Christian Polytechnic Institute of Catanduanes Inc.

Francia, Virac, Catanduanes

SENIOR HIGH SCHOOL

Module
HEALTH OPTIMIZING
PHYSICAL EDUCATION AND HEALTH II

Prepared by:
KARL DOMINIE C. BOGABIL
Instructor

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 TABLE OF CONTENTS

TOPIC Pages
Professional Institution…………………………………………………………. 3
Introduction……………………………………………………………………... 4
Learning objectives……………………………………………………………... 5

Module 2
Lesson 4
World Dance……………………………………………………… 6
Dance an Art……………………………………………………..
The value of dance as an art form……………………………….
Artistic Expression in Dance…………………………………….. 7
Creativity dance…………………………………………………..
The Importance of dance…………………………………………
Aim of dance……………………………………………………..
8
Philippine Dance………………………………………………….
9-14
Assessment Task Sheet No. 4…………………………………….
14
Lesson 5
Ballet……………………………………………………………….
Classical and Contemporary Ballet………………………………..
Purpose of classical ballet…………………………………………
Classical Ballet Era……………………………………………….. 15-17
Ballet in Philippines……………………………………………… 18
Assessment Task Sheet No. 5…………………………………….
19-20
Lesson 6
Modern Dance……………………………………………………. 20-25
Characteristics of Modern Dance…………………………………. 26
African American Modern Dance…………………………………..
Assessment Task Sheet No. 6………………………………………
27
28-31
32-34
35

REFERENCE…………………………………………………………… 36

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 CHRISTIAN POLYTECHNIC INSTITUTE OF CATANDUANES
INC.

Vision:
To develop the students into productive and well-balanced
individuals, proficient in their chosen field and flexible enough to
engage in other related endeavors.

Mission:
To efficiently train students by providing them high-quality
education with relevant skills, productive ideas, positive work
habits, and wholesome Christian values.

Core Values:
Competence, Professionalism, Ingenuity, Commitment thru Self-
Discipline (CPIC’s)

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 INTRODUCTION

Physical Education and Health Volume II aims to guide senior high school students’
in
finding physical activities that they can maintain for the rest of their lives. It equips students
with 21st century skills that enhance them as independent learners as well as leaders in their
community. This work text reviews students’ knowledge on various recreational activities
and encourages them to practice these activities to increase the likelihood of successful
participation. Moreover, these recreational activities should be viewed as vehicles of learning
important life skills such as communication, collaboration, time management, and
environment protection.

This work text also reviews past and current popular recreational activities so that the
students can appreciate the variety of activities. The role of this work text is to present these
recreational activities to expand the options of the students on the activity that best suits their
personality. There is no activity that would fit everyone's background and preference. The
student has to find his own and this book is a good platform to aid in his search. There is an
inherent joy that is derived from participating in an activity. When a person finds this
activity, enjoyment is not derived from competing or winning but from performing the
movements associated with the activity.

The book is divided into four units namely introduction to Dance, World of Dance,
Introduction to Outdoor Recreation, and Management of Outdoor Recreational Activities.
Introduction to Dance invites the students to see dance from the perspective of the dancer and
appreciate the elements that make dance a positive venue of self-expression. The second unit
encourages the student to explore the world of dance and how each dance form has
contributed to the performing arts. Different types of outdoor recreational activities are
introduced in the third unit and these instill in the student the awareness that he has a role in
protecting the environment. The last unit of the textbook encourages the student to become a
leader by showing him the skills needed in planning, organizing, and implementing an
outdoor recreational activity.

In the college physical education curriculum, it is widely noted that health should also
be a major component. Whereas physical education was primarily for survival in the past and

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utilized for military purposes, today, the shift in purpose is to build a citizenry that is fit for
life. This entails that the individual must be physically fit and healthy as well.

LEARNING OBJECTIVES

The aim of physical education must be to make every student physically,

mentally and emotionally fit and also to develop in him such personal and social
qualities as will help him to live happily with others and build him up a good
citizen.

This course focuses on the fundamental components and principles of

fitness, including competency in motor skills, movement patterns, and strategies
needed to perform a variety of physical activities. Effective P.E. classes help
kids develop skill and confidence, maintain physical fitness, learn about
personal health and wellness, and demonstrate positive social skills.

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 MODULE 2

LESSON 4

WORLD OF DANCE

Dance comes in different forms. All dance styles are not alike and they are distinctive.
in this unit, we will explore the nature of several traditional and contemporary dances. The
first part will deal with dances that are considered an art form, and the second part covers
dances that may be performed and utilized for local or national competitions. We will also
learn and experience some of these dances by studying and performing their fundamental
dance steps. Lastly, we will learn how to create simple dance routine from the fundamental
dance steps of each dance genre.

DANCE AN ART

Dance is a performing art form consisting of purposefully selected sequences of human

movement. This movement has aesthetic and symbolic value, and is acknowledged as dance by
performers and observers within a particular culture.

Dance is an art of rhythmic bodily movements that projects ordered sequence of moving
visual patterns of line, solid shape, and color (Thomas Munro in Kraus and Gaufman, 1981). The
postures and gestures of which these visual patterns are created suggest kinesthetic experiences of
tension, relaxation, and emotional moods and attitudes associated with them. Some of these dances
that are considered an art form are folk dance, ballet, and contemporary dance.

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DANCE A FORM OF ART

Dance is an art because with dance you are able to tell a story without using your mouth.
Through your choreography and your facial expressions, you are able to completely change yourself
into another character. Clearly dance is very unique activity because it can be classified as both a
sport and an art.

THE VALUE OF DANCE AS AN ART FORM

Dance is a fully-fledged art form, belonging to the 'performing arts', a goal in itself and a
means of allowing a human being to express his inner feelings, thoughts and experiences. Dance is a
natural form of self-expression: the body expresses itself naturally and so therefore does the spirit.

ARTISTIC EXPRESSION IN DANCE

Performance is the art of players in the game will show or emotional experience to show the
ability, through technical action simply, appeal show artistic expression is in the works of art and the
feeling of dance.

CREATIVITY DANCE

Creative Dance is a dance form that combines the mastery of movement with the artistry of
expression. This combination of mastery and artistry – not a separation of the 2- is what makes
creative dance so powerful. There are many types of dance (ballet, jazz, modern, tap, hip-hop, etc).

