Latin American Dance Research Articles

Biomechanical Analysis of the “Cuban Motion”

Abstract Purpose “Cuban Motion” (CM) is a term often used to label a basic movement of many Latin-American dances, such as salsa and bachata. It is characterized by a cyclical and rhythmic flexion and rotation of the pelvis, accompanied by ample movements of the spine and lower limbs. Since Latin dances are considered both a recreational activity and a kind of healthy gymnastics for young and older subjects, a biomechanical analysis of the CM was performed to quantitatively assess the main features of this movement, from joint kinematics to muscle activations. Method The study combined experimental acquisitions with a Vicon Motion Capture system and musculoskeletal analyses in OpenSim. Only one subject was considered, an instructor of Latin dances, who was equipped with 55 retro-reflective markers, according to the Full Body CGM2.5 marker set. Data were processed in OpenSim, using the ThoracoLumbar model (111 DoFs and 620 musculo-tendon actuators). Results The cycle of the CM and its main events were defined. Results showed a wide RoM of many joints, with correlations between hip and knee flexion angles and among list, between hip adduction and shoulder flexion. The main role of the iliopsoas and the ileus costalis muscles was observed. Conclusions The current study quantified the CM as a physical exercise using a biomechanical approach similar to a gait analysis. The main kinematic and kinetic features were described, also providing an estimation of the muscle activations and joint reactions, derived from simulation activity in OpenSim. The main limitation of this study is the focus on a single subject, but this step was necessary to define a context and guidelines for future investigations, where we are going to compare èlite vs. novices and male vs. female dancers.

BRIEF LITERATURE REVIEW ON RUMBA MOVEMENT ANALYSIS

The analysis of sports dance mechanics is a topic of interest among researchers in recent years. Pengping Zhu (2004) studied classical ballet training combined with biodynamics and analyzed its correlation. Xiling Deng (2001) discussed mechanical issues in aerobic gymnastics. Latin dancers have radically different biomechanical demands than standard dancers (McCabe, T. R., Wyon, M., Ambegaonkar, J. P., Redding, E., 2013). In Latin American dances, both men and women follow a similar step pattern and often mirror each other's movements (Laird, W. & Laird, J., 2003). In order to be able to understand the motor content that supports the technical executions specific to sports dance, we need to be guided by the movement analysis models. In this sense Bota A. (2007), citing Rasch and Burke, presents stages of the model of biomechanical analysis of movement. Due to the complexity of dance steps and specific combinations, sports dance is an extremely demanding field, being approached by the performance field, so it requires many hours of training to achieve general and specific physical training.

Specificity of Plastic Imagery of Competitive Dance Pasodoble

The purpose of the article is to reveal the specificity of the plastic imagery of the Pasodoble competition dance. Research methodology. The historical method was applied, which contributed to the study of the origin and development of Pasodoble; the typological method thanks to which the peculiarities of its formation as a competitive ballroom dance were revealed; the method of artistic-stylistic and art-historical analysis, with the aim of identifying characteristic stylistic features, features of performance technique and specifics of Pasodoble's plastic imagery; method of theoretical analysis and generalisation. Scientific novelty. The plastic imagery of the Pasodoble competitive ballroom dance is studied; the technique of its implementation is characterised; the history of the origin of the dance is considered; The peculiarities of the theatricalisation of Pasodoble's choreography as one of the ten dances of the international competition programme have been revealed. Conclusions. The dramatic Latin American dance, which originated in Spain, has become one of the most popular ballroom dances in the world over the last hundred years. The specific combination of dance elements and figures in the composition by French dance teachers in the 1920s create a unique Pasodoble choreography. In the 1940s, it was codified as one of the dances in the Latin American International Style programme. Pasodoble is characterised by strong, bold movements, and the use of dramatic poses in the process of telling the story of the bullfight. Due to its theatricality and unique music, the Pasodoble is commonly performed at ballroom dance competitions and used in stage ballroom choreography. Pasadoble dance and music are steeped in ritual tradition, with a high sense of drama and power. The specific attire of the dancers, the feel and atmosphere of the dance refer to Flamenco – these dances have a strong connection and symbolic origin in Spanish history and culture. The aesthetic expressiveness of Pasodoble is created by plasticity, a musical-plastic image, which embodies the combination of the inner potential of the dancing couple and the mastery of their bodily expressiveness. Specific theatricalisation by means of choreographic expressiveness is manifested in the Pasodoble competition ballroom dance in many ways. The creation of choreography oriented and theatrical interpretation is connected with solving a number of artistic tasks. The complex of expressive means used by dancers helps to clearly outline the meaningful line of the dance. The imagery of the Pasodoble competition ballroom dance choreography is characterised by its own poetic reflection of the bullfight, taking into account the current codification of steps and figures of the Latin American programme of the international style. The plastic image represents socio-cultural aspects, current social symbols, and meanings in the dance.
 Keywords: Pasodoble, competitive dance, plastic, artistic imagery, theatricalisation.

