“…Made famous in the 1950s by singers such as Tito Puente, the King of Latin jazz, the Afro-Cuban and Caribbean sounds, with roots in the candombe form that draws upon West African rhythms, morphed into the generic term Salsa in the 1970s to 1990s, yet its history cannot be forgotten. As Kabir (2020) acknowledges, salsa and other “African-heritage partner dances” enact “the traumatic processes of enslavement, colonialism, and extractive capitalism” while at the same time they may be understood as “embodied and mobile archives: kinetoscapes of newness and expressivity that arise in response and resistance to cultural deracination” (p. 2). Within such call and response dynamics, we sense the soul, not only of the musicians but of the dancers who resisted the colonizers’ dehumanizing perspective that Africans they encountered did not have souls ( Bordas, 2012 ; Du Bois & Marable, 2015 ).…”