Module in BEPE 111

International Dances and Other Dance Forms

Author/Professor:
ANA MARIA L. DEMOT

Module I
 MODULE I
HISTORY, NATURE AND BACKGROUND
OF DANCE

Lesson 1 History and Nature of Dance

Lesson 2 Elements of Dance & International

Dance Form

Lesson 3 Art of Dance

Lesson 4 Physics and the Art of Dance:

Understanding Movement

MODULE I
 HISTORY, NATURE AND BACKGROUND OF DANCE

INTRODUCTION

This module presents the history, nature, background and facts about
international dances and other forms. You will learn the different movement
patterns and basic steps. You will also learn to value and appreciate the
culture of other countries as you interpret the literature of the dances.

OBJECTIVES

After studying the module, you should be able to:

1. Identify the elements and forms of dances
2. Make a comparison between the International Forms of dance.
3. Appreciate the different body movement as to how the nature of the
dance depicts its origin.
4. Understand the concept of physics in dance movement.

DIRECTIONS/MODULE
ORGANIZER

There are 4 lessons in this module. Learning activities are provided

and should be answered in the answer sheet provided at the end of the
module. You can reproduce the answer sheet if necessary. Submission of
your output is scheduled in our Google link. Please be guided with all the
instructions in our modulare and online classes.

Should you have any questions or clarifications, directly message me

through Gmail account, FB, our Google classroom, and/or Moodle.

MODULE I
 HISTORY, NATURE AND BACKGROUND OF DANCE

Lesson 1 Nature of Dance

In general, the French word "danser" refers to a gesture used as a

means of expression, social
interaction or presented in a
spiritual or performance context.
Language is often used to define
methods of non-verbal
communication between humans
and animals, motion in inanimate
objects, and other musical styles or
genres. A dance can be specifically participatory, collaborative, or audience-
led. It may also be formal, competitive or sexual. Dance movements may
have no significance in themselves, such as ballet or folk dance in Europe, or
have a gestural vocabulary / symbolic framework, as in many Asian dances.
Dance may represent or convey thoughts, emotions or stories.

Archaeological evidence reveals ancient dance such as Egyptian

tomb paintings showing dance figures from around 3300 BC and Rock
Shelters of Bhimbetka paintings in India. One of the earliest applications of
dance systems may have been to show and tell myths. Dance was one of
the ways these tales were passed down from generation to generation
prior to the advent of written languages.
The "Dancing Plague" of 1518 was a
mania that lasted a month and killed dozens of
people in Strasbourg, France through
exhaustion or heart attack. People just danced
uncontrollably until they collapsed. Another
famous case involved people dancing on a
bridge. Eventually so many people danced
that they broke the bridge and fell into the
river. (Kaplan International Language)

Trivia

The Ancient Period

•The dances of the ancient civilizations began to acknowledge the
aesthetic purposes of the art.
•They began to question the way the dance looked and what it
meant; what the movements represented and how they may be
interpreted.
•India, China, and Ancient Greece are among the first civilizations
with recorded anecdotes of dance.
•Many used dance for religious purposes, and all required skill,
 The Medieval Period
1. Dance was prevalent in the medieval era
2. The Islamic culture had a heavy influence in the interesting
outcomes of dance, and then the familiar art of belly dancing
came into play. Slowly the church became an influence and
dance quickly banned.
3. At this time, the black plague (Bubonic) wiped out part of the
population and created an association with witchcraft. Soon
the society connected dancing to witches and witches to the
Plague and dance became known as the Dance of Death or
The Renaissance
the Danse Macabre.Because of Period
this sudden obsession with
1. death and its direct correlation with dancing,
Dance was revived through folk dancing, many of and
court dancing, the
the accompaniment of music.
2. Dance was beginning to be seen as an actual art as opposed
to a cultural pastime or ritualistic necessity.
3. Court dances began as a symbolic gesture of royalty, dance
soon revolutionized into what we know today as ballet, an
aesthetic genre of dance that originated from music,
literature, paintings, and sculptures.

The Contemporary Period

1. Eastern countries continued traditional performances while
the Western civilizations developed new, invigorating genres.
2. Contemporary and classical Ballet thrived and modern, tap,
jazz and the newly popular genre of hip-hop shortly infiltrated
life.
3. The twentieth century not only introduced science and
technology but dance as entertainment and some of the
greatest artists known to man.
 "Dance is the secret language of the soul and the body." (Martha
Graham) To express an idea or feelings, and to release energy. Each
individual in our society has its own style or form of dance in which they can
convey and use their feelings as a motivation.
Why people dance?
1. It has been used in worship
2. It plays a role in courtship
3. It serve as a form of acquaintance for man and woman
4. It is an expression of one feelings
5. As in old times, it brings magical power to people

6. It bring victory or somehow

restores health to life
7. It serves to entertain others
8. It gives beauty and inspiration
to others
9. It is use as whole-body
workout/exercise.

Check your Understanding

1. Based on the reason why

people dance, what are the
benefits of dancing,
physically, emotionally,
spiritually, mentally?

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2. How important are the history of dances?

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3. Research 1 ancient dance from the Philippines. Write its history

and its impact to the community. How it evolved from 1
generation to the other. Is this dance still being performed in
rituals, schools, celebrations?

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Dance Etiquette
 Dance Etiquette may be a set out guideline that
facilitate your navigate the social dimensions of
dancing.
 Ensure everyone features a blast in social dance
settings.

1. Your outfit and accessories should be comfortable,

safe, and reflect the culture and level of ritual of the
dance group. Most significantly, do not forget your
dance shoes.
2. Never blame your partner for love or money, which will happen on the
flooring. Not if you wish him/her to bop with you again.

3. Letter of invitation for a dance must be accepted under the majority

circumstances. If you decline a dance, you yourself cannot dance until the top
of that song.

4. No to unsolicited teaching on the ground dance! There is an honest chance

this can make your partner feel small and humiliated. Not exactly an excellent
way of encouraging him/her, or others, to bounce with you.

5. Don’t monopolize a partner on the flooring. Dancers are polite and barely
say no to a dance, but this is often no say-so to reveal on their kindness.
Dance with everyone, and let everyone dance.

6. On the ground, be considerate of the opposite couples. Exercise good floor

craft; do not cut other couples off; no aerials or choreographed steps on the
floor.

7. Stationary dancers (Swing dancers) stay within the middle; travelling

dancers move the boundary along the road of dance.

8. Smile, be warm, be personable, and be nice.

For additional learning materials, find time and watch the YT links below.

Watch & Learn

Visit the links and watch the videos on YouTube for
further understanding about the lesson.
1. https://www.youtube.com/watch?v=p-rSdt0aFuw
2. https://www.youtube.com/watch?v=k2pSIw-cYXU
3. https://www.youtube.com/watch?v=qMP2uuvZCA
4. https://www.youtube.com/watch?v=XgL0-Q-FZ40

Lesson 2 Elements of Dances

 Building blocks of fine choreography and every

one created movement.
 Foundational principles and terminology that help
students improve their skills in movement and
appreciate dance as an variety.
1. Body (Dancer)
• Instrument of dance
• Position or Shape
 • How the body is moving
• Dance consists of various body movements which convey feelings
and emotions. Our bodies function in ways in which use locomotives and non-
locomotive gestures that convey themselves.

Terms associated with Body as an instrument in dancing

1. Balance – maintain a controlled position. (Static and Dynamic)
2. Body base – a part of the body supporting the remainder. (Feet, neck,
knees arms)
3. Geometric – resembling shapes to geometry (Triangular, circular and
square).
4. Locomotors – travelling from one place to a different.
5. Non-locomotors – Body-moving while anchored in one place.

2. Action (What are the movements)

• Any movement of the body (leaping, walking, running, jumping, hand
gesture, facial features, and even pauses and rest)
1. 2 ways of action
• Body held in one place (twisting, bending, and stretching) and
body in movement (Twirling, running and leaping)
3. Space (Where we move)
• Physical Area within which the body moves
• To show variation and movement, we'd like to use our surroundings
well. We zig, zag, and move high and low. We use the whole space
around us and below us.
Terms associated with space
2. Pathways – the route/movement taken from A to B.
3. Positive space – space where the body occupies.
4. Negative space – unoccupied space round the body.
5. Levels – height of the movement.

