Emma Gioia Practice-based Phd in Dance and Geography

University of Grenoble-Alpes, France

Pop Moves Conference, November 22-24 2019,
University of Roehampton, London, England

About some frictional spaces shaking somewhere through feminisms and migrations of
gestures, when dancing, mapping and thinking the Perreo epidemic's performance

As a way to enter into movement I propose you to watch a video :

https://www.youtube.com/watch?v=D4_0HZ0UnGg&lc=UgwpHqVhlzliBy7OBnF4AaABAg

This video called How to do Easy Partner Reggaeton Moves registers now more than one million of
views and was posted on Youtube on September 2013 by the channel Howcast, specialized in
Instructions Videos. On the website of Howcast one can read :

«Howcast empowers people with engaging, useful how-to information wherever, whenever they
need to know how. Howcast videos are here for all the times you’ve thought “I wish I knew how
to…” or “where can I watch a video about…” (https://www.howcast.com/page/about)

After a quick web research, one can find out that the two teachers of the video are both New York
based dancer, choreographer and teachers in their thirties, who participated to famous Dance
Television Programs in the United States ( So you think you can dance, and Mira Quien Baila),
working in the field of commercial latin dance and that both of them have created a dance
technique. Ashlé Dawson is the founder of the dance technique “Idía™”, described on her website
as a fusion latin dance styles met with commercial and technical dance forms with these words
« We begin with a thorough jazz/yoga based warm up for proper alignment & strength and then
we’ll progress to an intro of Latin movement/styling from hips to hands. Once you’re acclimated
you will be introduced to a new world of dance including Salsa, Bachata, Reggaeton, Cha Cha Cha,
Afro-Cuban, Tribal, Samba and more all while hearing and applying familiar terminology ranging
from jazz to hip hop styles to ballet/contemporary. » Henri Valendia was born in Caracas,
Venezuela, and after having faced many troubles with with the US immigration administraton, is
currently living in New York where he founded a salsa dance school and a dance tecnique called
Zen Zouk™ described as a method of teaching Brazilian Zouk Lambada and over all body
movements through multiple exercises and philosophies based on the “elements” including earth
water fire and air- as symbols for analyzing dance and personal movement.

www.ahsledawsoniseverywhere.com
Both of these dancers while dancing in this white cube decor, seem despite their different
backgrounds, to converge in the vision of an interconnected world, where dance moves can travel
through lands and boundaries as fast as a youtube video.
Many of the hundreds of comments that are following the video are expressing disagreement with
such a conception. If I read some of them, in order of popularity :

