Reggaetón dance

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[edit] Perreo

The perreo, a Puerto Rican dance associated with reggaeton, is a type of grinding. The word 'perreo' is derived from the Spanish word perro, meaning "dog", thus the Spanish verb for "dancing reggaeton", 'perrear', can be translated as 'dancing doggystyle'. There was also an associated Puerto Rican music genre called perreo, which served as the precursor to reggaeton. In Puerto Rico, youth perreo parties are a common part of regular nightlife.^[1] Perreo is also often called "sex with clothing" (sexo con ropa).

Perreo was the subject of a national controversy in Puerto Rico as reggaeton music and the predominantly lower class culture it derived from, became more popular and widely available. Velda Gonzalez, a well known senator and public figure in Puerto Rico, led a campaign against reggaeton and specifically attacked the perreo style of dancing, which she marked as overtly erotic, sexually explicit, and degrading to women.^[2] She attempted to regulate reggaeton lyrics and videos, which she also implied could lead to criminal acts. Implicit in her campaign, which she outwardly described as related to women's rights, was an attempt to call out and control what was seen as deviant and transgressive sexual behavior. It speaks to the importance of themes of sexual politics both in the production of and reaction to reggaeton music, especially since the music and the accompanying dance styles are strongly tied to American hip hop and Jamaican dancehall reggae.

As in Puerto Rico, Perreo has been subject to much criticism in Cuba. Part of the criticism may be due to its association with Reggaeton, which, while enjoying great popularity in Cuba, has also been under heavy criticism.^[3] Perreo has been seen as a departure from classical from front-to-front dancing (salsa etc.) to back (woman) to front (man) dancing. Some Cuban dancers argue that this puts women in control. Others have argued that it is un-Cuban, which the Cuban government seems to agree with.^{[4] [5]}

This type of dancing was also the first type of back to front aka (Cheek to crotch) dancing that was seen in Cuba as as well. With focus on pelvic thrusts from both parties, it is a rare form of dance in which the woman takes the lead. This idea was appealing to some woman, placing them in charge of the sensual experience for both parties who take place in this exotic expression of self. According to ethnomusicologist and author Jan Fairley, this style of dance, along with other reggaeton moves such as despelote, tembleque, and subasta de la cintura in which the woman is both in control and the main focus of the dance, can be tied to the economic status of Cuba in the 1990s. Fairley asserts that as the American 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, the yumas, or foreigners, who possessed the hard currency so intensely sought after. This tension between use of the female body as both an objectified commodity and an active, self-created persuasive tool is only one of the many paradoxes reggaeton dancing creates in Cuba.^[6][3]

However in some cases, this risqué dance is seen as a way to grow and learn about sex at a time when curiosity beckons the young mind "The first attempts of approaching the opposite sex are usually dared at this age, that is when reggaeton dance perreo turns out to be especially helpful." ^[7]

Even though perreo is known as a popular dance for reggaeton. The move may be known as doggystyle dancing, but similar basic grinding moves are well known around the globe within genres such as Dancehall, Rhythm and Blues, and even Hip Hop. You may also see it in music videos and even in Night Clubs. This move is not only popular around the world, but it also has a great impact on the younger youth. According to an article on ^[8] Reggaeton in Cuba, it is mentioned that perreo is so popular among young people ranging from 12 to 22 years old, mainly because this music radiates an allurement to something forbidden and wicked. In most countries including Cuba, young people have to sneak clothing such as mini skirts, tight pants and etc into their backpacks; which is used to mislead parents that do not approve the dance. In relation to the dance perreo, woman empowerment is known to be visible among the dance. Fariley states that performativity and conventions sets up vivid notions of gendered power relations. Since the females are dancing in front of the male, they are known to be in control of the dance; thus giving them control over the male while dancing. ^[6] Also in the Fairley article, he uses an example of 5 women dancing, grinding, with their men in an alley facing a bar and as the women, bent over in front of their partner, danced and smiled at the onlooking people. While doing this their smiles implied, "I don’t mind if you look at me, look at what I can do for my man". Not only does this new dance give the women the power dancing wise, but also gives them control on how they can please their man. The power this dance has over a man can can truly be shown when the male dancer was asked how this felt and he replied that, "Slowly, often you get to you are about to ‘come’ when it is happening, it is amazing". Unlike many other popular Hispanic dances, the women this time are the lead and lead with their hips and the male follows along to the beat of the music and also the beat of their partner. ^[6]

[edit] References