4. Time (When we move)

• Elements of dance involving rhythm, tempo, accent and duration.
• Timing is essential to any dance. We follow the rhythm or beat to
match our actions with the sound of the music. When working with
others, we sometimes mimic another using time.
Terms associated with space
1. Freeze – sudden stop
2. Tempo – the speed the dance is performed
3. Accent – strong movement/gesture used for emphasis
4. Duration – length of the time needed to finish the movement
5. Energy (How we move)
• Force, which the body moves
• Energy is that the force at which we express our body motions. Are you
moving with hard motions or gentle motions? How does one like better to
move? Bounce, shake, explode, or sway?

Terms associated with energy

1. Quality – manner a movement is performed
2. Fluid – easily changing, smooth, unconstrained.
 Learning Activity 1

3. Describe the 5 elements of Dance

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Elements of Dances
Who? What? Where? When? How?
A dancer moves through space and time With energy.
BODY ACTION SPACE TIME ENERGY
Parts of the Non- Size: large small Metered: Attack:
body: locomotors narrow wide pulse sharp/smooth
Head, eyes, (axial): tempo sudden/sustaine
torso, shoulders, stretch accent d
Level: High /
bend rhythmic
medium / low
fingers, legs and twist pattern Weight:
feet. turn Strength: push,
rise Place: on the spot
Free Rhythm: horizontal,
(personal space)
Initiation: core, fall breath impacted
through the space
distal, mid-limb, swing open score
rock (general space)
body parts
tip upstage/downstage sensed time Lightness:
improvisation resist the down,
shake cued
Patterns: suspend initiate up
Direction:
upper/lower Resiliency:
forward/backward
body,
Locomotors sideways diagonal Clock Time: rebound, even
homologous, seconds up and down
(traveling): right/left
contralateral, minutes
slide
midline. hours
walk Flow:
Orientation: facing
hop free,
Pathway:
Body shapes: somersault Timing bound
curved/straight
Symmetrical/asy run relationships: balanced
zig-zag random
mmetrical skip before neutral
rounded jump after
twisted do-si-do Relationships: unison Quality:
angular leap in front beside sooner than flowing
arabesque roll behind over under faster than tight
crawl alone/connected loose
Body systems: gallop near/far sharp
muscles chainé turns individual & group swinging
bones proximity to swaying
organs object suspended
breath collapsed
balance smooth
reflexes

Inner self:
senses
perceptions
emotions
thoughts
intention
imagination

Learning Activity 2
 1. Based on the table above. Create your own poster to easily
memorize the 5 elements of dance and its content. It could be a
brochure or portfolio or poster.
Example:

Watch & Learn

Visit the links and watch the videos on YouTube for further
understanding about the lesson.
1. https://www.youtube.com/watch?v=UGuD9Geeb2k
2. https://www.youtube.com/watch?v=gK02jwlDkts
3. https://www.youtube.com/watch?v=jtgD3bwvO0o
4. https://youtu.be/h8rEsnJgC4A
5. https://www.youtube.com/watch?v=chEA9ytUVBQ
6. https://www.youtube.com/watch?v=gjUpk3CIL_Y
7. https://www.youtube.com/watch?v=k2pSIw-cYXU

Lesson 3 International Dance Forms

 Dance represents cultural heritage and could be a
gateway to understanding cultures in various ways. Dance
is both a ritual and a living entity, and its social roles
change constantly. allow us to explore various varieties of
dance as they occur on the world's six continents. We must
take a look at these dances as coded expressions of the
religious, artistic, political, economic and family values of a
community

1. Salsa
• Dance and music with deep Caribbean and African roots.
• Salsa music and dance styles evolved concurrently within the 1920s when
diverse musical styles like Mambo, African, and "Son Montuno" gathered on
the island of Cuba.
• The rhythm of salsa is often called catchy, sensual and straightforward to be
told, but very difficult to master.
• In the 1960s, the Fania record label gave the name "Salsa" to a combination
of various influences, rhythms and designs of Latin music in the big Apple
City, especially in El Barrio, Spanish Harlem and Bronx.

Regional type of Salsa

1. Colombian Style Salsa (Cumbia)
• Colombian style salsa began in Columbia and danced to a special
sort of salsa music called “Cumbia” which is analogous to the salsa
rhythm but includes a longer pause between the primary three and
therefore the last three beats.
• Feet never move forward and backwards as within the Mambo step.
Instead, the movement may be a series of back to centre or side to
centre footsteps.
• The style has little or no turn patterns and is mostly not a quick or
“showy” style. Instead, most Cumbia dancers will hold their partner
 very close with their entire bodies touching from head to toe. If turns
are involved, they're generally very simple rock step left turns.
2. Cuban Style Salsa
• Afro Cuban style, body movement, which incorporates body isolation
and hip movement characterize it.
• Cuban style salsa doesn't have many fast spins. Instead, the
movement is extremely circular as opposition linear and partners tend
to travel around one another.
• The hip movement is more noticeable during this style and stems
from the pumping of the knees and therefore the footwork is kind of
simple – the complexity lies within the arm work, which needs the
follower to possess limber, flexible arms.
• Cuban style salsa considered “male dominated” within the sense that
the leader tends to be showier and can create a greater push/pull
grieve the follower then many other styles.
3. Miami Style Salsa (Classico Cubano, Casino)
• Miami style salsa evolved from the Cuban type of salsa, but could be
a tougher and technically advanced type of Cuban salsa.
• Advanced Miami salsa moves tend to be intricate and pretzel-like and
need a versatile follower to execute the moves. Many of the Miami
moves are the identical as Casino Rueda moves and also the style
remains more circular than linear.
4. Casino Rueda Style Salsa (Rueda de Casino, Salsa Rueda)
• Casino Rueda (meaning salsa wheel) could be a group dance, which
originated in Havana, Cuba within the 1960s by a bunch called
Guaracheros de Regla.
• during this dance, couples dance in a very circle while one dancer,
designated as “The Caller”, provides hand signals or calls out the
moves, which can be executed by every couple within the circle
simultaneously.
• Many of the Casino moves involve swapping or switching partners,
which makes the dance tricky to execute, and spectacular to look at.
• Rueda is incredibly popular in Cuba and Miami. Cuban Rueda tends
to be more playful with easy to follow fun moves while Miami Rueda
has many complicated turn patterns and requires memorization and
skill to execute. Many callers will know anywhere from 150-300 moves
so memory, speed and accuracy may be a key to making sure the
circle isn't broken.
5. L.A. Style Salsa (Dancing “On 1”)
• L.A. style salsa, usually danced “On 1”, may be a flashier version of
latest York style salsa moves.
 • Dancers use many dips, flips, drops and tricks, which make a good
show to observe. the rear and forth Mambo basic, again in a very linear
motion, is used with the leader breaking forward on 1. Because the
dominating beat is that the 1 beat which is that the most accented
hammer in the series, the dancing looks and feels powerful and fast.
• L.A. style salsa has incorporated many other styles of dancing
including jazz, hip hop, Shines are a vital component of this kind of
salsa with complicated, speedy footwork and jazzy moves.
6. NY Style Salsa (Dancing “On 2”, Mambo Salsa, Eddie Torres Style)
• Salsa on 2, commonly noted as “Mambo”, may be a form of salsa first
introduced by Eddie Torres in NY within the 1960s.
• “On 2” refers to the beat the dancers break forward on.
• Smooth, controlled, highly technical movements that are elegant,
graceful, flow well and aren't rushed distinguish NY style salsa. Multiple
spins, complicated footwork, Afro Cuban body movement and shines
are a requirement.
7. American Style Salsa
• Puerto Rican style salsa is danced “On 1” or “On 2”. If you're dancing
American style “On 2” dancing, it's opposite from the big apple style
within the sense that the leader breaks forward on 2 rather than the
follower (can be called “On 6”). Some say that shines originated in
Puerto Rico as these dancers would cut loose from their partners and
execute extremely fast and complex solo footwork.
• The lines are very clean and incorporated into the dancing are a good
deal of shoulder shimmies.
8. Salsa Shines
• Shines visit solo work when the leader breaks aloof from the follower
and every dancer has the chance to freestyle on their own to the
rhythm and accents of the salsa music.
• Shines involve more complex footwork also as body movement and
arm work. Shines are common within the ny , L.A. and American kinds
of dancing. They’re not as common within the Cuban, Miami and
Columbia forms of dancing.
• The term “shines” originally stated having the chance to “shine”
independently.
Salsa Styling
• Incorporating styling techniques into any variety of salsa has become
quite common. For both men and girls shines, leg work, arm work,
body movement, spins, body isolations, shoulder shimmies and rolls,
and even hand styling became a large trend within the salsa scene.
There are lessons dedicated to the art of salsa styling’. Hip hop, jazz,
flamenco, stage dancing, ballroom, breakdancing/pop and lock, and
Afro Cuban styles have all be infused in the art of styling.
Basic Steps – the fundamental movement common across most salsa style is
that the step quick – quick – slow over the 4 beat measure.

