "habanera" – the dance of Havana – and that name was adopted in Cuba itself subsequent to its international popularity in the later 19th century, though it was never so called by the people who created it. The contradanza was popular in Spain and spread throughout Spanish America during the 18th century. According to musicologist Peter Manuel, it may be impossible to resolve the question of the contradanza's origin, as it has been pointed

neg: Dance in Cuba does not start on the first beat of a bar, though it can start with a transfer of weight to the lead's right. Nevertheless, many social dancers count "one, two, cha-cha-cha" and may find it difficult to make the adjustment to the "correct" timing of the dance. The Cuban bolero dance originated in Santiago de Cuba in the last quarter of the 19th century; it does "not" owe its origin to the Spanish music and song of the same name. In the 19th century there grew up in Santiago de Cuba a group of itinerant musicians who moved around earning

neg: Haitian Cuban Haitian Cuban Haitian Cubans (; ; ) are Cuban citizens of full or partial Haitian ancestry. Haitian culture and French and Haitian Creole languages, first entered Cuba with the arrival of Haitian immigrants at the start of the 19th century. Haiti was a French colony, and the final years of the 1791-1804 Haitian Revolution brought a wave of French settlers fleeing with their Haitian slaves to Cuba. They came mainly to the east, and especially Guantanamo, where the French later introduced sugar cultivation, constructed sugar refineries and developed coffee plantations. By 1804, some 30,000 French were living in Baracoa and

neg: Ballad 8 and 6 syllable lines. Many ballads were written and sold as single sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century, the term took on the meaning of a slow form of popular love song and is often used for any love song, particularly the sentimental ballad of pop or rock. The ballad derives its name from medieval French dance songs or "ballares" (L: "ballare", to dance), from which 'ballet' is also derived, as did the alternative rival form that became the French

neg: La tecnica cubana La tecnica cubana "La técnica cubana", often abbreviated as "técnica", is a form of Cuban contemporary dance that was founded by Ramiro Guerra Suarez in Cuba in 1959. Unlike other forms of traditional Cuban dance, "técnica" fuses many different dance forms together, such as those from Africa, Europe, and North America. It is a highly expressive and robust dance form, incorporating many quick jumps and undulating movements of the torso and pelvis. "Técnica" blends a high amount of movement and expression with a degree of synchronization, producing an athletic, theatrical dance form. "Técnica" was founded directly following the 1959 Cuban

neg: Cuban art Antonio Sanchez Araujo, Armando Menocal, Antonio Rodriguez Morey, Domingo Ramos Enriquez, and Leopoldo Romañach, went on to become instructors or administrators at the Academy San Alejandro and other arts institutions. The Modernist movements which convulsed European art early in the 20th century initially had little impact on the closed, academic world of contemporary Cuban art. In the late 19th century, landscapes dominated Cuban art and classicism was still the preferred genre. The radical artistic movements that transformed European art in the first decades of the century arrived in Latin America in the 1920s to form part of a vigorous current

neg: Huaihai opera Huaihai opera Huaihai opera (simplified Chinese: 淮海戏, traditional Chinese: 淮海戲) is a form of local traditional Chinese theatre which combines musics, vocal performance, and dance. Some plays contain mime, acrobatics, and Kung fu. It was created in the 19th century and fully developed in the World War II. The form is popular in Shuyang, Suqian, Lianyungang and Yancheng, with the dialect of Shuyang as the standard pronunciation. Huaihai opera began in the years around the 1830s and originally as a folk ditty in Shuyang. Fifty years later, several famous troupes were found and spread to the other regions near Shuyang

neg: Huaihai opera traditional stories are also very popular. Huaihai opera Huaihai opera (simplified Chinese: 淮海戏, traditional Chinese: 淮海戲) is a form of local traditional Chinese theatre which combines musics, vocal performance, and dance. Some plays contain mime, acrobatics, and Kung fu. It was created in the 19th century and fully developed in the World War II. The form is popular in Shuyang, Suqian, Lianyungang and Yancheng, with the dialect of Shuyang as the standard pronunciation. Huaihai opera began in the years around the 1830s and originally as a folk ditty in Shuyang. Fifty years later, several famous troupes were found and spread

