1994 September 2, Carlos A. Varela, “Learn to dance Salsa and Merengue!”, in uiuc.announce[1] (Usenet):
Join these salsa and merengue lessons and learn the fun of latin dancing. First class is FREE, this September 8th. Come and have fun with us! ¶ No previous experience or partner needed. We will learn mainly salsa and merengue, but also we'll try out other dances like cumbia, meneito, vallenato and canandonga.
2012, Pablo Semán, Pablo Vila, “Cumbia Villera or the Complex Construction of Masculinity and Femininity in Contemporary Argentina”, in Pablo Semán, Pablo Vila, editors, Youth Identities and Argentine Popular Music, New York, NY: Palgrave Macmillan, →DOI, →ISBN, page 102:
In terms of its choreography there are two main ways to dance cumbia villera, one, that we can describe as a more “traditional” way, linked to cumbia romántica, and the other one, called meneaito, which is generally danced by women alone and is a more modern dance step. […] The meneaito, the other way to dance cumbia villera, is a more individualistic way of dancing. The meneaito (to wiggle) has the following features: opening your legs with your knees also opened, and moving your pelvis in circles, you move toward the floor in this position.
2012, Gustavo Pérez Firmat, “Preface to the Revised Edition: The Facts of Life on the Hyphen”, in Life on the Hyphen: The Cuban-American Way, Revised edition, Austin, TX: University of Texas Press, →ISBN, pages ix–x:
Almost two decades later, still married to Mary Anne, I continue to believe that the healthiest way to deal with the puzzles and adversities ofa divided life is, in the words of Irving Berlin, to face the music and dance. Not as young as I used to be, there are times when my meneíto feels more like a limp. But I am still dancing.
2018, Lillian Guerra, “Civic Activism and the Legitimation of Armed Struggle Against Batista, 1955–1956”, in Heroes, Martyrs, and Political Messiahs in Revolutionary Cuba, 1946–1958, New Haven, CT: Yale University Press, →ISBN, page 155:
Indeed, citizens joked about the MNR as the political fad of the month and compared it to the meneíto on purpose: both the dance and the MNR shared a línea zigzagueante, a zigzag pattern of steps.3
2020, Laura G. Gutiérrez, “Afrodiasporic Visual and Sonic Assemblages: Racialized Anxieties and the Disruption of Mexicanidad in Cine de Rumberas”, in Jesús A. Ramos-Kittrell, editor, Decentering the Nation: Music, Mexicanidad, and Globalization, Lanham, MD: Lexington Books, →ISBN, page 9:
It is the rise of these movements—bailes telúricos (earth-shaking dances) or the dances with the meneíto (gyrating hip dances) that Tongolele made famous—during the 1940s both on the theatrical stages of Mexico and, most importantly for our purposes here, on the cinematographical stages, that allow for the first public discussion regarding “what is prohibited and what is permitted in regard to corporeal movements” to take place in the Mexican cultural sphere.10
