Republic of the Philippines

Teacher Education Department

Bacolod City College
Bacolod City

PHYSICAL EDUCATION

TOPIC: 1.CHEER DANCE AND CHEERLEADING

2.CONTEMPORARY DANCES

LEADER: MARY BARRIOS

PRAYER WARRIOR: EMAN CHRISTIAN ANG

DANCE MASTER: ALYSSA TAPALES

MEMBERS:SHEILA MAY TABURADA

DENISE GONZALES

REFERENCES:

www.rappler.com/life-and-style/226660-women-of-filipino-dance

What Is Contemporary Dance? A History of Contemporary Dance - 2024 - MasterClass

 CHEER DANCE AND CHEERLEADING
LEARNING OBJECTIVES:
At the end of the chapter, the students are expected to:
1. Define cheer dancing and its benefits;
2. Distinguish the elements of a choreographed cheer dance;
3. Classify the cheer dance positions and its techniques;
4. Integrate safety practices in a cheer dance performance; and
5. Perform the basic positions of cheer dancing.
Cheer dancing or cheerleading, is a team activity that involves the elements of dancing, shouting
slogans, stunting, and tumbling solely dedicated to entertaining and motivating the crowd during sports
events, including to motivate the players. In cheerleading, there will be a leader called a cheerleader who
typically shakes pom- poms, loudly shouting at the top of her lungs and cheering for the team in the hopes of
winning the game – not competing against an opponent, thus, not considered a sport (Darnell, 2012).
Further, Greenspan (2020) & Darnell (2012) do not officially recognized cheerleading as a sport neither by
the NCAA nor by U.S. federal Title IX guidelines.
Cheer dance requires flexibility, strength, agility, and other components of fitness, including courage and
trust among the members and spotters in performing various difficult stunts. When performing stunts, it is
risky to fall, which can lead to other untoward injuries. Hence, cheerleaders must be careful, should observe
safety measures, and must follow the phases of exercise, i.e., warm-up, workout, and cooling down, to avoid
undue fatigue because it carries an inherent risk of injury. Safety and security are every cheerleader’s
primary priorities. The rate of catastrophic injuries in cheering has significantly decreased in recent years.
Nevertheless, throughout time, cheering has had a greater injury rate than 23 of the 24 sports that the
National Collegiate Athletic Association recognizes (NCAA) (Greenspan, 2020).
In cheer dance, it usually requires 15 to 20 participants or squad members who have a background in
basic skills, positions, and stunts in gymnastics, including tumbling and other acrobatic skills. The dance is
basically choreographed for up to 5 minutes only because of its rigorous routines. The costume is either a
skirt or a pair of pants with the team’s color, depending on the preference of the dancers, as long as the
group or squad agrees; and it should also take into account dancing routines that do not affect the overall
performance of each individual or the group as a whole.
The leading dancer is called a cheerleader. Cheerleaders are frequently observed performing flips in the
air, pulling someone off the ground, and frequently performing backflips. Character- enhancing qualities like
discipline, teamwork, leadership, and sportsmanship were attributed to cheerleaders. The first cheerleaders
were men, despite the fact that the game is now primarily associated with women (Grindstaff, 2015). A
cheerleader who is truly versatile will be able to do any role, such as base, flyer, or spotter, even though
most cheerleaders focus on just one or two roles (Kek, 2019).
In America, cheerleading has remained an iconic national pastime activity since it symbolizes school spirit,
leadership, and youthfulness, which is the reason that it is usually considered the heart of modern
cheerleading in the southern United States, including Texas (Grindstaff, 2015).
Cheerleading Positions
There are three cheerleading positions we should learn to avoid from injuries, which are base, spotter, and
flyer. As a member of the cheerleading team, you need to know which role is best suited for you.
1. BASE. Bases are known as the primary support of pyramiding and the foundation of all stunts. The
absence of base in a cheerdance is impossible. Generally, base dancers are the taller and stronger
members of the team because they are the ones who will lift the flyers up. These are just the obvious
qualifications of a base, but their ability and extraordinaryskill are equally important
2. SPOTTER. Spotter, also known as backspot, is one of the important roles or positions in
cheerleading, extremely similar to base dancers, which is not an easy task. A good spotter should
exert maximum strength in lifting the flyer so that the bases will not be carrying the entire weight of
the flyer. Being a good spotter doesn’t always mean lifting all the weight, but helping the flyer
balance his or her body and ease some of the weight from the bases. Ninemire (2019) identified that
a spotter should always be in contact with the performing flyers and be alert or attentive, fast-
thinking, aggressive, and preferably a tall person, usually placed at the back of the stunt to assist the
base, secure, and catch the flyer when he dismounts or falls to prevent serious injury. In the case of
flaws, if the flyer unexpectedly falls, the spotter is responsible for catching the head and neck first.
Hence, the spotter must always keep an eye on the flyer.
3. FLYERS. The flyers are the face of cheer dance routines and stunts who are usually smaller and
lighter, with an optimum level of agility and flexibility because a flyer is a person who gets lifted or
thrown into the air during the entire routine. They are the center of attention in cheerleading who
perform flips and twists in the air, but a flyer cannot perfectly execute the routine without a strong
base and an attentive spotter. Flyer is one of the most difficult positions in cheerleading because it is
extremely exhilarating to be lifted and thrown in the air.
Techniques in Cheer Dancing
You can BEAT some flaws and mistakes in performing cheer dance. Here are some appropriate tips,
techniques, and practices that can ensure your stunt goes smoothly and help you stay as stiff as you can for
maximum impact.
1. BALANCE . Locate your own center and establish equilibrium for a stronger foundation.
2. EYE CONTACT. Maintain constant eye to eye contact with the audience while performing the routines
to establish connections.
3. ARMS. Utilize both arms to carry your bodyweight by extending them upward to prevent falls and
promote balance.
4. TIGHT. Keep firm with your feet close together and attempt to create your body as one unit as much as
possible to avoid falls.
Cheerleading Stunts
1. Individual Stunts – stunts performed by only one person. A performer executes an individual routine
pattern.
2. Dual Stunts – stunts performed by two people. It involves two individuals performing in a routine.
One may serve as a spotter to another, one for support to avoid sudden accident or injury.
3. Group Stunts – stunts performed by more than two persons executing routines or pyramids.
Here are the simple yet equally important basic cheerleading stunts you need to learn.
Motion is the very basic move in cheer dance through simple arm movements. It is necessary to perform the
correct actions and techniques. Arm motions are the foundation of all cheerleading moves. These can be
noticed in stunts, dance, jumps, and tumbling, which are the foundations of cheerleading. Whether you are a
novice or a professional cheerleader, you must have strong arm motions to be effective.
Clasp
Cheerleaders perform the clasp as they clap. Begin with your arms along your sides with an elbow bent,
hands together, and clap. It is necessary to keep in mind that, from the side, the arms are raised directly in
front of the body. Ensure that your clasp is in front of your face and that your elbows are close together.
Overhead clasp is done with arms straight, above the head in a clasp and slightly in front of the face.
High-V
A high “V” is executed by lifting the arms up to mimic the letter “V”. Straight arms should be held out in
front of the body a little bit with the fingers facing away from the body, and hands should be tightly curled
up.
Cone
The cone action is similar to the touchdown motion, except at the peak of the motion, the hands are clasped
together. It is applied in the transition to cheerleading jumps and is a vital component of the pole vaulting
and acrobatic routines of the sport.
Touchdown
In a touchdown motion, your arms should be straight up above one head and the biceps should touch the
ears. The hands should be in tight fists with the tips of the fingers facing each other.
T-Motion
Raising arms towards the side of the body to resemble the letter “T.” Arms must be straight and slightly in
front of the body. The hands should be formed into tight fists with the fingertips facing the ground.
Jump
In straddle jump, it is performed with both hands in fists or blades, knees should be pointing up and
backward, and legs should be straight and parallel to the ground.
Handstand
A well-executed handstand forms a vertically inverted standing body, and the hands are placed on the floor
to support the body’s stability. The arms are shoulder-width apart, and the head is tucked inward, with the
chin positioned close to the chest.
Pike
Do a pike position by sitting with both legs extended straight out forward. Bend your hips and lean forward.
Pikes can be made to varying degrees based on the extent to which the performer folds himself in half at the
hips.
Split
A split is a body position in which the legs are extended in a line. Mastery of doing splits will help you
perform other skills such as split leaps, jumps, and switch leaps. The more expert you are at performing
splits on the ground, the more you can easily execute splits in between tumbling or stunts. You can develop
split skills by practicing sitting and reaching or spreading your legs every day for flexibility enhancement.
Types of Split
1. Half Split – Lower your right or left knee and release or stretch the other leg on the ground in
performing a half split.
2. Straddle Split – Also known as a side split, is performed by extending your legs on the floor and
facing forward.
3. Side split – The performer extends his legs sideways at a 180-degree angle.
4. Front Split – This is performed by extending one leg in front and the other in back. In front split, the
legs are in line; one leg extends towards the front, the other leg is towards the back. The hips are in a
neutral position. The key to performing split relies on stretching more often than stretching for a long
time.
 Chapter 3
CONTEMPORARY DANCES
(MODERN, JAZZ, LYRICAL, BALLET)

