CUBAN SOCIAL DANCES: ONTOLOGICAL FOUNDATION, TAXONOMIC CRITIQUE AND TERMINOLOGICAL FORMULATION IN MCC

 

This article establishes a formal critique of the traditional nomenclature used in the classification of Cuban dances, highlighting its epistemological limitations and technical consequences. Based on this critique, the term Cuban Social Dances is proposed as a precise functional category, and an ontological typology is introduced based on origin and degree of formalization: Empirical Cuban Social Dances and Well-Formed Cuban Social Dances, within the framework of the Cuban Casino Square Method (MCC).


CUBAN SOCIAL DANCES: ONTOLOGICAL FOUNDATION, TAXONOMIC CRITIQUE AND TERMINOLOGICAL FORMULATION IN MCC

Abstract

This article establishes a formal critique of the traditional nomenclature used in the classification of Cuban dances, highlighting its epistemological limitations and technical consequences. Based on this critique, the term Cuban Social Dances is proposed as a precise functional category, and an ontological typology is introduced based on origin and degree of formalization: Empirical Cuban Social Dances and Well-Formed Cuban Social Dances, within the framework of the Cuban Casino Square Method (MCC).

1. Problem of Traditional Nomenclature

The dominant institutional classification in Cuba has historically organized dance manifestations into three main categories:

  • Folk dances (mainly Afro-Cuban)

  • Cuban popular dances

  • Peasant dances

Within this structure, an additional subdivision has been introduced:

  • Ballroom dances

  • Popular dances

However, this system presents structural deficiencies that directly affect the understanding, teaching, and technical development of Cuban social dances.

2. Ambiguity of the Term “Popular”

The term “popular” introduces a critical semantic ambiguity by failing to distinguish between:

  • what is popular by origin (emerging from spontaneous social practice), and

  • what is popular by diffusion (widely practiced regardless of origin).

This ambiguity prevents the establishment of clear analytical criteria and leads to erroneous interpretations of choreographic objects.

3. Chronological Distortion as a Classification Criterion

The distinction between “ballroom dances” and “popular dances” has functioned in practice as a disguised chronological criterion:

  • older and obsolete dances are classified as “ballroom”,

  • current dances are classified as “popular”.

This logic does not respond to an ontological or structural difference, but to a temporal perception, which constitutes a methodological flaw.

4. Technical Consequence: Lack of Formalization

From this classification derives a critical consequence:

  • dances considered “old” are studied, systematized, and structured,

  • while current dances, labeled as “popular”, remain within the empirical and non-formalized domain.

This phenomenon has directly contributed to the absence of rigorous technical systems in the study of Casino, despite its high structural complexity.

5. Terminological Proposal: Cuban Social Dances

In response to these limitations, the term:

Cuban Social Dances

is proposed as a functional category defined by:

  • its practice in a non-stage social context,

  • partner-based interaction,

  • its integration into real community dynamics.

This term removes the ideological ambiguity of “popular” and allows for a precise functional delimitation of the object of study.

6. Ontological Foundation: Origin and Structure

The MCC proposal introduces a shift in epistemological focus based on two fundamental criteria:

6.1. Origin or Genesis

  • Dances of real social origin

  • Dances of scenic or choreographic origin

6.2. State of Formalization

  • Empirical

  • Well-Formed

7. MCC Typology

From these criteria, the following classification is established:

7.1. Empirical Cuban Social Dances

Those that exist in social practice but lack a formal system of structuring, notation, and reproducible teaching.

7.2. Well-Formed Cuban Social Dances

Those that have undergone a process of:

  • structural analysis

  • technical formalization

  • methodological systematization

  • validation through reproducibility

within the framework of the Cuban Casino Square Method (MCC).

8. Epistemological Implications

This reformulation allows:

  • overcoming the dichotomy between social practice and technical formalization,

  • establishing objective criteria for choreographic analysis,

  • developing reproducible teaching systems,

  • differentiating between empirical execution and technically optimized execution.

9. On Conceptual Authorship

Although terms themselves are not subject to intellectual property protection, the conceptual formulation, its operational definition, and its integration into a theoretical system do constitute an attributable contribution.

In this sense, the introduction and development of the term Cuban Social Dances, as well as its associated typology, are part of the theoretical body of the MCC.

10. Conclusion

The replacement of ambiguous categories with a functionally and ontologically grounded nomenclature does not represent a superficial terminological change, but a reconfiguration of the interpretative framework of Cuban dances.

The transition from “Cuban Popular Dances” to Cuban Social Dances, together with the distinction between empirical and well-formed states, establishes the conditions for a critical, systematic, and scientifically oriented dance theory.

Author

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

Digital Ecosystem

Blog: https://bailesocialinteligente.blogspot.com
YouTube: https://www.youtube.com/@CATALOGOCOREOGRAFICOMCC
Facebook: https://www.facebook.com/observatoriodebailescubanos
Choreographic Catalog MCC: https://www.facebook.com/FundacionCasinoParaTodosUSA

Hashtags

#MCC #CubanSocialDances #CasinoCubano #DanceTheory #Choreography #DanceResearch #WellFormedCasino #ChoreographicScience


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