Before delving into all of the wonderful ways that UTSA students have implemented their talents into the preservation of our campus's cultural diversity, I will take a step back to examine the way that the study of dance has evolved from the preliminary study of human gesture and movement. For starters, we may begin by classifying all types of "movement" into two groups: structured movement systems and habit/skill. Under the "structured movement systems" category, we have all of our choreographed movements such as martial arts, sporting activities, dramatic arts, and ceremonial (ritual) events. The "habit/skill" category which includes, postures, facial expressions, and spatial orientations differs from the previous, in the way that these movements "remain out of the focal awareness of their actors"(Farnell 91). In other words, these are the movements we perform subconsciously.
             From this point on, I will discuss dance in terms of those choreographed "structured movement systems." Interestingly enough, however, there is actually a very limited supply of information that delineates just how the earliest people viewed these kinds of movements. Brenda Farnell, the w4author of several scholarly articles surrounding this issue, explains that the reasons for this "relative neglect, [are] cultural and [stemming] from a longstanding bias against the [human] body in Western philosophical and religious traditions"(Farnel 91). With this, she tells us that because so many different parts of the world view the body itself with different lights of respect, it is fundamentally impossible to produce one, all-encompassing, understanding of how dance was interpreted in ancient times. Because of the reason previously stated, the attention of my argument will now shift to the realm of Latino dance.
             One very important social aspect that may be associated with Latino dance is Religion. Many groups of people, including the Aztecs, used dance as a means...