Upper body posture in Latin American dancers: a quantitative cross-sectional study comparing different postures

BackgroundIn Latin American dance sport (LD), the shoulder girdle and the torso area are particularly stressed due to the dance style specific requirements. The aim of the study was to define differences in various dance specific upper body postures in Latin American dancers and to show gender-specific differences.MethodsThree dimensional back scans were performed in n = 49 dancers (28 f/21 m). Five typical trunk positions in Latin American dance (habitual standing and 4 dance specific positions, P1–P5) were compared with each other. Statistical differences were calculated using the Man-Whitney U test, Friedmann test, Conover-Iman test and a Bonferroni-Holm correction.ResultsSignificant gender differences were found in P2, P3 and P4 (p ≤ 0.01–0.001). In P5, the frontal trunk decline, the axis deviation, the standard deviation of the rotation, the kyphosis angle and the shoulder as well as the pelvic rotation were also significantly different. The comparison of the postures showed significant differences between postures 1–5 (p ≤ 0.01–0.001) in the males, (scapular height, right and left scapular angles and pelvic torsion). Similar results were observed for the female dancers, with only the parameters of frontal trunk decline with the lordosis angle as well as the right and left scapular angles being non-significant.ConclusionsThis study is an approach to better understand the involved muscular structures in LD. Performing LD changes the static parameters of the upper body statics. Further projects are needed to analyse the field of dance even more thoroughly.

FEATURES OF PHYSICAL TRAINING IN SPORTS DANCES. LITERATURE ANALYSIS

The aim of the research is to reveal the opinions of specialists about the features of the organization of the process of physical training of athletes in sports dances based on the study of the analysis of scientific and methodological literature. Sports dances is an acyclic, complex-coordinating sport associated with the art of expressive movement. The scientific novelty of the research results lies in the development and justification of the pedagogical effectiveness of young dancers’ physical training methodology, which for the first time is based on the identified leading motor and functional abilities of dancers in the performance of Latin American dance programs. As a result of research of scientific and methodical sources, it became clear that specialists paid more attention to dancers over the age of 10, to various issues of training and competitive process of practicing in pairs. Until now, these studies mostly related to the stage of specialized training in pairs, and did not relate to solo dancers. Unfortunately, the issues of physical training of solo dancers, and in particular the structure of the leading motor abilities, methodical features of their training have not yet been studied. The solution of these issues is important for achieving high sports results.

Исследование влияния кизомбы на эмоции и жизнь человека

Dance is part of a culture that brings positive emotions. Dances are divided into several types: ballet, ballroom, historical, folk, club, erotic, modern, street, modern ballet, Latin American. Latin American dances are of two types: ballroom and social. Social dance is a special form of communication, an opportunity to organize leisure and pastime. Kizomba belongs to social dances and is practiced on various dance floors and open airs. Kizomba has come from African Angola, but it developed on the dance floors of Latin America, gradually absorbing ele-ments of Cuban, Brazilian and European dances. Thanks to measured and smooth movements, kizomba is easy to master, and practicing it one can become a famous kizombist. The features of kizomba include the correct invita-tion to dance and the correct end of the dance, the ability to correctly build a sequence of fast and slow steps, a smooth change in the direction of the dance, and a general base of movements. It is the basic steps that help to master kizomba correctly, and thanks to the knowledge gained in the lessons and on the YouTube channel, opportunities for learning new dance techniques are given in details. There are several styles of kizomba: Passada, Tarraxinha, Ventoinha, Quadrinha. Kizomba helps to relax after a working day, has a beneficial effect on both mental and physical state of a person. Positive emotions during the dance arise due to the release of endorphins - hormones of happiness, which have a positive effect on the inner world, liberating a person. Kizomba helps to strengthen the body, develops flexibility, strength and endurance.

