CORE 153 – PHYSICAL EDUCATION & HEALTH

LESSON 1: DANCE FROM THE PAST

DANCE - comes from the German word Damson which means “to stretch” or “to drag”.
- Developed as a natural expression of united feeling and action.
- Dance is considered the mirror of society because it responds to historical and religious events as well as social and political statements.

Chapter 1: HISTORY and DEVELOPMENT of DANCE from the DIFFERENT PERIODS

● DANCE DURING THE PREHISTORIC PERIOD

○ It had been a major form of religious ritual and social expression within primitive culture
○ It was used as a way of expression and reinforcing tribal unity and strength
● DANCE DURING THE ANCIENT CIVILIZATION, ANCIENT EGYPT
○ 3,300 BCE (First Dance)
○ It is believed that the first people to dance were the Egyptians
○ Archaeologists discovered paintings of dancing figures in rock shelters and caves
● ANCIENT CRETE
○ The Cretan civilization (3000-1400) was a culture link in the ancient world between Egyptians and
Greeks
● ANCIENT GREECE
○ Dance was not just for religious and military training but also a form of entertainment and display
● ANCIENT ROME
○ Gives less importance to dancing which eventually becomes an integral part of the corruption in the
latter days of the Roman Empire, resulting in the condemnation of early Christians.
● DANCE DURING THE 19TH CENTURY (1801-1900)
○ Merengue Dancing - it is a Caribbean dance style that involves partner holding each other in a
tango-like position and moving their hips side by side
● 20TH CENTURY DANCE
○ Described as a period of “dance fever” wherein the young and old alike were not limited to express
emotion through dance

LESSON 2: INTRODUCTION TO DANCE

DANCE - in its purest, most basic form, dance is art, the art of body movement
- It constitutes the individuality and identity of a person

Chapter 1: NATURE and HISTORY of DANCE

NATURE OF DANCE – different from athletics and other daily activities because it focuses primarily on an aesthetic
or even entertaining experience.

Why do people dance?

I. To please the gods
II. To please others
III. To please themselves or self expression
IV. To build community

HISTORY OF DANCE – It is said that the first use of dance was as a gesture in order to communicate.
I. As a means of religious expression – Ancient Egyptians dancing for their Gods
II. As an aid to military education – Ancient Greeks believed that a man’s grace in dance is equal to his prowess
in battle therefore it was added as a part of their education
III. Way of expressing tribal unity – Tribes of the Philippines
IV. As an approach for courtship – Philippines Folk Dances of courtship

BENEFITS OF DANCE – “Dance is fun! It lifts the spirit, strengthens the body, and stimulates the mind.” – Wayne Sleep

By: K.G. Tundag

 1. Physical :
a. Develops muscular and cardiovascular endurance
b. Improves flexibility, coordination, balance, and body composition
c. Enables joint mobility
d. Helps prevent osteoporosis
e. Lowers risk of cardiovascular diseases
2. Mental/Emotional :
a. Helps keep the brain sharp
b. Decreases risk of dementia and Alxheimer’s disease
c. Decreases depressive symptoms
d. Increases self-esteem and improves body image
e. Aids in releasing emotional tension
3. Social :
a. Gives sense of togetherness within a group
b. Encourages positive social interaction and interpersonal relationship in a group
c. Contributes to the individual’s potential for self-actualization in society
4. Cultural :
a. Promotes cultural values