Common Turns
The subsequent turns are utilized in the majority salsa dancing
irrespective of the essential used or style employed.
• Outside turn (Underarm turn) – the same as the “arch turn” in swing and
plenty of other dances, follower turns clockwise.

Inside Turn – follower turns counterclockwise (to her left).

Spot Turn – either, or often both, partners turn 360 degrees remaining
within the same spot.

Extension – partners break in opposing directions to create arm

tension between them. Often leads into a spot turn or an in-and-out.
 In – and – out (Copa) – from a cross- handhold, leader creates an
extension, and so pulls the lady in with the proper hand while leading
the paw over her head to the opposite side of her, causing her to show
180 degrees to her left.

Cross Body Lead – follower led to opposite side of lead, causing them
to swap positions in a counter-clockwise fashion. Exist in other Latin
dances like Cha-cha-cha.

1. Reverse Cross Body Lead – same as cross body lead, but couple
exchanges positions during a clockwise fashion.
2. Basket – a kind of extension where the leader is behind the follower
and hold the follower’s arms wrapped round her shoulders while she
breaks forward and therefore the leader breaks backward.

3. Windmill – a kind of lead for a turn where instead of leading the turn
from above the follower’s head, the leader loops the arm widely down
and up, in order that the lead is more vertical than horizontal.
 2. Irish Dancing
• Irish dancing originated from Ireland and might be divided into
performance and social dances .It is more of a group action instead of
a conventional or a manifestation of any kind.
• This particular dance became popular in 1994, with River dance who
promoted it throughout the globe. It involves in no time leg and foot
movements while the arms stay mostly stationary. It’s very difficult to
master, especially the solo dance.
• Made famous by River dance, its best recognized by stationary arms
combined with rapid leg and foot movements.
• Irish soft shoes and hard shoes are worn counting on the design of
Irish dance. Irish dancers are known for his or her intricately detailed
dance costumes.

Basic Dance Steps

The seven steps are the basic steps, which need to be mastered
before dancing a reel. For the beginner, it is important to stand with the weight
comfortably balanced on both feet. The routines below incorporates the seven
steps and two short threes, where the dancer quickly repeats three steps.

1. Stand centre stage.

2. Hop to knee, raising

right foot up to the left
knee.
3. Spring onto you right foot

4-11. with right foot pointed out front,

move from centre to right side of stage
for seven steps. Lead with right foot
and follow with left foot.
12. after seventh step, lift right foot
with knee bent.
13. Spring onto right foot bringing left
foot into rear.

14. Step in place onto ball of left foot.

Count two.
15. Step onto ball of right foot, behind
left foot. Count three.
16. Lift left foot with knee bent and
repeat short three.

17. Hop onto knee, raising left foot up to right knee.

18. Spring onto left foot.
19-26. With left foot pointed out front,
move from right side to centre stage
for seven steps. Lead with left foot
and follow with right foot.

27. After seventh step, lift left foot

with knee bent.
28. Spring onto left foot and bring
right foot into rear. Count one.
29. Step in place onto ball of left
foot. Count two.

30. Step onto ball of left foot, behind right foot. Count three.
31. Lift right foot with knee bent and repeat short three.
The Rising Step: Side step in Jig

1. Hop on left foot while raising right foot in

front with toe pointed.
2. Hop again on left foot while bringing
right foot to rear.
3. Place right foot behind left foot,
transferring weight to left.

4. Hop on right foot while bring left foot

behind.
5. Place left foot behind right while
raising right foot.
6. Place right foot down again.

7. Place left foot behind right while raising

right foot.
8. Place right foot down again.

3. Street Dancing
• This dance mentioned as vernacular dance.
• It originated outside of dance studious; virtually anywhere, there was
enough available space: parks, nightclubs, on the streets, and
schoolyard.
• Street dancing usually involves lots of improvisation. It also
incorporates breakdance.
• Street dance said to own originated from ny. Other version include
Melbourne Shuffle (in Australia), and Electro Dance (in Paris, France).
it's also difficult to master.
 Basic step
a. Krumping.
• Work on your balance. An enormous a part of krump has an unwavering
sense of balance; irrespective of the strange positions, you set your body in.
• Work on your isolations. A bit like in dubstep, isolations are key in krump.
This implies having the ability to maneuver one a part of your body without
moving the other.
• Begin with the stance. You are in an exceedingly slight squat, bending at the
knees

1. Learn the stomps. The lift stomp. Similar to it sounds -- you

lift your leg up before you bring it right down to stomp.
Generally, the knee stays bent at near a 90º angle. The kick
stomp. Also self-explanatory -- bring your leg straight, kick it
out, and convey it backtrack to a stomp. The slide stomp.
You guessed it -- you slide out (either forward or to the side)
and lift it up before finishing in a very stomp.
b. Popping. Popping could also be a street dance and one
altogether the initial funk styles that came from Fresno, California,
within the African American community during the 1960s-1970s. It
has supported the technique of quickly contracting and relaxing muscles to
cause a jerk within the dancer's body, cited as a pop or successful. This can
be often done continuously to the rhythm of a song along with various
movements and poses.

c. Dime stopping. A method of moving at a gentle pace then abruptly coming

to a halt, as if attempting to prevent on a dime. This is often combined with a
pop at the start and/or end of the movement.
4. Ballet
• This dance originated in Italy within the 5th century. It developed in
France and Russia, evolving from performance to choreography.
• Said to be the foremost difficult genre to master, ballet may be a
rigorous variety of dance that is the muse of most kinds of dance
training. Often the primary dance style a toddler will experience as
they start their dance classes. • Ballet has evolved from romantic,
expressionist, to neoclassical. Strangely enough, the very word
“Ballet” loosely means ‘to Dance” when freely translated.

Ballet is a wonderful teaching tool for all dancers because it

could be a complex mixture of technique, coordination and musicality.

Five Basic Positions of Ballet

Feet
 Arms

Movements in Dance
Ballet/dance beginners learn three movements. First, learn to
pronounce the terminology given below, learn the definition, then try to do the
movement described.

1.plie (plee-ay): to bend. Keeping both feet flat on the ground the least bit
times, bend your knees. Remember to send your knees directly out over your
toes!
2. releve (ruh-leh-vay’): to rise. this will be done on one foot or both feet
together. Start with the feet together, keep the knees straight and lift the heels
high enough so all of your weight is on the balls of the feet – NOT the ideas of
your toes. Repeat this on one foot.
3. saute (soh-tay): to leap. this type of jump is performed “two feet to 2 feet.”
this suggests that you just leave the bottom by jumping off both feet at the
identical time and you land on both feet at the identical time. Begin during a
plie (as described above). Using your feet the identical way you probably did
to perform releve, propel yourself into the air. make sure to straighten and
extend your legs within the air, but land in plie to cushion your knees.

5. Belly Dance
1. Originated in Middle East during antiquity.
2. It involves every part of the body, especially the hips.
3. Belly dance regarded as very sensual, emotional and captivating.
4. Belly dance is one of the most famous oriental folk dances in the world.
5. The belly dance popular during Romantic Movement in the 8 th and 9th
century. You need to be flexible.
6. It emphasizes the complex movement of the torso and entire body
utilizing sudden percussive movements, unstopping fluid body motions
and presence of small and fast shimmies, shivers and vibrations of the
hips or the ribcage.

