Baile Social Inteligente

  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 systema...

  🇬🇧 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...

  🇬🇧  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, ...