Body Asymmetries in Dancers of Different Dance Disciplines

Dance is an attractive sport discipline in which participation is increasing every year, unfortunately, the prevalence of injuries is also increasing. Various dance disciplines and dance techniques require body control, often in extreme anatomical positions that place a heavy strain on the musculoskeletal system. The aim of this research was to analyze body asymmetries of four different dance disciplines (standard and Latin American dance - STLA, acrobatic rock and roll - RNR, breakdance - BD and hip hop - HH), by using anthropometric (InBody 720; Biospace Co., Ltd) and 3D body measurements (NX-16; TC2) to establish possible later discomforts and injuries. T-test was performed to find differences between left and right extremities in all four dance disciplines. Results of the study showed that asymmetries are present in all of the studied dance disciplines. When comparing dance disciplines, we found out that STLA dancers are the most prone to develop body asymmetries (six out of nine paired variables), mainly because of the closed position. The position itself is the asymmetry and in which dancers remain for a very long time while training the technique of each dance. As dance is known for its asymmetrical movement of the body and it is expected that some of the asymmetries will appear after a few years of training. For a better understanding of possible consequences of asymmetries in dancers’ bodies, further and more detailed analysis within each dance discipline is required.

Analysis of Samba Bounce in Latin American Dancing

Samba Bounce is analysed in the mechanical point of view. There have been confusion and misunderstanding among the dance teachers as they explain the bounce action designating the height of the body and the force in relation to the music timing. Bounce action has been explained in the syllabus using special terms such as “minimal weight”, “part weight”, “without weight but with pressure” and other terms. These confusions and somewhat ambiguous terms in the scientific sense are clearly resolved by the present mechanical analysis and interpreted with newly introduced concept of “static weight” and “dynamic weight”. In the presentation, the bounce movement is expressed as a simple harmonic vertical motion. The height position, vertical velocity and acceleration of dancer’s body are shown with the forces between the floor and each foot. The difference between dancer’s feeling and observer’s feeling is also explained. figures.

Song and dance genre specifics in works for button accordion by the composers of the Department of Folk Instruments of Ukraine of Kharkiv I. P. Kotlyarevsky National University of Art

Recent years have provoked an increasing interest in button accordion arts of Ukraine therefore a great demand for button accordion performance based on song and dance genre features is to be of great importance. Our research work deals with the embodiment of the song and dance genres features in academic button accordion art. The above-mentioned phenomenon has led to the appropriate systematization of their transformations in the musicological viewpoint therefore is stated to be very novel. This systematization is revealed from stylization to various arrangements, further transcriptions, fantasies, paraphrases, works on the theme of other artists that is to create the genre-style transformation. The aim of the research is to determine the genre-style methods of composers’ work for button accordion on the basis of song and dance genre. Present scientific research scope led to the solution of the following tasks: the disclosure of methods of author’s song and dance originals processing, identifying the specifics of drama and means of musical expression, justifying the popularity of works in the domestic musical performance. The following methods are used: analytical, comparative-historical and structural-functional. Summing up the results, it can be concluded that stylizations of dance and song genre are stated to be a great component of button accordion art. The use of European modeling samples (gavotte, mazurka and musette) contributed to the button accordion performance leading to sound production sophistication, high refinement of the sound palette and dynamic nuance, which enriched the artistic means of expressiveness, contributed to the evolution of interpretive experience. In the arrangements and transcriptions (by other authors) of Latin American dance genres there was an enrichment of rhythmic intonation structures and timbre palette of the instrument that lead to great popularity among performers and listeners by the interaction of academic art and genres belonging to the ‘third layer’. Among the opuses created in the genre-style transformation of songs and dances, the re-intonation of the original musical compositions received high artistic results. The use of modern means of button accordion expression, construction of new musical forms, application of elements of musical polystylistics, modification of genres are aimed at multifaceted reproduction of the figurative content of the original source, giving it a new artistic value and concert life. In the musical works of button accordion composers, the direction of song and dance genres features continuously enriches the quantitative and qualitative musical literature, so the prospects for further scientific research are relevant and promising.

Dancing With Health: Quality of Life and Physical Improvements From an EU Collaborative Dance Programme With Women Following Breast Cancer Treatment.