BASIC BELLY DANCE STEPS

Basic stance: feet in parallel position placed under hips. Knees slightly
flexed. Pelvic area slightly tucked/neutral, chest lifted, stomach muscles
engaged, shoulders relaxed. Imagine head as a balloon floating on a string.
Visualize your center as within your solar plexus & your arms as resting within
“heavy water” to give a smooth effect to movements.
1. Basic walking step (Basic Egyptian) - "Step Touch": Place foot down; lift
other hip, place that foot; lift opposite hip, place that foot: continue in this
manner alternating feet & hips. To travel: when foot is placed, move it slightly
in the direction of travel. Variations: Where you place, foot, which footsteps or
lifts hip, etc., will produce different effects.
2. Twist - push hips front & back, keeping on same level on a horizontal
plane
3. Slide - hip goes out to the side; OR up & down: Teachers & dancers have
used "slides" to describe both directions [can also refer to chest, rib cage]. To
distinguish the directions, many of us say "side" for side-to-side; and hip "ups"
to refer to up & down.
4. Hip bump - hip goes out to the side & up simultaneously; another term
used is "hit"
5. Shimmy - a speeded up motion of slides or twists; can be done with hips
or shoulders. Many variations of shimmies both stationary and traveling
6. Hip lifts - the category of moves in which the hip lifts up & down while the
leg & foot of working hip are slightly extended, no weight on "working hip" leg;
weight is on back supporting leg.
 a) Hip lift - hip rises on the accent of the beat b) Hip drop - hip lowers
on the accent
7. Thrust - a sharp back & forth movement of hip or shoulder. With hips, an
energetic twisting motion with weight on back leg.
8. Doubles - refers to moving hip, or shoulder, chest, etc., etc. in sequence
on each side 2x
9. Pops, locks, snaps - sharp movements done by contracting muscles
quickly & strongly, then release
Steps for slow / moderate tempos, using smooth languorous motion.
The body part lingers before switching to another move. Can be done in
place or traveling.
1. Undulation - a smooth rolling move, can use just the abdomen or engage
the whole torso. A stationary stomach undulation (belly roll) involves only the
abdominal muscles & not the chest; the full torso move incorporates both. In
traveling, the whole torso is usually involved: a flowing, gliding movement is
created as the chest lifts & rolls into a stomach roll as the feet move;
described as a smooth arch / contraction : these are the “camel” moves.
2. Rolls - can be done with any isolation of hips, shoulders, stomach, arms,
chest, hands, head. A rounded movement done by isolating the body part in
different directions as if describing a clock, compass, etc.
3. Figure 8s - the category of isolations in which the body part, usually the
hips, travels along a rolling & continuous figure 8 (infinity loop). Hip Figure 8s:
a) Horizontal Fig 8 - hip travels in a front & back smooth twist motion on a
parallel plane: while one hip is to the front, the other is back ; hips
continuously move
b) Vertical up Fig 8; (Hipovers) - lift hip with weight on opposite leg; move
that hip into center & down; center your weight; lift other hip in same manner.
c) Vertical down Fig 8 (Mayas) – lift hip w/weight on same leg; push hip out
& down, then into center; repeat w/ other hip
4. Circles - same concept as Rolls, but usually traveling on the horizontal
plane. Body part moves around smoothly as if drawing a circle parallel to the
floor. * Some teachers use "rolls" and "circles" interchangeably.
FREEZE POSE - at conclusion of dance & for dramatic effect during dance. A
classic freeze pose: weight on one leg, opposite leg extend to side, lean over
extended leg w/arms overhead in temple (palms together) or cobra (backs of
hands together) arms: as if you are the “bow” and the energy that you emit is
the “arrow”.

6. Bhangra
1. This dance found among the Punjabis. The dance originally develop in
India.
2. In the past, the dance was perform as a celebration of the harvest.
3. When the sub-continent divided into India and Pakistan, It was no
longer perform for the aforementioned reason.
4. Performed to a very specific kind of music that is specially tailored for
Bhangra. The dance is random, with some very common moves.

Basic Steps in Bhangra

1. Bounce. Begin with your feet flat on the floor,

hip-width apart. Lift your arms above your head
and position your palms outward, with your
thumb sticking out. You should form an L-shape
with your hand. Bend both legs a few inches. As
you bend your legs, bend your arms at the elbow
and bring your hands in towards your head.
Repeat this four times, bending your legs and
pulling your hands in.

2. One-legged bounce. Place your feet hip

distance apart. Jump one to two inches off the
ground. Land lightly on the balls of your feet.
Then, jump again. As you jump, land on the ball
of your left foot. Lift your right leg up to the side,
bending it at the knee.

3. Shoulder shrugs. Start with your feet planted

on the floor, hip-width apart. Raise your arms
above your head with your palms turned
outward. Lift your arms up. As you lift them,
lean back on your right leg and lift your left
heel off the ground, turning your left foot
outward. Bend your legs and pump your arms
up and down.
4. Follow the beat of the dhol. The dhol is the Indian drum that
traditionally accompanies Bhangra dancing. It has a pattern of four
 beats repeating repeatedly. Follow the beat of the dhol so your
Bhangra dancing is fluid and on time

5. Dhamal. Stand with your legs hip-width

apart. Raise your right leg up towards your
chest with your knee bent. Then, place it
down and raise your left leg up towards your
chest, knee bent. You are making a skipping
motion with your legs. Raise your opposite
arm as you lift your leg and keep your other
arm at your side. Snap your fingers as you
raise your arm in the air.

6. Jhumar. Have your legs hip width apart. Lift

your right leg up and place it down lightly,
tapping the front part of your foot on the
ground. Jump onto the extended foot and lift
your other foot upward. Then, bring your
extended foot back to the center.

7. Chaffe. Begin with your legs hip width

apart and your arms extended below your
waist. Keep your fingers folded over your
palms. Jump on your right leg and kick your
left leg to the side. As you kick, open your
fingers to expose your palm. Push your
arms outward in time with the kick. Bring
your left leg back and then forward with
your toes facing upward. Jump on your
right leg again and kick your left leg to the
side again.

7. Kathak
1. It is originate in Uttar Pradesh.
2. Kathak (Sanskrit: कथक) is one of the ten major forms of Indian classical
dance.
3. The origin of Kathak is traditionally attributed to the traveling bards of
ancient northern India, known as Kathakars or storytellers.
4. The term Kathak is derived from the Vedic Sanskrit word Katha
meaning “story”, and kathaka in Sanskrit means “he who tells a story”,
or “to do with stories”. Wandering Kathakas communicated stories from
 the great epics and ancient mythology through dance, songs and music
in a manner similar to early Greek theatre.
5. Kathak evolved during the Bhakti movement, particularly by
incorporating childhood and stories of Hindu god Krishna, as well as
independently in the courts of north Indian kingdoms.
 8. Yangko
1. Yangko drama, or Yangko opera (秧歌剧 pinyin Yangge-ju), is a form
of Chinese sung theatre. This dance originated in china and it is a
popular part of Chinese culture.
2. The dancers sway their bodies to certain rhythms. The waist and the
hip drive the feet.
3. This helps to sync with music. The dance usually performed during the
Lantern Festival.
4. It has a history that dates back to almost a millennium ago. The dance
has changed a lot since its inception. What we see now is a version
from the 1940s, one that has remained popular throughout the years
despite cultural and social changes.

9. Adumo
1. This African dance exists in Maasai Culture to date.
2. The dance performed to the human voice, as the Maasai never
encourage the use of drums during their festivals and other rituals.
3. It involves all the parts of the body. It is participatory even during
rituals. When both local and international tourist visit Africa, watching
the Adumu dance is inevitable.
 10. Tap Dancing
1. The dancers considered as musicians.
2. Tap is great for fostering rhythm in dancers, as it turns their feet into a
musical instrument
3. Originally created by the African slaves, came into the mainstream with
the performances of Nicholas brothers.
4. The sound created from metal plates attached to the ball and heel of
the dancer’s shoe. When the metal plates are tapped against a hard
surface, they create a percussive sound.
5. Tap dance has roots in African American dance such as English
Lancashire, Clog dancing, Juba Dance and Irish step dancing.
6. Tap dance began in the Mid-1800s during the rise of the minstrel
shows.
Two types of Tap
1. Rhythm Tap - Originating in America, rhythm tap is tap dancing, which
focuses on the acoustic rather than the aesthetic. In other words, the
emphasis is upon what the dancer says with his or her sounds rather
than the way the dancer looks when executing those sounds.
2. Broadway Tap -Broadway tap, or "Show Tap", is a combination of
rhythm tap and ballet/jazz. It uses the whole body to tell a story,
emphasizing on it's visual presentation instead of musicality. The
sounds are created by taps on the bottom of the heal and toe, and by
using techniques such as the "Soft Shoe".

Basic Steps in Tap Dance

1. Tap in rhythm with the music. First,
bend your knees slightly. Extend one
 foot in front of you or to the side, keeping your leg straight. Lift your leg
and tap the ball of your foot against the ground do to a “Toe Tap.”
Continue tapping in time with the music. This will help you learn to tap
rhythmically and listen to the music you are dancing to.