neg: Thumri given that there are no historical references to such a form until the 15th century. The first mention of Thumri goes back to the 19th century, with a link to the classical dance form Kathak. This was the "bandish ki thumri" or "bol-baant" and it evolved mostly in Lucknow in the court of nawab Wajid Ali Shah. At that time, it was a song sung by tawaifs or courtesans. According to historical records, a new version of thumri arose in the late 19th century, which was independent of dance, and much more slow-paced. This form was called "bol-banav" and it

neg: Country dance Colombia, Peru, Panama and Ecuador. In Cuba during the 19th century the "contradanza" became an important genre, the ancestor of danzon, mambo and cha cha cha. Haitians fleeing the Haitian Revolution of 1791 brought to the Cuban version a Creole influence and a new syncopation. The "Engelska" (Swedish for "English") or Danish "Engelsk" is a 16-bar Scandinavian folk dance in . Its name comes from the adoption in Scandinavia of English country dances and contra dances in the early 19th century. In Denmark the description "Engelsk" was used for both line and square dances of English origin. Only due to

neg: Music of Cuba it from the European contradance. The Cubans developed a number of creolized version, such as the "paseo", "cadena", "sostenido" and "cedazo". This creolization is an early example of the influence of the African traditions in the Caribbean. Most of the musicians were black or mulatto (even early in the 19th century there were many freed slaves and mixed race persons living in Cuban towns). "The women of Havana have a furious taste for dancing; they spend entire nights elevated, agitated, crazy and pouring sweat until they fall spent." The contradanza supplanted the minuet as the most popular dance until from

neg: Anarchism in Cuba Anarchism in Cuba Anarchism as a social movement in Cuba held great influence with the working classes during the 19th and early 20th century. The movement was particularly strong following the abolition of slavery in 1886, until it was repressed first in 1925 by President Gerardo Machado, and finally by Fidel Castro's Marxist–Leninist government following the Cuban Revolution in the late 1950s. Cuban anarchism mainly took the form of anarcho-collectivism based on the works of Mikhail Bakunin and, later, anarcho-syndicalism. The Latin American labor and by extension the Cuban labor movement itself was at first more influenced by anarchism than

neg: Cakewalk and through cakewalk classes held in conjunction with Lindy Hop classes and workshops. Judy Garland performs a cakewalk in the 1944 MGM musical "Meet Me In St. Louis". Cakewalk The cakewalk or cake walk was a dance developed from the "prize walks" held in the late 19th century, generally at get-togethers on black slave plantations after emancipation in the Southern United States. Alternative names for the original form of the dance were "chalkline-walk", and the "walk-around". At the conclusion of a performance of the original form of the dance in an exhibit at the 1876 Centennial Exposition in Philadelphia, an

neg: Cakewalk Cakewalk The cakewalk or cake walk was a dance developed from the "prize walks" held in the late 19th century, generally at get-togethers on black slave plantations after emancipation in the Southern United States. Alternative names for the original form of the dance were "chalkline-walk", and the "walk-around". At the conclusion of a performance of the original form of the dance in an exhibit at the 1876 Centennial Exposition in Philadelphia, an enormous cake was awarded to the winning couple. Thereafter it was performed in minstrel shows, exclusively by men until the 1890s. The inclusion of women in the cast

neg: Cuban musical theatre (the musical of the most famous Cuban novel of the 19th century, with music by Roig and script by Prats and Agustín Rodríguez). Artists who were introduced to the public in the lyric theatre include Caridad Suarez, María de los Angeles Santana, Esther Borja and Ignacio Villa, who had such a round, black face that Rita Montaner called him Bola de Nieve ('Snowball'). Cuban "Bufo" theatre is an example of a form of comedy, ribald and satirical, with stock figures imitating types that might be found anywhere in the country. Bufo had its origin around 1800-15 as an older form,

