What Are the Theoretical Areas That Make Up the MCC?
🇬🇧 What Are the Theoretical Areas That Make Up the MCC?
If the Method of the Casino Square (MCC) represents a shift from empirical transmission to structured understanding, then a key question naturally arises:
What exactly is the theoretical structure that sustains it?
A structured theoretical system
The MCC is not an isolated set of ideas, nor a collection of independent concepts.
It is a coherent and organized theoretical system, designed to fully characterize the technical, structural, and functional behavior of Cuban social dances.
Originally, the MCC was formulated as a body of 21 core theories.
However, as its development progressed, its internal structure expanded and refined, allowing us to identify a broader architecture composed of:
21 macro-theories developed into 36 specific theories.
Why expand from 21 to 36?
The original 21 theories already provided a solid analytical framework.
But with deeper development, it became clear that some of those theories contained multiple internal domains that required:
clearer differentiation,
more precise definition,
and greater operational clarity.
This expansion does not contradict the original structure.
It refines and unfolds it.
In other words:
👉 The 21 macro-theories define the conceptual framework.
👉 The 36 specific theories define its internal functional structure.
Theoretical organization of the MCC
The MCC theoretical system can be understood as a structured architecture composed of several interconnected blocks.
These blocks organize the knowledge from foundational principles to applied execution and higher-level interpretation.
1. Foundational Block
Epistemic and Methodological Base
This block establishes:
how the dance is observed,
how it is analyzed,
and under what criteria knowledge is validated.
It includes the methodological principles that guide the entire system.
2. Object Characterization Block
This block defines:
what the dance is as an object of study,
what its components are,
and how they can be identified and differentiated.
It transforms the dance from a practice into a describable object.
3. Technical-Coreographic Block
This is the operational core of the MCC.
It includes the theories that explain:
motion,
rhythm,
structure,
navigation,
conduction,
optimization,
and coreographic composition.
Here, the dance becomes a functional system.
4. Evaluation and Regulation Block
This block introduces:
criteria for correctness,
parameters for evaluation,
and systems for judging execution.
It allows the dance to be:
measured,
compared,
and objectively corrected.
5. Ethical, Aesthetic, and Human Block
This block addresses:
the ethical dimension of dance,
the aesthetic criteria,
and the human interaction within the socio-coreographic environment.
It defines the limits and responsibilities of practice.
6. Professional and Economic Block
This block regulates:
teaching practice,
intellectual property,
professionalization,
and economic activity related to the dance.
It transforms the dance into a regulated professional field.
7. Higher Systemic Block
This block integrates:
evolution,
anthropology,
ideology,
learning psychology,
and global system understanding.
It allows the MCC to function as a complete interpretative framework.
From theory to practice
This entire theoretical structure is not abstract.
It is directly applied in the learning process.
Each element of the MCC:
is taught,
is practiced,
is tested,
and is incorporated progressively.
This ensures that knowledge is not only understood but also embodied in execution.
A system, not a collection
The MCC is not a set of disconnected theories.
It is a system where each theory interacts with the others.
Understanding one element in isolation is not enough.
True understanding emerges when:
structure,
motion,
rhythm,
navigation,
and conduction
are integrated into a unified process.
What changes with this structure?
With this theoretical architecture:
teaching becomes systematic,
learning becomes conscious,
correction becomes objective,
and creation becomes structured.
This marks the transition from:
👉 empirical practice
to
👉 structured knowledge.
A new level of understanding
The existence of this theoretical system transforms the nature of the dance itself.
The Casino is no longer only something that is done.
It becomes something that can be:
understood,
explained,
transmitted,
and developed with precision.
Continuation
In the next chapter:
What is Casino Bien Formado, and how does it differ from empirical Casino?
Author
Yoel Marrero
Creator of the Method of the Casino Square (MCC)
Digital Ecosystem
MCC 5.0 Professional Course:
https://www.facebook.com/groups/813763496367494
Casino MCC IA:
https://www.facebook.com/casinomccia
Observatory of Cuban Social Dances:
https://www.facebook.com/observatoriodebailescubanos
MCC Choreographic Catalog:
https://www.facebook.com/FundacionCasinoParaTodosUSA
MCC Instructors Catalog:
https://www.facebook.com/catalogoinstructoresmccpatentados
YouTube Channel:
https://www.youtube.com/@CATALOGOCOREOGRAFICOMCC
Smart Social Dance Blog:
https://bailesocialinteligente.blogspot.com/
Translations available in English, French, Italian, Japanese, and Russian on the blog.
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MCC, Method of the Casino Square, Casino Bien Formado, Casino Dance, Cuban social dances, dance technique, choreographic structure, choreographic analysis, dance education, Cuban choreography, MCC system, scientific method applied to dance, Yoel Marrero, Cuban dance methodology, dance formalization, technical standardization
Technique liberates.
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