NOTRE DAME OF DADIANGAS UNIVERSITY

PHYSICAL EDUCATION & HEALTH

Fundamentals of Rhythmic activities
Finals

Topic: SOCIAL DANCES

OBJECTIVES:
Marist Avenue, General Santos City
 Classify the various types of social dances.
 Realize dancing as a healthy form of recreation.
 Apply the skills learned in class
 Perform dance skills with confidence.

HISTORY

According to Nimor (2006), Social dances are usually done to introduce people with one another during a formal
social gathering or to welcome guests to a social gathering. Many of the social dances like polka and mazurka started as
folk dances while some were deliberately designed for its social purpose, such as the waltz, regoudon and ploneise.

Social dancing is believed to have existed since the beginning of human society in some forms. Its original forms
may have been simply a group dance for pleasure or recreation. Most group dances were originally ceremonial rites
grouped around three basic aspects of human existence: food supply sexual impulse, and relationship with the spirit world.

14th Century
 Social dance and folk dance were virtually indistinguishable.
 Popular ring dances were performed in English upper-class homes as part of the evening entertainment.

15th century in Europe

 Couples dancing a dance form emerged.
 Varied vigorous styles in innovative adaptations and refinement of folk dances were developed by the dancing
masters.
 These new dances, gay and lively in character.
 Developed first as a social diversion among the aristocracy of France and Italy.
 Expanded developmentally to every royal court in other continents to become, in the later centuries as activity
even of the emerging middle class.

16th Century
 Social dance became more firmly ensconced in the courts with partners constantly changing, filling the ballroom
with emerged square formulations like the cotillion and quadrille.
 Enthusiasm for social dances also grew during the period.

20th Century
 The syncopated rhythms of American ragtime music inspired the foxtrot and shimmy. The flapper as well as the
Charleston was born. The jitterbug bursted from the swing improvisations in the 1930s.

DANCES

In common usage, ballroom dance refers to the 10 dances of international standard and International Latin,
though the term is also often used interchangeably with the five International Standard dances.

INTERNATIONAL STANDARD

 Normally performed with western music.

 A couple dances counter clockwise around a rectangular floor following the line of dance.
 Slow Waltz, Tango, Viennese Waltz, Slow Foxtrot, Quickstep.

INTERNATIONAL LATIN
  Performed with contemporary Latin American Music and with the exception of a few traveling dances.
 Cha-cha, Samba, Rumba, Paso Doble, Jive

RUMBA

 The name rumba was originally applied specifically to the dancing style with lascivious movement of the hip,
bosom and other flexible parts.
 The native Rumba folkdance is essentially a sex pantomime danced extremely fast with exaggerated hip
movements and with a sensually aggressive attitude of men and a defensive attitude on the part of the women.
 The Spirit and Soul of Latin American music and dance.

CHA-CHA

 It was described as a Mambo with a guiro rhythm.

 Originally known as the cha-cha-cha, cha-cha is an offshoot of the Mambo.
 The dance consists of 3 quick steps and 2 slower steps on the beat.
 It is still the most popular of all the Latin-American dances.
 Along with Rumba and Mambo, Cha developed in Haiti and in Cuba and migrated to the United States in the 1950s.
These rhythms are closely related — we can think of Mambo as a fast Rumba and Cha as a triple Mambo. These
three rhythms have many figures in common.

JIVE

 The first hints of jive came from African American slaves.

 It reflects the character of the dance which is sassy and loud.
 Danced in Triple Rhythm as against the Single Rhythm of Rock n Roll, which is Q a Q in place of the slow used in
Rock ‘n Roll.

Paso Doble,

 Paso Doble should be a bit theatrical. The man is the Spanish matador with his proud, upright carriage, back
arched, shoulders back, head up. Forward steps are heel/flat in a marching tempo or up on the balls of the feet in
a more prancing attitude.
 The woman is traditionally the matador's cape, and in figures such as Huit, Sixteen, and Chasse Cape she will dance
more lightly and flowing. However, she can also find herself playing the role of a picador, a partner matador, a
flamenco dancer, or even the bull itself. She must be prepared to flutter passively one moment and stand tall and
strong another.
 Part of this theater involves the use of body sway.