LEARNING OBJECTIVES
At the end of the chapter, the students are expected to:
1. Define contemporary dance;
2. Determine the historical background of contemporary dance, and the people who contributed
to its development;
3. Classify the different genres of contemporary dance;
4. Deliberate further the development of ballet, modern, jazz and lyrical from the time these
dances started up to now;
5. Express an appreciation of the origin of the dances and the roles the play in one's culture; 6.
Produce, and accomplish a choreographed contemporary dances based from the different dance
steps; and 7. Perform correctly the different steps of the dances with ease and smoothness.

Lesson 1: Contemporary Dance

Introduction
What is Contemporary Dance?
Contemporary Dance is a combination of several dance genres It is a style of expressive
dance that combines elements of severa dance genres including modern, jazz, lyrical and
classical balletContemporary dance blends elements of multiple dance styles and lets dancers

express emotionality through movements and breath. . The term "contemporary somewhat
misleading: it describes a genre that developed during the mid-20th century and is still very
popular today.
Modern, jazz, lyrical, and classical ballet are just a few of the dance genres that are
combined in contemporary dance an expressive dance form. Through fluid dance movements,
contemporary dancers aim to unite the body and the intellect.
 Lesson 1.2
Overview of Contemporary Dance

In contrast to ballet's rigid, organized style, contemporary dance emphasizes flexibility and
spontaneity. Dancers in contemporary styles concentrate on floorwork and let gravity drag them
to the ground. In this type of dance, bare feet are frequently worm. Various musical genres can
be used to accompany contemporary dance performances. The dancers in contemporary dance
explore freedom of movement, enabling their bodies to freely express their deepest emotions and
convey tales. Contemporary dance is an organic, expressive form. The movements are performed
to a variety of songs and span from quick and sharp to sloppy and smooth.

How To Start Contemporary Dance?

Isadora Duncan, Martha Graham, and Merce Cunningham were pioneers of modern dance
because they disobeyed the rigid restrictions of ballet. All of these dancer/choreographers held
the view that dancers should be able to move freely, expressing their innermost thoughts with
their body. It's crucial to remember, though, that Cunningham is frequently referred to as the
founder of contemporary dance, whereas Graham pioneered what is now known as modern
dance and Duncan's style was distinctly her own.

Lesson 1.3
Historical Background of Contemporary Dance

There are many features that both modern and contemporary dance share; they are, in a
sense, branches coming from the same roots. Ballet was a term used to describe theatrical dance
performances in the 19th century. With Catherine de' Medici's assistance, court dancing
throughout the Italian Renaissance evolved into ballet, a formal discipline that gained popularity.

Ballet conventions started to be broken by a few dancers around the tail end of the 19th
century. Francois Delsarte, Loe Fuller, and Isadora Duncan were a few of these people who
created distinctive movement genres based on their own philosophies. All of them put greater
emphasis on emotional and physical expressiveness than on formal procedures.

Contrary to ballet or Duncan's "Isadorables," a new dance style known as "modern dance"
arose between about 1900 and 1950. Modern dance is a codified dance technique with a
particular aesthetic. Modern dance, which was created by trailblazers like Martha Graham, is
based on breathing, movement, muscle contraction, and muscle release.

Martha Graham had Alvin Ailey as one of her students. e was the first to incorporate
African American aesthetics and concepts into contemporary dance, although maintaining a
closer link to previous approaches.

Merce Cunningham, a different Graham student, started experimenting with his own kind of
dance in the middle of the 1940s. John Cage's utterly original music served as Cunningham's
inspiration for creating an abstract dancing style. Dance was liberated by Cunningham from the
traditional theatrical setting and from the necessity to convey particular stories or ideas.
Cunningham popularized the idea that dance steps may be arbitrary and that every performance
could be distinctive. Cunningharnis frequently considered to as the father of contemporary dance
because of his full abandonment of traditional dance practices.

Contemporary Dance in the Philippines

There has been a lot written on the country in relation to other humanities disciplines,
particularly literature. Dance's unusual positioning inside and in relation to the national discourse
has always interested me. Dance is an ephemeral art form that has inspired a range of opinions,
oftentimes ones that are diametrically opposed. But there is no denying that dance has shaped
and informed our conceptions of the nation and nationhood.

It cannot be denied that nations have constantly had to strike a balance between upholding
their identities and meeting the demands of the ever-changing socio-political, economic, and
cultural re-alignments around the world. This is especially true in the age of intense globalization
in contemporary Southeast Asia, where national borders have ostensibly given way to the fluid
movement of economic goods, peoples, and cultural practices. As a result, cultural practices are
constantly entangled in larger cultural and political networks and become embroiled in disputes
that are expressions of the nation's continuing power, despite or precisely because of the
contentious nature of the globalization debate. In fact, the reorganization of international power
dynamics has led to the reassertion of national boundaries rather than the "transcending of
nations." As a result, numerous cultural, historical, sociopolitical, religious, economic, gender,
racial, and sexual discourses continue to be forged in the nation as a discursive practice.

In the Philippines, dance has made a significant cultural contribution. There is no denying
that dance in the Philippine context has integrated itself in society over many years and isdeeply
ingrained in culture, from one of the oldest dated dances called the tinikling to other folkloric
dances like the pandanggo, cariñosa, and subli, and even to more contemporary dances like the
ballet. These dances demonstrate the variety of contemporary Philippine dances by each having a
distinctive origin and purpose. Filipino dancing has always been in the spotlight as a result of
numerous honors and recognitions bestowed upon different dance ensembles. There are groups
like the Bayanihan Dance Troupe and the Ramon Obusan Dance Troupe, both of which have
toured the globe to advertise the nation's varied dances.

