[Jean Lafitte]

В статье автора приведены натужные поиски ограничений.
Запрещать неграм использовать в танце негритянские движения - это слишком.
См. Диффузионизм

Лучше разделять танец и музыку: танец сальса, музыка сальса, танец тимба, музыка тимба. И всё это можно перемешивать между собой.

Timba

History

As opposed to salsa, whose roots are with the Cuban conjunto bands of the 1940s and 1950s, modified with rock, jazz, funk, pop and Puerto Rican folk, Timba represents a synthesis of a wider variety of popular and folkloric sources. Timba bands draw heavily from international influences such as jazz, rock, disco, funk and hip hop, as well as local folklore like rumba, guaguancó, batá drumming and the sacred songs of santería.[3]

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Dance and culture

In the broadest sense, people dance timba in a style called casino that was around well before 1989, but certain rhythmic elements of timba arrangements inspired completely new ways of dancing. In some cases, dancers would respond to changes in the music by switching between casino and the new dance styles, providing perhaps the strongest single argument for the claim that timba is an independent genre and not simply "modern son montuno" or "Cuban salsa."—Moore (2010: v. 5: 11).[24]

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But the principal difference between salsa and timba is the syncopation of its total rhythm. This syncopation (in between the fourth and first beats) is quite accentuated in salsa, moderately suggested in son and nonexistent in timba, although percussion instruments may mark it separately.

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Many timba artists readily concede that they have been more influenced by funk or soul than by salsa.

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Status

Though timba is considered to be a form of popular music, the technical mastery of timba is only possible through highly trained musicians, who have solid theoretical backgrounds in classical music, jazz, traditional Cuban music, as well as other international genres. This is made possible through the high standards of government-run music schools in Cuba, as well as the strong competition between musicians.

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Timba has start to become popular in the worldwide salsa scene today as commercial timba music selections are selectively accepted. However many salsa dancers consider it difficult to dance to, due to rapid rhythm and differential arrangements than traditional salsa and beats too strong to their ears, compounded by the strong Afro-Cubans rhythm heritage and the inability of many North American salsa dancers to listen to actual tempos. Nevertheless, it has found a niche among a growing number of fans and has been influential amongst Cuban-American and European salsa musicians. From the salsa dancer's perspective, timba (due to its rhythmically complex nature) is very hard to dance unless traditional Cuban salsa (also known as casino) is mastered and may require many years of practice. In the same way that musicians amalgamate salsa with funk, pop, jazz, rock & roll and even tango to create timba, dancing to timba reflects the rhythms/genre incorporated in the composition being danced to. Timba as a dance allows incorporation of moves seen in Afro-Cuban folklore, funk, pop, rock & roll etc., and the creation of new moves under the framework of Cuban casino.

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"Salsa cubana" and the birth of timba

The term salsa cubana which had barely taken hold, eventually fell out of favor, and was replaced with timba.

И вообще непонятно зачем это всё изучать, когда можно заниматься танцами.

Йогин Сватмарама

Хатха Йога Прадипика

1.67. Успех (Сиддхи) достигается практикой. Как можно достичь успеха без практики? От одного только чтения книг по Йоге успех не придёт.

1.68. Сиддхи не достичь ношением одежды йогина или разговорами о йоге. Лишь в безустанной практике - секрет успеха. Это несомненно, и нет иного.