2. Ball Heel. This is one of the most basic

steps in tap dancing. First, stand with
your feet together and your hands on
your hips. Lift your right foot slightly.
Keeping your heel raised, stomp down
with the ball of your foot to create a
clicking sound. Next, lower your heel
sharply, keeping the ball of your foot
pressed against the ground.

3. Ball Change. Stand with your feet

together and your knees slightly bent.
Next, raise yourself up so that you are
standing on the balls of your feet. Lift
one foot, balancing all of your weight on
the other. Step down sharply and shift
your weight. Repeat this movement,
rocking your weight back and forth
between your feet.
4. Shuffle. Stand on your left foot and bend
your right leg behind you. Swing your
right foot forward. As it passes your left
leg, tap the ball of your foot against the
ground. Swing it back, repeating the
tapping motion. Finish the movement by
stomping your foot back on the ground
next to your resting foot. Repeat the
motion with your other leg.

5. Heel-Step. Stand with your feet together

and your knees slightly bent. Raise your
right foot up slightly. Drop your heel onto
the floor next to your resting foot. Next,
drop the ball of your foot down sharply.
Repeat the motion with your other foot

11. Line dance

1. A line dance is a choreographed dance with a repeated sequence of
steps in which a group of people dance in one or more lines or rows, all
facing either each other or in the same direction, and executing the
steps at the same time.
2. Social dance that is made up of a sequence of repeated steps and is
traditionally associated with country-western music. It is a solo dance
that is danced in a straight line, a circle or in a “follow the leader”
pattern.
3. Footwear is decided by the dancer and is if often cowboy boots for the
men and heels for the women. Many women choose to wear a Cuban
heel shoe as it offers great support and is the perfect heel height for
any age.

Basic move in Line Dance

1. The cupid shuffle move.
The cupid shuffle is one the easiest line dance steps that you can learn. It
starts with 8 counts of side steps to the right, with the last step being a touch
(no weight change). Then repeat the same 8 counts to the left. Then you do 8
counts of “heel steps” in place. Lastly, you do 8 counts of stepping in place to
turn 1/4 to the left. Now repeat the same steps all over facing the new wall.

2. The cowboy boogie.

This line dancing step starts with a “grapevine” step to the right (side,
behind and side) with a “hitch” (knee up) at the end. Then repeat the same
“grapevine” step to the left and do the hitch again. Then 1 step forward and
hitch, 1 step forward and hitch. Now you step back for 3 counts and hitch at
the end. Then you going to “boogie” with the hips, which just means you going
to do a small hip movement forward and back, then you turn 1/4 turn to face
the new wall and hitch. Then do the same steps facing the new wall.

3. “The wobble” line dance move.

This move starts with a jump forward and wiggling/grooving then you jump
back and again wiggling/grooving in place. Then you wobble your hands to
the left and then wobble your hands – you can put your own style into it! Then
you will do a simple cha cha step where you forward, back and cha cha cha in
place, Again – forward, back and cha cha cha in place. From there you are
just going to do rhythmical steps in place to turn and face another wall.

12. Jazz
1. Jazz is the most popular style of dance among dancers.
2. Jazz combines all dance styles in a high energetic dance that is without
conventional boundaries.
3. It has been influenced by ballet, modern, tap, hip-hop, African dance
and many more styles and upbeat, currently popular songs most often
accompany Jazz.
4. Jazz shoes typically have a leather split sole, which offers the dancers,
foot more freedom to bend and move. Due to the upbeat music,
dramatic themes and cool choreography.

Jazz Steps and Terms for Beginners

• Ball Change: A ball change is a change of weight distribution on the balls of
the feet. This is a popular transition step in many jazz dance routines

• Chassé: Taken from the ballet tradition, a chassé step resembles a

galloping motion, and is literally a “chasing” step. This is often used in jazz
dance terminology to describe the way a dancer travels across the stage,
putting two moves together.
• Contraction: A dancer accomplishes a contraction by contracting the torso,
with the back curved outward and the pelvis pulled forward, thus making a C-
shape with her core.

• Fan Kick: The body stays in place while one leg starts inward and kicks all
the way around to its original position. These are often used in kick lines and
Broadway-style dance routines.

• Jazz Square: An iconic move, the Jazz Square consists of a few basic
walking steps, but done in this particular order: Step forward on the right or
left foot, Cross the other foot over the first foot, Step back with the first foot,
Bring the feet side by side. A jazz square is often done with some attitude in
the upper body, accenting the motion.
• Jazz Walk: The “jazz walk” is a signature step
in jazz dancing. Jazz walks can be performed in
many different styles, where the improvisation
element of jazz shines through. One of the key
defining features of jazz, both in music and
dance, is the room for individuality. Every
dancer’s jazz walk is different. Posture is low, and
feet slightly drag across the floor in this modified
walk used for traveling across the stage.
Variations of the jazz walk include the jazz run
and jazz drag.

• Pivot Step: One foot steps in front of the other, and then the body pivots
around back into the original position.

• Syncopation: Accenting an offbeat or note of the music that surprises the

audience.

13. Hip - hop

1. Hip-hop dance refers to street dance styles primarily performed to hip-
hop music or that have evolved as part of hip-hop culture.
2. It includes a wide range of styles primarily breaking, locking, and
popping which were created in the 1970s and made popular by dance
crews in the United States.
3. The dance industry responded with a commercial, studio-based version
of hip-hop—sometimes called “new style”—and a hip-hop influenced
style of jazz dance called “jazz-funk”.
4. Classically trained dancers developed these studio styles in order to
choreograph from the hip-hop dances that were performed on the
street. Because of this development, hip-hop dance is practiced in both
dance studios and outdoor spaces.
5. What distinguishes hip-hop from other forms of dance is that it is often
“freestyle” (improvisational) in nature and hip-hop dance crews often
engage in freestyle dance competitions—colloquially referred to as
“battles”.
6. Hip Hop is a movement that represents the freedom to learn, grow, and
evolve

Basic Steps
1. Popping & Locking. This is a basic staple of hip-hop and is very
improvisational, so you have a lot of freedom with it. “Popping” was
created by Sam Solomon in Fresno, California, and consists of quickly
contracting and relaxing your muscles. This causes a jerk in your body.
Don Campbell, in Los Angeles, California, created “Locking”. It consists
of performing a series of locking movements and holding them for a
few seconds.

2. Breaking. Breaking, also known as breakdancing, b-boying, or b-

girling could be the most common element of hip-hop. Breaking is very
unstructured and improvisational and is performed at all different
 levels: top rock (standing), down rock (close to the floor), power moves
(acrobatics), and freeze moves (poses).

3. Boogaloo. This is a movement using mostly the hips and legs. A very
loose movement gives the illusion that the dancer has no bones from
the waist down.

4. Soulja Boy. This dance was named after DeAndre Cortez Way
because he helped popularize it.

Check your Understanding

1. Answer this in a matrix form. Identify the different dance forms

and describe them in terms of:
a. Difficulty
b. Costumes
c. Intensity
d. History

LEARNING ACTIVITY

2. Watch one example of a dance form in YouTube then write your

observations in terms of movement patterns and steps.
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Watch & Learn

Visit the links and watch the videos on YouTube for further
understanding about the lesson.

1. Salsa
1. https://youtu.be/iXOuzMZ8TtU
2. https://youtu.be/C4MAFLeWY7c
3. https://www.youtube.com/watch?v=xTsNh9Y6zrI
4. https://www.youtube.com/watch?v=FPfoLiDY43E
5. https://www.youtube.com/watch?v=FU1OUJFMjrY
2. Irish Dance
1. https://youtu.be/vtnjd08c2JI
2. https://youtu.be/SIxjHFHq9FQ
3. Street Dance
1. https://youtu.be/GUHMqQ47Vns
2. https://youtu.be/-ZTsgbrdoI8
4. Ballet
1. https://youtu.be/zV1 qLYukTH8
2. https://youtu.be/Uy67yin1 ylI
5. Belly Dance
1. https://youtu.be/r2DFWX3TOj4
2. https://youtu.be/zZ-LJxf3reI
6. Bhangra
1. https://youtu.be/vD-LFksC1
2. https://youtu.be/Ax3LF-EPvKU
7. Kathak
1. https://youtu.be/j5nPt_y5ScY
12. Jazz Dance
1. https://www.youtube.com/watch?v=PwSwDj_UqB4
2. https://www.youtube.com/watch?v=-Ro2uYQrLxw
3. https://www.youtube.com/watch?v=jxMjwPODJfg
4. https://www.youtube.com/watch?v=TVDjNVufWJg

13. Hip hop Dance

1. https://www.youtube.com/watch?v=tIWfWTpZHdE
2. https://www.youtube.com/watch?v=aj2yjPHGVX0
3. https://www.youtube.com/watch?v=6_L_K18wFM4
4. https://www.youtube.com/watch?v=DRI_Sf2gT2Q
 Art of Dances
Lesson 3

Historical Background

The choreographic art was probably unknown to the earlier ages of

humanity. Savage man, wandering in the forests, devouring the quivering
flesh of his spoils, can have known nothing those rhythmic postures which
reflect sweet and caressing sensation entirely alien to his moods. The
nearest approach to such must have been the leaps and bounds, the
incoherent gestures, by which he expressed joys and furies of his brutal life.