« il y a 3 ans
Im from Puerto Rico and this is NOT how you dance reggaeton
il y a 3 ans
Siiii, nadie en una discoteca se pone a bailar asi� �
il y a 1 an
Pero tampoco es un baile malo el que ellos estan haciendo.
il y a 1 an
Yo soy de peru y tampoco bailamos asi � � �
il y a 3 ans
I am Latina and this is not the way to dance reggaeton. Los que llevan el reggaeton de
corazón si saben bailarlo � �
il y a 5 ans
Wtf what kind of regueton is that i know to dance regueton since i was like 5 year old and
now that is ridiculous lol
il y a 1 mois
Daniel Rodriguez this is bachata
il y a 3 ans
I am Latina and this is not the way to dance reggaeton. Los que llevan el reggaeton de
corazón si saben bailarlo � �
il y a
this is a joke this is not reggaeton :')
il y a 3 ans
please don't make videos if you don't know the actual music and real dance
il y a
try to dance reggaeton like that at the club. You’re going to confuse guys.
il y a
appreciate the tutoturial but this is not reggaeton
il y a 4 ans
hahahaaaaa pero reggeaton no tiene pasos esto es muy gracioso , aunque esta bonito el
video =)
il y a 1 an
Coming from a Puerto Rican: There is no specific way to dance reggeton, that's the beauty
of it, you can dance to it how ever you want to, as long as you stay on beat you're good...
watch this was cringey.
Il y a
ol no no no... asi no es que se baila el rregeton. Eso se ve un baile de americano. Pero, lo
que importa es que se diviertan.
il y a 4 mois
Solo los latinos bailamos reggeton sin necesidad de aprender XD es natural
il y a 3 ans
i see so many comments saying this isnt reggaeton .. white people "trying" just weird///
This is dancing.. this is how you can get a "white" person trying out reggaeton, you cant
just say to someone .. go and perreo that girl .. o vice versa.. people just wont do it.. and
over here in europe people like the performace part of the dance, so this is very
reasonable and fun to learn!if you see two europeans dancing this in a latin club they wont
be seen as ackward .. if anything they will try to leap forward and learn more daring
stuff! ...And for anyone calling the guy - "white" he is from venezuela - and.. yes there
are white people in south america.
il y a 6 mois
I’m also from Puerto Rico where reggaetton was invented and this IS NOT how you dance
reggaetton
il y a 5 mois
Im from Colombia and that is not how we dance reggaeton hahahah
il y a 11 mois
Soy de peru y así no se baila para nada JAJAJAJAJAJaJA
il y a 3 ans
that's not how you do it, I'm sorry, you need to get you some Mexican/Salvadorian
/Guatemalan /Dominican /Puerto Rican etc. friends so they can teach you how, it's danced
like you basically smashing already, funny video tho you thought you had us lol cool
prank. Quien se va enfiestar este fin?!! Andar de patadechucho ijoeputa! bien marijuanos
il y a 9 mois Listen por queeeee ....I'm Puerto Rican Dominican like this is not our dance
especially not reggaeton ...omg this is so funny .. cause you are teaching people false
information about reggaeton dance. Lol � � � � �� �
il y a 1 an
Not sure what happened here, but as a Puerto Rican born woman,
I can tell you this is NOT IT. Just shake your hips and have fun.. LOL
il y a 1 an
I’m from Dominican Republic AND THIS NOT HOW YOU DANCE REGGAETON NOT AT
AL
il y a 2 ans
Enseñan muy bien. Los movimientos son un poquito exagerados como para un Club. Pero
me imagino que si viene alguien a querer lucirse de que baila pues aqui ahi algunos tips
sencillos y sensuales para bailar mas alla del unico paso que se conoce de perreo al que
la gente esta acostrabada. Me e dado cuenta que aca en U.S a las distintas culturas les
gusta alardear sus formas de bailar, porque no hacerlo nosotros tambien y sobrepasar el
basico (doggystyle) el cual yo tambien bailo pero improvisarle unos pasitos mas no esta
de mas. »

The different comments expressed in relation with the video are inviting us to enter in the
complexity of the political, identitarian and choreographic issues that are a stake when
apprehending the explosive diffusion of the Reggaeton music and therefore the Reggaeton Dance,
it's diffusion far away from the lands its originates, back in the 1990's trough the migrations
between San Juan (PR) Panama (PA) and New York City (USA) according to the ethnomusicogist
Wayne Marshall and on of the authors of Reggaeton, An anthology, 2009.

Danced from the 1990 in the Caribbean, Reggaeton became very popular in the 2000 in
Latino-America and among the latino community in North America and in Spain, reaching Europe
and the World from 2017 with the song Despacito, from Luis Fonsi and Daddy Yankee, and
becoming one of the most streamed music on the planet. Together with this global popularity and
the difusion of Reggaeton Music on 21st century streaming channels, as well as on older modes of
diffusion such as radios and television, Reggaeton dance is traveling as well. Through the web with
video tutorials, through dance classes that have been opening in Latin Dance Schools in Western
Europe, the last couple of years, and through parties, that are being organized in different venues.
It is through an embodied and danced research between Reggaeton and Latino Parties and Dance
Studios in Paris, that I am starting my practiced-based Phd on the migrations of Gestures, while
scholar Ramon Rivera Servera noticed in his book Performing Queer Latinidad : Dance, Sexuality,
Politics « the approach [of the scholarship on Reggaeton remains] primarily textual and « there has
been little attention paid to how it is lived. ». After describing the construction of the methodology
of research, I will raise some of the questions that are emerging on the process.
Anarchiving Paris Reggaeton Parties's Frictions