DANCE IS THE HIGHEST FORM OF ART

Visual creativity is what confirms that dance is an art form. The more creative anything is, the
more it is considered some form of art, whether it involves technology, architecture, photography,
painting or dancing. This display of expression and movement is fueled by music, which most people
agree is art.

THE IMPORTANCE OF DANCE

Through dance, students learn teamwork, focus, and improvisational skills. ... Dance awakens
new perceptions in children which help them learn and think in new ways. Children need to express
and communicate their ideas and to be given the opportunity to make creative decisions, even at a
young age.

WHEN DID DANCE BECOME AN ART FORM?

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 15th–19th centuries: from court dancing to Romanticism. The origins of ballet dancing can be
traced to the Italian Renaissance courts of the 15th century. Dance masters would teach the steps to
nobility and the court would participate in performances as a form of social entertainment.

THREE PURPOSES OF DANCE:

1. Recreational dance styles change with time

2. Societal structures, and

3. Group interests.

AIM OF DANCE

The aim of the dance major is to develop students who are sensitive and articulate physical
and verbal communicators of the visual art of dance; who are proficient in the analysis of dance in its
cultural manifestations, leading them beyond knowledge of a culture to an understanding and
celebration of difference.

WHY IS DANCE SO POWERFUL?

Dance is one of the most powerful artistic mediums to either engage in or witness. All
physical movement is emotionally expressive, that's why we call it 'body language', but a key element
of what makes dance so impactful is the conscious intention behind it coupled with the emotional
power of music

THE MOST DIFFICULT DANCE STYLE

Said to be the most difficult genre to master, ballet is a rigorous style of dance that is the
foundation of most forms of dance training. It is usually set, but not limited to, orchestrated music and
is often the first dance style a child will experience as they begin their dance classes.

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 PHILIPPINE FOLK DANCE

Folk dances are the indigenous dances of any specific "folk" or the common people. They are
traditional customary or recreational dance forms of a given country which have evolved naturally
and were handed down across generations.

Folk dances are related to everything of importance in our daily lives, such as customs,
rituals, and occupations of a specific group of people. Most of these dances are related in origin to
religious belief, stemming from emotions, superstitions, festivals, ceremonies of birth, courtship,
marriage, death, war, and countless themes common to all people around the world. According to
Duggan, Schlottmann, and Rutledge (1948), folk dance became the overt expression of emotions and
ideas which were peculiarly significant or the re-enactment or customs and events constituting an
important part of their history and patterns of daily living".

Lopez (2006) defined Philippine folk dance as "a traditional mode of expression that employs
bodily movements of redundant patterns linked to definitive features of rhythmic beats or music

She further stated that Philippine folk dance, to be called such, should have the following
characteristics:

1. It is traditional.

2. It has an expressive behavior.

3. Simple, basic rhythm dominates the folk dance and establishes the pattern of movement.

4. It is created by an unknown choreographer or by communal efforts.

5. It performs a function in the life of the (folk) people.

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Oftentimes, the term folk dance is being confused or used interchangeably with ethnic and national
dance.

The first National Artist for dance and the Mother of Philippine Folk Dance is Francisca
Reyes-Aquino. Francisca Reyes-Aquino is acknowledged as the pioneer of folk dancing in the
Philippines. This Bulakeña began her research on folk dances in the 1920s, making trips to remote
barrios in Central and Northern Luzon. Her research on the unrecorded forms of local celebration,
ritual, and sport resulted in a 1926 thesis titled "Philippine Folk Dances and Games" and arranged
specifically, for use by teachers and playground instructors in public and private schools. In 1954, she
received the Republic Award of Merit given by the late Pres. Ramon Magsaysay for "outstanding
contribution towards the advancement of Filipino culture" one among the many awards and
recognition given to her. For her great efforts in researching and popularizing Philippine folk dances,
she received an honorary doctor of science in physical education degree from Boston University in
1949; an honorary doctor of humanities degree from Far Eastern University; a certificate of award
from the UNESCO National Commission and a presidential citation for distinguished service to the
10th World Jamboree from the Boy Scouts of the Philippines in 1959; the Rizal Pro Patria Award in
1961; and the Ramon Magsaysay Award for government service in 1962.

WHAT ARE THE DIFFERENCES BETWEEN FOLK, NATIONAL, AND ETHNIC

DANCES?

Folk dances are traditional dances found in a certain country while national dances are also
traditional folk dances but have a national scope. They are popular and widely danced throughout a
given country, often with a number of regional variations.

The Philippine dances Cariño5a, Curacha, and Pandango are examples of national folk dances
as they are popular dances throughout the country. Pandango, for example, has several variations
coming from both Luzon and Visayas islands. Even within one locality, dancers have different ways
of performing it. Examples of Pandango dances are:

 Pandango llocano
 Pandango Visayan
 Pandango Dumagueteno
 Pandango Ivatan
 Pandango Rinconada
 Pandango sa llaw

Ethnic dances or ethnological dances are those performed in primitive tribes and have
retained their close kinship with religious ritual and community Custom. These dances may "require a
certain level of special performing skills" (Kraus, 1962) that are symbolic in meaning, making it

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harder for those Outside the group to understand. They can be performed in three different categories,
namely, ritual, life-cycle, and occupational.

In the Philippines, dances originating from the Ifugao people of the northern Luzon, T’boli
tribe from Southern Mindanao, and Tagbanua tribe from Palawan are examples of ethnic dances.
Below are few examples of the different types of ethnic dances:

A. Ritual dances – dances that depict ritual ceremonies. Examples are Dugso (Bukidnon) and
Pagdidiwata (Palawan).

B. Life-cycle dances – dances relating to the cycle of human life such as birthing, courtship, wedding,
and funeral. Examples are Binasuan (Pangasinan) and Daling-daling (Muslim courtship dance from
sulu).

BINASUAN DANCE

C. Occupation dances – dances that exhibit work and occupation of the dancers. Examples are Mag-
asik (Cotabato) and Mananagat (Cebu) dances.

MAGLALATIK OCCUPATIONAL DANCE

All national and ethnic dances are folk dances, but not folk dances are considered national or
ethnic dances.

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 The Philippines has very rich and varied folk dances. There are hundreds of traditional dance
collection found in the country that are mostly for all occasions. They come from the southern to
northern parts of the Philippine islands. These dances exhibit the customs, ideas, beliefs, superstitions,
and events of daily living in a certain Filipino community. The origin of the dances may be seen by
looking at the costumes, props, and implements of a certain group or tribe.

