CHAPTER — RESEARCH METHODOLOGY IN THE MCC

 

Non-Premature Interpretative Closure and Ontological Validation in the Study of Casino Dance


CHAPTER — RESEARCH METHODOLOGY IN THE MCC

Non-Premature Interpretative Closure and Ontological Validation in the Study of Casino Dance

1. Object of the Chapter

This chapter establishes the methodological principles of research governing the analysis, definition, and formalization of Casino Dance within the Cuban Casino Square Method (MCC).

Its objective is to define an epistemological protocol that allows:

  • distinguishing between perception and structure,

  • avoiding interpretative drift,

  • ensuring reproducibility of knowledge,

  • and grounding ontological definitions of Casino as a choreographic object.

2. Central Problem

Casino Dance, as a cultural phenomenon, has historically been transmitted empirically. This transmission has produced:

  • multiple interpretations,

  • absence of stable structural criteria,

  • confusion between lived experience and object definition,

  • and proliferation of non-verifiable discourses.

Common statements include:

  • “Casino belongs to the people and cannot be systematized”

  • “Casino is inherently street-based”

  • “Casino style implies roughness or disorder”

  • “Technique limits feeling”

These are not ontological definitions, but interpreted phenomenological descriptions.

3. Methodological Thesis

Any rigorous definition of Casino Dance must derive from a process of ontological validation supported by a protocol of phenomenological and critical depuration, avoiding premature interpretative closure.

4. Fundamental Methodological Principles

4.1. Principle of Non-Premature Interpretative Closure

No perception, lived experience, or narrative about Casino can be accepted as a sufficient explanation without structural analysis.

4.2. Principle of Phenomenology–Ontology Distinction

  • Phenomenology → how Casino is experienced, perceived, or narrated

  • Ontology → what Casino is in its choreographic structure

4.3. Principle of Structural Validation

A statement about Casino only acquires methodological value when it can be expressed in terms of structure, function, relation, and reproducibility.

4.4. Principle of Independence from Taste

The validity of a choreographic definition does not depend on taste, aesthetic preference, or the performer’s social identity.

4.5. Principle of Socio-Aesthetic Conditioning

Social and aesthetic conditions of origin influence the technical configuration of the dance without defining its essential structure.

5. MCC Research Protocol

Phase 1 — Phenomenological Registration

  • collection of perceptions

  • observation of practices

  • identification of social narratives

Phase 2 — Critical Depuration

  • elimination of contradictions

  • detection of ideological biases

  • separation between experience and structural claims

Phase 3 — Structural Analysis

  • identification of positions, trajectories, connections, functions, and relationships

Phase 4 — Ontological Formulation

  • definition of the object: what it is, how it works, and under what conditions it reproduces

Phase 5 — Validation

  • verification of coherence, reproducibility, and explanatory capacity

6. Application to Casino Dance

6.1. On the Origin of Casino

Narratives defining Casino as “street dance” or “spontaneous popular expression” are situated phenomenological interpretations.

Casino Dance originates in urban middle-class contexts, with specific social and aesthetic conditions.

6.2. On Aesthetics and Technique

Social conditions influence execution:

  • formal attire → more controlled and efficient technique

  • informal context → broader and less regulated movement

This does not define the object, but filters its technical repertoire.

6.3. On the Empirical Bearer as Authority

When the empirical practitioner absolutizes their experience and turns it into definition, the result is:

ontological falsification through phenomenological absolutization

7. Methodological Consequence for the MCC

The MCC does not deny experience or diversity, but establishes that:

the formalization of Casino must be based on its structural functioning, not on subjective interpretation.

8. Result: Well-Formed Casino

This methodological approach produces:

  • reproducible technique

  • definable structure

  • teachable system

  • foundation for controlled improvisation

Well-Formed Casino Dance (CBF)

9. Social and Pedagogical Implications

This approach enables:

  • democratization of learning

  • standardization of teaching

  • independence from “talent” or “street experience”

  • construction of pedagogy based on verifiable knowledge

10. Conclusion

Knowledge of Casino Dance cannot be grounded in how it feels, but in how it works.
Experience informs, but does not define.
Only structural analysis leads to knowledge.

Doctrinal Formulas

Phenomenology shows the phenomenon; ontology defines it; method makes it reproducible.

Without critical thinking, experience becomes narrative.
Without structure, knowledge does not exist.

Author

Yoel Marrero
Author of the Cuban Casino Square Method (MCC)

Digital Ecosystem Links

Blog: https://bailesocialinteligente.blogspot.com
YouTube: https://www.youtube.com/@CATALOGOCOREOGRAFICOMCC
Facebook (Observatory): https://www.facebook.com
Facebook (Choreographic Catalog MCC): https://www.facebook.com

Hashtags

#CubanCasinoSquareMethod #MCC #WellFormedCasino #CasinoDance #CriticalThinking #Epistemology #Choreography #CubanDance #Research #SocialDance


MCC methodology, casino dance, dance epistemology, phenomenology and ontology, critical thinking, dance theory, well formed casino, choreographic analysis, cultural research, scientific method in dance

Location: Av. Sierra de Las Nieves, 2, 29410 Yunquera, Málaga, España

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