Chapter 2: ELEMENTS of DANCE

ELEMENTS OF DANCE

I. SPACE
- the area that the dance performers occupy and where they move
- Can be divided into four different aspects, also known as spatial elements
1. Direction – the performers can go forwards, backward, diagonal,
circular, and so on
2. Size – movements can be varied by doing smaller or larger actions
3. Level – movements can be done in high, medium, and low level
4. Focus – performers may change their focus by looking at different
directions
II. TIME/TIMING
- the movements in timing can be executed in varying tempo (speed). Performers
move with tempo of an underlying sound known as beat or pulse.
III. ENERGY
- movements are propelled by energy or force. This force can either initiate or stop
an action.
- Dance uses different energies. Varied use of these minimizes the monotony of the
movements in the performance.
- SIX QUALITIES OF DANCE ENERGIES:
1. Sustained – movements are done smoothly, continuously, and with flow
and control. It does not have a clear beginning and ending.
2. Percussive – movements are explosive or sharp in contrast with
sustained movements. They are accented with a thrust of energy. They
have a clear beginning and ending.
3. Vibratory – movements consisting of trembling or shaking. A faster
version of percussive movements that produces a jittery effect.
4. Swinging – movements trace a curved line or an arc in space. The
movements are relaxed and giving in to gravity on the downward part
of motion, followed by an upward application of energy.
5. Suspended – movements are perched in space or hanging on air.
Holding a raised leg in any direction is an example.
6. Collapsing – movements are released in tension or abruptly giving in to
gravity, letting the body descend to the floor. A slow collapse can be
described as a melting or oozing action in a downward direction.
IV. BODILY SHAPES

By: K.G. Tundag

 - Refers to how the entire body is molded in space or the configuration of body
parts. The body can be rounded, angular, or the combination of the two. Other
body shapes can be from wide to narrow and from high to low. They can be
symmetrical and asymmetrical.
● Symmetrical bodily shapes – Balanced shape; movements are
practically identical or similar on both sides
● Asymmetrical bodily shapes – Unbalanced shape; movements of two
sides of the body do not match or are completely different from each
other
V. GROUP SHAPES
- A group of dancers perform movements in different group shapes/ they are
arranged in ways that are wide, narrow, rounded, angular, symmetrical, or
asymmetrical, and are viewed together as a total picture or arrangement.

Chapter 3: DANCE APPRECIATION and COMPOSITION

What makes a good dance?
➢ Displays a significant meaning or conveys a message
➢ Lifts and transports the audience from their seats
➢ Has a beginning, middle, and end/ conclusion
➢ Must have a shape or form for an effective choreography

Recreational Dance – is a social activity in which people of all ages can participate.
Recreational dance comes from all over the world and includes folk, cultural, and historical dances, social dances from the past and present.

Dance Fitness – is a fun way to increase cardiovascular endurance, strength, and flexibility.

TERMS TO UNDERSTAND
I. FORM – instrument by which ideas and elements are arranged or combined into a logical sequence which results in unity and consistency.
It is theorganizing factor of any dance composition.
II. PHRASE – smallest unit of form in the whole dance. It can be related to a sentence in writing compositions.
III. MOTIF – a single movement or a short phrase of movement that embodies the style and intention of the dance is called a motif. A good
dance contains this in order to be able to convey its meaning or intention to the audience.
● Itik-itik dance – portrays the movements of an itik (duckling).

Like any superb tasting dish, a dance will only be considered good if it has the right ingredients. Whether it has a meaning or may be presented
abstractly, it must contain certain qualities that make the choreography effective.

CHARACTERISTICS OF A GOOD DANCE

I. UNITY – The interconnected phrases of the dance are coherent and flow smoothly together. The
movements fit together and each plays an important role that contributes to the entirety of a dance.
II. CONTINUITY and DEVELOPMENT – The structure of the dance are organized progressively, making
each movement phrase move naturally into the next. There is a continuous development of the
movement phrase and the audience is swept along to the end.
III. VARIETY and CONTRAST – add excitement and flavor to the dance. Changing the direction, use of
energy, timing of a movement phrase, and avoiding repeating them in the exact way are ways to add
variety to the dance.
IV. TRANSITION – the link between movements, phrases, and sections of the dance. It makes the logical
progression of the dance flow smoothly.
V. REPETITION – some phrases need to be repeated in choreography so that the audience can see those
movements again and identify its significance. Usually, when a certain phrase or a section of
choreography is repeated, it is the main message of the dance.
VI. CLIMAX – the apex of energy in the dance is reached. It is similar to the climax in a story. The climax
may be a fast and enraged blast of energy action, or it could fade away to a gentle and quiet exit that

By: K.G. Tundag

 marks the end of a particular story.