DUGSO RITUAL DANCE FROM BUKIDNON

However, due to acculturation, Philippine indigenous dances may have evolved and modified
since cultures of other countries have greatly influenced these dances. The manifestations can be seen
by the kinds of costumes, props, music, and dance steps used and integrated into some of the regional
and national folk dances of the Philippines. Some of these dances were influenced by the western
cultures, such as the Americans and Spaniards and others were influenced by the neighboring Asian
countries such as Indonesia, Malaysia, and China to name a few.

WHAT ARE THE DIFFERENT TYPES OF PHILIPPINE FOLK DANCES?

There are several ways to classify Philippine folk dances. According to Francisca Reyes-
Aquino folk dances may be classified by geographical extent of origin, nature, speed of movement,
formation, and distinguishing feature. Lately, folkloric specialists merged regional and functional
classifications to sort out the different dance materials (Lopez, 2006).

The three major regional classifications of Philippine folk dances are tribal dances from the
Cordilleras, dances from lowland Christians, and Muslim dances.

1. TRIBAL DANCES FROM THE CORDILLERAS - include non-Christian dances from the
Cordilleras.

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2. LOWLAND CHRISTIAN DANCES - dances coming from places with Western influences such
as that of the Tagalogs, IlokanOs, Pampanguenos, Pangasinense, Bisayans, and Bicolonas. These
dances are influenced by Hispanic and European cultures.

3. MUSLIM DANCES - dances from the people of the Southern Islands of the Philippines such as in
Mindanao and Sulu. These dances are influenced by Arabic and Indo-Malayan cultures.

Philippine folk dances, regardless of their classifications, may also be categorized as;

1. LIFE-CYCLE DANCES - dances that serve as ritual as one passes to a different stage in life such
as from birth to childhood to adulthood; from singlehood to marriage; and from life to death. Below
are the different dances that portray life cycle:

A. Courtship dances

B. Wedding dances

C. Funeral dances

2. FESTIVAL DANCES - dances that are either religious or secular and are connected with the
celebration of recurring events of special significance.

3. OCCUPATIONAL DANCES - dances that depict the means of livelihood of the Filipino people.
Palay festival, a national dance in rice-growing regions, is an example of an occupational dance
wherein dancers portray different steps in rice growing-from planting to harvesting to threshing,
flailing, pounding, airing and winnowing (Aquino, 1979).

4. RITUAL AND CEREMONIAL DANCES - dances performed as part of the rituals and
ceremonies of a certain tribe or group of people.

5. GAME DANCES - derivations from local folk games. One example of these dances is the Pukol
dance from Aklan and Capiz in the Panay region. Pukol means "to strike or bump each other"
(Aquino, 1979).

6. JOKE AND TRICKSTER DANCES - include jokes or tricks played by a dancer on another ora
group of dancers who is one of them. The intention is to render that individual "to a physical or
mental indignity or discomfort" (Lopez, 2006). Example of these is the Pandanggo sa Sambaililo
dance from the lagalog regions wherein a girl teases her male partner by playing with his hat then
pushes him when he is about to succeed in getting back and putting on his hat from the floor.

7. MIMETIC OR DRAMA DANCES - dances that mimic animals, inanimate objects, or other
people. The dancers get into roles other than themselves and become actors totally immersed in the
story the dances tell. The itik-itik dance from Surigao is an example of a mimetic dance as it imitates
the movements of a duck.

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8. WAR DANCES - dances that express feud and enmity wherein two male dancers engage in
physical combat with Spartan-like intensity (Lopez, 2006). Maglalatik (Biñan, Laguna) is an example
of a war dance as this depicts a battle between Muslims of southern Philippines and the Christian
Filipinos of the lowlands over latik (the residue after coconut boils down). In this dance, the Muslim
won and the Christians sought conciliation in order to convert the Muslim Moros to Christianity
(Aquino, 1979).

9. SOCIAL AMENITIES DANCES - dances that express social graces, hospitality, and offerings of
gifts to friends. All social ballroom dances and most of the "Filipinized" Western dances that show
camaraderie merriment belong to this group (Lopez, 2006). Examples are Minuete Yano (Iriga,
Camarines Sur), Alay (Tagalog regions), and Habanera Botolena (Botolan, Zambales) dances.
Minuete Yano, for instance, is performed by people from high social standing in the community
during special Occasions honoring high government officials and church dignitaries (Aquino, 1979).g,
poetry, music and painting.

ASSESSMENT
TASK SHEET NO. 4

Please answer the essay questions below. Send it in google classroom/messenger.

1. What are the contribution and importance of Folk dance in the Philippines?
Explain
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

2. Perform and create your own video at least 1 minute and 30 seconds of Folk
DANCE (solo, partner or group). Save it with your name, year and strand.
Give me a copy of your dance video.

CRITERIA: POINTS
Costume 20
Performance (Energy & expression) 30
Choreography ____50___
Total = 100 points

3. Narrate your experience

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LESSON 5

BALLET

WHAT IS BALLET?

Ballet was taken from the Italian word ballare, meaning to dance, and ballo, referring to
dances performed in a ballroom. There are several definitions of ballet from different authors:

1. Ballet, according to Haskell (1965) is a:

Combination of the arts of dancing, poetry, music and painting. The essential quality of the ballet
dancer is grace that is phrasing, fluidity, harmony, the making of words into a poetic whole; bound up
with the reaction to music that goes far deeper than a purely rhythmic reaction.

2. Burian (1963) further affirms that:

Ballet is an artistic, programmatic, scenic dance accompanied by music. It is basically a special and
generically unique form, which resulted from the synthesis, collaboration and equilibrium of several
different types of art. The art of gesture and mine interprets, by specific means of expression, the
thematic and emotional content of the scenario on which it is based, bringing the poet’s ideas to life,
presenting the story with all its conflicts, plots, and solutions.

The first ballet performers were men. The ballet costumes before were Grecian: sandals,
diaphanous skirt, low-necked body, hair in form of wreath.

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Brief History of Ballet

It was in the 15th century during the Renaissance period when ballet began in Italy. It started
as a performance in the royal court where the male servants would execute a movement related to the
course they are serving during a court dinner. At that time, the French king, Francis I of the House of
Valois had many contacts with Italy and was able to witness one of the dinner ballets. He knew many
outstanding figures of the Italian Renaissance and he became well acquainted with the ideas and
artistic efforts that developed and flourished in Europe.