Samba
 a lively, rhythmical dance with elements from Brazilian samba.
 It differs considerably from the original samba styles of Brazil, in particular it differs from Ballroom Samba in
Brazil itself. In many other ways it though been influenced by the Brazilian version of samba, in particular maxixe,
and subsequently developed independently from samba in Brazil.
 As a ballroom dance, the samba is a partner dance. Ballroom samba, even more than other ballroom dances, is
very disconnected from the origins and evolution of the music and dance that gives it its name.
 Most steps are danced with a slight downward bouncing or dropping action. This action is created through the
bending and straightening of the knees, with bending occurring on the beats of 1 and 2, and the straightening
occurring between. However, unlike the bouncing of, e.g., Polka, there is no considerable bobbing. Also, Samba
has a specific hip action, different from that in ballroom Latin dances (Rumba and Cha-Cha-Cha).
TANGO

 Originated in the lower class of Buenos Aires

 It was first known as baile con corte-the dance with a stop.
 The music is easy to follow as the beats are very well marked.
 It is in 2/4 time signature.
NOTRE DAME OF DADIANGAS UNIVERSITY
PHYSICAL EDUCATION 2
Fundamentals of Rhythmic activities
Finals
Topic: HIPHOP

Hip-hop

 a cultural movement that attained widespread popularity in the 1980s and ’90s;
 the backing music for rap, the musical style incorporating rhythmic and/or rhyming speech that became the
movement’s most lasting and influential art form.
 a dance style, usually danced to hip-hop music, that evolved from the hip-hop culture.
 The first dance associated with hip-hop was breakdancing. While breakdancing consists primarily of moves
executed close to the ground, the majority of hip-hop moves are executed standing up.
 Although widely considered a synonym for rap music, the term hip-hop refers to a complex culture comprising
four elements:
1. deejaying, or “turntabling”;
2. rapping, also known as “MCing” or “rhyming”;
3. graffiti painting, also known as “graf” or “writing”;
4. B-boying which encompasses hip-hop dance, style, and attitude, along with the sort of
virile body language that philosopher Cornel West described as “postural semantics.”

ORIGINS AND THE OLD SCHOOL

Hip-hop originated in the predominantly African American economically depressed South Bronx section of New
York City in the late 1970s.

Graffiti and break dancing, the aspects of the culture that first caught public attention, had the least lasting effect.
Reputedly, the graffiti movement was started about 1972 by a Greek American teenager who signed, or “tagged,” Taki
183 (his name and street, 183rd Street) on walls throughout the New York City subway system.

By 1975 youths in the Bronx, Queens, and Brooklyn were stealing into train yards under cover of darkness to spray-
paint colourful mural-size renderings of their names, imagery from underground comics and television, and even Andy
Warhol-like Campbell’s soup cans onto the sides of subway cars.

Soon, influential art dealers in the United States, Europe, and Japan were displaying graffiti in major galleries. New
York City’s Metropolitan Transit Authority responded with dogs, barbed-wire fences, paint-removing acid baths, and
undercover police squads.

The beginnings of the dancing, rapping, and deejaying components of hip-hop were bound together by the shared
environment in which these art forms evolved. The first major hip-hop deejay was DJ Kool Herc (Clive Campbell), an 18-
year-old immigrant who introduced the huge sound systems of his native Jamaica to inner-city parties.

Using two turntables, he melded percussive fragments from older records with popular dance songs to create a
continuous flow of music. Kool Herc and other pioneering hip-hop deejays such as Grand Wizard Theodore, Afrika
Bambaataa, and Grandmaster Flash isolated and extended the break beat (the part of a dance record where all sounds
but the drums drop out), stimulating improvisational dancing.

HIP-HOP IN THE 21ST CENTURY

As the century turned, the music industry entered into a crisis, brought on by the advent of digital downloading.
Hip-hop suffered at least as severely as or worse than other genres, with sales tumbling throughout the decade.

Simultaneously, though, it solidified its standing as the dominant influence on global youth culture. Even the
massively popular “boy bands,” such as the Backstreet Boys and *NSYNC, drew heavily on hip-hop sounds and styles,
and rhythm and blues and even gospel had adapted so fully to the newer approach that stars such as Mary J . Blige, R.
Kelly, and Kirk Franklin straddled both worlds.

TYPES OF HIPHOP DANCE STYLES

Source: http://www.hiphopunite.com/index-styles.html HIP HOP UNITE© 2012
1. Locking 11. Boogaloo
2. Popping 12. Ragga
3. Electric Boogie 13. House Dance
4. Breakdance / B-Boying 14. Lyrical
5. Uprock 15. Stepping
6. Funk 16. Free Running
7. Streetdance 17. Punking
8. Tutting/Tetris 18. Waacking
9. Battle 19. Voguing
10. Liguid Dancing

Locking: (originally Campbellocking)