Of course, there are Filipino organizations like Ballet Philippines, Philippine All Stars, and
Jabbawockeez that have won prizes in jazz, hip-hop, and ballet. However, five women who
created and promoted Filipino folk and modern dance came before these ensembles were well-
known locally and internationally.
The names to keep in mind are:
1. Francisca Reyes-Aquino- Mother of Filipino FolkDance
2. Leonor Orosa-Goquingc-“Mother of Philippine Dance Theater” and “Dean of Filipino Performing Arts
Critics.”
3. Lucrecia Reyes-Urtula-
4. Alice Reyes and Ligaya
5. Fernando Amilbangsa
 Today's Contemporary Dance A variety of styles, including ballet, modern, and "post-
modern" (structureless) dance, are incorporated within contemporary dance today. While some
contemporary dancers improvise in their own distinctive ways, others perform wholly new
creations as they construct characters, dramatic events, or storylines. (Bedinghaus, Τ., 2019)

Lesson 1.4 Common Contemporary Dance Terminology

1. Alignment
This refers to how your limbs, torso, and head are placed in relation to each other.
It's like posture, but for poses and movement. Correct alignment not only helps the
dancer complete the movements with the correct visual style, but helps prevent injury.
2. Dynamics
This is how a dancer utilizes aspects of motion like flow, space, time, texture, and
weight to create movement. One will immediately see that there are an enormous
number of combinations and variations in the dynamics of dance if an individual tries to
picture each of those elements next to a control knob that permits different gradients of
effort.
3. Breath
In the strictest sense breathing relates to your use of oxygen while dancing, but
breath more specifically refers to the use of inhalation and exhalation as theatrical tools
to add to a performance.
4. Canon
Dance frequently uses the same vocabulary as music, which is also true of canon.
The difference is that this is a segment of choreography where a certain style of
movement is repeated either in rhythm with or out of sync with other dancers, as
opposed to a recurring musical pattern structured around a single focal movement.

5. Choreography
The dance steps and movements are mapped out in this manner. Consider it similar
to the notation and arrangements in music or the director and script in theater and
movies.
 6. Gesture
A gesture is a movement that expresses emotion or direction without shifting the
body's weight, and it is a component of the theatricality of contemporary dance. A wave,
a smile, a head nod, and jazz hands are a few examples of gestures. A great jeté, a
ballet-inspired forward jump.
7. Flow
This is a characteristic of movement like when someone is trying to pour the water
from the hose and let the water pours out continuously and turn it off from the source.
The flow becomes confined or constrained and moves in a forced, manner.
8. Intention
Intention is the driving force behind a dancer's action and determines how that action fits into the
overall choreography. Intention plays a crucial role in the relationship between the artist and the
audience, just like "inspiration" does for stage actors.
9. Isolation
The dancer's capacity to separate a movement from the other action or to produce
inactivity with a certain body part while movement is present elsewhere. It is a crucial
method of control.
10. Motif
A motif is a focal movement or group of movements that serve as the foundation for
a bigger piece. This word also originates from the musical language. Consider it to be a
visual motif.
11. Space
This describes the space that the dancer resides in and controla. Additionally, space
is a quality that a dancer can depict through their movements, such unequal space, space
that is plagued by external pressures, space that protects the dancer from external
influences, space that is expanding or shaking and so on.
12. Texture
Textures describe how a movement feels to the dancer as well as how the dancer is
presenting that feeling, In order to convey the mood of the score, textures frequently
collaborate closely with the music.
 13. Time
This can refer to the tempo or speed of a piece of music, much as it does in spoken
language. However, whether a movement is rapid and cut off or continuous and slow,
time can also relate to that quality of movement in dance. Consireder how the piano’s
pedals correspond to the notes in musical phrases.
14. Weight
Weight interpreted in contemporary dance in two different ways: A dancer has
weight (clearly), but a dancer's actions and movements also have weight. For instance
the spectator would perceive a light action as being virtually effortless, like a flick of the
wrist. A heavyweight motion calls to the dancer appear more exhausted and labored.
Lesson 2.1
Modern Dance
History of Modern Dance
Historically, modern dance started as lyrical ballet performed in a free-form way by a group
of ballet professionals who wouldn't give up dancing. In accordance with their biographies,
Isadora Duncan and Ruth St. Denis championed modern dance as a means of advancing their
respective dancing careers. Many ballet steps are still used by modern dancers in well-
coordinated presentations of modern dance. Many contemporary dances are taught in ballet
classes.
The first choreographed contemporary dances did not require en pointe dancing or strict
fidelity to ballet movement.
A historical study of modern dance makes evident three phases of this dance style:
1. The early period from 1880 to 1923
2. The middle period from 1923 to 1946
3. The late modern dance period from 1946 to the present
In Germany and the United States, modern dance evolved during the 20th century. It is
experimental and iconoclastic, just like modern art and music. Isadora Duncan, Loie Fuller,
and Ruth St. Denis were pioneers of modern dance in the United States; Rudolf von Laban
and Mary Wigman were in Germany. Both show dance's banality and the rigid formality,
artifice, and flimsiness of conventional academic ballet were something that each dancer
rebelled against. Following them, every contemporary dancer aimed to awaken audiences to
a new understanding of either internal or exterior reality.
When Alvin Ailey presented his first performance in 1958, the Alvin Ailey American
Dance Theater was born. Through the work of Trisha Brown of the Judson Dance Theater in
New York, the face of contemporary dance underwent a significant alteration in 1962. This
artistic expression expanded to a greater level in the 1970s, integrating numerous extreme
viewpoints and gaining tractionaround the world.
Throughout the 1980s, Eliot Feld, Karole Armitage, baltk Morris, and Twyla Tharp had
ats Feld, Karolepact on the balle dance movement. Michaelad a significant imperformer
whose name is permanently etched ilackson, a great dance enthusiasts, quickly took control
of the sin the memorignature moves, like the Inoonwalk, are credited with changing the
course of dance history. Innovations gradually filtered anging built the foundation for
current dance forms.
German Contributions
Although modern dance is commonly associated with the United States, its origins may
be traced to Central Europe and Germany, with Rudolf von Laban being the most important.
He opened a school in Munich in 1910, where Mary Wigman was one of his students,
despite the fact that there is almost no evidence to describe his choreography. He was exiled
in the 1930s and came to England in 1946, where he founded the Art of Movement Studio in
Manchester and worked on his notation system until his death.
Different groups, such as the Sankaijuku, a group of Japanese dancers trained in both
modern and classical dance, have contributed to the development of modern dance today.
Their performance is based on 'butoh, a type of dance theater that skips formal choreography
in favor of expressing primal feelings with minimum attire and movement.
In today's modern dance, acrobatic and aerial moves performed in pairs and groups are
more popular than interpretation. The most recent fashions focus on expressing crossover
dance styles through language, drama, and illusion.
Lesson 2.2 : Characteristics of the Modern dance
Dance, a newly recognized art form, is largely misunderstood by both non-dancers and
dancers. The only reliable source is actual performances, as there is no English literature on
older techniques used by accomplished artists.
Lesson 2.2 : Characteristics of the Modern dance

Dance has just emerged as an important art form, yet there is still a lot of misinformation around
it, both among non-dancers and among dancers themselves. The only source of information has
been the dancers' actual performances because there is no Englishlanguage literature on the topic
other than that focusing on the older techniques that are only used by accomplished artists. This
is the only trustworthy source, to be sure, as any theory that is more than theoretical needs to be
drawn from the best artists' work.

In general, modern dance differs from ballet in that it allows dancers to create their own steps,
combinations, and dances depending on their feelings and moods as opposed to adhering to a
rigid rule of technique.