Background: Women's health has received renewed attention in the last few years including health rehabilitation options for women affected by breast cancer. Dancing has often been regarded as one attractive option for supporting women's well-being and health, but research with women recovering from breast cancer is still in its infancy. Dancing with Health is multi-site pilot study that aimed to evaluate a dance programme for women in recovery from breast cancer across five European countries.Methods: A standardized 32 h dance protocol introduced a range of Latin American dances presented within a sports and exercise framework with influences from dance movement therapy. Fifty-four women (M age 53.51; SD 7.99) participated in the study who had a breast cancer diagnosis <3 years, chemotherapy >6 weeks, no indication of metastasis, or scheduled surgery/chemotherapy/radiation treatment for the duration of the intervention. Primary outcome data was collected for anthropometric and fitness measures next to cancer-related quality of life. T-tests and Wilcoxon signed ranked tests were used to establish differences pre and post intervention. Cohen's d was also calculated to determine the effect size of the intervention.Results: Statistically significant changes were found for: (i) weight, right and left forearm circumference and hip; (ii) 6 min walking, right and left handgrip, sit-to-stand and sit-and-reach; (iii) the EORTC-QLQ C30 summary score as well as the subscales of emotional and social functioning and symptoms. In all cases the direction of change was positive, while Cohen's d calculated showed that the effect of the intervention for these parameters ranged from intermediate to large.Conclusion: Changes on the above anthropometric, fitness and quality of life measures suggest that the intervention was of value to the participating women recovering from breast cancer. Results also advocate collaborative efforts across countries to further research.

Assessment of the level of static and dynamic balance in healthy people, practicing selected Latin American dances

The balance, known as the ability to independently maintain the body in a certain position and return to the starting position, can be divided into static and dynamic balances. Social Latin American dances (salsa, bachata) require dancers to do a characteristic figure, however, they are not trained as intensively as dancing sports. The aim of the study was to assess the static and dynamic balances of dancers, who are regularly dancing those selected Latin American dances, by comparison with those who do not. The study was conducted among 34 dancers from a Krakow Dancing School and, 37 students of the Jagiellonian University, aged 21-35. A SIGMA balance platform was used to measure static and, the Y-Balance Test platform to assess dynamic balance. The Student's T-test, Mann- Whitney U-test and Spearman's rank correlation coefficient were used in statistical analysis. There were neither significant differences between right and left lower limbs of dancers, nor between values of tilts on the YBT platform in both investigated groups. Non-dancers, however, showed a slightly higher positive correlation between the deviations in the sagittal and frontal planes and the surface area, as well as between the path length and the surface area on the SIGMA platform when compared to dancers. The level of dynamic and static balances of dancing people is similar, when compared to non-dancers. The influence of practicing Latin American dances on the sense of balance require further studies.

On Debov’s dictionary

B.M. Debov’s dictionary Romanic component in rhymes of French rap (On the specificity of youth’s word-creation)”. Ivanovo: Publishing House of Ivanovo State University, 2020. – 221 p. is the continuation of the preceding works of the author – dictionaries of abbreviations and deviating from norm vocabulary of youth (verlan, rap). The selection and analysis of Romanic (Italian, Spanish, Portuguese, Provensal) vocabulary is an evident quality of the dictionary. Among the words forming the rhymes are internationalisms (maestro, opera, villa, etc), names of well-known national dishes (macaroni, pizza), popular Latin American dances (lambada, samba, tango) and also the names of drugs used by some youngsters (cocaїna, marijuana). One can consider rap as a source to supplement vocabulary. The dictionary by V.M. Debov is undoubtedly interesting for those who study Romanic languages.

The main stages and trends in the development of sports ballroom dance in the Republic of Kazakhstan (period 1968-1988)

The article describes the main stages and trends in the development of sports ballroom dancing in the Republic of Kazakhstan. The method of data presentation was chosen chronological, since it allows us to trace the dynamics of the process of development and formation of the pedagogical activity of trainers of ballroom dance. Two main stages of the formation and development of domestic sports ballroom dancing are given. The contribution of such figures as Leonid Petrovich Vekshin, Valentina Vasilyevna Evseeva, Valery Valentinovich Antsyshkin to the development of sports and ballroom dancing in the Republic is described. The first schools for European and Latin American dances, dance-sport clubs in our country, as well as the first competitions in these dances were established. The names of foreign experts who helped the development of sports dancing in Kazakhstan are given. The difficulties with which ballroom dancing was encountered during the existence of the USSR are described. The information on the formation of the dance-sport club «Raduga».

The Influence of Latin Dance Classes on the Improvement of Life Quality of Elderly People in Europe

The aim of this paper addresses the problem of the quality of life of elderly people by presenting the energy of Latinos that arouses optimism in European citizens and provides them with joy through Latin dances on a regular basis. The research covered 163 people in the old, so-called third, age, from the European countries with the highest aging rate, namely: Italy, Germany, Greece and Poland. Results shows that physical activity in the form of Latin American dances has a beneficial effect on the functioning of the body. Not only does it allow for maintaining physical fitness and inhibiting the development of many ailments and diseases, but also stimulates the brain to constant activity, which results in improvement of the ability to make associations, concentration and, above all, memory. It is also a way to fill the gap that arises as a consequence of the completion of certain life stages. Through making new social contacts, it is possible to forget about loneliness, stagnation and the monotony of everyday life. However, above all, Latin dance is a source of satisfaction, joy and happiness, i.e., determinants of the quality of life.