CHOREOGRAPHIC FORMS IN DANCE

○ Sequential - These forms contain themes/motifs which progress in a specific order. They are arranged
accordingly.
■ AB (two-part) form - the simplest of the sequential forms and is similar to a verse and a
chorus of a song. It is a binary form with two contrasting sections consisting of a beginning
section (A) followed by a second section (B).
■ ABA (three-part) form - composed of introductory theme (A), a contrasting theme (B), and
a restatement of the original theme (A). (A) is the unifying theme and the center of the
interest, then (B) gives contrast. The original (A) returns either as an exact repetition or in
an easily recognizable variation or development.
■ Rondo Form (ABACA) - in this form, the unifying theme (A) returns after each contrasting
theme. (A) appears after every contrasting section at least three times, but it can itself be
varied. It can be described as ABACADAEAFA development of movement ideas. Here,
sections (B), (C), (D), (E), (F) are the contrasting themes while (A) is constantly repeated
every after each section.
■ Themes and variations form - the motif is a series of movements to which variations are
added throughout the development of the entire choreography. The motif/theme can be a
single phrase or several movement phrases placed together in a sequence. The order of the
movements is kept the same all throughout the variations. It can take the form of subtle
adjustments in dynamics, space, style, mood, and tempo.
○ Contrapuntal
■ Ground bass - single theme starts the dance and is repeated all the way through the dance
while other contrasting themes are simultaneously performed with it.
■ Round or Canon - consists of two or more movement phrases or themes in which the main
movement phrases are imitated exactly and completely by the successive movements, but
done in a staggered manner.
■ Fugue or Accumulation - a choreographic form that is constructed by adding on different
movement or dance phrases in every repetition of the main movement theme. The
movement phrases or the motif can be developed by reversing, inverting, augmenting, or
diminishing throughout the dance.
■ Suite - every section of the dance (beginning, middle, and end) uses different tempos and
qualities.
○ Episodic - are not musical forms; instead, they are found in literature. They tell a story through
connected and progressive sections called episodes. Narrative form is an episodic form that tells a
story or conveys an idea and the sequence of the story determines the structure of the dance.
■ Natural Structures - mostly come from natural structures such as the seasons, life cycles,
and everyday life experiences.
■ Collage - consists of “a series of movement phrases that are often unrelated but have been
brought together to create a single dance with a beginning, a middle, and an end”.
■ Tableau - different movement phrases are performed by different dancers simultaneously
in the same space. The dancers may execute a tableau at a different location on the stage
and concert transitional movements for each scene to produce a progression of moving
snapshots.
■ Chance - the movement phrases are performed in random order and spatial placing. Every
time the dance is performed, it is done in different order and therefore has a different
appearance. Originally, the dance phrases were arranged by tossing coins to decide on
choices and the order of performance, hence, coming from the word by chance.
○ Other compositional forms

EVALUATING A GOOD DANCE

How is the quality of a dance evaluated?

The success of any dance performance may depend on who the evaluators are. Appreciation on the importance
of dance comes from the points of view of the choreographer, the dancer, or the audience.

By: K.G. Tundag

 EVALUATOR’S ROLES:
➢ Choreographer - They will evaluate a part of an ongoing process of developing a personal
style which is both spontaneous and organized.
➢ Dancers - They will evaluate according to the specific demands that the performance places
on them.
➢ Motif - They will evaluate according to the particular context of the dance.

MAKING A DANCE CRITIQUE

STAGES in ASSESSING in a DANCE:

➔ Description - the evaluator / critic notes down the composition of the dance in terms of the
elements and the characteristics of dance.
- Examples of which are noting down the variation, unity, space, time,
and so on.
➔ Interpretation - an appreciation of the ideas, content, images, and style contained within
the dance.
➔ Evaluation - takes into consideration how effectively the features and context of the dance
have been utilized in the actual performance of the dancers to portray the content and
quality of the dance.