-unknown

1. Learning to dance means learning to think!

It all began 30 years ago, in
1978, with an
accident. There is a story of a 16-
year old boy, artistically one of the
talented youngsters in the school,
although the results of his physical
assessment at the entrance audition
had put him in the lower class.
 During a break between classes, this
boy and some of the others were
playing in the studio, enjoying the
height of the jumps
enjoying the heights of the jumps which, as dancers, they were able to
achieve with the help of a springboard, never thinking that after a soaring
flight through the air, a safe landing is extremely important. HE LANDED
WRONGLY! Breaking his landing leg diagonally right across the shin, with
extreme lateral dislocation of the fractured lower leg. There followed
months of medical treatment and procedures, then weeks in plaster and
finally the verdict of the doctors, which was the end of his dream of
becoming a professional dancer.

Check your Understanding

1. Do you think the boy lost his dreams? If yes/no, justify your
answer.
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2. Why is it important to know the precautions of dancing?

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____________

It starts in childhood. It continues into puberty, the more difficult

phase of human physical and mental and emotional development. The body,
simultaneously at the mercy of all these influences, is being
instrumentalized. It ends with the first stages of adulthood, usually at 18
years old: self-discovery and a whole new set of rules at the same moment!
The body is trained to become an instrument, which in the interpretation of
a role can also be seen as an object. There is no other profession which
demands such a complex interaction with the body. For every human being,
the predisposition towards right or left is a matter of natural fact.

Essential Questioning…
 1. What have you understood about learning to dance means
learning to think? Explain.
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____________

2. Do you think everybody can be a dancer? Why?

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____________

3. Based on the picture below, what does the dancers wants to

portray?
What are the characters that must be established in dancing and as
well as to the dancers?

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2. In-Sync (Entertainment in Dance)

This is a chapter about the phenomenon of entertainment, a

discussion that would motivate by a short case study from the field of
 contemporary dance. Entertainment names the process through
which entities become synchronized or rhythmically coordinated.

 In the scientific literature about animals entertaining their

movements to a beat or conversation partners entertaining their
speech, patterns and gestures. ‘’The term DANCE is sometimes
used as a metaphor to describe this rhythmical relation.

The choreography Duo by William Forsythe is one of

William Forsythe the dancers’
ability to
synchronize is important---both to
the performers’ descriptions of their
experiences and to spectators’
accounts of the perception of the
work. This quality of partnership was
shaped by the rehearsal process and
context. William Forsythe invented
sequences, or phrases of steps.
The aesthetics of human movement
and dance are poorly understood. Yet
in recent years our understanding of Psychological and brain mechanism
involved in human movement perception
has greatly improved. Framing Dance aesthetics as communication via
movement provides a flexible and inclusive approach to identifying the
components of dance aesthetics.

Dance-making knowledge

In creating dance performances, Performers and choreographers

often engage in a prolonged and highly collaborative process. Stage
choreographies result from an extended period of artistic research, rather
than linearly from a single idea or intention. Dance performers vary
considerably with respect with their reproducibility. Many traditional dance
performances involved a fixed series of steps that are supposedly performed
in a consistent and similar way every time the performance is staged. Many
classical and modern dance pieces fall into this category of fixed-step
choreographies.

 Brain mechanism relevant for movement aesthetics

Neuroaesthetics aims to link aesthetic perception to brain structure

and function. The neural mechanism aesthetic perceptions of dance
are related to the neural correlates of perceiving partner’s
movement. This involved a wide range of brain areas including the
visual context but also motor, premotor and parietal brain areas.
Neuroscientific research has identified special field yet overlapping,
 processing pathways for perception of human movement kinematics
and inferring intentions and emotions on other people’s actions.

 The Spectator

Visual, action and social features are processed by the spectator’s brain.
Aesthetic appreciation and aesthetic judgement thus require understanding
of the psychological and brain mechanisms that process these different
features of the movement message. One important constraint of
communicating this information is the spectator’s expertise with the
movement of being watched.

Dance as a social art form

Guido Orgs and colleagues (2016) have

recently developed a neurocognitive model
for studying human movement aesthetics that
aims to combine different aspects of human
movement in a single theoretical frame work.

The
Performer
Conveys information to the audience by
making body movements. The limit of what can be communicated through.

Movement are set by the physical constraints of the

human body. The increase in movements repertoire
through dance training thus increases the number of
possible messages that can be communicated.

We can distinguish three components of the comm-

unicative process during a dance performance. The
Dancer transmits information to the spectator via the
Movement message.

3. Knowing dance or knowing how to dance?

(Sources of expertise in aesthetics appreciation of human movement)

What is in a Dance?

Dances can acquire new meaning in choreography. For example, a funeral

wreath becomes the partner in a sensuous dance solo. You have to place
yourself in a ‘pedestal’. It will be played with heightening, with walking
vulnerably, and walking proudly-as well as the changes to the lines of the
body.

CHARACTERISTICS OF DANCING

INDIVIDUALITY
When improvising with movement, you have to
recognize that every human has his/her own style
and individual form, dynamic and logic of
movement.

BODIES INSPIRE Movement is the outcome of liberation of energy

BODIES: Partners in through a muscular response to an internal or
movement external stimulus. This response generates a visual
outcome in time and space.

Movement follows the laws of physics. The logic of

every movement is subject to the laws of gravity –
the force drawing everything towards the center of
the earth.

Movement is generated by applying energy to

overcome this force: think of the logic of swinging
pendulum.
MOVEMENT AND ITS
LOGIC Exploring the logic of a movement is very important
in order to aid understanding. You can view the
different levels: as a physical process within the
content of a movement sequence; and a part of
narrative action.

IT ALL STARTS WITH

THE BODY The body is the dancer’s instrument. Dancers know
their bodies in all their parts- in fact they know every
fibre very precisely. They have enormous
experience in working with their bodies and they can
perform the movements they have rehearsed with
great awareness and deliberation.

‘’The body is infinitely rich reservoir of different

movements.’’
 Check Your Understanding

1. Identify the three classification of Art of Dance and describe

each in your own understanding.
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Watch And Learn!

Click the links and watch the following videos of Choreography of Duo and
Solo Dance.

Links: Duo
https://youtu.be/7dDnUH27FDg

Links: Solo
https://youtu.be/WUzSFRYnydk

Essential Questioning

1. Based from the video Duo Dance, what have you noticed on the pattern
and steps?
The patterns of the dance s bit simple but the steps were too difficult
to do. Since it is a duo dance, the patterns are equal to the both of them so
no one would be muddled on the step they are executing.

2. Does the Duo dancer show synchronization? If Yes/No, why? Explain your
answer.
No, they did not show synchronization. When we talk about
synchronization, the two dancers or group of dancers has the same pattern
of movements. No one is independently working on their movements but
have coincidence with each other. In the video the two partnered dancers
showed more of the affection with each other, it is more of interpretative
dance, I guess.
3. Describe what emotions draws Solo and Duo Dancer portrayed.
The emotion of the song is what they are portraying. Their feeling
connects to their body and make necessary movements regarding the song.
The dancers of the two dances simply portrayed an emotion of feeling love
and passion.

4. How do Solo dancer connects emotion to her viewers including you? How
do you feel upon watching the video? Explain your answer.
Solo dancers have the ability to make their feelings move using their
physical body. And the word emotion is derived from latin word, emovere
which means to move. So emotions are exactly for dancers, because dance
movements comprise of emotions expressing by dancers allowing their body
to. That is why dancers can easily connect their piece to viewers because
they allow their body to express emotions. Upon watching the video, I felt
the beat and wanted to dance. With their emotions clearly be seen on their
face and body, I was really pleased to finish the video, because I can really
feel it.