 This dance can be traced back to the late 1960’s and was created by Don Campbell. It is a style of funk and street
dance and originally danced to traditional funk music such as James Brown.
 The name is based on the concept of locking which means freezing from a fast movement and "locking" in a certain
position, holding that position for a short while and then continuing in the same speed as before. It relies on fast
and distinct arm and hand Hip Hop Manual movements combined with more relaxed hips and legs. The movements
are generally large and exaggerated, and often very rhythmic and tightly synced with the music.
 Locking includes quite a lot of acrobatics and physically demanding moves, such as landing on one's knees and the
split.
 These moves often require knee protection of some sort.
Other important stylistic features are waving of arms, pointing, walking stationary and grabbing and rotating the
cap or hat.
 Don Campbell created the original freezes, incorporating his unique rhythm and adding gestures such as points and
handclaps.
 Lockers commonly use a distinctive dress style, such as colorful clothing with stripes, suspenders, pegged knee
length pants, hats and gloves.
 Locking is quite performance oriented, often interacting with the audience by smiling or giving them a high five, and
some moves are quite comical in nature.

Popping
 The best way to describe the movement of popping would be to imagine a force of energy going through the body
causing it to move like a wave.
 This style is difficult to manage at the technical level as it requiring command of isolations, a perfect knowledge
of the body, and a good sense of the rhythm with major use of counter-tempo.
 The style demands continuous contraction of the muscles to the beat to give a jerky/snapping effect – a bouncy
style.

Electric boogie
 Electric boogie is a style of popping (ticking) but the major difference is that Popping creates a soft wave whereas
Electric Boogie creates more jerky waves with micro wave moves, executed with a high velocity more difficult than
classical popping.
 The Robot, and the more smooth and controlled movements of mime are characteristic. Instead of throwing the
body in and out of control like locking, or in total hydraulic control like The Robot, energy is passed through the
body popping and snapping elbows, wrists, necks, hips and just about all the body joints along the way.
 Electric Boogaloo is more like mime in the sense that it imitates a live wire of electrical current or rippling river,
but it still needs the control of The Robot to give it style.
Breakdance / B-Boying
 Breaking or b-boying, commonly called breakdancing, is a style of dance that evolved as part of hip-hop culture
among Black and Latino American youths in the South Bronx during the 1970s.
 It is danced to both hip-hop and other genres of music that are often remixed to prolong the musical breaks.
Four basic elements form the foundation of breaking
1. Toprock, a term referring to the upright dancing and shuffles.
2. Downrock which refers to footwork dancing performed on the floor.
3. Freeze, the poses that breakers throw into their dance sets to add punctuation
to certain beats and end their routines.
4. Power Moves, These are the most impressive acrobatic moves normally made
up of circular motions where the dancer will spin on the floor or in the air.

Uprock
 A soulful, competitive street dance using the rhythms of Soul, and Funk music.
 The dance consists of foot shuffles, spins, turns, freestyle movements, sudden body movements called "jerks" and
hand gestures called "burns".
 said to be mastered with discipline, patience, heart, soul, and knowledge.

Funk
 Funk dancing originated on the West coast of the United States, where it developed in the late 60’s as a reaction
to the fusion of Soul and Disco, as well as early R’n’B and Hip Hop music.
 It is a highly choreographed dance form, similar to dances seen on commercial video clips. It features a mixture of
sharp and fluid movements, popping & locking and animated expression.

Streetdance
 A very physical and incorporates dance moves from all over the world.
 Various dance styles are mixed with a multi-cultural influence and funky tunes.
 Generally a Streetdance routine can include locking and popping, street style and funk
 A FUSION of styles from the Hip Hop genre.

Tutting/Tetris
 A dance style that mimics the angular poses common to ancient Egyptian art.
 The style is rapidly evolving but there are some constant rules that define it.
 The most important stylistic convention is that limbs form 90 degree angles.
 While this constraint is fundamental, and for the most part is not violated, other aspects of the dance are in flux.
 Dancers used to utilize a limited set of static hiero-inspired poses, but they now have begun to create more
complex geometric patterns involving interaction between multiple limbs.
Battle
 A battle is a freestyle where dancers 'fight' against each other on the dance floor without contact.
 They form a circle and take turns trying to show each other up by using either a better style, more complex
combinations, or harder moves.0
Liquid Dancing
 a form of gestural dance that sometimes involves pantomime;
 Invokes the word liquid to describe the fluid-like motion of the dancers’ body and limbs;
 Primarily the dancers’ arms and hands which are the focus, though more advanced dancers work in a full range of
body movements;
 similar to the styles of popping or locking.
Boogalo
 a fluid style, that uses every part of the body and involves using angles and smooth movements to make everything
flow together;
 It often uses rolling of the hips, knees, and the head and is often used as a transition.
Ragga
 A dance style originating (in the late 70’s) from street dance by Afrojamaïcans, Afrocarabians, which uses music
which evolved from classical Reggae with a hip hop influence;
 The style used is a combination between hip hop moves, afro moves with latin influences with sensuality.
 it requires very good physical condition, as many muscles are involved in the Raggajam, particularly in the lower
part of the body; (correct execution requires good technique)
House Dance
  House is a group of dance styles primarily danced to house music that have roots in the clubs of Chicago in the
late 70’s and early 80’s;
 The main styles include Footwork, Jacking and Lofting. Like hip hop dance it was created by black and latino
Americans and is often improvisational in nature.
 Other than footwork, jacking, and lofting, house dance has grown to include other related styles such as vogue,
wacking and hustle
Lyrical
 Lyrical hip-hop is a fluid and more interpretive version of new style hip-hop most often danced to downtempo rap
music or R&B music.
 Lyrical is "hip-hop with emotion“
 It focuses more on choreography and performance and less on freestyles and battles.
 The name lyrical comes from the word "lyrics" because dancers use the lyrics of a song or instrumental music to
inspire them to do certain movements or show expression.
 The goal of a lyrical dancer is to use gesture, facial expression, and controlled movements in order to execute their
movements and emotions fully.
 Besides emotional connection to music, lyrical dance typically encourages use of articulation, line, weight, and
movement qualities.

