ORCID

Abstract

En Ritmo: Praxis in Decolonizing Traditional Dance Spaces is an investigation that explores the intersection of bomba, a traditional Puerto Rican song, music and dance form, and North American contemporary dance. This PhD research aims to decolonize culturally hegemonic dance spaces through a cultural syncretism of contemporary dance and the elements of bomba as foundational principles for training both professional and non-professional dancers. This practice challenges traditional Western dance training paradigms. Therefore it is crucial to clarify that this research is not positioned within the realm of pedagogy; rather, it critically interrogates and deconstructs the distinctions between dance practice and training contexts. This approach is part of a broader decolonizing method that emphasizes communal participation, embodiment, and the rejection of colonialist practices, such as the teacher- student hierarchy. Ultimately, my primary contribution to knowledge lies in advancing the understanding of dance practice as research, highlighting its potential to challenge traditional Western paradigms and foster more inclusive and equitable forms of artistic expression.The study situates bomba within the historical and contemporary context of Puerto Rico, examining its resilience against colonial erasure and its role as a cultural and liberationist resistance practice. Through autoethnography, fieldwork, and reflective practices, I explore how bomba can disrupt dominant Western dance ideologies, offering a methodology that bridges theory and practice. The project engages with the complexities of decoloniality and seeks to contribute to dance pedagogy by integrating diverse cultural perspectives and disrupting existing power dynamics within dance institutions.Ultimately, En Ritmo engages in a decolonial praxis by integrating dance- trained and non-dance-trained individuals from various cultural backgrounds, inviting them to engage with the elements of bomba. This approach goes beyond merely transforming traditional training; it employs the concept of training as a means to challenge and reconfigure biopolitical structures, honoring cultural heritage while dismantling Eurocentric norms and opening up new avenues for embodied decolonial practices in dance.

Awarding Institution(s)

University of Plymouth

Supervisor

Angela Piccini, Bob Whalley

Document Type

Thesis

Publication Date

2026

Embargo Period

2026-09-27

Deposit Date

September 2026

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