According to Bedinghaus, below are the specific characteristics of Modern Dance:

1. Modern dance enables dancers to create their own steps and routines based on their feelings
and moods. Instead of following a codified code of technique, as in ballet, dancers frequently
design unique moves for their routines.

2. The conscious use of gravity, in contrast to ballet, is another feature of modern dance. Modern
dancers frequently employ their body weight to improve movement, whereas classical ballet
dancers seek to be light and airy on their feet. This sort of dancer opposes the traditional ballet
stance of an upright, erect body, preferring to tumble to the floor on purpose.

Lesson 2.3 : Other Forms of Modern Dance

1. Hip-hop - is a dance style that emerged from hip-hop culture and is usually performed to hip-
hop music. Break dancing was the first dance linked with hip hop. While most break dance
routines are performed near to the ground, the majority of hip-hop moves are performed standing
up.

It includes a wide range of styles notably breaking, locking and includes a wide are created in the
1970s and made popular by dance crews in the United States.

2. Cramping - Popularized in the United States, cramping is characterized by free expressive,

exaggerated, and highly energetic movement involving the arms, head, legs, chest, and feet. The
youths who started cramping saw the dance as a way for them to escape gang life and "to release
anger, aggression and frustration positively, in a non-violent way.

Cramping (also known as clown dancing or clowning) i is a style of dance that originated in the
African-American community of South-Central Los Angeles, California. It involves elaborate
face-painting and freestyle dance moves usually performed in competition with other crews.
Lesson 2.4. Modern Dance Moves

1. Laterals
The arm over the supporting leg comes straight up next to the ear as the torso tilts, unbroken to
the side, over the supporting leg. The opposite leg lifts pointed through the toes. The other arm
swings up as the leg rises and parallels the straight arm next to the head. The body continues to
tilt sideways from the pelvis in one unbroken line.

2. Spiral

The spiral is a torso twist that begins in the pelvis. As the body turns, each level is separately
articulated all the way up the spine - pelvis, lower spine, mid-section, shoulders, neck and head.
The head remains in alignment with the spine. The spiral releases in the same order: pelvis up to
shoulders, neck and then head.

3. Stag Leap

The Stag Leap is a very high jump in a split but, although both legs are parallel to the floor, the
front leg is bent from the knee inward. Most often the arms are either thrust up in "V", facing out
and down, or one-forward, one-to-the-side in a ninety-degree angle, palms down.

4. Stag Turn

In a Stag Turn, the supporting knee is slightly bent; the other leg is up in the air and bent behind
the body. The arm on the supporting side is thrust straight back, palms down. The opposite arm
is thrust cleanly forward, palms down as the dancer turns around.

5. Primitive Squat

A Primitive Squat is a hop that lands in a deep second- position. The feet are turned out heel-to-
heel and the knees are bent.

6. Flat Back

Flat Back is actually a series of moves but the basic movement makes a "tabletop" of the body.
The dancer stands in second position - feet turned out heel-to-heel. The arms are down along the
sides as the body bends forward from the hips without breaking the line from the top of the head
to the lower spine. The bend continues until the entire torso is parallel to the floor. Then the arms
come out from the sides in unison, arc completely forward and stretch out ahead of the torso
parallel to each other.

7. Hinge

In the Hinge, the dancer balances on the balls of the feet, keeps a straight back and head and
sends the knees forward as the torso tilts back and the arms are held straight out in front.
8. The Contraction

Martha Graham loved contractions in which the mid-section is pulled back against a movement.
The action begins in the pelvis, and articulates up the spine as the breath is exhaled. Thedancer
aims to lengthen the space between each vertebra as the move progresses to the neck and the
head, which are always in alignment with the spine.

9. The Release

The Release occurs on the inhalation and also begins in the pelvis. The move travels up the spine
in the same order as the contraction, restoring the torso to a straight alignment. It typically
counters the contraction.

10. The High Release

A High Release, rather than ending with the spine and upper body in an upright, neutral position,
tilts the breastbone up. The shoulder blades appear to rest on a bar or shelf. The head remains
aligned with the spine and the rib cage remains over the hips. The lower back is not bent.
Lesson 2.5.

Health Benefits of Modern Dance

1. Flexibility

In order to stay healthy, flexibility is essential. Flexibility is essential for dance. Most dancing
classes begin with a warm- up that involves lots of stretches. To have all of their primary muscle
groups move completely, dancers must work. The greater the range of motion of a muscle, the
more it may flex and extend. Dancers naturally become more flexible as a result of dancing
because the majority of dance forms include bending and stretching while performing moves.

2. Strength

Strength is defined as a muscle's ability to apply force against a resistance. Dancing builds
strength by using the muscles against the dancer's own weight. Hopping and leaping are essential
elements of both ballet and jazz. To jump and leap the main leg muscles must be extremely
powerful. Ballroom dancers get stronger. Consider the muscle mass a man develops by lifting his
dance partner above his head.

3. Endurance

Modern dancing is a physically demanding activity. Exercise helps to increase endurance. The
ability of a muscle to exert its utmost effort for progressively longer periods of time without
becoming exhausted is known as muscle endurance. Regular dancing is a great way to increase
endurance, especially energizing dance styles like line and ballroom. By increasing heart rate,
stamina can be increased. Similar to any other form of exercise, regular dancing will improve
endurance.
4. Sense of Well-Being

Dancing is a collaborative social activity. Studies have shown that having strong social
connections and spending time with friends promote happiness and high self-esteem. Dancing
offers several chances to interact with others. Social skills and self-confidence are improved by
taking dancing lessons. Since exercise reduces stress and tension, regular dancing encourages
overall well-being.

5. Postural Alignment

An individual can develop proper postural alignment and a way to carry themselves by routinely
engaging in modern dance workouts.

Lesson 3 :Jazz Dance

“Being able to be sharp, rhythmic, and filled with personality all at the same time… that skill is
needed for so many different dance styles! If you’re able to train in each era of Jazz dance –
traditional Jazz, the technical skills from Broadway, the showmanship and passion from Jazz-
influenced music videos… you’ll really have A great foundation as a dancer.”
Laura Ann Smyth, STEEZY Jazz Instructor

Introduction
Jazz dance is a type of performance dance that was developed in the United States around the
middle of the twentieth century. Jazz dance makes references to Broadway, dramatic jazz, and
vernacular jazz. The foundation for the two genres is provided by the African-American folk
dances that developed in response to jazz music. Jazz dances that are performed informally
include ragtime, the Charleston, the Lindy Hop, and the mambo. Popular vernacular jazz dance
artists include The Whitman Sisters, Florence Mills, Ethel Waters, Al Minns and Leon James,
Frankie Manning, Norma Miller, Dawn Hampton, and Katherine Dunham. On the show stage,
Gus Giordano, Eugene Louis Faccuito, Jack Cole, and Bob Fosse promoted dramatic jazz dance.
The term "jazz dance" has been used to refer to a number of activities that have little to do with
jazz music. Since the 1940s, both Broadway shows and Hollywood movies have used the phrase
to describe the choreographies of Bob Fosse and Jerome Robbins.
Jazz dance is a classification shared by a broad range of dance styles. Every individual style of
jazz dance has roots traceable to styles, Every two distinct origins. Jazz steps include basic turns,
including chaines, piques, pirouettes, jazz turns, and some ballet turns, to name a few. Leaps
include grande jetes, turning jumps, and tour jetes. Signature to jazz dancing is the “jazz walk.”
Jazz walks can be performed in many different style. Jazz dance is a mix of classical ballet
exercises with movements from American popular culture as well as influences from African and
Celtic dance Jazz dance was first developed to entertain, and even the most basic moves have a
showy, exaggerated aspect to them. Despite the fact that jazz dancing has developed into a
beautiful art form.