Francis’ son Henry II, his successor to the throne, married Catherine de Medici. It was during
de Medici’s reign as a queen that marked the staging of ballet. She brought it France from Italy and
further developed at the French courts during the 16th century. She also brought with her Italian
musician Balthazar de Beaujoyeulx (formerly known as Baldassarino de Belgiojoso in Italy) to
arrange court fêtes (a large, elaborate, festival or celebration). Beaujoyelx then was acclaimed by both
the queen and the court for his "Ballet des Nymphes, whose alternation of verse and dance already
clearly delineated the final contours of ballet as a form of art" (Burian, 1963). de Beaujoyeulx's
famous presentation was the festive dance drama Ballet Comique de la Reine where it combined the
spoken word, solo, and choral song and the dance in a unified whole presenting a story." The ballet
closely reflected not only the customs and love intrigues of the court but also the politics of the day
(Haskel, 1965)

French court ballet reached its peak under Louis XIV, a dancer and performer and was called
the magnificent Sun king. He loved to dance and took part of his first ballet at the age of 13. He set up
the Académie Royale de Danse together with his dancing master, Pierre Beauchamp. It was during his

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time that the five basic dance positions were written down for the first time (Castle, 1998) and became
the basis for ballet up to this day. In 1672, Ballet then also became a profession when Louis XIV
handed over and allowed professional dancers to perform noble dances instead of just the character
parts (Haskell, 1965) (Clarke and Crisp, 1973). Ballet during this period was also an affair in which
high aristocracy-the queen, princesses, and nobles, took active part and participated in the dances.
Due to the restrictions of traditions relating to dance and the kind of dress worn by the participants,
ballet movements in this period were minimal. There were no high leaps and fast turns.

Many of the features that we see in ballet today began only during the Romantic era in the
19th century where artistic endeavor flourished together with the many developments in science and
industry. The people became more liberated in their fantasy in books, music, art, and ballet The
female dancers had more important roles than the males. Ballerinas wore softly gathered skirts, rose
on tiptoe in specially stiffened shoes, and pretended to be fairies, sylphs, and other exotic beings
(Castle, 1998). According to Haskell (1965, Romantic period was the dancers golden age. The
Ballerinas were the popular idols and ballet after ballet were produced by ballet masters, Ballet in the
French courts became so popular that it spread and influenced the entire of Europe.

Ballet was imported to Russia during the country's first period of Westernization when many
European fashions, including dance, were broadly emulated. The end of the 19th century gave birth to
classical ballet in Russia where it rapidly grew in popularity. A Frenchman, Marius Petipa, became
one of the most important choreographers and was also associated with the imperial Theatres for
almost sixty years. He became the virtual dictator of Russian ballet (Anderson, 1986). Petipa created a
formal structure for the ballets which celebrated the technical ability of dancers and added greater
variety of gravity-defying jumps (Castle, 1998).

Ballet and the arts in general experienced an enormous change during the 20th century. This
was due to the Russian Revolution, World Wars, and liberation of women. Sergei Diaghilev and
Michel Fokine, Russian choreographers, experimented with movement and costume that went beyond
the confines of classical ballet form and story. One of Diaghilev's very different works The Rite of
Spring is a story of human sacrifice that has a dissonant music and unfamiliar movements. Although
this caused uproar to the audience, it marked the beginning of the new phase in ballet.

It was also during this time that ballet reached the United States. George Balanchine, a
Russian choreographer who immigrated to America expanded the form of classical ballet and
introduced neo-classical ballet. He also founded the New York City Ballet. Balanchine was regarded
to be "the greatest innovator of the contemporary "plotless" ballet. With no definite story line, its
purpose is to use movement to express the music and to illuminate human emotion and endeavor"
(Pittsburgh Ballet Theatre: A brief history of ballet, date accessed May 17, 2015).

Ballet today has become multifaceted and several of its forms are linked together to create
what is now known as modern ballet (Pittsburgh Ballet Theatre: A brief history of ballet, date
accessed May 17, 2015). Although ballet began in Italy and had spread tremendously over Europe and

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other countries such as the America, it was the French who substantially widened its popularity thus,
making French the medium used for the terms in ballet.

CLASSICAL VS. CONTEMPORARY BALLET

Although they do not vary in nature, classical ballet is known for its exactness of technique
that highlights pointed toes and turnouts, high extensions and gracefulness (Velardi, 2012). It also
uses traditional mime that utilizes gestures for conversation instead of words. "These gestures are as
precise as ballet steps and have to be learned and performed accurately" Contemporary or modern
ballet, on the other hand "mainly uses ballet steps and more natural movement to convey meaning"
(Castle, 1998). It incorporates elements of both classical ballet and modern dance that allows a greater
range of movement that does not support the strict bodylines that are traditional in any of the classical
ballet techniques.

CLASSICAL BALLET

Classical ballet emphasizes fluid, graceful movements and long lines, along with strict
adherence to correct form and technique, especially turn-out of the legs. There's also a focus on
narrative and storytelling achieved through dramatic visuals and complex choreography.

WHAT IS THE PURPOSE OF CLASSICAL BALLET?

Classical ballet, also called romantic ballet, system of dance based on formalized movements
and positions of the arms, feet, and body designed to enable the dancer to move with the greatest
possible agility, control, speed, lightness, and grace.

WHAT IS THE DIFFERENCE BETWEEN CLASSICAL AND ROMANTIC BALLET?

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 Classical ballet is a traditional formal style of ballet that consist of ethereal and aesthetic
qualities of movement. Romantic ballet incorporated soft movement, rounded arms and forward tilts
of the upper body.

WHEN WAS THE CLASSICAL BALLET ERA?

19th century

Classical ballet developed in the late 19th century when Marius Petipa was ballet master in St
Petersburg. Classical ballet is a mixture of the French style of Romantic ballet, the techniques
developed in Italy in the late 19th century, and Russian teaching.

WHY WAS BALLET INVENTED?

Ballet originated in the Italian Renaissance courts of the 15th century. Noblemen and women
were treated to lavish events, especially wedding celebrations, where dancing and music created an
elaborate spectacle. Dancing masters taught the steps to the nobility, and the court participated in the
performances.

CONTEMPORARY BALLET

Contemporary Ballet is a genre of dance that incorporates elements of both classical ballet
and modern dance. Contemporary ballet has roots in the classical technique and vocabulary, but uses
those roots as a place to explore, experiment, and challenge tradition.