GUIDE QUESTIONS in EVALUATING a DANCE PERFORMANCE

1. What was the title of the dance

2. Who was the choreographer?
3. When was it performed? (Date)
4. What was the genre/style of the dance?
5. What was the accompaniment?
6. Who were the dancers/company?
7. Were there specific demands placed on dancers in the performance? If yes, what were these?
8. What are the movements and forms of the dance?
9. What does the set look like?
10. What were the costumes I proposed during the performance?
11. How was the lightning of the show?
12. Who was the designer of the show?
13. What were the context and/or significance of the dance?
14. How will you evaluate the overall dance performance?

LESSON 3: WORLD of DANCE

DANCE - is an art of rhythmic bodily movements that projects an 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.

BASIC DANCE STEPS IN 2/4 TIME SIGNATURE

DANCE STEP STEP PATTERN

A. Ct. 1 2 = M

1. Touch Step point, close

2. Bleking Step heel, place, close

3. Close Step step , close

By: K.G. Tundag

 4. Hop Step step, hop

5. Slide Step slide, close

6. Cross Step step, cross OR cross, step

B. Ct. 1 & 2= 1M

1. Change step step, close, step

2. Cross and change step cross-step, close, step

3. Contraganza leap, cross-step, step

C. Ct. 1 2 & = 1 m

1. Habanera step step, close, step

D. Ct. & 1 & 2 = 1M

1. Plain polka raise-step, close, step

2. Hop polka hop-step, close, step

E. Ct. 1 2 1 & 2 = 2M

1. Heel and toe change heel-place , toe-point, raise-step, close, step

F. Ct. 1 &2 (do as many times as

desired)

1. Mincing step with heels raise, take as many steps as desired

2. Shuffling step with both feet flat on the floor, take tiny slide steps

3. Chasing steps with one foot leading, take successive close steps to any direction

BASIC DANCE STEPS IN 3/4 TIME SIGNATURE

DANCE STEP STEP PATTERN

A. Ct. 1-2 3 = 1M

1. Touch step Point, close

2. Bleking step Heel, place, close

3. Close step Step, close

4. Hop step Step, hop

5. Slide step Slide, close

6. Cross step Step, cross OR cross, step

7. Step-swing Step, swing

8. Step-swing hop Step-swing, hop

By: K.G. Tundag

 9. Step-brush-swing-hop Step, brush-swing, hop

B. Ct. 1 2 3= 1M

1. Native waltz Step, close, step

2. Cross waltz Cross-step, close, close

3. Mazurka Step, close-heels raise, heels-down

4. Redoba Slide, cut, hop

C. Ct. 1-2 3 1 2-3

1. Sway balance with a point Step, cross-step, step, point

2. Sway balance with a raise Step, cross-step, step, raise

3. Sway balance with a brush Step, cross-step, step, brush

4. Sway balance with a hop Step, cross-step, step, brush

5. Sway balance with a close Step, cross-step, step, slose

6. Engano step with a close Step, cross-step, step, close

BASIC DANCE STEPS IN 4/4 TIME SIGNATURE

DANCE STEP STEP PATTERN

A. Ct. 1 2 3 4 = 1M

1. Schottische Step, close, step, hop (raise foot in front)

2. Escotis Step, close, step, hop (raise foot in rear)

B. Ct. 1 2 3 4 1 2 3 4

1. Chotis Brush, raise, brush, raise, step, step, step. Close or pause

Chapter 1: PHILIPPINE FOLK DANCE

What is 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.
- According to Dunggan, Schlottmann, and Rutledge (1948), “folk dance became the overt expression of emotions and ideas
which were peculiarly significant or the re-enactment of 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:
○ It is traditional
○ It has an expressive behavior.
○ Simple, basic rhythm dominates the folk dance and establishes the pattern of movement.
○ It is created by an unknown choreographer or by communal efforts.