Lesson 3.1. Jazz Dance

History
Jazz as a dance genre originated during World War I from the vernacular dances of Africans
brought to the Americas on slave ships. In the early 1900s, this dancing form arose in New
Orleans alongside jazz music. Jazz, the vehicle for dancing the fox-trot, shimmy, rag, Charleston,
black bottom, and several other period routines, was the only music that fitted this generation.
New Orleans, St. Louis, Memphis, and Kansas City are just a few of the cities where jazz was
born. New Orleans, on the other hand, was and continues to be a significant jazz hub.
It was a mix of Spanish, French, English, German, Italian, Slavic, and innumerable Africans
brought in as slaves when the census was taken in 1900.
Between 1930 and 1940, jazz dance evolved from a folkloric style to a theatre-based
performance art that required a highly skilled dancer. Choreographers from the modern and
ballet dance worlds experimented with the jazz dance form at this time.
Katherine Dunham and Jack Cole are two names that come to mind when it comes to early jazz
dance innovation. Other choreographers such as Matt Mattox, Jerome Robbins, Gwen Verdon,
Bob Fosse, and Eugene Louis Facciuto were influenced by these artists.
Today, jazz is performed by a variety of dance companies all around the world. Even now, this
famous dance genre adheres to the choreography of musical theater. The execution of stylish
jumps and turns, as well as proper posture, are the foundations of this dance technique.
 Lesson 3.2.
Jazz Dance Significant People
1. Joe Frisco
The official American “jazz dancer” who performed in vaudeville around 1910.
2. Michael Jackson
known as “The King of Pop”
3. Katherine Dunham
An anthropologist, choreographer, and pioneer in Black theatrical dance. She introduced
isolations jazz dance. Grandmaster of Jazz Dancing
4. Jack Cole
Considered as the father of jazz dance technique. He was a key inspiration to Matt Mattox,
Bob Fosse, Jerome Robins, Gwen Verdon, and many other choreographers.
He is credited for popularizing the theatrical form of jazz dance with his great number of
choreographic works on television and Broadway.
5. Eugene Louis Facciuto
(a.k.a. “Luigi”), an accomplished dancer who, after suffering a crippling automobile accident
in the 1950s, created a new style of jazz dance based on the warm-up exercises he invented to
circumvent his physical handicaps. The exercise routine he created for his own rehabilitation
became the world’s first complete technique for learning jazz dance.
6. Bob Fosse
A noted jazz choreographer who created a new form of jazz dance that was inspired by Fred
Astaire and the burlesque and vaudeville styles.
7. Gus Giordano
An influential jazz dancer and choreographer, known for his clean, precise movement
qualities.
8. Jerome Robbins
Choreographer for a number of hit musicals, including Peter Pan, The King and I, Fiddler on
the Roof, Gypsy, Funny Girl, and West Side Story.
9. Gwen Verdon
Known for her roles in Damn Yankees, Chicago, and Swee Charity.
10. David Winters
Known for his role as A-Rab in West Side Story and as an award-winning choreographer for
movies and TV programs.
 Lesson 3.3. Elements of Jazz Dance

1. Syncopated rhythm
A common characteristic of jazz music that was adapted to jazz dance in the early twentieth
century and has remained a significant characteristic.

2. Isolation
Quality of movements that were introduced to jazz dance by Katherine Dunham.

3. Improvisation
Important element in early forms of jazz dance, as it is an important element of jazz music.

4. Low center of gravity and high level of energy Other important identifying characteristics
of jazz dance.

Lesson 3.4. Basic Jazz Dance Steps

The first step in studying jazz dance, an active and exhibition of physical skill, is exhilarating
to learn basic jazz dance steps. Jaz dance is a fusion of traditional ballet routines with steps
from popular culture in the United States, as well as African and Celti dance influences.
While jazz dance has evolved into a beautiful an form, it was originally created to entertain,
and even the most basic moves have a showy, exaggerated air to them.

Jazz Square

This iconic move consists of a few basic walking steps, but done in a particular order:

1. Step forward on the right or left foot.

2. Cross the other foot over the first foot.

3. Step back with the first foot.

4. Bring the feet side by side.

A jazz square is often done with some attitude in the upper body, accenting the motion. Jazz
squares can be executed in groupings of two or more, repeated on the same side.

Isolations

One of the key skills for any jazz dancer is to be able to move parts of the body individually.
For hands and other extremities this is pretty easy, but to master jazz you need to be able to
isolate the chest and hips as well, and this is almost always a part of any jazz dance warm-up.

To isolate your hips as an exercise, follow these steps:

1. Loosen your knees.
2. Extend your arms out to the sides.
3. Holding your chest and your hips from side to side. Legs as still as possible, swing

It’s easiest to learn isolations in front of a mirror so that any movements you make with the
rest of your body can be immediately as soon as you see them.
Chassé

Drawing from the ballet tradition, the chassé is literally a “chasing” step:

1. Step one foot forward (or to the side).

2. Bring up the second foot behind the first foot.

3. As you bring up the second foot to join the first one, immediately step off the foot to
create a skipping movement across the floor.

Your chassé step can take on a variety of different looks based on the speed with which you
execute it. Accent the step with your arms to create artistry for this movement.

Jazz Layout

This is another classic move, and is often used in posters and images to convey some of the
excitement of jazz dance. This dramatic move is performed by:

1. A straight kick high up in the air

Simultaneously doing an extreme back bend, head arched back 2. And arms extended.

This iconic jazz step requires excellent balance and flexibility when done in this extreme
manner. Simpler versions involve doing a back bend without any sort of kick.

Jazz Walk

This step is where the improvisation element of jazz shines through. One of the defining
features of jazz, both in music and movement, is the room for individual expression. Every
dancer’s jazz walk is different. As you learn increasing numbers of jazz steps and your
technique improves, observe how other dancers have defined their own jazz walks.
Developing your own technique is a matter of letting your inner voice and feel for the music
flow.

Learning Basic Technique

If text and video instruction is insufficient for you to learn these steps, consider attending
classes at a local studio. Jazz dance has become popular enough to be offered in most dance
studios One of the advantages of a hybrid form such as jazz dance is that taking other classes
such as ballet and hip hop can only improve your technique. Jazz dance is also a great way to
exercise and stay in shape, and “jazzercise” classes are offered at gyms around the country.
Even though their focus is on exercise, these classes can also teach a great deal about
technique for the beginner.

Lesson 3.4. Benefits of Jazz Dance

Eight (8) Excellent Benefits of Jazz Dancing

1. Increased Strength

One of the benefits of jazz dancing is increased strength. The Increased Strength energetic,
full-bodied nature of jazz dance develops leg strength from the jumps, core strength from
coordinating the limbs and arm strength from the floor work. You should participate in a jazz
dance class and your entire body will be strengthened.

2. Increased Flexibility

As with many other dance forms, jazz also increases flexibility. Jazz dance consists of
stretching sequences that will lengthen the larger muscles of the lower back and legs. The
range of motion and flexibility will also be increased in the spine, hips and shoulders.

3. Increased Coordination

Increased Coordination

Challenging steps and combinations, in which the lower and upper body parallel and contrast
each other in numerous ways, build increased coordination in jazz dancers. Remember the
challenge to pat your tummy and rub your head at the same time? That challenge becomes
simple for jazz dancers who learn complex rhythmic patterns. Additionally, with the
lightning-fast steps and light-footed moves in jazz, you will be developing poise and grace
and better coordination and balance in no time!