WHAT MAKES CONTEMPORARY BALLET DIFFERENT?

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 A classical ballet has certain rules that must be followed but a contemporary ballet has none.
In a contemporary ballet there might not be music, costumes, scenery, story or footwear. A classical
ballet has five specific ingredients that must be included. It must have music and the music must go
with the story.

WHAT KIND OF DANCE IS CONTEMPORARY?

Contemporary dance is an expressive style of dance that abandons the rigid, centered aspect
of classical forms of dance, and utilizes unconventional movements from styles around the world. It
incorporates certain elements of ballet, modern dance, and jazz.

WHEN WAS CONTEMPORARY BALLET CREATED?

2000

The contemporary ballet Nijinsky was created in 2000 by John Neumeier, a prolific American
choreographer whose work is inspired by Nijinsky's radical legacy. The piece focuses Nijinsky's
descent into madness, a moving tribute that evokes some of the greatest roles of a truly singular artist.

HOW DOES CONTEMPORARY BALLET DIFFERENTIATE FROM NEOCLASSICAL

BALLET?

Taking inspiration from classical ballet elements and adding modern techniques of jazz and
other dance forms, contemporary ballet focuses more on athleticism and bigger and swifter tempos.
Unlike neoclassical ballet, however, it adds acting and complex plots to dance, with a lot of floor
work and turn-in of the legs.

BALLET IN THE PHILIPPINES

Ballet in the Philippines

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 The American colonization paved the way for the introduction of classical ballet in the
Philippines. In 1915, distinguished ballet dancer Paul Nijinsky performed classical ballet at the
Manila Hotel Roof Garden (Dimalanta, 2006).

In 1927, Luva Adameit came to the Philippines and started a ballet school. She trained the
first few ballet dancers in the country. Her dances, Sur les pointes, were inspired by local dances like
the Planting Rice, Carinosa, and the Maria Clara that eventually influenced Leonor Orosa Goquingco.

From then on, ballet has thrived in the country and brought a number of foreign teachers and
performers to perform and teach as well. It paved the way to 'a receptive outlook towards the artistic
values of the art form (Alejandro, 1983).

Although ballet in the Philippines started a little later compared to European and Western
countries, it does not fall far behind when it comes to producing world-class ballet performances.
Several ballet companies such as Ballet Philippines and Ballet Manila have prospered and are
recognized internationally. They also have trained and produced dancers of international caliber.

Ballet education became widespread in the country. From Luzon to Mindanao, various dance
studios and hundreds of ballet dance classes are being offered in major areas of the archipelago. A
number of ballet schools in the country can be found when searching the yellow pages and the
Internet.

Ballet performances come in different forms. Some tell a story, others develop a theme, and a
few are simply dancing for its own sake called abstract ballets (Castle, 1998). To tell a story, ballet
uses a mixture of technique, mime, and natural body language. Regardless of what a ballet
performance form would be, the preparation and the day-to-day training are all, if not the same,
similar in structure. Thus, the structure of a ballet class consists of a warm up, exercises for the barre,
center, and across the floor.

The first ballet company in the Philippines is the Cultural Center of the Philippines Dance
Company (now Ballet Philippines) and Dance Theater Philippines. Ballet Philippines Founded in
1969 by Alice Reyes with the support of Eddie Elejar and the Cultural Center of the Philippines,
Ballet Philippines (BP) is widely recognized today as a cornerstone of the Filipino cultural identity.
Its audience represents a cross- section of Manila's populace and includes visitors from around the
country and around the world. Every year, Outreach and educational programs introduce new
generations of audience members not only to dance, but to music and visual arts as well. BP's official
school, the CCP Dance School, continues to produce dancers of international caliber. As the dance
company in residence at the Cultural Center of the Philippines, Ballet Philippines is globally
recognized as the country’s flagship company in ballet and contemporary dance.

P a g e 21 | 37
 With a treasure trove of over 400 works, Ballet Philippines' wide-ranging, eclectic repertory
is unparalleled in Asia. From full-length classical ballets and internationally recognized masterworks
to indigenous works of Filipino folklore and social issues, the company weaves a colorful tapestry of
the Philippine's rich and diverse cultural heritage uniquely and distinctly Filipino.

The Company's achievements, coupled with the generous and prestigious support of
numerous local and national funding sources, have dramatically strengthened BP's position as a
world- class ballet company within the local, national, and international arts communities.

As the Philippines' premiere dance company, Ballet Philippines continues its vision of
nurturing the best Filipino dance artists, in yearlong program of professional and developmental
dance.

WHAT IS THE COMPOSITION OF A BALLET CLASS?

Dancing imposes great physical demands on the body. Therefore, a ballet class is designed
carefully to prepare the body for it, each ballet class should consist of the following segments:

1. WARM UP - limbering and stretching exercises that warm and gently stretch the muscles before
trying the difficult moves. A good warm up is the best start to a ballet class as ballet
puts your body in positions that it is not used to executing.

2. BARRE EXERCISES - the students hold on to a barre to help maintain balance and correct
placement of the body. Exercises include variations of bending and stretching, small
movements of the legs which gradually increase in range of motion and tempo as the
leg is lifted from the floor.

3. CENTER WORK EXERCISES - after the barre exercises, the students move to the center of the
room to do more stretching and relaxing exercises to loosen the back and the muscles in other parts of
the body which have worked hard in the previous exercises (Dufort, 1985), All exercises here will be
done without support, adding arm and head movements. They are at first executed slowly (adage) to
develop balance, strength, and body alignment. It is followed with turns (pirouettes), then with linking
steps and small jumps (petit allegro), and fast and lively (allegro) footwork and jumps.

4. CORNER DRILLS (GRAND ALLEGRO) - consist of sequence of steps combining big jumps,
leaps, and turns which cover large areas and put the demands on the body's strength, endurance, and
control. These exercises are done moving across the dance floor or rehearsal area.

Like any other activity, it is unsafe to abruptly stop after a series of moderate to high intensity
movements. It is therefore vital to include or integrate transitions (cool-down) as part of the ballet
class segments.

P a g e 22 | 37
WHAT ARE THE BASIC DANCE POSITIONS IN BALLET?