The word emotion is derived from the latin word: “emovere” meaning to move,
move out or move through. ... In dance, our purpose is to express emotions,
communicating physically, allowing those feelings to move through the body,
out of the body, and in doing so, to move others.

Compare and Contrast

Compare the following. Justify the importance of dancing. Write your

answers with what you have understood from lesson 3.

KNOWING ABOUT THE DANCE KNOWING HOW TO DANCE

 Practice Makes Perfect!

Based from the video links, you can add more ideas to engage with
your own steps, patterns and movement in your own Art in dancing. Make a
video of yourself with your own choreography with the following criteria.

Exceeds Meets Approaching Does Not

Expectations Expectation Expectations Meet
4 3 2 Expectations
1
Knowledge of Demonstrate Demonstrates Demonstrates Demonstrate
Choreography excellent knowledge of some no knowledge
knowledge of movement and knowledge of of movement.
choreography and performs with movement and
performs few errors. performance
movement free of has many
errors. errors.
Stage Dancers uses their Dancer uses Dancer uses Dancer uses no
Presence face and body to facial and body little face and facial and/or
fully express the expressions body body
intent of the when expressions expressions.
movement. performing. when
performing the
movement.
Musicality Shows a full Shows Choreography Choreography
 understanding of understanding is performed shows no
rhythm and of rhythm and with little attention to
timing by staying timing by attention to details of
on beat for the staying on beat details of movement and
entire dance. throughout movement and demonstrates
most of the student is not little
dance. proficient is knowledge of
dance style. dance style
Technique Great attention to Choreography Choreography Choreography
the quality of is performed is performed shows no
movement, body with attention with little attention to
position and to details and attention to details of
demonstrates shows details of movement and
excellent proficiency of movement, demonstrates
understanding of dance style. and student is little
dance style. not proficient knowledge of
is dance style dance of dance
style.
Effort Shows great effort Shows effort Shows little Shows no
while performing when effort while effort while
choreography. performing performing the performing
choreography. choreography. choreography.

References

 www.williamforsythe.com
 http://synchronousobjects.osu.edu
 https://www.goette.de.com
 www.bankrate.com
 https://stageminded.com
 https://qcc.libguides.com
 https://books.google.com.ph
 https://stageminded.com
Lesson 4 Physics and the Art of Dance:
Understanding Movement
 INTRODUCTION

Dance is an art intended to communicate images that appeals to the

aesthetic sensibilities of observers. One might even say, ‘’Don’t think about
it- just appreciate it!’’ Dance involves creative activity, subjective and
largely emotional responses to the images, and communication based on the
visual language of the moving human body. Those characteristics seem to
define an activity far from science, which is thought to be the realm of
intellectual activity based on unemotional objectivity, involving numbers
(data derived from experiments), and analysis based on formal logic and
mathematical equations. Dance is inherently visible; science often deals
with phenomena invisible to the unaided human senses- X-rays, DNA
molecules, and supernovas in distant galaxies.

The Role of Physical Analysis

 What is the role of thinking in dance as an art form?

 How do we distinguish between using scientific words to describe
movement and applying valid physical principles that give us true
insights?
 How do dancers and those who observe dance balance these
apparently contradictory approaches to their art and craft?
  How might scientific analysis be applied to dance in fruitful ways
that don’t compromise its aesthetic appeal?

As of Bobby Boiling, in his book A Dancer’s Manual, says ‘’It is

important to remember that nothing happens in the body without
happening in the brain first. Dancing is 95% mental.’’

Many in the dance community would say that dance has to come from
the heart- otherwise it’s just sterile body motion. And most dancers have
had the experience of analyzing some movement to death, to the point that
it no feels like dancing.

Dance is more than an art.

It is one of the most
powerful tools for fusing
the split between the two
functions of the brain- the
fusing of logical with the
intuitive, the fusing is
analytical perceptions with
the sensorial perceptions,
the fusing of holistic
understanding with step by
step thinking. It is a
discipline, which within
itself deals with basic
understanding of human
experience and
conceptualization.

The Physique of Dance

 What physical principles are pertinent to an analysis of dance?


We must first agree that the physical laws that have been shown to apply
university to all moving objects to indeed apply to the moving human body,
even though that body can control its own shape and the forces it exerts on
its surroundings. We must therefore deal with the concepts of force, energy,
momentum, inertia, velocity and acceleration in the same careful way that
these concepts have been applied to inanimate objects.

A dancer’s mind determines

how and when muscles are to
be activated in order to
 produce motion (or stop it). It
is to consider what will
happen physically after the
dancer has decided to move
in a particular way.

When dancing alone, earth’s

gravity and the floor are the
only sources of force acting
on a dancer’s body. All
changes in the state of
movement of the dancer as
whole are dependent on the
forces acting on the body
from gravity and from
interactions between the
body and the floor.

When dancer is in contact with a

partner, another source of interaction
comes into play. Interaction forces
between partners are controlled by two
different minds, each with its own
motivation, interpretation, timing and
strength. A partnered dancer now
experiences forces that are no longer
totally under his or her control or even
predictable, unlike interactions with the
floor gravity. This uncertainly in
partnering adds to the difficulty for the
dancers but can also add a sense of
spontaneity very appealing to an
audience.
 Dance movement can be broken down into categories that involve
different characteristic techniques of analysis. Some movements involve
primarily vertical or horizontal motions of the body.

BALANCE

Movement is the heart of dance and the primary aspect that portrays
the style and image that a dance conveys. But some of the more dramatic
moments occur when a dancer enters a balanced pose and holds the position
for several hear-stopping seconds. A pirouette ending in a motionless
balanced pose is particularly impressive. Analyzing the techniques a person
must use in order to achieve or maintain balance or to regain lost balance,
involves some intriguing physics and demonstrate that some unexpected and
counterintuitive actions are needed.

Essential Questioning…

2. What role does balance play in dance other than preventing a

tumble off the stage?
3.
4. What does it mean to ‘’balance’’?
5. What importance of balance does it contribute to our body?
6. What determines the location of the center of gravity?

CONDITION OF STATIC BALANCE

We will define the ‘’center of gravity’’ as ‘’that point where the

downward force of gravity appears to
act on the body as a whole.’’ It is
related to the dancer calls his or her
‘’center’’ which is a more subjectively
define concept but is also related to
balance. To remain balanced, at least
part of the mass of the rest of the body
must be displaced in the opposite
horizontal direction, which may cause
the balance body to lean away from the
 extended leg. Stability and balance, or lack thereof is related to
turnout that characteristics position of the legs and feet is so
important. That is the body’s center of gravity is at rest, it will
remain at rest. But if it is initially moving, it will remain in uniform
motion until it is acted on by outside force. This powerful result is
described by the first of Newton's three laws.

MOTION (without turns)

Simple vertical jumps are not simple! We will find the relationship
between height and the time in the air, see the effect of the use of the
arms in increasing the height of a jump, and analyze the vertical forces
necessary for jumping to a particular height and the forces acting on the
body upon landing.

ACCELERATION FROM REST

First, let us consider how a dancer begins a horizontal movement

from rest, involving a quick acceleration away from a standing position. As
we found in the discussion of balance. If the body’s center of gravity lies on
a vertical line above the area of support, and there are no horizontal forces
acting on the body, it will be in equilibrium and will remain at rest.

 Now, how does a person arrange to have a force exerted on himself

in order to accelerate?

The force begins with linear acceleration forward and also

produces a torque that counteracts the rotation induced by the
force of gravity acting in front of the supporting feet.

MOTION IN A CURVE PATH

 Technically, the term ‘’acceleration’’ refers to any change in
velocity, whether an increase or a decrease in speed or a change in the
direction of motion. These accelerations require forces on the dancer from
outside the body.

STOPPING HORIZONTAL MOTION

A dancer moving across the floor may wish to stop moving, disposing
of all the linear momentum. Again, the floor is the source of the source of
the decelerating (slowing) force when the body leans back so that the
center of gravity is to the rear of the support, allowing the floor to exert a
retarding force to slow the forward motion.

VERTICAL JUMPS

Vertical jumps are movements common to all form of dance and, in

fact, any athletic activity. In this jumps the body spends some time in the
air with no contact with the floor or ground, returning to the surface close
to the departure point.

FLOATING ILLUSION

Although the dancer may change the shape and configuration an

interesting illusion can be created. This effect is partly due to the simple
fact that the vertical motion of the body is rapid at the beginning and end
of the jump but slow near the peak as the vertical speed slows to zero and
reverses for descent.

WATCH AND LEARN!