neg: Luna Negra Dance Theater to soar with explosive and imaginative works that challenged cultural representations and developed new possibilities for the company. In 2013 Luna Negra ceased operations due to financial stress. Luna Negra Dance Theater Luna Negra Dance Theater was a dance ensemble that celebrated the richness and diversity of Latino culture through the creation of works by contemporary Latino choreographers. Founded by Cuban-born dancer and choreographer Eduardo Vilaro, the company steered away from folkloric representations and utilized a variety of dance form styles such as Flamenco, Tango or Salsa with contemporary dance movement. Luna Negra made its home in Chicago at the

neg: Guaracha among other popular pieces. There is little evidence as to what style of dance was originally performed to the guaracha in Cuba. Some engravings from the 19th century suggest that it was a dance of independent couples, that is, "not" a sequence dance such as the contradanza. The prototype independent couples dance was the waltz (early 19th century "Vals" in Cuba). The first creole dance form in Cuba known for certain to be danced by independent couples was the danzón. If the guaracha is an earlier example, this would be interesting from a dance history point of view. During the

neg: Bachatón often romantic; especially prevalent are tales of heartbreak and sadness. In fact, the original term used to name the genre was "amargue" ("bitterness" or "bitter music"), until the rather ambiguous (and mood-neutral) term "bachata" became popular. The form of dance, bachata, also developed with the music. The earliest bachata was originally developed in the Dominican Republic around the early part of the 20th century, with mixed Cuban boleros and, which originated from Son. with African elements, combined with traditional Latin/Caribbean rhythms. During much of its history, bachata music was denigrated by Latino/Caribbean society and associated with rural backwardness and delinquency.

neg: Murcof (traditional Cuban dance music which also flourishes in Mexico) and salsa (the broad and internationally used term for popular Cuban dance music like Cuban son montuno, guaracha, chachachá, mambo, bolero, etc.). In a later period of 1999 he gets an e‐mail from three Tijuana based electronic musicians (Fusible, Bostich and Panoptica) inviting electronic musicians to work with some norteña and tambora tracks downloaded from a studio in Tijuana. This way he became a part of the team of electronic musicians, DJs and graphic artists who would soon develop the Nortec Collective. Nortec’s objective is to blend traditional Mexican norteño‐tex‐mex border

neg: Traditional copper work in Mexico but later records state that the copper being worked here was coming from Inguarán and Opopeo . The smelting of copper in the area ended by the mid 17th century as the mines gave out. When mining in Mexico waned during and just after the Mexican War of Independence, copper working survived here. Its prominence ebbed and waned during Mexico’s tumultuous history in the 19th century, with the very last of copper mining ending at the end of this same century. Mexico still has large reserves of copper, mostly in the form of sulphides, which have not been mined because

neg: Music of Cuba coincide in thinking that Punto and Zapateo are based on Spanish dance –songs (such as chacone and sarabande) that arrived first at the most important population centers such as Havana and Santiago de Cuba and then spread throughout the surrounding rural areas where they were adopted and modified by the peasant (campesino) population at a later time. Punto guajiro or Punto Cubano, or simply Punto is a sung genre of Cuban music, an improvised poetic-music art that emerged in the western and central regions of Cuba during the 19th century. Although Punto appears to come from an Andalusian origin, it

neg: Mambo (dance) The mambo dance that was spearheaded by Pérez Prado and was popular in the 1940s and '50s in Cuba, Mexico, and New York is completely different from the modern dance that New Yorkers now call "mambo" and which is also known as salsa "on 2". The original mambo dance contains no breaking steps or basic steps at all. The Cuban dance was not accepted by many professional dance teachers. Cuban dancers would describe mambo as "feeling the music", in which sound and movement were merged through the body. Professional dance teachers in the US saw this approach to dancing as

