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subjugated in
Sandungueo. The female dancer is considered to be in control of the partnered dance, while maintaining the "penetrated" role. Often, the female uses this level of control to lead the male into doing what she likes. Additionally, the female dancer is known to terminate the dance by walking away if she disapproves of the male's behavior, insinuating that the female's role of control and dominance is to be respected.
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Doble Paso is a form of
Sandungueo or Perreo in which the rhythm and the tempo of the songs is faster, resulting in a dance form which is more sexually explicit and intense. Doble Paso is mainly emerging and gaining popularity among Puerto Rican teens; thus causing parents and the conservative
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in swiveling movements of the hips and pelvis, mirroring movements of sexual intercourse, specifically, anal sex or "doggy-style". The general attitude of the dance is seduction, with most of the dance is made up of the female grinding her backside into the male's crotch. Alongside the sexual
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The sexual dynamic in the movements creates a character for each dancer to fulfill, specifically a role for the designated male, the "penetrator" and the female, the "penetrated". However, the concept of dominance within traditional social dance, which is typically assigned to male roles, is
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Typical gestures of
Sandungueo consist of pelvic thrusting, mimicking anal sex, where the female is typically bent over, with her backside swiveling the male's crotch. These gestures mirror other dance styles such as twerking or grinding, but there are unwritten rules of appearance that make
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Sandungueo has also been much criticized in Cuba. Part of the criticism may be due to its association with reggaeton, which, while very popular in Cuba, has also been heavily criticized for being degrading to women. Perreo has been seen as a departure from classical front-to-front dancing
157:, a well known senator and public figure in Puerto Rico and Dominican Republic, led a campaign against reggaeton and specifically attacked Sandungueo.com and the perreo style of dancing, which she marked as overtly erotic, sexually explicit, and degrading to women.
89:, in which the woman is both in control and the main focus of the dance, can be traced to the economic status of Cuba in the 1990s and to the choreographic forms of popular music dancing of that period, particularly in relation to Afro-Cuban
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Drawing on research conducted in Cuba by ethnomusicologist
Vincenzo Perna (see his book "Timba, the sound of the Cuban crisis", Ashgate 2005), author Jan Fairley suggested that this style of dance, along with other timba moves such as
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It is a dance that focuses on moving the hips. It can be danced in many ways. Men and women dance it differently. Perreo, like most dances can be danced alone by moving the hips or it can also be danced with a partner.
93:. As the US Dollar (which functioned as a dual currency alongside the Cuban Peso until 2001) became more valuable, women changed their style of dance to be more visually appealing to men; in particular, to
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Sandungueo distinct. For example, usually the female's hips sway more vigorously into the loose male's, and the female's knees are flexed downwards and upwards, similar to salsa and merengue.
97:("foreigners"), who had dollars. This tension between use of the female body as both an objectified commodity and an active, self-created persuasive tool is one of the many paradoxes
56:, who empowered the reggaeton culture by putting in her songs a message for women that they're the ones that can take the lead and remind them that respect is important in perreo.
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An analysis of Puerto Rico's discourse shows politicians and reggaeton artists denouncing each other's corruption and immoral behavior, respectively. SWAT teams on hand, a
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are quite similar to
Sandungueo. Sandungueo has both originated from and influenced several other styles of hip-oriented sexual dancing, including American
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etc.) to back-to-front dancing. Some Cuban dancers argue that this puts women in control. Others have argued that it is un-Cuban, and the
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Further, Cubans attribute this women-led style of dancing as originating from the
Caribbean, where the waistline movements of
52:," a song for women to emphasize that perreo can also be danced alone and not necessarily with a partner. This goes back to
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Sandungueo.com and the
Underground/Reggaeton music genre were the subject of a national controversy in Puerto Rico as
40:, hence his Sandunguero Vol. 1 & 2 albums and popularized and spread worldwide by the website Sandungueo.com.
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music and the predominantly lower class culture it derived from became more popular and widely available.
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Fairley, Jan. (2008) "How To Make Love With Your
Clothes On: Dancing Reggaeton and Gender In Cuba". In
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seemed to agree when it banned reggaeton (which was sometimes referred to as
Cubaton) in Cuba in 2012.
