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Showing posts with the label MCC system

What Types of Casino Exist Today?

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  🇬🇧 What Types of Casino Exist Today? 🇬🇧 Once it is understood what Well-Formed Casino is, it becomes necessary to take one step further: to organize the real panorama of Casino Dance as it exists today. Because the problem is not only technical. It is also typological . One name, multiple realities Today, under the name “Casino,” very different practices coexist. This generates confusion because: 👉 the same word is used 👉 to refer to different phenomena The result is: misunderstandings, conceptual mixtures, and the absence of clear criteria. General typology of Casino From an analytical perspective, it is possible to identify four major types of empirical Casino , plus Well-Formed Casino as a differentiated category. 1. Workers’ Social Club Casino (1960s–70s) This type of Casino corresponds to dancers: born in the 1950s, socially formed in the 1960s and 70s, within the context of revolutionary Cuba. Its natural space was: 👉 workers’ social clubs Main characteristics relat...

What Is Well-Formed Casino?

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  🇬🇧 What Is Well-Formed Casino? 🇬🇧  If the Method of the Casino Square (MCC) makes it possible to understand, organize, and structure Casino Dance, then a direct consequence arises: what happens when that method is applied? The answer is Well-Formed Casino . Yes, it is a style. And it is an authorial style Well-Formed Casino is indeed a style . But not in a superficial sense. It is a style that is: technical, structural, methodological, and defined by authorship. Unlike empirical Casino, which is: amorphous, heterogeneous, without explicit rules, and of diffuse collective authorship, Well-Formed Casino: has an author ( Yoel Marrero ), has rules, is codified, and responds to a system: the MCC. High definition vs low resolution The difference between the two is not aesthetic. It is structural. Well-Formed Casino is a dance of: 👉 high technical definition 👉 high structural clarity Empirical Casino, on the other hand, is: 👉 of low technical resolution 👉 of low structural ...

What is the Method of the Casino Square Method (MCC)?

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  🇬🇧 What is the Method of the Casino Square Method (MCC)? If the problem of Casino dance has been, for decades, its empirical transmission and the absence of a clear language to understand it, then the inevitable question is this: what can replace that deficiency? The answer is the Method of the Casino Grid (MCC) . The MCC does not arise from a trend, but from a necessity The MCC did not emerge as a simple teaching proposal, nor as just another stylistic variation within the dance market. It arose from a concrete necessity: the need to structurally understand Casino dance . For a long time, Casino was transmitted as repertoire, as habit, as accumulated imitation. But not as an intelligible system. What was missing was not enthusiasm or practice. What was missing was a tool capable of: observing the dance with precision, describing it clearly, explaining it logically, and teaching it with reproducibility. That is the gap the MCC comes to fill. What the acronym MCC means MCC stan...

Why Is Casino Dance Not Understood?

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  🇬🇧  Why Is Casino Dance Not Understood? Casino dance is probably one of the most widely practiced social dances in the world within the universe of Cuban popular dance music and the social dances historically associated with it . However, there is a deep problem that is rarely stated clearly: Casino is danced… but not understood. The origin of the problem Casino is a dance of empirical transmission. This means that its learning process has historically not been the result of a structured methodological system, but rather of imitation, repetition, and spontaneous adaptation among dancers. For decades, knowledge has been transmitted in a practical way: someone teaches a figure, someone else repeats it, it is added to the repertoire, and so on. This mechanism has allowed its expansion. But it has also produced an inevitable consequence: the absence of a clear system of understanding. Dancing is not the same as knowing A dancer may execute dozens, even hundreds, of figures, ...