neg: Irish dance are described as stepdance. These include the well-known "modern" stepdance performed competitively; old-style stepdance, which is closer in style to the dance practised by 19th-century travelling dance masters; and festival dance, which separated from modern stepdance over stylistic and administrative disputes in the mid-20th century. The most predominant form of Irish stepdance is that popularised by the Broadway show Riverdance, and other Irish dancing stage shows since the late 20th century. Characterised by a rigid torso and dances performed high on the balls of the feet, this style became distinct from the late 19th century when the Gaelic League began

neg: Mambo (dance) Mambo (dance) Mambo is a Latin dance of Cuba which was developed in the 1940s when the music genre of the same name became popular throughout Latin America. The original ballroom dance which emerged in Cuba and Mexico was related to the danzón, albeit faster and less rigid. In the United States, it replaced rhumba as the most fashionable Latin dance. Later on, with the advent of salsa and its more sophisticated dance, a new type of mambo dance including breaking steps was popularized in New York. This form received the name of "salsa on 2", "mambo on 2" or

neg: Peking opera Peking opera Peking opera, or Beijing opera () is a form of Chinese opera which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing dynasty court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing, Tianjin and Shanghai. The art form is also preserved in Taiwan (Republic of China), where it is also known as (). It has also spread to other regions such

neg: Turn board is a type of performance dance that originated in the Italian Renaissance courts of the 15th century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own vocabulary based on French terminology. It has been globally influential and has defined the foundational techniques used in many other dance genres. Becoming a ballet dancer requires years of training. Ballet has been taught in various schools around the world, which have historically incorporated their own cultures to evolve the art. Turning boards come in various materials

neg: Ballet Ballet Ballet () is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own vocabulary based on French terminology. It has been globally influential and has defined the foundational techniques used in many other dance genres and cultures. Ballet has been taught in various schools around the world, which have historically incorporated their own cultures and as a result, the art has evolved in a number of distinct ways.

neg: Cuban musical theatre percussion, song and chants are to be found in his great works. Cuban musical theatre Cuban musical theatre has its own distinctive style and history. From the 18th century (at least) to modern times, popular theatrical performances included music and often dance as well. Many composers and musicians had their careers launched in the theatres, and many compositions got their first airing on the stage. In addition to staging some European operas and operettas, Cuban composers gradually developed ideas which better suited their creole audience. Characters on stages began to include elements from Cuban life, and the music began to

neg: Cuban musical theatre Cuban musical theatre Cuban musical theatre has its own distinctive style and history. From the 18th century (at least) to modern times, popular theatrical performances included music and often dance as well. Many composers and musicians had their careers launched in the theatres, and many compositions got their first airing on the stage. In addition to staging some European operas and operettas, Cuban composers gradually developed ideas which better suited their creole audience. Characters on stages began to include elements from Cuban life, and the music began to reflect a fusion between African and European contributions. Recorded music was to

neg: Ballet so that it can only be performed by a relatively young dancer. The structure of ballet – in which a (usually) male choreographer or director uses (mostly) women's bodies to express his artistic vision, while ignoring, objectifying, or silencing the women involved – has been criticized for not respecting women. Ballet Ballet () is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own vocabulary based on French terminology.

neg: Danzón Danzón Danzón is the official musical genre and dance of Cuba. It is also an active musical form in Mexico, and is still much loved in Puerto Rico. Written in time, the danzón is a slow, formal partner dance, requiring set footwork around syncopated beats, and incorporating elegant pauses while the couples stand listening to virtuoso instrumental passages, as characteristically played by a charanga or tipica ensemble. The danzón evolved from the Cuban contradanza, or habanera (literally, 'Havana-dance'). The contradanza, which had English and French roots in the country dance and contredanse, was probably introduced to Cuba by the Spanish,

neg: Concheros some aspects of indigenous rite. It remained a purely religious ceremony until the mid 20th century when political and social changes in Mexico also gave it cultural significance as a folk dance. Since the later 20th century, a sub group of the dance called Aztecas or Mexicas has emerged with the aim of eliminating the European influence, often with political aims. This form of the dance migrated to the United States in the mid-1970s and can be seen in states such as California in Mexican American communities. While “Concheros” is the oldest and most common name for the dance as