ФОРМУВАННЯ ТЕХНІКИ ВИКОНАННЯ ТА МЕТОДИКИ ВИКЛАДАННЯ ЄВРОПЕЙСЬКИХ ТА ЛАТИНОАМЕРИКАНСЬКИХ ТАНЦІВ МІЖНАРОДНОГО СТИЛЮ: ІСТОРІОГРАФІЧНИЙ АСПЕКТ

Метою статті є історіографічний аналіз навчально-методичної літератури з техніки виконання та особливостей викладання європейських та латиноамериканських танців міжнародного стилю у мистецтвознавчому контексті; простежити етапи формування технічних аспектів виконання бального танцю та висвітлити сучасні напрацювання згідно з виданнями Міжнародної асоціації вчителів танцю (IDTA), Імперської спілки вчителів танцю (ISTD) та Всесвітньої федерації танцювального спорту (WDSF). Методологія дослідження. У дослідженні використано органічна сукупність базових принципів дослідження: об’єктивності, історизму, багатофакторності, системності, комплексності, розвитку та плюралізму. Крім того, застосовано методи наукового пізнання: проблемно-хронологічний, конкретно-історичний, статистичний, описовий, логіко-аналітичний. Наукова новизна статті полягає у визначенні головних засад формування технічних аспектів виконання та особливостей викладання європейських та латиноамериканських танців міжнародного стилю протягом ХХ ст. та на сучасному етапі. Висновки. У результаті проведеного аналізу техніки виконання та особливостей викладання європейських та латиноамериканських танців міжнародного стилю, розглянуто етапи формування технічних аспектів виконання бального танцю протягом ХХ ст., удосконалення систематизації методичних рекомендацій та технічних положень, зміни та доповнення внесені у найавторитетніші видання, згідно зі змінами затвердженими Комітетами європейських та латиноамериканських танців Імперського товариства вчителів танцю (ISTD), Міжнародною асоціацією вчителів танцю (IDTA), Всесвітньою радою танцю (WDC), Альянсу Сполученого Королівства (UKA) та Всесвітньої федерації танцювального спорту (WDSF) у процесі еволюціонування бального танцю.

Building an authentic cultural curriculum through tertiary cultural dance

This study identified a range of pedagogies developed to promote global citizenship within a university Latin American dance unit. It implemented changes to teaching and learning approaches in the unit using the Biological Sciences Curriculum Study (BSCS) 5E Instructional Model, supporting learning that privileges transcultural connections to Latin America. The action research used a range of dance teaching pedagogies that were adapted, and evaluated, using the Structure of Observed Learning Outcomes (SOLO)Taxonomy, to support a culturally enriched student learning experience. The findings challenge traditional dance teaching pedagogies through meaningful engagements with the local Latin American dance community and a range of student and teacher reflective approaches.

국가대표 댄스스포츠(Latin &amp; Modern) 선수의 신체구성과 등속성 근 기능, 균형 및 유산소 능력의 비교

The purpose of this study is to compare the body composition, isokinetic muscle function, balance and aerobic capacity of national athlete in dance sport (Latin & Modern). The participants were selected as a couple for the national dance sports in 2018. The results are as follows. There was no significant difference in the body composition and balance of national dance sport athletes. In the Latin American Dance sport athletes, the peak torque of the flexor muscles knee joint and the left ankle joint was significantly lower than that of the Modern Ballroom Dance sport athletes (p.05). The peak torque ratio of the right ankle joint was significantly higher than that of the Modern Ballroom Dance sport athletes (p.05). HRmax of Latin American Dance sport athletes was significantly higher than that of Modern Ballroom Dance sport athletes (p.05). These results suggest that training for strengthening the quadriceps muscle of national Latin American Dance sport athletes is necessary and rehabilitation program should be prepared suggesting possibility of injury in Ballroom Dance sport athletes.

Functional muscle asymmetries and laterality in Latin American formation dancers.