4. Increased Endurance

As discussed before, jazz dancing Increased Endurance is very energetic! The infectious,
high-energy rhythmic music and motions lead to an increase in stamina and endurance. It is
easy to see how your athletic endurance will increase as you participate in a jazz class
regularly.

5. Relieves Stress and Gains Focus

Dancing to fast-paced jazz music requires lots of movement and stamina on your part, but it
doesn’t just work your body from the neck down. It also requires you to strengthen your
mind because you will need to remember the moves as you practice and eventually perform.
Dancers often quote the need to learn and remember choreography as a reason they find jazz
so rewarding. Focusing on your mind allows you to relax and relieves stress.
6. Ability to Express Emotions

Dance has long been used as a form of therapy for people who suffer from depression or
have gone through traumatic experiences. It allows you to channel emotions and express
everything from joy to fury in a safe environment.

7. Incredible Cardio Workout

The quick-paced moves require maximum physical effort and the sequences can last for
several minutes, meaning that you are occupied for a large amount of time. That much cardio
will certainly get your heart racing. It will also release endorphins that come after some good
physical exercise which will leave you happy and stress-free.
Jazz challenges your body physically. All of that cardio exercise is definitely going to push
the limits of how much stamina you have, and eventually, your ability to do more intense and
longer sequences will improve.

8. Pushes the Boundaries of Muscle Memory

Your brain will have to challenge itself to perform each minute movement the dancing
requires for every sequence. While your body is working hard to keep up with the fast- paced
dancing, your mind will also be applying itself to commit the moves to memory.
The amount of focus required to perform each movement in jazz will leave no room in your
mind for other worries. Because of this, jazz dance is a great way to focus your thoughts and
relieve stress.

Lesson 3.5.
Jazz Dance Basic Terminology

Below is an alphabetized list of simple phrases and definitions often used in jazz technique.
Study up on these, you never know when there might be a test!

1. Axel Turn

An axel turn is a simple yet stunning jump often used in intermediate choreography. Starting
with a chaine turn, one leg goes up into passé, followed by the other, developing into a fully
rotating jump in the air.

2. Ball Change

A ball change is a change of weight distribution on the balls of the feet. This is a popular
transitory step in many jazz dance routines.
3. Chasse

Stolen from ballet, this step resembles a galloping motion, as one foot literally “chases” the
other. This is often used in jazz dance terminology to describe a way to travel across the
stage, or flow two moves together.

4. Drop

Used in more modern jazz routines, a drop is when a dancer executes a controlled fall from
an isolated position.

5. Extension

This jazz dance term is also used in varying styles of dance, used to describe an arm or leg
extended outward and held for a determined pause of movement.

6. 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 routines, such as
Fosse influenced choreography.

7. Jazz Walk
Posture is low, and feet slightly drag across the floor in this modified walk used for traveling
across the stage. Variations include the jazz run and jazz drag.

8. Knee Turn
A basic chaine turn, only it is executed on one or both knees.

9. Layout
One leg is kicked up in the air, while the torso is leaned back into as dramatic an arch as
possible. Head should be dropped back and arms should also be extended backward, almost
able to touch the floor.

