Rumba guaguancó, a sub-genre of Afro-Cuban popular dance, has been widely defined as a dance of courtship, characterized as a male pursuit of a woman's sex. The article analyzes alternative meanings of the sub-genre articulated in the pedagogical practices of black women rumba dancers. Insights were gleaned from the author's own dance training in Havana while conducting original ethnographic research between 2009 and 2018. What the author terms “a black feminist choreographic aptitude” taught by rumberas (women rumba dancers) speaks to the pointedly gendered valances of worsening racialized class inequality in contemporary Cuba. Building on Blanco Borelli's theory of “hip(g)nosis,” the article interrogates the racialized and gendered discourses historically reproduced through dominant definitions of rumba, limiting women of African descent to sexual objects. The study argues for increased critical attention to pedagogy as a hermeneutical tool, centering those subjects historically marginalized from the production of knowledge about their bodies.

中文翻译：

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黑人女权主义伦巴舞教学法

Rumba guaguancó 是非洲古巴流行舞蹈的一个子流派，被广泛定义为一种求爱舞蹈，其特点是男性追求女性的性行为。本文分析了黑人女性伦巴舞者的教学实践中阐明的子流派的替代含义。作者在 2009 年至 2018 年期间进行原始人种学研究时，从作者自己在哈瓦那的舞蹈训练中收集了见解。作者所说的由伦巴拉斯（女性伦巴舞者）教授的“黑人女权主义舞蹈天赋”说明了种族化阶级日益恶化的明显的性别价值当代古巴的不平等。文章以布兰科·博雷利的“hip(g)nosis”理论为基础，探讨了历史上通过伦巴的主要定义再现的种族化和性别化话语，限制非洲裔妇女使用性物品。该研究主张增加对作为解释学工具的教学法的批判性关注，将那些在历史上被边缘化的学科集中在有关其身体的知识的生产中。