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Module 4
Module 4
MILLENNNIAL DANCE
MODULE IV
MILLENNIAL DANCE
INTRODUCTION
OBJECTIVES
There are five lessons in the module. Read each lesson carefully then
answer/execute the exercises/activities to find out how much you have benefited
from it. Work on these exercises carefully and submit your output to your
instructor
In case you encounter difficulty, discuss this with your instructor through
Facebook Messenger.
Good luck and happy reading!!!
Lesson 1
Learning Outcomes:
MODERN DANCE
Concept
Modern Dance is one of the most beautiful creative talents known to the
world. The gestures in a dance form have the ability to articulate any emotion or
expression possible. This artistic potential could be inherent or can be acquired
later in life.
Modern dance is the most pure and simple form of movement to music
you're likely to experience. It can be fast, slow, high impact, gentle, loud, silent,
frantic and still.
It's an understatement to say that Modern dance is a mix of all the dances -
its type of movement, tempo and feeling you can imagine. Therefore, it is an
absolutely excellent way to get a great workout through a huge mixture of music.
It's one of the best exercises around and yet it's also great for people who
are less able-bodied or are recovering from injury and have limited movement.
HISTORY
The Beginnings of modern dance
Developed in the 20th century, primarily in the United States and Germany,
modern dance resembles modern art and music in being experimental and
iconoclastic. Modern dance began at the turn of the century; its pioneers were
lsadora Duncan, LoieFuller and Ruth St. Denis in the United States, Rudolf von
Laban and Mary Wigman in Germany. Each rebelled against the rigid formalism,
artifice, and superficiality of classical academic ballet and against the banality of
show dancing. Each sought to inspire audiences to a new awareness of inner or
outer realities, a goal shared by all subsequent modern dancers.
The Alvin Ailey American Dance Theater commenced in the year 1958 when
Alvin Ailey gave a performance. The face of modern dance went through a huge
transformation in 1962 through the efforts of Trisha Brown belonging to the New
York's Judson Dance Theater. In 1970's, this artistic expression evolved to a higher
level incorporating many radical views and gained footing across the globe.
The dance form of ballet, came into limelight in the decade of the 1980's
with Mark Morris, Twyla Tharp, Eliot Feld and Karole Armitage as prominent
figures. Soon after, the scenario was ruled by the legendary star, Michael Jackson,
whose name remains embedded in the hearts of dance lovers. His exclusive
movements such as the moonwalk stand as a landmark in the history of dance.
Gradually innovations crept in, paving the way for contemporary dance forms.
German Contributions
Although often considered an American phenomenon, the evolution of
modern dance can also be traced to central Europe and Germany, where the most
influential was probably Rudolf von Laban. Although there is almost no
documentation to describe his choreography, he founded a school in Munich in
1910 in which Mary Wigman was one of his students. Exiled in the 1930's; he
immigrated to England, where he established the Art of Movement Studio in
Manchester in 1946 and worked on his system of notation until he died.
Today, the development of modern dance can also be attributed to
different groups like that of the SankaiJuku, a group of Japanese dancers trained
in modern and classical dance. Their work is based on 'butoh', a form of dance
theatre that avoids structured choreography and strives to express primitive
emotions by making minimal use of costume and actual movement.
A legendary star, Michael Jackson, whose name remains embedded in the
hearts of dance lovers is always remembered to date. His exclusive movements
such as the moonwalk stand as a landmark in the history of dance. Gradually
innovations crept in, paving the way for contemporary dance forms.
7. Hinge
In the Hinge, the dancer balances on the balls of the feet, keeps a straight
back and head and sends the knees forward as the torso tats back and the arms are
held straight out in front.
8. The Contraction
Martha Graham loved contractions in which the mid-section is pulled back
against a movement. The action begins in the pelvis, and articulates up the spine
as the breath is exhaled. The dancer aims to lengthen the space between each
vertebra as the move progresses to the neck and the head, which are always in
alignment with the spine.
9. The Release
The Release occurs on the inhalation and also begins in the pelvis. The move
travels up the spine in the same order as the contraction, restoring the torso to a
straight alignment. It typically counters the contraction.
10. The High Release
A High Release, rather than ending with the spine and upper body in an
upright, neutral position, tilts the breastbone up. The shoulder blades appear to
rest on a bar or shelf. The head remains aligned with the spine and the rib cage
remains over the hips. The lower back is not bent.
vigorous dancing such as line and ballroom dancing. Elevating the heart rate
can increase stamina. Just as in any form of exercise, regular dancing will build
endurance.
4. Sense of Well-Being
Dancing is a social activity. Studies have shown that strong social ties and
socializing with friends contribute to high self-esteem and a positive outlook.
Dancing provides many opportunities to meet other people. Joining a dance
class can increase self-confidence and build social skills. Because physical
activity reduces stress and tension, regular dancing gives an overall sense of
well-being.
5. Postural Alignment
Constant participation in Modern Dance activities enables an individual to
develop postural alignment and proper way of carrying oneself.
LEARNING ACTIVITY!
Lesson 2
Learning Outcomes:
CREATIVE DANCE
Concept
It is the highest form of dance. It is the end-product of exploration and
improvisation of movements as the dancer or the choreographer expresses his
feelings or emotions, ideas, and interpretations. This is a dance with a definite
form, a beginning and an ending.
Space
Space refers to the dance environment exploring level, size, direction, pathway,
and focus of the movement. Obstacles or other dancers in the environment can be
included to allow additional opportunities to interact with and incorporate into the
movements.
Time
This element involves the manipulation of speed: slow, medium of fast
movements. Rhythm can also be manipulated through the concepts of pulse,
breath, patterns, and accents.
Force
Force can be used through changing the energy (smooth-sustained or sharp-sudden)
and the weight (strong or light) of the movement. The flow of the movement can
be manipulated via continual, free-flowing movement as opposed to bound
movements signified by abrupt stopping and changes of direction.
Body
The element of the body can be incorporated into creative dance through isolating
body parts, making body shapes, and exploring the relationship between and
through dancers in time and space.
Movement
This is a very important element of creative dance where the development of
fundamental motor skills really comes into play. This element can be broken into
locomotor movement (movements that travel through space) and non-locomotor
movement (movements around axes of the body and its component parts). Refer to
Module 1 Lesson 2 for the discussion on movements.
THINK!
PERFORMANCE ACTIVITY!
Lesson 3
STREET DANCE
Learning Outcomes:
1. Define and discuss about street dance
2. Compile and submit a sample picture of street dance thru internet
surfing.
A. Members
There should be at least minimum of 50 and a maximum of 100 participants
C. Performance
The competing team is required to execute the steps as they walk.
However, performance spots where they are required to have their
showdown should be considered and should be given utmost and stern
performance.
LEARNING ACTIVITY!
MODULE SUMMARY