The ballet technique is based on the five positions of the feet. The feet in each position are
always parallel with each other with an outward rotation of the legs called turn out. This provides
freedom of movement in any direction and making the execution of the most difficult movements
look effortless and graceful (Reynolds, 1979). There are five ballet positions: first, second, third,
fourth, and fifth.

POSITION DESCRIPTION
First Position Hands in a circular position in front of the ribs.
Turn the legs out from the top down to the heels making sure the feet do
not roll inwards.
The heels are touching and the toes are turned out to the side.
Second Position Open arms to a rounded position with the hands lower than the shoulders.
Stand with the feet at shoulder-width apart. Distribute the body weight
evenly on both legs. The feet are still turned out.
Third position One arm stays in second position while the other moves to first position (in
front of ribs).
Place the heel of one foot in front of the middle (arch) of the other foot.
Fourth Position Lift the front arm into a round position over the head. Place or slide one
foot
in front of the other, with a space the length of one foot in between the
legs.
Fifth Position Move both arms in a circle above the head. Put the heel of the front foot
against the toe of the back foot.
Note that this is the hardest position of all because it demands good turn

P a g e 23 | 37
 out
with straight legs and correct posture.
WHAT ARE THE BASIC EXERCISE PERFORMED IN THE BARRE?
Dancers hold on to a handrail called the barre to support them while they practice. Barre
exercises are the preparation for everything else in ballet (Hackett, 2007). The following are some of
the basic exercises tor barre. The movements are done with arms holding the barre all the time.
BALLET DANCE STEPS DESCRIPTION
Plié (pli yey) To bend or fold the knees. The
fluid rise and fall gently warms
the leg muscles and hip
sockets. This is the basis of all
coordinated balletic movement
and is very important in
developing the flow of
movement across the dance
floor which is so characteristic
of classical ballet (Dufort,
1995).
There are two types of pliés:
the grand plié and the demi-
plié.
Relevé (re le vey) To lift or rise. This is rising up
the body onto the balls of one
or both feet, either as a smooth
continues movement or with a
little spring.
Développés Means “unfold.” This exercise
helps with the slow work
(dev low pey) (adage) and balance. It should
be slow and controlled and
may need a lot of practice.
The movement is similar to
unfolding and closing of the
arms and legs together. This is
also the preparation for attitude
and arabesque.
Battlement Tendu (bat ma than It means “stretched beating.”
dew)
PERFORMANCE TIPS
Grand-Plié: Bend deeper and
let the heels come off the
ground. Push the heels back to
the ground while coming up.
Straighten the knees and stand
tall. (
Demi-plié: start in turned out
feet position. Bend knees and
turn them out to the side and
keeping the heels in contact
with the ground. Straighten the
knees and stand tall.
Plié can be done in all five
positions.
All releves begin with a demié-
plié in order to push up from
the floor. Straighten the knees
and lift the heels at the same
keeping the toes on the floor.
Lift the foot from fifth position
to touch the ankle. Raise the
foot to the knee in retire
keeping the hip level and not
lifting with the leg.
From the starting position, the
working leg foot slide from the
full-foot position along the
floor to a pointed foot reverses
its path to full-foot position in
the ending position (Kassing,
P a g e 24 | 37

Battlement Dégagé (bat ma deh
ga zheh)
Grand Battlement (grawn baht
mahn)
In French, it means
“disengaged.”
It is a big kick. in French, it
means “large beating.” This is
designed to loosen the hips and
hamstrings by throwing the leg
as high as possible into the air.
2014).
From the beginning position,
the working leg is in full-foot
position and stretches along the
floor to a pointed off the floor.
On the return. The working
foot points on the floor and
continues sliding back into the
beginning position.
From the starting position,
brush the working leg off the
floor to a straight pointed
position in the air. On the
return, lower the working leg
to a point Tendu before sliding
back into the beginning
position.
Battlements are done to the
front, the side, and the back
and with both legs alternately
to develop an equal ability on
either side of the body.
P a g e 25 | 37
 ASSESSMENT
TASK SHEET NO. 5

Please answer the essay questions below. Send it in google classroom/messenger.

1. What are the contribution and importance of BALLET in the whole world?
Explain
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

2. Perform and create your own video at least 1 minute and 30 seconds of
BALLET DANCE or CONTEMPORARY DANCE (solo, partner or
group). Save it with your name, year and strand. Give me a copy of your dance
video.

CRITERIA: POINTS

P a g e 26 | 37
 Costume 20
Performance (Energy & expression) 30
Choreography ____50___
Total = 100 points

3. Narrate your experience

LESSON 6
MODERN DANCE

Modern dance, a term to describe contemporary dance, is a style of dancing where dancers are
free to express their feelings through movements without adhering to any rules in dance particularly

P a g e 27 | 37
that of ballet. It is actually a rebellion against the confining nature of classical ballet (Horwitz, in
Reynolds, 1979).

Unlike ballet, dancers of modern dance use their own interpretations instead of structured
steps. They thrust aside the classical ballet stance of an upright, erect body, and instead often opt for
deliberate falls to the floor (Bedinghaus, 2016). The movements are not always necessarily light,
beautiful, and effortless, but instead strong and sometimes ugly as the effort involved in producing it
is revealed (Horwitz in Reynolds, 1979). Modern dance uses more of the torso on a horizontal rather
than a vertical plane, and new varieties of tilting, twisting, and bending movements. The feet are not
always turned out and are either pointed or flexed.

Beauty and ethereal qualities of the human situation is what is mostly being emphasized in
ballet, while modern dance portrays the actual human situation as it is. Even the training structure also
differed with that of ballet. Modern dance makes use of the floor as part of the movements, whereas in
ballet, the floor was merely for standing or sitting purposes. It also includes several areas of dance
movement, namely, technique, improvisation, and choreography (Minton, 1984).

CHARACTERISTICS OF MODERN DANCE

1. Technique - Although some would see modern dance as just purely an "interpretative dance there
is a technical approach to training a modern dancer. This teaches the dancer to control the body and
making it the instrument. It also provides the skills of dance movement to make the body move
efficiently and with precision. There are several techniques from various modern. dance
choreographer but the main goal of each technique is "to develop an instrument, which is the human
body, that is capable of expressing any and all aspects of human behavior (Horwitz in Reynolds,
1979).

Famous techniques in modern dance:

 Graham Technique
 Humphrey-Weidman Technique
 Limón Technique
 Cunningham Technique
 Hawkins Technique
 Horton Technique

P a g e 28 | 37
  Nikolais/Louis Technique

2. Improvisation - This refers to the spontaneous movement performed by dancers in response to

suggestions by the choreographer. Various images, ideas, feelings, or other stimulating events may be
motivations for improvisations. Modern dance allows considerable freedom to the dancer.