By: K.G. Tundag

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

- 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 Cariñosa, Curacha, and Pandango are examples of national folk dances as
Pandango, for example, has several variations coming from both Luzon and Visayas islands:
■ Pandango Ilocano
■ Pandango Visayan
■ Pandango dumagueteño
■ Pandango Ivatan
■ Pandango Rinconada
■ Pandango sa Ilaw
➢ 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 performing
skills” (Kraus 1962) that are symbolic in meaning, making it harder for those outside the group to understand.
They can be performed in three different categories, namely, (1) ritual, (2) life-cycle, and (3) occupational.
○ Ritual dances – dances that depict ritual ceremonies. Examples are Dugso (Bukidnon) and
Pagdidiwata (Palawan)
○ 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).
○ Occupational dances – dances that exhibit work and occupation of the dancers. Examples are
Mag-asik (Cotabato) and Mananagat(Cebu) dances.

- What are the different types of 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:
1. Tribal dances from the Cordilleras – include non-Christian dances from the Cordilleras.
2. Lowland Christian dances – dances coming from places with Western influences such as that of the
Tagalogs, Ilocanos, Pampangueños, Pangasinense, Bisayans, and Bicolanas. 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
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.
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 or 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 Sambalilo dance from the Tagalog
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
movement of a duck.

By: K.G. Tundag

 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 ward
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 Botoleña (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).

Chapter 2: MODERN DANCE

What is modern dance?

- is 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 that of ballet.
- use their own interpretations instead of structured steps

CHARACTERISTICS of MODERN DANCE

1. Technique
- There are several techniques from various modern dance choreographers 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:

1. Graham Technique
2. Humphrey - Weidman Technique
3. Limon Technique
4. Cunningham Technique
5. Hawkins Technique
6. Horton Technique
7. 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 choreographers 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
- There are a number of eminent names of personalities who have contributed significantly to the growth of modern
dance:
➔ Mary Wigman, Charles Weidman, Erick Hawkins, Merce Cunningham, Agnes de Mille, Jose Limon, and Lester
Horton to name a few.

What are the basic modern dance skills?

- Modern dance movements are based on basic locomotor and non-locomotor skills (Hays,1981).
- The following are the basic modern skills:

By: K.G. Tundag

 1. Dance walk - an even rhythm pattern in which an alternative transfer of weight occurs from one foot to the
other. Walks help maintain body weight ready for immediate action. There are different directions to which
dance walks are done:

a. Forward
b. Backward
c. Sideward (grapevine action)

2. Run - an even rhythm pattern in which there is an alternative transference of weight from one foot to the other.
It is faster than a walk and requires more energy.
- A smooth run should be done with toes reaching forward so that the ball of the foot strikes the floor
first, followed by the heel, to absorb shock.

3. Triplet (plie, releve, releve) - basic modern dance experience performed in an even ¾ meter with each step
requiring a complete change of weight.
- Its pattern consists of one step with a slight flexion of ankle, knee and hip (plie), followed by two
steps on half-toe (releve). It is done with alternate feet (R L L/ R R).
- Step-by-step description:

a. Step out in demi-plie on Right ® leg turned out, Left (L) leg extended and the knee
straightened.
b. Step through in releve on L foot.
c. Remain on releve position and step through on to R foot.
d. Perform in a series across the floor or in a defined space pattern with a slight accent on the
first of each of the three steps.

4. Waltz – even rhythm with counts 1 2 3/ 1 2 3/

a. Begin as in the walk, turned out fifth position.

b. Reach forward strongly onto R demi-plie carrying the upper body evenly with the pelvis
over the R leg. (ct.1).
c. Cut under body in releve on L through fifth position (ct.2).
d. Shift weight back to R demi-plie in place (ct.3).
e. Repeat side Right and side Left for the traditional balance movement.

5. Gallop – this is two steps performed in uneven rhythm 1 & 2/ 1 &2/, long-short, long-short.
- One foot always maintains the lead.

a. Step forward in slight demi-plie and push-off into the air, extending ankles and legs.
b. Recover on opposite foot in demi-plie.
c. Increase force on take off for added height and vary directions and position of the legs
while in the air.