On the given links:
https://youtu.be/zQDKck-hdJ8

Write what you have noticed from the Physics of

Dance. Answer the following questions.

Learning Activity

A. We all know that Ballet is the most sophisticated dance among

all dances aside from social dances. Based from the video:

1.What are the importance have you learn in dancing?

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
___

2. Why did they call it as Physics of Dance? Explain your answer.

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
___

3. Write at least three importance of dancing that you can apply in your
daily life or routine to be physically fit. Why?
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
___

WATCH!

These are the following links for your video activity.

Observe the steps, patterns, sequence of the movement and the
body rhythm of the performer. Observe the music used for further
understanding.

https://youtu.be/3DQRULMZDZ1M
https://youtu.be/fauwr5zaRIE
https://youtu.be/94cmorZTfkc

B. MECHANICS: After watching the videos as your basis, compose a

dance with the following Physics of Dances. The listed resources
below will be your guide for your video performance with the
 following criteria. GOODLUCK! Criteria presented in a table
form from the previous lesson will be used for your evaluation.

 Explore moving in response to a variety of images, for example a

dolphin (smooth, fluid, rising, and sinking), machines (jerky,
percussive), or a puppet (either soft and floppy or one part moving
at a time, angular). Move your body in a way that shows the
qualities of these images.

 Explore different ways of moving down to and up from the floor. Link
some of these ways together in a sequence for a dance called ‘’up
and down’’.

 Create dances based on a theme (Physics of Dance with touch of

contemporary Dancing) and showing particular movement qualities,
for example, electricity (vibrating, light), heroes(strong, heavy).
Forces of nature such as fire, storms, or volcanoes (flickering,
swirling, explosive). View and discuss the level 3 dances exemplar
Volcanic Energy in relation to the development of theme and motif.

 From the links given above, write a review of it. Observations,

commend to the performer/s and comparison to your performance.
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________

VOCABULARIES WORDS OF DANCE.

General Dance Terms
By studying and learning the unique language of dance, you will
develop your skills faster and more completely. While the language is not
the dance, improved fluency in the language greatly enhances all aspects of
the learning process

Amalgamation
A combination of two or more patterns or movements.
Amateur Dancer
A person for whom dancing is a hobby and who does not seek financial gain
from the teaching or performing of dancing.
Arm Styling
Positioning and movement of the arms, reflecting the character and style of
the dance.
Associate
(1) The first complete level of dance figures in the International Style and
some American Style syllabi representing the foundation of movements and
basic dance concepts. (2) A degree attained by a Professional Dancer as a
result of passing a certifying teaching exam covering the Associate
Syllabus.
Basic Figure
A standardized step pattern which together with other patterns constitute
the basis of a dance.
Bronze Level
The first complete level of the Medalist System, representing the
foundation of movements and basic dance concepts. Also used in
Competitions, representing a level above Newcomer and below Silver
danced by Amateurs.
Choreography
A creation or compilation of steps, patterns and movements which make up
a dance or a dance routine.
Closed Division
A category at a DanceSport event, which requires that competitors may
only dance figures that are specific to a certain level and syllabus and may
not dance variations and choreography outside of the syllabus.
Closed Figure
A dance figure where the feet close on the last step. Examples are Left and
Right Box Turns in the American Style and Reverse And Natural Turns in the
International Style.
Combination
A group of consecutive patterns and choreography. Similar to Amalgamation
but sometimes involving a slightly more advanced set of patterns.

Continuity Movement
The continuous passing of the feet from one step to the next. This action
is used from Silver Level on in American Style Waltz, Foxtrot and
Viennese Waltz and is also characteristic of the International Foxtrot and
is used greatly in International Waltz and Quickstep.

Drop
A theatrical type of movement in which the follower's body weight is
partially or completely supported by the leader while at least one part of
the follower's body remains in contact with the floor.

Fellow
(1) The final complete level of dance figures in the International Style
and some American Style syllabi representing the most advanced
movements and dance concepts.
(2) A degree attained by a Professional Dancer as a result of passing a
certifying teaching exam covering the Fellowship Syllabus.

Figure
A standardized step pattern that, together with other patterns, constitute
the dance.
Floor Craft
The ability of the leader to maneuver around the dance floor in a skilled
and controlled manner as to avoid colliding with other dancers.

Following
The ability of the follower to react correctly to the signals given by the
leader through physical and visual connections.

Formation Team
A group of three or more dancers who perform ballroom style routines.

Freestyle
(1)Dancing done on the dance floor in an apart where each person dances to
the music doing steps of their own creation without a particular pattern or
sequence
(2) Dancing with a partner in any kind of hold where the leader improvises
steps. May be danced by inexperienced dancers who have never taken
dance lessons or, by very advanced dancers who are so well trained in
leading and following that improvisation is creative and natural.
Freestyle Division
A division of competition with one or more couples on the floor, designed
for the leaders to lead the follower without memorized dance routines.
Also, the ability to change a predetermined routine when necessary.

General Dancing
The portion of the program when the dance floor is open to the audience
for social dancing.

Hip Motion
A very general term to mean any type of hip movement used in Latin
Dancing. Similar to Cuban
Motion and Latin Motion.

REFERENCES

 https://www.rescarichgate.net
 www.dancefacts.net
 http://www.learnandmaster.com
 David Webster, Philadelphia Inquirer, April 4, 1978.p4-B
 Bobby Boling, A Dancer’s Manual; Motivational Guide to Professional
Dancing, edited by Don Mirault and Kieth Sellon-Wright, tolucalake
 CA: Rafter Rublishing, 2000, p.33

In module I, you have learned about International Dance and Other

Forms. You have learned their nature, history, elements and forms of dances.

There are three lessons in module I. Lesson 1 consists of two parts

focused on the nature and history of dance and the elements of dance
etiquette

Lesson 2 deals with the 5 Elements of Dances (Body, Action, Space,

Time and Energy). Lesson 3 focused on the art of dace and physics in
dancing.

Congratulations! You have just studied Module I. now you are ready to
evaluate how much you have benefited from your reading by answering the
summative test. Good Luck!!!
 SUMMATIVE TEST

1. What is the difference between the following forms of dance?

Tap dancing and Irish Dancing

Bhangra dance and Kathak dance

2.Watch the sample videos and select one dance form that you are going to
memorize the steps and movement patterns. Practice and create a video clip
of yourself dancing.

Rubric
Exceeds Meets Approaching Does Not Meet
Expectations 10 Expectations 7 Expectations 5 Expectations 2
Knowledge of Demonstrates Demonstrates Demonstrates Demonstrates no
Choreography excellent knowledge of some knowledge knowledge of
knowledge of movement and of movement, and movement.
choreography and performs with few performance has
performs errors. many errors.
movement free of
errors.
Stage Presence Dancer uses their Dancer uses Dancer uses little Dancer uses no
face and body to facial and body face and body facial and/or body
fully express the expressions when expressions when expressions.
intent of the performing. performing the
movement. movement.
Musicality Shows a full Shows Has some Dancer speed up/
understanding of understanding of knowledge of and or falls behind
rhythm and timing rhythm and timing rhythm and often throughout
by staying on beat by staying on beat timing, but speeds the dance.
for the entire throughout most up/and or slows
dance. of the dance. down many time
throughout dance.
Technique Great attention to Choreography is Choreography is Choreography
the quality of performed with performed with shows no
movement, body attention to details little attention to attention to details
position, and and shows details of of movement and
demonstrates proficiency of movement, and demonstrates little
excellent dance style. student is not knowledge of
understanding of proficient is dance dance style.
dance style style.
Effort Shows great effort Shows effort Shows little effort Shows no effort
while performing when performing while performing while performing
choreography. choreography the choreography choreography.
 References

https://www.slideshare.net/MarvinBronoso1/physical-education-12-nature-of-
dance
http://www.dancefacts.net/dance-history/history-of-dance
http://dsc2e.weebly.com/the-5-elements-of-dance.html
https://www.kpbsd.k12.ak.us/Workarea/DownloadAsset.aspx?id=36260
https://www.howcast.com/guides/1082-how-to-do-street-dance-moves
https://study.com/academy/lesson/salsa-dance-origin-history-steps.html
https://torontodancesalsa.ca/blog/the-different-styles-of-salsa/
http://www.learntodance.com/line-dancing-online-for-beginners/
Hackney, P. (1998). Making Connections: Total body integration through
Bartenieff Fundamentals. New York.
Gilbert, A. (2006). Brain- compatible dance education. Virginia: National
Dance Association.