a) The danced research is being done in collaboration with two others dancers coming from Latino
America, and living in Western Europe and who trained both as contemporary dancer/performers
during the day, and as reggaeton movers during the night. Olga is coming from Puerto Rico and
Cuba, Caterina is coming from Argentina and Chile. My self, as a dancer, choreographer and
researcher coming from France and Argentina, who received an education in Dance between Paris,
Buenos Aires and Amsterdam, and lived intensively the Reggaeton night life in Buenos Aires.
Altogheter, while improvising back and forward from the club to the studio and from the studio to
the club, and while meeting through dance other latinos and latin music and dance fans, we aim at
collecting gestures and therefore developing an embodied and cartographic anarchive of the Perreo
epidemics in Western Europe.
As recently mentionned, the different Spanish and English comments that follow the video How to
do Easy Reggaeton Partners Moves are cristalizing different political issues in relation with the
Perreo Epidemics. One one side, the moves that are being shared in the video are not Reggaeton
moves because 1. Reggaeton is an improvised dance, not a codified one and 2. because these
dancers are not coming from a country where Reggaeton is originated from. 3. because Reggaeton
is not something you can teach. On the other side, the moves that are being made could be
considered as a European or North American adaptation or hybridisation of a Latin dance.
All these comments are visibilizing the frictions that emerge when the global encounters the local as
theoritized by the scholar Anna Tsing, for whom friction « is not a [necesarilly] a synonym of
resistance because the « effects across difference can be compromising or empowering » (p. 6). It is
precisely in order to dive into these frictions and without wanting to flatten them that we are starting
to share and anarchive dances in Parisian Latino Parties, searching for the frictious spaces and
mouvements that are being co-produced when dance and gestures are being displaced. When
starting this resarch, several questions emerge at the encounter between the geographic, the
choreographic and the politics of identity.
Is the development of Latino and Reggaeton Parties in Europe another example of the
commodification and appropriation of a culture originally rooted in Afro-Latin and Working-Class
environnements ?
What happens to the Perreo and Reggaeton Moves – which have been and remain at the center of a
controversy around feminism and power – when migrating from one continent to another ? How are
dances moves being modified, hybridized, appropriated ?
In such a context, how identities are being made and unmade, to retake the expression of Judith
Butler, by the constant frictions between the global and the local in our daily lives, between the
feeling of placeless and placelesness ?
Friction is also a word that comes out of my danced and choregraphic practices. Always present is
the material friction between my skin, my cloths, the air, the materials of the space and the other
bodies. During an improvisation, whether it is in the club or in the studio, friction is what happen
when there is movement and resistance at the same time, it's when you feel that the move is leading
you, and precisely because you are able to feel it, you can give some inflection through it. It's when
you are going slightly quicker than a partner, or when the group is going in the opposite direction,
or when your rythms are getting attuned. Always present as well is the unmaterial friction created
by the memory and the traces of the places that I inhabited in the past and that I keep on re-enacting
and re-inhabiting while dancing my own patterns. « Speaking of friction is a reminder of the
importance of interaction in defining movement, cultural form, and agency. » writes Anna Tsing.
Friction therefore belongs to a fragile state. If resistance to movement becomes to important, or if
mouvement become too automatic, friction vanishes.
In the video we've watched, I would argue that is is the absence of apparent friction, the fact that it's
seems that the dance Ashle and Henri are showing doesn't belong to anywhere nor to anyone, that
lead many comentators to react strongly on the lack of authenticity and of the absurdity of this
dance. The white background which erase the possibility of contextualizing the movement that
Ashley and Henri are teaching, the soundtrack that is played which is not a Reggaeton song, the
name of the web site of Ashley, Ashledawsoniseverywhere.com, are all details showing efforts to
erase any sensation of place -whether it would a place in the present or a place in the past - thus
reinforcing the feeling that this dance tutuorial a « whitening » « commodifiying » « betraying » the
Reggaeton Dance.
b) During two residencies of respectively 5 days and one week, the first one in July 2019 and the
second one in Septembre 2019, we traveled with our Reggaeton dances from the Club to the Studio
and from the Studio to the Club, experimenting how the different places are affecting our dances,
what kind of frictious encounters happen, and what are the mouvements that are coming back in our
dances, and in the dances of the people we meet.