neg: Classical violin in Cuba Classical violin in Cuba The bowed string instruments have been always present in Cuba since its discovery, first as the viol or bowed vihuela and at a later time as the Italian violin. As other instruments and the culture in general, also the violin enjoyed in Cuba a period of great relevance during the 19th century. The violin was part of the instrumental ensembles that accompanied the Contradance and the Dance, the first Cuban musical genres, as well as other subsequent genres as the Danzón and the Cha cha cha. The violin also intoned some of the most beautiful melodies

neg: La tecnica cubana blend of indigenous and external dance forms to create a new modern form that is the heartbeat of Cuban dance. It is a hybrid dance form, intertwining many of the dance legacies in Cuba, all while still grounded in the modern, social context of Cuba. "Técnica" was created intentionally to reflect the diversity of Cuban culture and to include a plurality of dance influences. The dance technique of "la técnica cubana" is athletic and powerful, reflective of the multitude of dance influences from Africa, Europe, North America, and Cuba. "Técnica" dancers are known to jump higher, undulate faster, and complete

neg: Tumba francesa Tumba francesa Tumba francesa is a secular Afro-Cuban genre of dance, song, and drumming that emerged in Oriente, Cuba. It was introduced by slaves from Haiti—then a French colony known as Saint-Domingue—whose owners resettled in Cuba's eastern regions following the slave rebellion during the 1790s. The genre flourished in the late 19th century with the establishment of "sociedades de tumba francesa" (tumba francesa societies), of which only three survive. Tumba francesa combines musical traditions of West African, Bantu, French and Spanish origin. Cuban ethnomusicologists agree that the word "tumba" derives from the Bantu and Mandinka words for drum. In Cuba,

neg: Ljubljana Betontanc), street theatre (e.g. Ana Monró Theatre), theatresports championship Impro League, and improvisational theatre (e.g. IGLU Theatre). A popular form is puppetry, mainly performed in the Ljubljana Puppet Theatre. Theatre has a rich tradition in Ljubljana, starting with the 1867 first ever Slovene-language drama performance. The modern dance was presented in Ljubljana for the first time at the end of the 19th century and developed rapidly since the end of the 1920s. Since the 1930s when in Ljubljana was founded a Mary Wigman dance school, the first one for modern dance in Slovenia, the field has been intimately linked to

neg: Cuba United States. In part due to Cuban slaves working primarily in urbanized settings, by the 19th century, there had developed the practice of "coartacion", or "buying oneself out of slavery", a "uniquely Cuban development", according to historian Herbert S. Klein. Due to a shortage of white labor, blacks dominated urban industries "to such an extent that when whites in large numbers came to Cuba in the middle of the nineteenth century, they were unable to displace Negro workers." A system of diversified agriculture, with small farms and fewer slaves, served to supply the cities with produce and other goods. In

neg: Jawole Willa Jo Zollar dance, African dance, and social dance. Her movement synthesizes influences from modern dance (a combination of Dunham, Graham, Cunningham, and Limón techniques), Afro-Cuban, Haitian, and Congolese dance. She emphasizes the use of weight and fluidity as opposed to creating clean shapes. From her Afro-Cuban dance training she employs a strong sense of dynamic timing, rhythmic patterns, and continuous flow of movement. She derives many of her movement ideas from African-American culture—allowing the "church testifying, emotional energy shap[e] the form, and the rawness of that form, like you have in jazz," she says. In her choreography, Zollar creates avant-garde dance-theater productions

neg: Cuban literature could accommodate the needs of writers. Many Cuban writers endeavored to publish in other countries, such as France and Mexico. Despite serious setbacks, Cuban women writers have continued to write, develop, and go on to win national and international claim, including the National Critics Prize and the Casa de las Américas Prize. Literature written for children and young readers in Cuba started around the beginning of the 19th century. In the works of two poets, José Manuel Zequeira and José María Heredia, lyrical elements identified with this genre can be found, while Heredia’s "El ruiseñor, el príncipe y el ayo"