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

11. Release
Following an isolated pose, the body “releases” into a freer form.

12. Stag Leap

A very high jump, simulating splits in the air, only one leg is bent so the foot is tucked under
the knee.
 Lesson 4 : Lyrical dance
- Originates its name from the word "lyrical," which also means "expressing spontaneous
sensations and profound personal emotions."
- is a form of dance that incorporates both ballet and jazz elements.
-this style focuses on a distinctive approach to the portrayal of emotions such as love, joy, hurt,
and rage.
-it is not concerned with the dancer's flawless movement.
-in order to comprehend what lyrical dance is and why dancers choose to perform it, one must
first comprehend the history of the genre
- lyrical dance music is typically very emotional and expressive.
- It is a relatively recent form that integrates ballet with a variety of jazz and modern dance styles
as well as rock, folk, pop, and alternative music. Hip-hop, rock, and other musical genres can all
be utilized in this strategy.
- traditional African dance form is quite identical to the lyrical dance upper body movements.
-It is often choreographed to a song that celebrates independence or victory in the face of
adversity.
-This dancing technique continues to gain popularity due to its passionate nature and relatable
storyline.
- The dancers need a lot of space since they usually perform different kinds of movement such as
towering, soaring spins, walks, and jumps as they glide gracefully.
- This make beautiful gestures that flow from one to the next with little to no halting and hold
their finished steps for as long as they can.
- It is crucial and useful to have a solid foundation in ballet when learning lyrical dance, if not
also jazz or other modern dance styles
Lesson 4.1 :Lyrical dancing
-is still relatively new, but it is quickly gaining popularity among individuals of all ages.
-incorporates a wide range of musical styles. Pop, rock, and blues, as well as hip-hop and world
music, are among them.
-Lyrical dancers have employed minimalist music such as Philip Glass's inventions as well as
Steve Reich's work. More recently, African music has been an element of the dance style, with
sounds from Soweto and other African cities being used.
-Lyrical dance is a form of dance that combines aspects of modern dance, ballet, acrobatics, jazz
dance, and other dance styles.
-Fluidity, strong emotions, and physicalization of song lyrics are distinguishing elements of
lyrical dance choreography
-Lyrical dancing is a relatively new style of dance that originated from the merging of jazz dance
and ballet.
Lesson 4.2 :Historical Background Lyrical Dance
The exact origins of lyrical dance remain unknown, but the form grew in popularity on
Broadway and in dance competitions in the twentieth century.
1. Broadway: Dream ballet sequences in Broadway musicals like Oklahoma! (1943) and dancing
in West Side Story (1957) were marked by strong emotions that advanced the story and gave
greater depth to the characters, both elements of lyrical dance.
2. Competitions: The style may have been popularized in the mid-twentieth century as a flashier
form of ballet in dance competition circuits.
Popular culture: Lyrical dance routines are now fixtures of music videos. Lyrical dance is also a
feature on the TV show So You Think You Can Dance and in the theatrical performances of
Cirque
Due to the limited use of lyrical dance outside of the competition dancing scene, there is little
research and evidence about its origins.
-According to competition dance professionals, there are three prominent genesis myths for
lyrical dance.
1. The first is that lyrical dance emerged from "dream ballets" in musicals like Oklahoma and
West Side Story, according to Jimmy Peters.
2. According to the second, this phrase can be traced back to 16th century traditional Indian
dance, according to Chelya Clawson,
3. The final, and most credible, theory proposed by Phyllis Balanga-Demoret is that it originated
some 25 years ago aory is ther of ballet's incapacity to compete.
Balanga Demoret's theory is the most probable, despite the lack of official documentation,
because lyrical dance us exclusively employed in competitive dancing. Additionally, ballet is
rarely seen on a competitive stage, despite the fact that it has its own category in many contests,
cofirming Balanga-theory. Demoret's Suzi Taylor, a dancer, teacher, and choreographer who
teaches at Steps on Broadway in New York City, is regarded as an early mother of lyrical dance
by many, having stressed a particular style of melody and expressiveness that impacted many
future teachers and choreographers.
Over time, the styles of lyrical dance have evolved. Previously, a dancer would perform the
lyrics of a song while expressing emotions. The lyrical category today still emphasizes
expressing emotion, albeit in a more abstract fashion. The lyrical category is related with
contemporary dance and is a venue for inventiveness and refined movement.
Lesson 4.3 :The Qualities of Lyrical Dance
By: Gray Miller
-The continuity of movement is one of the most defining characteristics of lyrical dance.
-The choreography is typically created so that the movements flow into one another very
effortlessly and seamlessly, with little to no pausing or stillness in between.
-The limb contractions or spikes might be incorporated for emphasis at specific points in the
dance, the movements are often flowing, "carving," and "arcing," with multiple curved routes
being constructed and blending into one another.
-The definition of the word "lyrical" in the dictionary, which includes phrases like "having a
poetic, expressive quality... highly rhapsodic or ardent," is what it takes its meaning from rather
than the lyrics of a song.
-Dance conveying unfavorable feelings is much more likely to be about anything like longing,
unrequited love, or jealousy
-Lyrical dance also has a tendency to take up a lot of space as the dancers move across the stage
in beautiful twists and walks or high, soaring leaps.
- The majority of lyrical works are performed to music that is slow and rhythmic with easily
recognizable climaxes because the dance closely follows the melody.
-By incorporating new styles of choreography, such hip hop, tango or salsa, choreographers and
dancers like Mark Meismer and Suzi Taylor continue to push the limits of the genre.
Lesson 4.4 : Music and Costume for Lyrical Dance
- Lyrical Dance can incorporate almost any musical genre including hip hop, jazz, musical
theatre, and pop.
- jazz dance moves like chaine turns, soaring plies, delicate pirouettes and other dance forms
may be included in lyrical combos.
-lyrical dance is a crowd-pleaser and desirable for dance routines for dance troupe contests due
to the spectacle of such routines, especially when combined with popular music.
-dancer to accurately represent the song's underlying story, their facial expression is crucial.
- to accentuate the tone and intensity of the song, lyrical costumes like leatards with crystal
embellishments and other dance costumes are essential.
Lesson 4.5 :Lyrical Basic Dance Moves
Lyrical dance moves are a creative combination of ballet and jazz, meant to showcase the
emotional spirit of the music through the body of the dancer. You can learn this flowy and free-
spirited style by practicing these common and fun movements.
• Sashay (Chasse')- A sashay is a simple, three-count move to get across the floor.
1. Stand with your weight on your left foot and your right foot extended to the side.
2 Shift your weight to your right foot.
3. Hop off your right foot and quickly draw your left foot in to land on it.
4. Replace your weight on the right foot.
• Chaine turn- A chaine turn is a series of half turns you can complete to put a bit of energy and
beauty into your routine.
1 Begin with your weight on your right foot, left foot pointed to the side
2. Place your weight on the ball of the your left foot and pivot, turning 180 degrees to the left
3. Place your weight on the ball of your right foot and pivot again continuing to turn 180 degree
to the left.
4. Repeat steps two and three at a speedy pace until you run out of the floor space
Remember to spot, or keep your eyes on an unmoving target, as you move across the floor. Also,
keep abdominals and glutes engaged as you perform the turn to help you maintain balance.
• Fan Kick- are simple, but fun. They are often executed in combination with other moves, but
can easily be danced on their own.
1. Begin with your feet apart.
2. Place your weight into your left leg and slide your right foot across the front line of your body,
toe pointed.
3. Keeping your thighs and abs firm, lift your right foot high up off the floor and draw a circle
from left to right with your toes until your foot reaches the floor again.
The key to a great fan kick to maintain proper alignment. Don't worry if your foot doesn't reach
very high at first. As you practice more, your flexibility and strength will increase. To progress
faster, stretch your hamstrings
• Illusion- is an advanced dancer move that may be challenging for those who lack flexibility
and try balance to master. However, like any other move, you can still try it out safely if you
perform it one step at a time.
1. Begin standing on your left foot with your right foot pointed out at the floor in front of you.
2. Transfer your weight to your right foot and hinge at your hips, lifting your lift leg as high as
you can. Toes should be pointed toward the ceiling.
3. Pivot a half turn to your right.
4. Lift your torso up and lower your leg until your return to the starting position, facing the
opposite direction.
If you are just starting out with the illusion, place your hands in the floor to help you balance. As
you get more comfortable with the move, you can perform it with one hand and eventually no
hands at all.
• The Spiral- is a transitional move designed to get you down on the floor and back up again
1. Stand with your feet wide, toes aimed out towards the corners of the room.
2. Rotate to the right, place your hands on the floor, and lower your left knee down to the
ground.
3. Continue spinning to the right, rolling onto your left hip, then the right, so that you are seated.
4. Coming back the way you came, rotate onto your left hip and place your hands on the floor.
5. Bring your right foot across your body and press into it as you spin to the left to come back up
to standing.
6. Replace your left foot on the floor to return to the starting position.
To become truly adept at the spiral, try completing it in both directions. Those with sensitive
joints may want to wear knee pads or thick pants to prevent pain and pressure.
• Arm Styling- Put it all together with arm styling. Included the right way, arm combinations
can add depth to your lyrical routine
Although formal options will help you look poised in your style and technique, try
experimenting with spontaneous arm movements. Practice in the mirror with music to see if they
fit your preferred personality and execution.
Feel the music
To create flawless dance choreography, one must enjoy themselves while dancing to their
favorite tunes. Hence, it's critical to remember the adage "practice makes perfect".

Lesson 4.6 :Health Benefits of Lyrical Dance

Contemporary dancing, like lyrical, can be a way to stay fit for people of all ages, shapes and
sizes. It has a wide range of physical and mental benefits including:
1. improved condition of your heart and
lungs
2. increased muscular strength, endurance
and motor fitness
3. increased aerobic fitness
4. improved muscle tone and strength
5. weight management
6. stronger bones and reduced risk of
osteoporosis
7. better coordination, agility and flexibility
8. improve balance and spatial awareness
9. Increase physical confidence
10. Improved mental functioning
11. Improved general and psychological
well- being
12. greater self-confidence and self-esteem
13. better social skills
Lesson 4.7 :Lyrical Technique and Terminology
1. Parallel- Both feet apart, toes facing forward, feet in line with shoulders.
2. Chaine turns- Start in third position, change arms to second rotate your hips in the direction you wish to
turn, go into releve and turn with one leg straight and one foot pressed against the top of your knee, return to
third.
3. Grand jete- The dancer jumps from one leg to form a split in the air with straight legs and pointed feet,
arms placed in a horizontal v shape.
4. Soutenu turns- soutenu behind with a deep pile with the leading leg extended in a tendu position.
5. Pique- Step from demi plie with one leg extended, then transfer the weight on to that leg.
6. Arabesque- A ballet pose in which the dancer stands on one leg with one arm extended in front and the
other leg and arm extended behind.
7. Flexed Foot- You pull your foot upright so that you can see the top of your toes.
8. Flat Back- Bend forward so that your head is facing down towards the floor, straighten your back and
knees so that your back is completely flat.
 LESSON 5:THE BALLET

WHAT IS BALLET DANCING?

Ballet is a type of performance dance that originated during the Italian Renaissance in the fifteenth century
and later developed into a concert dance form in France and Russia. It has since become a widespread and
highly technical form of dance with its own vocabulary.

WHAT MAKES BALLET UNIQUE?