3. Choreography - Modern dance allows choreographic freedom. The form in this dance mostly
represents the personal and emotional experiences of its creators. The intent and style of the dance
choreography are not limited to certain areas or subject matters, giving the choreographer’s freedom
to choose their own. (Minton, 1984)

WHERE DID MODERN DANCE COME FROM?

Modern dance developed independently in America and Germany. It was then known in
Germany as Ausdruckstanz, meaning expressive dance. At the beginning of the 20th century, a group
of pioneering dancers started creating a new movement that suited the tempo and pulse of the new
century. This movement is different from what has existed in ballet. The pioneering artists were
Isadora Duncan, Ruth St. Denis, and Ted Shawn. All of them had studied ballet but found it not
suitable to their temperament and movement style (Minton, 1984). They also found it confining and
rejected it {Anderson, 1986).

Isadora Duncan's style of dancing emanates from the center of the body where energy flow
outward, providing impulses for actions. She called it the solar plexis or emotional center. Her dances
"appeared natural and so free- flowing that it looked like it was being created on the spot" (Minton,
1984). Her aim was to recreate the classical ideals of the ancient Greeks through her dancing, putting
less emphasis on theatrical effects and focus in pure movement and the use of the body.

P a g e 29 | 37
DID YOU KNOW?
 The pioneers of modern dance movement Ruth St. Denis, Ted Shawn and the Denisshawn
Company performed at the Manila Grand Opera House in 1922.
 Among those who were able to witness the introduction of modern dance in the Philippines
were Filipino dancers Ferrer Advoso, Corazon Generoso Iñigo, and Rosalia Merino Santos.

Ruth St. Denis single-mindedly created a dance wherein she portrayed an Egyptian goddess.
Her dances also projected impressions of the ethnic dance forms. She married Ted Shawn and they
both formed Denishawn, a touring dance company that traveled throughout the United States. St.
Denis and Shawn did more than just bring modern dance to the American people compared to the
other pioneers of modern dance. They established schools and trained many young performers in
dance technique who then became important personalities in modern dance. Some of these prominent
students were Doris Humphrey, Charles Weidman, and Martha Graham.

Among the students, Martha Giraham was the first to leave Denishawin. She became a solo
dancer, eventually turned into a renowned choreographer, and formed her own Martha Graham Dance
Company. She developed her technique based on her expressional needs and her movement style is
"based on the principle of contraction and release in the torso and is an extension of the simple act of
breathing" (Reymolds, 1979). She has danced and choreographed for over 70 years and preferred the
term contemporary dance over modern dance.

There are a number of eminent names of personalities who have contributed significantly to
the growth of modern dance. Some of them are Mary Wigman, Charles Weidman, Erick Hawkins,
Merce Cunningham, Agnes de Mille, Jose Limon, and Lester Horton to name a few. They each
created their own performing dance groups that still exist up to this day.

P a g e 30 | 37
 Born in the early 20th century, modern dance is a dance style that focuses on a dancer's own
interpretations instead of structured steps, as in traditional ballet dancing. Modern dancers reject the
limitations of classical ballet and favor movements derived from the expression of their inner feelings.

Modern dance is a dance form that developed in the early twentieth century, partly as a
rebellion against the traditional, more highly technical forms of dance such as ballet, as well as a way
to express contemporary social concerns.

What is the characteristics of modern dance?

Modern dance is typically performed in bare feet and non-traditional costuming. Another
characteristic of modern dance in opposition to ballet is the deliberate use of gravity. Whereas
classical ballet dancers strive to be light and airy on their feet, modern dancers often use their body
weight to enhance movement.

What's the difference between contemporary and modern dance?

Modern Dance is a specific style of dance that is free form and stems from the core, or torso,
of the body and uses elements like contact-release, floor work, fall and recovery, and improvisation.
Contemporary Dance is a collaborative style that includes modern, jazz, ballet, and hip hop elements.

Who is mother of modern dance?

Today, we explore the life of dancer and choreographer Martha Graham. She created almost
two hundred dance pieces. She is often called the Mother of Modern Dance.

EARLY MODERN DANCE IN AMERICA

In 1915, Ruth St. Denis founded the Denishawn school and dance company with her husband
Ted Shawn. St. Denis was responsible for most of the creative work, and Shawn was responsible for
teaching technique and composition. Martha Graham, Doris Humphrey, and Charles Weidman were
all pupils at the school and members of the dance company. Seeking a wider and more accepting
audience for their work, Duncan, Fuller, and Ruth St. Denis all toured Europe Fuller's work also
received little support outside Europe. St. Denis returned to the United States to continue her work.

Martha Graham is often regarded as the founding mother of modern 20th-century

concert dance. Graham viewed ballet as too one-sided: European, imperialistic, and un-
American. She became a student at the Denishawn school in 1916 and then moved to New
York City in 1923, where she performed in musical comedies, music halls, and worked on
her own choreography. Graham developed her own dance technique, Graham technique, that

P a g e 31 | 37
hinged on concepts of contraction and release. In Graham's teachings, she wanted her
students to "Feel". To "Feel", means having a heightened sense of awareness of being
grounded to the floor while, at the same time, feeling the energy throughout your entire body,
extending it to the audience. Her principal contributions to dance are the focus of the ‘center’
of the body (as contrast to ballet's emphasis on limbs), coordination
between breathing and movement, and a dancer's relationship with the floor.

 1923: Graham leaves Denishawn to work as a solo artist in the Greenwich

Village Follies.
 1928: Humphrey and Weidman leave Denishawn to set up their own school and company
(Humphrey-Weidman).
 1933: Shawn founds his all male dance group Ted Shawn and His Men Dancers based at
his Jacob's Pillow farm in Becket, Massachusetts.