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insinuations within the movement, there are several natural improvisations and role reversals.
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473:"Queering the Macho Grip Transgressing and Subverting Gender in Latino Music and Dance"
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Fairley, Jan. "Como hacer el amor con ropa (How to Make Love with your
Clothes On)".
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196:) was going on in front of the governor's mansion when he announced his resignation.
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266:"Dancing Back to Front: Regeton, Sexuality, Gender and Transnationalism in Cuba"
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Baker, Geoff. "The Politics of Dancing: Reggaeton and Rap in Havana, Cuba".
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A remix called "Perreo intenso" was one of the popular songs during the
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659:"As Puerto Rico Governor Resigns, San Juan Parties the Night Away"
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640:"DJ Sessions: The Music That Helped Oust Puerto Rico's Governor"
587:"Cuba Banned Reggaeton and People Are Surprisingly OK with That"
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Remixing ReggaetĂłn: The Cultural Politics of Race in Puerto Rico
251:"Q&A with The Reggaeton producer DJ Blass from Puerto Rico"
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Style of reggaeton dance and party music from Puerto Rico
28:, is a style of dance and party music associated with
657:Jackson, Jhoni; Exposito, Susan (July 25, 2019).
36:. This style of dancing and music was created by
176:protests that led to the Puerto Rican governor,
511:Frances NegrĂłn-Muntaner and Raquel Z. Rivera,
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205:community to criticize this form of dance.
418:"Twerking vs. Whining, As Told By Rihanna"
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68:is a dance that involves front-to-back
442:"Bumping, Grinding, and Freak Dancing"
531:. Duke University Press. p. 77.
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585:Wagner, David (December 7, 2012).
324:Hanna, Judith Lynne (2010-03-24).
32:that emerged in the late 1980s in
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326:"Dance and Sexuality: Many Moves"
683:African diaspora in Puerto Rico
1:
525:Rivera-Rideau, P.R. (2015).
444:. 2005-12-08. Archived from
180:'s renouncing his position.
471:Morad, Moshe (2016-01-14).
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405:. University of Liverpool.
403:Institute of Popular Music
661:. Rolling Stone Magazine.
416:laifrances (2016-02-28).
342:10.1080/00224491003599744
282:10.1017/S026114300600105X
101:dancing creates in Cuba.
194: an intense perreo
628:. University of London.
330:Journal of Sex Research
678:Afro-Caribbean culture
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560:"Salsamania Magazine"
490:10.3917/ethn.161.0103
385:Duke University Press
264:Fairley, Jan (2006).
87:subasta de la cintura
477:Ethnologie française
48:made a song called "
605:"Reggaeton in Cuba"
515:(17 December 2007)
513:"Reggaeton Nation"
538:978-0-8223-7525-8
380:Reading Reggaeton
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253:. July 3, 2014.
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132:Dance Movements
64:Sandungueo, or
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483:(1): 103–114.
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231:Yo Perreo Sola
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186:perreo intenso
155:Velda González
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70:pelvic thrusts
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50:Yo Perreo Sola
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688:Latin dances
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568:. Retrieved
566:(in Spanish)
564:docplayer.es
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422:Lai Frances
145:Controversy
34:Puerto Rico
672:Categories
610:2008-02-08
570:2 December
544:2 December
452:2022-12-12
427:2022-12-12
238:References
200:Doble Paso
20:Sandungueo
693:Reggaeton
499:0046-2616
350:0022-4499
306:144593193
290:0261-1430
225:Daggering
215:Reggaeton
151:reggaeton
83:tembleque
79:despelote
54:Ivy Queen
46:Bad Bunny
30:reggaeton
366:43176933
358:20358462
220:Twerking
209:See also
125:merengue
114:grinding
110:twerking
38:DJ Blass
298:3877667
191:transl.
106:whining
60:Origins
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99:dembow
85:, and
66:perreo
25:perreo
362:S2CID
302:S2CID
294:JSTOR
163:salsa
119:salsa
95:yumas
91:timba
572:2019
546:2019
533:ISBN
495:ISSN
354:PMID
346:ISSN
286:ISSN
122:and
485:doi
338:doi
278:doi
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