Despite the high popularity of Latin American dance and the specific movement patterns characteristic of this dance discipline, studies on the physical effects of these dance style specific movement patterns are still lacking. The purpose of the present study is to analyze strength level differences and shortening of relevant muscle groups resulting from formation dance, taking performance standard and gender into consideration. Furthermore, the correlation between the findings of muscle function tests (MFT) and the occurrence of lumbar spine complaints is evaluated. A total of 66 participants (m: n= 31, f: n= 35) volunteered for this cross-sectional study (examination group, n= 39, m: n= 19, f: n= 20). The control group consisted of n= 27 participants (m: n= 12, f: n= 15). Besides isometric maximal strength tests (Digi Max system, mechaTronic), relevant muscle groups were examined for shortenings (hip flexors, hamstrings). The male participants in dance sport reached a significantly higher strength level in the muscles of the spine region (p= 0.011) than the participants of the control group. The female elite dance athletes developed a significantly higher strength level in the knee flexors on the right side than the dancers of the advanced group (NL) (p= 0.021). At that, muscle shortening were observed that seem to be specific to dance sport. In addition, gender specific differences were observed both in strength levels and in tendency to shortenings. The specific requirements profile of Latin American formation dance seems to produce affects in the form of muscular imbalance on both sides of the body. These differences of muscular status were mainly observed between dance sport competitors and non-dancers rather than between performance levels. Future investigations with higher numbers of participants would be necessary here.

Physical Load Intensity in Standard and Latin American Sports Dancing Programmes for Juvenile Dancers

Research background and hypothesis. Sports dances at the contest intensity demand great athletic fitness and functional capacity from dancers We still lack research about changes in the heart rate in the group of juvenile dancers’ while dancing Standard and Latin American dances. The present study aims at verifying the hypothesis that while juvenile dancers dancing contest programmes, the heart rate is changeable and can reach to 160–190 beats/min and above, sports dancers consume much energy.Research aim was to investigate changes in the heart rate and energy consumption in the group of juvenile dancers while dancing Standard and Latin American dances. Research methods. The research participants were 16 dancers (8 girls and 8 boys). The age of girls was 9.88 (0.83) years, and that of boys – 9.86 (1.07) years. We established changes in the heart rate dancing Standard and Latin American dances. During continuous dancing we registered the heart rate using “Polar S 610” Heart Rate Monitor (Finland) with computer data registering system. According to the indices received from the heart rate monitor we calculated the average, maximal and minimal heart rate values and energy consumption (kcal) during the period of sports dancing programme. Research results. The data of HR analysis showed that during a 10-min model practice session dancing Standard and Latin American dances, the heart rate which remains the longest is 160–190 beats/min. During Latin American dances, energy outlay for girls was greater than that for boys (p &lt; 0.05), but lower compared to those when the girls danced the Standard programme. Discussion and conclusions. In contest programmes of sports dancing, physical loads are of changing intensities and thus they have a big impact on the cardiovascular system of young dancers. At the threshold of anaerobic intensity, some moments of the dance are performed at greater intensity then the anaerobic threshold, and even critical intensity limit is reached.Keywords Standard dances, Latin American dances, intensity of physical load, heart rate, energy consumption.

라틴 아메리칸 댄스 스포츠 의상의 디자인 특성

The purpose of this study is to collect and analyze costumes presented in international dance sports competitions, and summarize the features of Latin American dance costumes’ design. As for research methods, standards of Latin American dance costume design were analyzed via a literature review on dance sports. The scope of the study extended for six years from 2010 to 2015 to include the, top three UK Latin American dance competitions. The results are as follows. First, the silhouette analysis determined that the X silhouette to the lead with, -145 costumes (78%), followed by the H silhouette at 25 (13%), and other at 16 (9%). Amongst those there were 174 one-piece dresses (94%). Furthermore, the analysis on colors of Latin American dance sports costumes revealed that, amongst the 186 costumes, 115 were without color (62%), Bl(black) is the most frequent with 37%, then Wh(white) with 21% and Gr(gray) with 4%. Costumes with colors, based on the six basic colors in the Munsell color system, are comprised most often of red with 12%, the followed by Y(yellow) at 10%, B(blue) at 8%, YR(yellow-red) at 4%, P(purple) at 2%, and G(green) at 2%. Thirdly, the cloth materials of Latin American dance costumes are recognized through image inspection. Among visually recognizable materials, beading materials are the most common with 104 costumes (60%). Shiny materials like mesh, chiffon, organza, lace and burn-out are in 36 costumes in total (19%). Other cloth materials included Luster materials and; non-sheen materials, which were in 46 costumes (25%).