Anarchiving the frictions of Parisian Latino Parties, is the way I call these dances that we are
creating while rehearsing them in different spaces and observing the variations as well as the
repetitions that happen. How they are being affected by the different encounters we make with
people as well as with different material and non material elements of the spaces should they be
crowded or empty, dark or light, silent or noisy, day or night, with alcohol running in blood or not.
Anarchiving our dances through Reggaeton Parties is unraveling the collective and subjective
gestures that come back to our bodies and to the bodies of others Reggaeton addicts while as the
same time taking into account the constant interaction and co-production between the space and the
bodies.
Canadian philosophers Erin Manning and Brian Massumi wrote about the concept of anarchive in
the context of a dynamic documentation of an event. Dance scholar Timmy de Laet recently
proposes to think as the body and the dance as an anarchive which « offer a performative
topological mapping of those traces the archive, as we traditionnaly know it, canot house or hold »
(p.187). Anarchives emerge out of the conception of a processual and affective reality and propose a
radical shift from the Subjet/Object modernist ontology. In this way, the question of identity is
being entirely reconfigured : the subject is not anymore a closed entity, it is always becoming in
relation with the time-spaces it's inhabits. These fluid identities cannot therefore be apprehended
from a static observator posture.
The practice of anarchiving dances is then deeply echoing what scholar Ramon Rivera-Servera calls
« Identity in motion » while co-witnessing some social improvisations in Queer Latino Clubs in
Pheonix, Arizona, United States, and observing the moves that different dancers are producing, and
how these mouvements are showing particular histories as well as interactions with the presentness
of the club. In the text, Quotidian Utopias, Latino/Queer Choreograpies, the author writes : « A
discourse focused on improvisation allows for the articulation of strategy within the (dis)orderly
logic of the dance club. »(p. 147)

While anarchiving the different parties as well as our rehearsals through the focus on our
disordered as well as repetitive body memories, we aim at diving into an indisciplined repertoire of
our Identities in Motion, both affected by our personal dancer histories and the collective history of
the communities we dance with. While improvising through this indisciplined repertoire we aim at
shaking both the utopian and the distopian potential of the migrations of Latin Dances in Europe.

Some elements about the cartography of Reggaeton Parties in Paris

Dancing in Latino Parties in Paris and in Western Europe is penetrating a world created both
from above, by the so-called actors of cultural exchanges as well as entering in contact with the
Latino Diaspora in Europe and with other communities whose members are for one reason or
another Latino music and dance lovers. It's penetrating the complex dynamics of the collective and
individual choreographies that are emerging trough the globalisation, commodification,
appropriation and hybridisation of Latin dances and Latin Music. The development of Latino
Parties in Europe have a history that has been studied by a very few scholars and that can be traced
all along the XXth century from the trasantlantic cultural exchanges around the first world war to
the globalisation and commercialisation dance genres such as salsa and tango from the 1970 up to
the 1990. The recent explosion of Reggaeton and Latino parties in Europe seems to respond to new
parameters such as the appararition of the streaming technologies, the global success of Reggaeton
and urban latin music since the 2010 and the consequent appropriation of the music through
commodication, the growing importance of the latino diaspora as well as the connection between
the Hip Hop Scene and the Reggaeton Scene.
It enough looking at the events publitized and organized each week in Paris to observe that
Latino and Reggaeton parties are very numerous and attended by thousands of people of social
webs like Facebook. Of equal importance seem to be the Hip-Hop Parties and Elecronic Music
Parties. Eventhough I am at the beginning of my research I can already make the hypothesis that the
phenomenon is quite similar in London, and that the success of Reggaeton is even bigger in Spain,
where the latino diaspora is very important and where many spanish musician recently appeared in
the Reggaeton global scene. The spanish anthropologist Carlos Feixa pointed out the complexities
of the identitarian logics and dynamics that take place in the explosion of the Reggaeton scene in
Spain, through his work on the relations between Youth and Globalisation.
The localisation of the parties we attented with Olga and Caterina in Paris as well as the one
I attended on my own speak about the evolution of their cartography of the Latino Parties in Paris.
While you can here Reggaeton in between salsa songs in the oldest latinos bars in the center of paris
such as la Pena Saint Germain, some Reggaeton Parties are organized as well in clubs mainly
dedicated to Latin Music, Afro Latin Music and so-called « World Music » , like La Java, Le
Chinois, La Bellevilloise, La petite halle, L'alimentation générale situated in the bohemian and
multicultural East of Paris, while Other Reggaeton Parties are also organized in New Venues,
situated in the Suburbs of Paris in Aubervilliers, Vincennes, Boulogne.