6. Chasse/Slide – uneven rhythm with counts 1 &/ 2 &/ with one foot maintaining the lead.
- It is smoother in quality than the gallop, the slide retains other of its features.
- Emphasis is placed on the gliding action of the leading foot, following foot cut under, body weight is
lifted sharply as this takes place in either through third or fourth position.
7. Jumps
I. Basic (Saute)- uneven rhythm /&1/2&/
a. Starting with first position turned out in a demi-plie preparation, jump straight into the air
(ct.&).
b. Land in demi-plie (ct.1).
c. Repeat several times.
d. May also be done in second, third, fourth and fifth positions with both turn out and parallel
rotations.
II. Echappe- /&1/&2/
a. Jump from first position in demi-plie springing with legs on a slight diagonal outward from
hip joints (ct.&).
b. Land with feet in second position (ct.1).
c. Spring into the air, legs extended (ct &)
d. and finish with feet in first position demi-plie (ct 2).
e. May be done in all five positions.

By: K.G. Tundag

 III. Sissone- /&1
a. Spring to Right side from fifth position demi-plie with right foot forward.
b. Allow the left leg to extend to knee height through second position and tilt shoulders and
head slightly right (ct &).
c. Finish in demi-plie fifth position with left foot in front, torso erect (ct 1).
d. Can be done forward and backward and alternate sides.

8. Leap – in the gap between take-off and landing, the body suspended in the air with both feet off the floor for a
short flight of freedom.
I. Jete- a ballet term
II. Prance – like the run…
a. The weight is taken on L leg in demi-plie
b. The R knee is lifted sharply and the R foot strongly extended
c. Both knees should extend ankles together at the highest point of elevation
d. The body elevates slightly between each step.
Note: Emphasize the lightness of the pelvis and strong articulation of the foot on both
take-off and landing.

9. Falling - falling action can be aesthetically breathtaking when performed quickly and with control. It can be
done in any direction.
I. Simple side fall
1. Stand erect, feet diagonally turned out and arms hanging naturally.
2. Bring rib cage and right side of head to right until body losses balance stumbling to R side.

a. Side falls – from a side sitting positions arms, and legs pointed in the same direction., bend
body to L, dropping L arms across body and placing hard on floor. Slide L hand sideward as
legs extend in opposite directions. Weight of the body is taken first on the L hip and then as
the body extends, on the L side. At the end of the fall, the L arm is extended, head resting on
shoulder, and R arm is parallel with extended legs.
b. Side split fall - stand in first position, shift weight slightly onto L letting R slide to the side.
Simultaneously slide forward reaching for the floor with hands without collapsing. Control
descent by maintaining pelvic and abdominal lift and well-arched spine. As hands touch the
floor, elbows bend to catch the weight of the torso. The body should resist the floor to
maintain smooth quality and control.

II. Simple forward fall

1. From standing erect, feet parallel and arms hanging naturally.
2. Step forward R and bring face and chest forward.
3. As weight progresses forward, allow the L leg to rise in a small arabesque.
4. Continue until the body falls forward off balance almost stumbling.

III. Over curves (Glissade)

1. Stand erect, arms curved downward and feet turned out.
2. Inhale and reach out to R side sensing a lift at the moment of weight transfer through
second position (ct 1).
3. Shift weight to working leg and close other foot in front to a relaxed fifth position allowing
knees to bend. Exhale (ct 2).
4. Repeat sideward action in the same position closing foot in back on count 2 to produce a
grapevine effect.

IV. Tombe – this indicates any time the body falls forward, backward or sideward off the supporting leg
onto the working leg in a demi-plie
Example:
1. stand in parallel first position
2. brush R forward and let bodyweight follow leg until a shift or weight onto the R in demi-plie
occurs.