Classical ballet is: Built on a specific set of body positions and movements designed to make the dancer
appear graceful and elegant. Characterized by "turn-out." Ballet dancers rotate their legs outward from their
hips to allow a greater range of movement.
Ballet is a classical dance form that is special and distinctive for several reasons: Grace and Elegance:
Ballet is renowned for its emphasis on grace, poise, and elegance. Dancers are trained to move with fluidity,
precision, and control, creating a sense of ethereal beauty in their performances.
One of the most noticeable differences between ballet and other dance forms is that it calls for the use of
specific clothing, such as a tutu. Female ballet dancers also wear pointe shoes, which are designed for
dancers to appear light and weightless, enabling them to dance on the points of their toes.
HISTORICAL BACKGROUND OF BALLET
Ballet originated in the Italian Renaissance courts of the 15th century. Noblemen and women were
treated to lavish events, especially wedding celebrations, where dancing and music created an elaborate
spectacle. Dancing masters taught the steps to the nobility, and the court participated in the performances.
Ballet originated in the Renaissance court as an outgrowth of court pageantry in Italy, where aristocratic
weddings were lavish celebrations. Tutus, ballet slippers and pointe work were not yet used. The
choreography was adapted from court dance steps. Performers dressed in fashions of the times.

19TH CENTURY OF BALLET

Perhaps the most significant of elements that was given a new home in ballet was the supernatural. A
popular genre and concept of the 19th century, the supernatural brought ballet into a whole new dimension
of magic, romance, fantasy, tragedy, and the gothic.
TODAYS BALLET
Today, ballet takes many forms. Classical and romantic ballets are still performed to audiences around
the world. At the same time, many ballet companies focus on innovative choreography and showcasing new
movements with unique musical choices.

TYPES OF BALLET
NEOCLASSICAL BALLET- is the style of 20th-century classical ballet exemplified by the works of
George Balanchine. The term "neoclassical ballet" appears in the 1920s with Sergei Diaghilev's Ballets
Russes, in response to the excesses of romanticism and post-romantic modernism.

CLASSICAL BALLET- is known for its rigorous technique, flowing and precise movements, lithe
aesthetics, and ethereal qualities.

ROMANTICBALLET- A major element of Romantic ballet was a fascination with the supernatural. The
plots of many ballets were dominated by spirit women—sylphs, wilis, and ghosts—who enslaved the hearts
and senses of mortal men and made it impossible for them to live happily in the real world.

COMMON OUTFIT/COSTUME FOR BALLET DANCING

Therefore, most ballet dancers choose to wear leotards and tutus to prevent unnecessary risks of falling and
hurting themselves, especially while performing on-stage. Many ballet dancers are required to wear leotards
and tutus to highlight the gestures and movement of their dancing

THE WRAP
Ballet dancers wear ballet sweaters, a simple wrap style that rests just above the hips keeping the dancer's
back and arms warm. A cropped wrap top is just that and makes for a superb transitional piece of clothing.

TUTU
tutu, standard skirt worn by female ballet dancers, consisting of four or five layers of silk or nylon frills; the
skirt is attached to a sleek-fitting bodice. (Originally tutu designated a short, trouserlike petticoat worn under
a dancer's costume.)

LEOTARD
The leotard is a tight-fitting garment that covers the upper body and may have short or long sleeves. Tights
are worn underneath the leotard to cover the legs, and ballet shoes are lightweight and flexible to allow for a
full range of movement.

THE TIGHTS
can be worn like a standard tight or rolled up to become footless, for those doing multiple classes one after
the other, or ballet dancers who need to access their toes to add padding before pointe work.

THE OFF THE SHOULDERS TOPS

Tap dance attire that is fitted and that you are comfortable dancing in. Top such as tank top,dance top or
fitted tee,etc. Bottoms are dance pants that do not hang down or cover the shoes. capri length leggings booty
shorts or leotards in any color.
FOOT WEEAR
Footwear called pointe shoes (also known as toe shoes). With their flat, stiff fronts and special construction,
pointe shoes give ballerinas the footwear that helps them stay on their toes and wow audiences.
BALLET TECHNIQUES AND MOVEMENTS
Aspects of ballet technique include alignment, which refers to keeping the head, shoulders, and hips
vertically aligned. Turnout refers to completing movements with legs rotated outward; this promotes clean
footwork, graceful port de bras (movement of the arms), and correct body positions, lines and angles.
THE FOLLOWING ARE THE COMMON TECHNIQUES AND MOVEMENTS SKILLS IN
BALLET DANCING THAT YOU SHOULD KNOW

1.FUNCTIONALALIGNMENT
Maintaining good posture and alignment is essential for injury prevention in any physical activity, including
ballet. With so many different muscles used in ballet, poor posture not only affects the appearance of a
dancer but can also lead to various musculoskeletal issues and injuries.
2.FLUIDILITY AND STABILITY OF THE SPINE
So much of dance technique and choreography, in almost every genre, involves articulation and manipulate
of the spine – be it subtle as in the ballet epaultment or powerful as in jazz isolations and West African
polyrhythms
3.USE OF WEIGHT
If I had to name the two most important “steps” I teach, they would be undercurve and overcurve. These are
basically the modern-dance terms for concepts that are utilized many dance forms; ballet dancers and
jazzerinas might know them better as chasse and pique. More than anything else, I believe these concepts,
help dancers understand the relationship of their body to gravity, allowing them to find groundedness and
ballon. Dancers who can drop their weight and connect with the floor in a good undercurve have stronger
plie-releves, higher jumps, smoother transitions between movements, and are generally better able to adapt
to movement that goes into and out of the floor.
4. ARTICULATION OF THE FEET AND ANKLES:
Can you point, flex, pronate, supinate, find a neutral foot, lift just the toes, lift just the heel, and slide your
foot across the floor without socks? Being able to articulate your feet and ankles is not only important as a
dancer, it’s also important as a human being. (I’ll let Katy Bowman tell you more…) So often I see dancers
who hold excess tension in their feet and ankles, which impacts balance, releve, jumping, weight shift,
turning, traveling movement of all kinds, and more. Being able to find a full range of foot articulation
(beyond point and flex) is incredibly important for dancers of every genre.

GENERAL COORDINATION
I saved the most important for last, in my opinion. So often students can have good technique – nice
execution of steps, decent alignment, etc. – but still be lacking that je ne said quoi. In my opinion, that
“special something” is often good overall body coordination. I think of body coordination in terms of
Laban/Bartenieff Fundamentals, which are also articulated in Anne Green Gilbert’s Brain Dance.

Breath – Coordinating the movement of the body with the breath

Sensation – Responding to touch and feeling
Core-Distal – Connection from center of body out to the extremities and back
Head-Tail – Connection through the spine
Upper Body/Lower Body – Being able to isolate, connect, and coordinate the movement of these two
halves of the body
Body-Half (Homolateral Movement) – Being able to isolate, connect, and coordinate the movement of the
right side and left side of the body
Cross-Body (Contralateral Movement) – Being able to cross the midline and coordinate movement from
one side through the center of the body to the other side
Vestibular – Being able to move on and off-balance

COMMO TERMINOLOGY FOR BALLET

Adagio: Slow, continuous, and gentle movements. It is meant to improve a dancer’s balance, strength, and
lines. It is also the opening sequence of a two-person dance that includes one partner lifting the other.
Allegro: Fast and energetic movements, usually associated with jumps.
Arabesque: When the dancer stands on one leg with the other leg raised behind the body and extended in a
straight line.
Barre: A horizontal wooden bar attached to the walls of the room. The barre is there to support the dancers
and barre exercises are part of every ballet class.
Battement tendu: Extending your leg, brushing the leg along the floor and pointing your foot.
En pointe: Balancing on the very tips of your toes. En pointe is achieved with pointe shoes and only
students that have advanced to a higher skill level will do this.
Grand jete: A forward jump with a split.
Pas de deux: A dance for two people.
Plié: Knees are bent while the legs and feet are turned out.
Ronde de Jambe: “Round of the leg.” When the dancer rests on one leg and makes a circular movement
with the other leg.
Sauté: A small jump on two legs, landing on both legs.