neg: Development of musical theatre Development of musical theatre Development of musical theatre refers to the historical development of theatrical performance combined with music that culminated in the integrated form of modern musical theatre that combines songs, spoken dialogue, acting and dance. Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre developed from several lines of antecedents that evolved over several centuries through the 18th century when the Ballad Opera and pantomime emerged in England and its colonies as the most popular forms of musical entertainment. In the 19th century, following the development of European operetta, many of

neg: Music of Mexico the Cubans Pérez Prado, Benny Moré emigrated to Mexico, they brought with them the mambo, which became extremely popular especially in Mexico City, later on mambo developed into Cha cha chá, which was also popular. The Cuban bolero has traveled to Mexico and the rest of Latin America after its conception, where it became part of their repertoires. Some of the bolero's leading composers have come from nearby countries, most especially the prolific Puerto Rican composer Rafael Hernández; another example is Mexico's Agustín Lara. Some Cuban composers of the bolero are listed under Trova. Some successful Mexican bolero composers are

neg: Concheros and princes who would perform in their finery. This tradition of performing the dance in as fantastic a costume as possible continues to this day. Since then, the dance has been passed down generations. By the 19th century, dancers performed in close collaboration with Catholic confraternities with limited membership often by lineage, which is still the case in many small towns and villages. Sometime before the end of the 19th century, migrant workers brought the dance to Mexico City and other nearby cities. The spread led to several major lineages of Concheros dancers, as different migrants at different times would

neg: Music of Cuba Music of Cuba The music of Cuba, including its instruments, performance and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional musics of the world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century. Since the 19th century

neg: Jarabe Tapatío Jarabe Tapatío Jarabe tapatío, often referred to as the Mexican hat dance, is the national dance of Mexico. It originated as a courtship dance in Guadalajara, Jalisco, during the 19th century, although its elements can be traced back to the Spanish "zambra" and "jarabe gitano", which were popular during the times of the viceroyalty. Female dancers traditionally wear a "china poblana" outfit, while the male dancers dress as "charros". The standard music of the "jarabe tapatío" was composed by Jesús González Rubio in the 19th century, although its more common instrumental arrangement dates from the 1920s. Nowadays, its music is

neg: Jazz developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured." African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza) gained international popularity. Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published." For the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming

neg: Lundu (dance) of traditional lundus style. Usually a flirtatious ritual of a couple dance, accompanied by a guitar, or sometimes a thumb piano or drums, Lundu is related to the Spanish fandango and other new-world dances like the Argentine Zamba, the Peruvian Zamacueca and the Cuban Bolero - they all involve, to some degree, handkerchiefs, castanets, and holding one's arms above one's head. In the 19th century, the lundu was one of the sources of the Choro, the Maxixe and the Samba Lundu (dance) Lundu (also spelled landu or landum) is a style of Afro-Brazilian music and dance with its origins in

neg: Cuban National Ballet management. Through the BNC's International Dance Program, knowledge is manifested through special Cuban BNC techniques, idiosyncrasies, aesthetics and characteristics of Latin American culture. The Cuban dance form is an expression of the Ibero-America, Caribbean roots,and classical styles that are sustained or enhanced by common or similar ethnic and cultural antecedents. The International Dance program of the National Ballet of Cuba offers studies that cover different disciplines applicable to individuals or particular groups these often include: Ballet, En pointe, Variations, Classic Duet, Modern Dance, Outlook of the history of the dance, music appreciation, physical preparation, acting, and Make-up. The National Ballet

neg: Classical piano in Cuba Ignacio Cervantes studied in Paris with professors Marmontel and Alkan. He received several piano awards, was a candidate to the Rome Award and received compliments from Rossini, Liszt and Paderewski. During the Ten Years' War, Cervantes lived and gave concerts in the United States and Mexico. After the Cuban independence he worked as orchestra director at the Tacón Theatre. Ignacio Cervantes is considered one of the greatest composers of his country, and his Cuban Dances for piano are an outstanding contribution to the island’s cultural patrimony. Another successful Cuban pianist from the 19th century was José Manuel "Lico" Jiménez (1851-1917).

