Throughout the years, I have published many articles on this blog across a wide range of topics. If you have read some of them, you have probably noticed a few recurring themes. The most consistent of these is musicality—my attempts to articulate how I interpret the music when I dance casino. Those are, without a doubt, my favorite pieces to write. Then there are the posts on pedagogy, which come naturally given that I am, in fact, a school teacher.

And then there is another category—one that, until recently, I had not quite named. In these pieces, I have explored the ways in which the market for Cuban dance engages with culture, reshapes it, and, at times, exploits it for a variety of ends. There are many such posts, even if I did not previously group them under a single idea.

In response, I have also written extensively about authenticity in Cuban dance. Through analyses of trends as well as interviews I have tried to offer readers a framework: a set of tools to approach the Cuban dance scene with a more critical eye. The goal has been to help develop what one might call an informed casino dancer. Someone who can tell more explicitly what is authentic–or at least tries to be–and what is not.

And make no mistake: you do need to be informed.

Because the Cuban dance scene has a grifter problem…

TO BE CONTINUED

Thank you for your interest in reading this blog post!

Please come back on Friday, April 17th to read the rest of the article!