Shaking our frictious identities together

« Los que llevan el reggaeton de corazón si saben bailarlo »

When arriving in the Reggaeton Halloween Party on the 31st of October in Paris, we feel
quite disturbed by the atmosphere in the line. Hundreds of people disguised with same kind of
outfits : they bought weird eye-contacts and their make up is based on fake blood and fake injuries
designs. The entrance for this event is expensive, around 25 euros, it is compulsory to pay the
cloackroom as well. One could be astonished to see that both the spirit of Reggaeton and of
Halloween are gathered in the same party, but this event feets the commercialization and
globalisation of both of these extremely different types of celebrations while the advertisement of
Reggaeton parties in Paris is regularly playing with different marketting strategies, openly using
exotic clichés or what the sociologist Leornado Garcia call « estereotipos neo-tropicales », should it
be trough the use of graphics such as Palm trees or with the use of a whole semantical field of the
heat : Que Calor ! Fiesta Caliente ! Fiesta de Fuego ! Etc … It reasonable enough to think that the
organizers of the Reggaeton Halloween Party thought that Halloween would speak to more people
in Paris than La fiesta de los muertos. Other Reggaeton Parties I attend in Paris share, concerning
the style of their advertising and organisation, the same characteristics that is too say some
extremely commofied, globalized and neo-tropical stereotipes.
Once you've got to the dance floor, it seems interesting to observe that we quickly get affected by
some shifts of what Ramon Rivera Servera calls « feeling of placeness and placelessness ». Once
we starting mingling with other dancers on the dance floor, the crowd starts to reveals its
differences. Here, a groups of latin women is forming a circle, a safe space which center is always
ocupied by one of them, shaking her booty, whith her own rythm and flow, and going towards the
floor, with her own moves. While some pretty violent scenes of male domination can take place at
the same time somewhere else in the club, while you are walking through the club and many men
are trying to grap your hand without asking permission, this circle of Latina Women is revealing all
the utopian empowerment of the latin Perreo, creating their own zone of shared pleasure, dancing
with explicit sexual moves and « viviendose la pelicula » following the expression of scholar
Raquel Rivera when ananlyzing the particular flavor of these moves as a marker of « women’s
agency within a male supremacist context » in her paper « Perreo & Power ». These woman,
protected by the power of their circle, are dancing their sexuality as well as their latinidad.
Furthermore, they are directing their movements towards themselves, toward the circling groud and
towards the virtual voyeur spectactors that any sexual dance requires as if ignoring the rest of the
club which atmosphere is fullfilled of non-placeness globalized charactistics as well as violent
flirting affects. Physical as well as Immaterial Frictions are graspable through this complex
choreography of multilayered relations between virtual and real spaces.
In another club , in another party, I get introduced to some shifts on the possibilities of re-
appropriation. I dance with two afro-french women. One is sitting on a chair while the other is
shaking her booty and going towards the floor, with her own moves, her own way. After one song,
they change roles, and the one who was sitting embraces the music, shaking her booty and going
towards the floor, with her own moves, her own way. After dancing, they tell me they are sisters
living in the very north suburbs of Paris and coming all the way down to the south Surburb of Paris,
to dance this afro-latin rythm recently arrived in the parties in Paris. Somewhere else, different
groups of women and men are dancing with their arms up and lipsiging the songs. I ask to some of
them how is it that they understand the lirics ? I obtain several time a similar anwer : my parents
come from Spain or my parents come from Portugal. This night a whole sensitive map of logics of
identification among the second and third generation of immigrants coming from the iberic
peninsula or from the african continent starts spreading in my mind and reminds me the writings of
the spanish anthropologist Carlos Feixa who pointed out the complexities of the identitarian logics
and dynamics that take place in the explosion of the Reggaeton scene in Spain, back in the 2000, in
his research on Youth and Globalisation. How many identities do we have ? What is their changing
rythm and in which language to they speak ? Another man with whom I shared some dances in
another club, while he leads me from Salsa to Zouk, tells me that he comes from Guadeloupe and
feels cousin with the Carabain Culture. Again, the map of the afro-latino migrations continue to
expands to always moving and reconfiguring geographies and reminds me one of the comments of
the video « I am Latina and this is not the way to dance reggaeton. Los que llevan el reggaeton de
corazón si saben bailarlo ».