neg: Boleras Boleras Seguidillas boleras, or simply boleras, is a "palo" (style) of flamenco music based on the seguidilla poetic form and the Spanish dance known as bolero. It is considered a member of the "cante chico" family of palos. The term "boleras" was popularized around 1812-13 to designate female dancers who performed boleros. Their particular style gave rise to the bolera school of dance, which was prevalent in Spain throughout the 19th century. To distinguish the sung boleros from the dance itself, the term "seguidilla bolera" is used. Towards the end of the 19th century, the bolero form was incorporated into

neg: Cuban League were also supporters of the revolutionary cause. A number of ballplayers fought against Spain in the Cuban War of Independence (1895–98), and at least three lost their lives: Emilio Sabourín, Juan Manuel Pastoriza, and Ricardo Cabaleiro. During the 19th century the Cuban League remained a segregated, whites-only institution. However, black Cubans were developing their baseball skills playing for semi-professional and sugarmill teams. The Cuban War of Independence brought Cuban blacks and whites together in a common cause and created the pressures that ultimately brought integration. The other great legacy of 19th century Cuban League baseball was the enduring rivalry between

neg: Afro (genre) "Havana Moon). According to Ned Sublette, the genre was particularly innovative, asserting that "“Babalú” was a forerunner of the kind of record Elvis Presley would make fifteen years later". The following afro compositions are often cited as the most representative of the genre. Afro (genre) Afro is a genre of Cuban popular music with African themes which gained prominence during the afrocubanismo movement in the early 20th century. It originated in the late 19th century Cuban blackface theatre, where some elements from Afro-Cuban music traditions such as Santería and Palo were incorporated into a secular context. As a result, black

neg: Danza simplification of the name. Through the first part of the 19th century the dance and its music became steadily more creolized. The music and the dance is creolized because composers were consciously trying to integrate African and European ideas because many of the people themselves were creoles, that is, born in the Caribbean; accepting their islands as their true and only homeland. Some well-known composers of danzas are Manuel Gregorio Tavárez, "The Father of Puerto Rican Danza", and Juan Morel Campos, considered by many to have raised the genre to its highest level. Others are Cuban Ignacio Cervantes, and Curaçaoan

neg: Afro (genre) Afro (genre) Afro is a genre of Cuban popular music with African themes which gained prominence during the afrocubanismo movement in the early 20th century. It originated in the late 19th century Cuban blackface theatre, where some elements from Afro-Cuban music traditions such as Santería and Palo were incorporated into a secular context. As a result, black themes were occasionally portrayed in a stereotypical and derogatory manner. Nonetheless, many afros accurately depicted the working-class life of black communities in Cuba. Afros are sung in a creolized form of Spanish, often similar to bozal. In the 1940s and 1950s, the genre

neg: Samba reggae a major role in the early development of samba, which first took form in a Bahian style of dance and music called "samba de roda", probably in the late 19th century. Samba de roda was brought to Rio de Janeiro by Bahians around 1900, where it was combined with harmonic and rhythmic elements from European influences (such as chorinho and military marches). By the 1930s, samba de roda had developed into the faster, more harmonically complex Rio-style samba that is now played in Rio's Carnival. Through the middle of the 20th century this new Rio-style samba spread throughout Brazil. Of

neg: Music of Cuba conducted. In 1927 he was appointed Director of the Havana School of Music. As a composer he specialized in the zarzuela, a musical theatre form, very popular up to World War II. In 1931 he co-founded a "bufo" company (comic theatre) at the Marti Theatre in Havana. He was the composer of the most well-known Cuban zarzuela, "Cecilia Valdés", based on the famous 19th-century novel about a Cuban mulata. It was premiered in 1932. He founded various organizations and wrote frequently on musical topics. One of the greatest Cuban pianist/composers of the 20th century was Ernesto Lecuona (1895–1963). Lecuona composed