V. Front Falls

A. Simple
1. From a high kneeling position, contract the body forward and downward, placing hands on
the floor below shoulders.
2. Slide hands forward, extending hips and arching upper spine until body is fully extended in

By: K.G. Tundag

 prone position.

B. Swedish fall
1. From first position, step forward on one foot, lifting the other leg towards the back.
2. Arch upper spine and swing arms forward with palms toward the floor.
3. Fall forward to catch weight on hands, back leg still extended in the air.
4. Lower body to floor by bending the elbows then sliding hands forward as legs straighten.

C. Front sliding fall

1. Begin in a slow run as a preparation.
2. Lunge forward on R allowing torso and arms to reach out towards the floor.
3. Upon contact with the floor, pull backwards with hands while maintaining a strongly arched
back, extended legs and feet, and pulled up abdominals.

10. Rolls

I. Log rolls
1. From a supine lying position, with arms extended overhead and feet and ankles extended,
revolve the entire body to end up in a prone lying position.
2. Repeat as many times as desired.

II. Forward roll

1. Starting with a kneeling position, sitting on heels, body curled forward, head turned to one
side and elbows in at center of body.
2. Make a complete body roll in the direction opposite to the turned position of head, to end
in starting position.

III. Backward roll

1. Begin supine lying, arms at the sides of the body.
2. Contract abdomen and hinge legs up and backward.
3. Aim knees slightly to the R shoulder and turn head to left.
4. End on knees or on feet in a squat.

11. Turns – this involves establishing an axis within the body, through the body’s point of contact with the floor.
- Spotting is an attempt to trick the eye and inner ear balance receptors into thinking one has not
turned all.
- This is done by selecting a spot at eye level upon which to focus. Hold that spot for as long
as possible without allowing the head to tilt, usually ¼ of the turn. The head then flips
around to focus on the spot again before the body has completed its turning action. In
turning, the head is last to leave and first to arrive.

I. Three step turn

1. Begin with weight on the left foot, right leg extended to the side.
2. Step on right doing ½ right turn.
3. Step left continuing right turn to end facing forward, recovery step to right side.
4. Focus in the direction of the turn.

II. Cross over turn (Soutenu/turn)

1. Weight on Left, Right arm extended to second position.
2. Step right foot, crossing left over.
3. This can be done with or without a slight springing action to the step, weight on both feet,
pivot
4. Right to the face forward.

III. Chaine
1. Keeping the feet close together ½ toe, step on Right doing ½ turn.
2. Step left foot completing the turn.
3. Perform a series in a straight line.
4. It is important to spot on chaines because of the speed and desired accuracy.

IV. Grapevine
1. exaggerate the twists so that both hips and shoulders turn from side-to-side on each step.
2. Step Right, cross over left and twist to face right.

By: K.G. Tundag

 3. Step side right, cross back left to face to face left.

V. Coupe Turn
1. The same footwork as chaine, only on each step with the working leg is placed slightly
above the front of the supporting ankle.
2. Also, springing instead of stepping onto the supporting leg. Each step makes ½ turn,
therefore two coupes result in a whole turn.
3. Make sure to spot in the line of direction of the turn.
4. Do it in series
.
VI. Pas de Bourre Turn
1. Begin with weight on the right foot, left foot behind.
2. Stepping underneath the body, step on left making 1/3 turn to left.
3. Step right continuing turn to left.
4. Finish turn in a coupe on the left foot.

VII. Pique turn

1. Start with weight on Right, left foot extended forward.
2. Reach to the left diagonal with fully extended leg and foot.
3. Shift weight over to left leg and turn left face forward shifting weight back to original
position.
4. Working leg is held with knee flexed and ankle resting against back of Left calf, thigh turned
out.
5. Turn progresses in a straight line.

VIII. Pirouette
1. The preparation always begins with the supporting leg turned out in demi-plie.
2. Beginners and intermediate students would begin the turn with the working foot also on
the floor.
3. Start in a small forward lunge, weight on the forward leg.
4. Whip the back leg around to the pirouette position and turn in the same direction as the
supporting leg.

By: K.G. Tundag