« Coming from a Puerto Rican: There is no specific way to dance reggeton, that's the beauty of it,
you can dance to it how ever you want to, as long as you stay on beat you're good... watch this was
cringey. »
Once you've get to the dance floor, as many of the commentators of the video say, you get affected
by the improvisation styles of other dancers. In this sense Reggaeton dance is necessarily being
manipulated when it's codified. However, while Ashley Dawson and Henri Velandia seems to be
aware of the power of authorship, as they both trademarketed they personal dance tehcniques, it
seems interesting to wonder about the techniques of protecting a dance style from being
appropriated, and what codification can allow in such a context. While keeping in mind that an
improvisation is composed of always repetitive and differents patterns that constitute our Identities
in Motion, our Bodies Anarchives, how can we understand the improvisations of these two Afro-
Brasilians men who entered the Reggaeton song with some Pasinhos step, the man who danced with
Olga, immigrant working in France and coming from Gambia, mixing all sort of steps and learning
bachata steps on the web, and two young women I saw dancing some sensual Waltz patterns while
Daddy Yankee was being played mirrorring in a troubling way the Dancing Reggaeton with Cow
Boy Boots described by Ramon Rivera Serva?
As Dance Scholar Anthea Kraut point out, there has been a historical huge assimetry between the
dances from the Western World that would be created by an author and the so-called World Dances
that would be created by a anonymous collective. In her text « Race-ing Choreograhic Copyright »,
she writes that « as copyright debates heat up around the globe in the twenty-first century, rather
than rushing to condemn copyright claims as greed-motivated power grabs that squelch the « free »
exchange of ideas or championning copy-right as the best safeguard or artists livelihood and
integrity, we need to scrutinize the specific contexts in which copyright claims arise and play out.
Above all, we need to remain alert to the particularized relations of power that inhere in contests for
credit and ownership ». p. 94
While improvisation is constitutive of the Reggaeton Dance and lead dancers to unravel and
shake their collective and singular « Identities in Motion », not any move can be called a Reggaeton
move. If codification is not necessarily threatenig the authenticity of Reggaeton, it seems however
important to examine the very processes through which Reggaeton is being archived or anarchived,
appropriated or reappropriated in this so-called free-streaming epocha.
Eventhough Reggaeton rythms and lyrics are being in this precise moment listened in hundred of
thousands supermarkets, radio cars, living-rooms and street speakers, and eventhough videos called
Perreo or Twerk are being filmed all over the globe and become viral, not any Perreo is a Perreo. I
conclude with this final friction while proposing the Reggaeton Parties in Europe as a precious
fieldwork to anarchive the complex identitarian entanglements that are being choreographed when a
dance becomes comodified and globalized.

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Rivera, Raquel Z., Perreo & Power: Explicit Sexuality in Reggaeton Dance, Working Paper,
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Rivera-Servera, Ramón H. Performing Queer Latinidad: Dance, Sexuality, Politics. University of

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