neg: Bolero vocal synthesis to win universal recognition. In time, this dance music spread to other countries, leaving behind what Ed Morales has called the "most popular lyric tradition in Latin America". The Cuban bolero tradition originated in Santiago de Cuba in the last quarter of the 19th century; it does not owe its origin to the Spanish music and song of the same name. In the 19th century there grew up in Santiago de Cuba a group of itinerant musicians who moved around earning their living by singing and playing the guitar. Pepe Sanchez is known as the father of the

neg: Neva Dell Hunter Neva Dell Hunter Neva Dell Hunter (died January 27, 1978) pioneered the practice of aura balancing, a form of spiritual therapy in which the practitioner works directly with the energy fields surrounding and penetrating the physical body. Hunter claimed to have served as a channel (or medium) for a being who was purported to be in touch with Phineas Parkhurst Quimby, an American transcendentalist who developed a form of spiritual healing in the mid-19th century that he called the "Science of the Christ." Hunter was the founder of the Quimby Memorial Library in Alamogordo, New Mexico. Work on the library

neg: Weapon dance is a group dance in which the dancers first use a sword or other implement (stick, stave, etc.) to link themselves in a chain. In the Hungarian tradition, the "Erdőbénye" cooper dance represents this form of dance. Moreška, a sword dance on the Croatian island of Korčula in the Adriatic, recalls combat between Christians and Moros (Moors), though in the 19th century the dance changed from Christians vs. Moors to Turks vs. Moors. Historically, the Hungarian "heyduck" dance was a soldiers' dance that involved virtuoso whirling of weapons and free-form compositions with battle practice motifs. Such dances also appear in

neg: Music of Cuba Sánchez de Fuentes, which has been recorded in many versions. Versions of habanera-type compositions have appeared in the music of Ravel, Bizet, Saint-Saëns, Debussy, Fauré, Albeniz. The rhythm is similar to that of the tango, and some believe the habanera is the musical father of the tango. The European influence on Cuba's later musical development is represented by danzón, an elegant musical form that was once more popular than the Son in Cuba. It is a descendent of the creollized Cuban contradanza. The danzón marks the change from the communal sequence dance style of the late 18th century to the

neg: La tecnica cubana Revolution. The Revolution was driven by ideas of socialism and a lack of Cuban nationalism, which brought about major change to the political, economical, and social realms of Cuba. The new Castro regime provided funding and government support to expand the arts, and thus técnica, a new revolutionary Cuban dance form was established. The similar timing of "técnica"’s birth allowed the dance form to incorporate many revolutionary ideas—boosting Cuban nationalism and providing a sense of national and personal identity for Cubans. "Técnica" incorporated this nationalist vision into its dance technique and created a sense of "cubanidad", or “Cuban-ness.” "La técnica

neg: Batuque (music and dance) place, and a new song begins. These performings may last for hours until the end of the "batuque" session. The "batuque" is probably the oldest musical genre in Cape Verde, but there are written records of it only from the 19th century. Presently it is found only in Santiago, notably Tarrafal, however, there are clues that it existed in all the islands of Cape Verde. According to Carlos Gonçalves, the "batuque" is not a musical genre that originated in the African continent. It may be an adaptation of some African dance that later has developed its own characteristics in Cape

neg: Elpidio Valdés Elpidio Valdés Elpidio Valdés is a cartoon character and comic, who starred in a number of features, shorts and strips of the same name. He was created in 1970 by cartoonist and Cuban filmmaker Juan Padrón, considered the father of Cuban film animation and director of the first three animated feature films produced by the Cuban Institute of Cinematographic Art and Industry. Elpidio Valdes is a mambí colonel fighting for the liberation of their homeland from Spanish colonialism, commanding a squadron of cavalry, and represents the Cuban peasants in the 19th century slaves joined, and some landowners to form the