After shedding the techniques and compositional methods of their teachers the early modern
dancers developed their own methods and ideologies and dance techniques that became the
foundation for modern dance practice:

 Martha Graham and Louis Horst

 Doris Humphrey and Charles Weidman
 Helen Tamiris—originally trained in free movement (Irene Lewisohn) and ballet (Michel
Fokine) Tamiris studied briefly with Isadora Duncan but disliked her emphasis on
personal expression and lyrical movement. Tamiris believed that each dance must create
its own expressive means and as such did not develop an individual style or technique. As
a choreographer Tamiris made works based on American themes working in both concert
dance and musical theatre.
 Lester Horton—choosing to work in California (3,000 miles away from New York, the
center of modern dance), Horton developed his own approach that incorporated diverse
elements including Native American dances and modern jazz. Horton's dance technique
(Lester Horton Technique) emphasizes a whole-body approach including flexibility,
strength, coordination, and body awareness to allow freedom of expression.

AFRICAN AMERICAN MODERN DANCE

P a g e 32 | 37
 The development of modern dance embraced the contributions of African American
dance artists regardless of whether they made pure modern dance works or blended modern dance
with African and Caribbean influences.

 Katherine Dunham—An African American dancer, and anthropologist. Originally a ballet

dancer, she founded her first company Ballet Negre in 1936 and later the Katherine Dunham
Dance Company based in Chicago, Illinois. In 1945, Dunham opened a school in New York
where she taught Katherine Dunham Technique, a blend of African and Caribbean movement
(flexible torso and spine, articulated pelvis, isolation of the limbs, and polyrhythmic
movement) integrated with techniques of ballet and modern dance.
 Pearl Primus—A dancer, choreographer, and anthropologist, Primus drew on African and
Caribbean dances to create strong dramatic works characterized by large leaps in the air.
Primus often based her dances on the work of black writers and on racial and African-
American issues. Primus created works based on Langston Hughes The Negro Speaks of
Rivers (1944), and Lewis Allan's Strange Fruit (1945). Her dance company developed into
the Pearl Primus Dance Language Institutewhich teaches her method of blending African-
American, Caribbean, and African influences with modern dance and ballet techniques.
 Alvin Ailey—A student of Lester Horton, Bella Lewitzky, and later Martha Graham, Ailey
spent several years working in both concert and theater dance. In 1958, Ailey and a group of
young African-American dancers performed as the Alvin Ailey American Dance
Theater in New York. Ailey drew upon his "blood memories" of Texas, the

P a g e 33 | 37
 blues, spiritualsand gospel as inspiration. His most popular and critically acclaimed work
is Revelations (1960).

POSTMODERN DANCE

Postmodern dance developed in the 1960s in United States when society questioned truths
and ideologies in politics and art. This period was marked by social and cultural experimentation in
the arts. Choreographers no longer created specific 'schools' or 'styles'. The influences from different
periods of dance became vaguer and fragmented. It is very common for postmodern dance to be
performed to little or no music at all.

CONTEMPORARY DANCE

Contemporary dance emerged in the 1950s as the dance form that is combining the modern
dance elements and the classical ballet elements. It can use elements from non-Western dance
cultures, such as African dancing with bent knees as a characteristic trait, and Butoh, Japanese
contemporary dancing that developed in the 1950s. It is also derived from modern European themes
like poetic and everyday elements, broken lines, nonlinear movements, and repetition. Many
contemporary dancers are trained daily in classical ballet to keep up with the technicality of the
choreography given. These dancers tend to follow ideas of efficient bodily movement, taking up

P a g e 34 | 37
space, and attention to detail. Contemporary dance today includes both concert and commercial dance
because of the lines being blurred by pop culture and television shows. According to Treva
Bedinghaus, "Modern dancers use dancing to express their innermost emotions, often to get closer to
their inner-selves. Before attempting to choreograph a routine, the modern dancer decides which
emotions to try to convey to the audience. Many modern dancers choose a subject near and dear to
their hearts, such as a lost love or a personal failure. The dancer will choose music that relates to the
story they wish to tell, or choose to use no music at all, and then choose a costume to reflect their
chosen emotions.

P a g e 35 | 37
 ASSESSMENT
TASK SHEET NO. 6

Please answer the essay questions below. Send it in google classroom/messenger.

1. What are the contribution and importance of MODERN DANCE in the

whole world? Explain
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

2. Perform and create your own video at least 1 minute and 30 seconds of
MODERN DANCE (solo, partner or group). Save it with your name, year
and strand. Give me a copy of your dance video.

CRITERIA: POINTS
Costume 20
Performance (Energy & expression) 30
Choreography ____50___
Total = 100 points

3. Narrate your experience

P a g e 36 | 37
REFERENCE

Books and Journals

Alejandro, R. & Santos-Gana, A. (2002). Sayaw: Philippine Dances. Manila: National Bookstore.

Anderson, J. (1986). Ballet and Modern Dance: A Concise History. New Jersey: Princeton Book
Company.

Angoi, M, Metsios, G, Koutedakis, Y, & Wyon, MA. (2009). "Fitness in Contemporary Dance: A

systematic Review. international Journal of Sports Medicine. Vol 30, p, 475-484.

Aquino, F. R. (1965). Fundamental Dance Steps and Music. Manila.

Blom, LA, & Chaplin, LT. (1988). The Moment of Movement: Dance Improvisation. Pittsburgh, Pa.:

University of Pittsburgh Press.

Branch, J Pate R., & Bourque, S. (2000). "Moderate Intensity Exercise Training Improves

Cardiorespiratory Fitness in Women Journal of Women's Health and Gender-Based Medicine.

Mary Ann Liebert, Inc. Vol 9, No. 1.

Brown, S, Martinez, M, Parsons, L. (2006). "The Neural Basis of Human Dance" Cerebral Cortex.
Vol 16, P1157-1167

Brittain, C. (2004). Let’s Dive: Sub-Aqua Association Cub Diver Manual (2nd ed). Wigan, UK: Dive
Print.

Buckland, T. J. (2006). Dancing from Past to Present: Notion, Culture, identities, Wisconsin:
University of Wisconsin Press.

Bunting, Camille. (2006). Interdisciplinary Teaching through Outdoor Recreation, Champaign, Ilinois

Human Kinetics, Inc.

Burian, K.V. (1963). The Story of World Ballet. London: Alan Wingate LTD Westbook House

Burtscher, M., Gatterer, H., & Kleinsasser, A. (2015). "Cardiorespiratory Fitness of High Altitude

Mountaineers: The Underestimated Prerequisite. High Altitude Medicine & Biology. 16(2).

Carrier, J. & Mckay, D. (2006). Complete Cheerleading. USA: Human Kinetics.

Castle, K. (1998). My Ballet Book in Association with English National Ballet School. London:
Dorling

Kindersley Limited.

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