Stepping
 Stepping or step-dancing is a form of percussive dance in which the participant's entire body is used as an
instrument to produce complex rhythms and sounds through a mixture of footsteps, spoken word, and hand claps;
 Though stepping may be performed by an individual, it is generally performed by groups of three or more, often
in arrangements that resemble military formations.
 Some forms of stepping include the use of props, such as canes, rhythm sticks and/or fire and blindfolds.

Free running
 Free running or freerunning is a form of urban acrobatics in which participants, known as free runners, use the
city and rural landscape to perform movements through its structures;
 It incorporates efficient movements from parkour, adds aesthetic vaults and other acrobatics, such as tricking and
street stunts, creating an athletic and aesthetically pleasing way of moving.
 It is commonly practiced at gymnasiums and in urban areas (such as cities or towns) that are cluttered with
obstacles.
 The term free running was coined during the filming of Jump London, as a way to present parkour to the English-
speaking world.
Punking
 This style came in 1970s from the West coast, directly Los Angeles, where it was developed in clubs and
underground scene.
 Punking was first spotted in gay clubs in Hollywood.
 Dancers began to represent it on television and it became well-known thanks to Soul Train.
 Punking then became a part of many shows from Hollywood to Las Vegas.
Waacking
 Waacking is a name that some of the Soul Train dancers began to use instead of the initial term punking.
 Some say that punking was the correct name for the underground style, while waacking or whacking came later,
when the dance became popular.
 However, this dance style reacted to changes of music:
 this style was "forgotten" for a while and survived in a small group of dancers who are so devoted.
 today waacking and punking is experiencing a "rebirth" in different forms.
 For example, in NY you will see primarily jazzy form, but more funky in Japan.

Voguing
 Vogue is a form of modern dance, as well as waacking and was created by the gay community.
  The style is inspired by photos of models in poses in various positions such as posturing hands, feet, body
movements in linear, angular and precise, fixed position.
 Inspirational material for the dancers were fashion magazines like Vogue, Elle ... which often drew inspiration
from photos of extravagant models.
 This style of dance arose from Harlem ballrooms by African Americans and Latino Americans in the early 1960s.
 It was originally called "presentation" and later "performance”.
Currently there are 3 different styles, or we can say "schools" in Voguing

1. Old Way (pre- 1980)

- Characterized by the formation of symmetrical and precise lines, creating a wonderful
variable action with proper attitude
-Egyptian hieroglyphs and fashion poses serve as the original inspirations for old way voguing
2. New Way (1990)
- Characterized by a more precise geometric patterns associated movements called "Click" (arm
twisting in the joint) and "arms control" (agility hands and wrist illusions, which usually make
"tut" or "tutting" and locking or stopping movement.
- Can also be described as a modified form of mime - where imaginary geometric shapes such as
boxes, are presented during the move, that move progressively around the body of dancer
and showing dancers dexterity.

3. Vogue Fem (started around 1985)

- Largest extreme flexibility and fluidity, exaggerated feminine movements, influenced by ballet,
modern dance and in the case of "dramatic" Vogue Fem, emphasize jumps and tricks.
- Includes other forms of dance moves such as: Modern jazz, ballet, gymnastics, martial arts,
break dancing, yoga.
- Some dance historians even point out that breakdance and vogue evolved together in a
bilateral loan of movement, with artists from both parties interacting one another in Central
Park, Christopher Street pier, Harlem and Washington Square Park.