BPrelim

MODULE 1

Rhythmic Activities – are rhythmic movement s using the body as a means of experiencing a
communication. It can either be through fundamental rhythms using locomotors or axial
movements in higher form of dance.

Is the regular recurrence of accented and unaccented beats.

BRIEF HISTORICAL BACKGROUND OF RYTHMIC ACTIVITIES AND DANCE

Art and religion were the most serious concern of primitive civilizations. Their art concern
was mainly for source of food and how to increase its supply. Although unaware of it, they made
use the art of hunting, fishing and other way of life. Religion in this matter, regards their beliefs
in the supernatural beings that governs their faith. To express their feelings they create rhythmic
movements by stamping, shaking their bodies, chanting and other bodily expressions with the
use of natural accompaniment like food, bamboos, and dried leaves and others to accompany
their rhythmic movements they all develop them into dance by generally perpetuating the
movement and passing the tradition to the next generation. The inter moving factors of rhythm
into human being created the dance and later developed into high quality movement and
become a part of an established arts form up to this time.

OBJECTIVES OF RHYTHMIC ACTIVITIES

1. Develop balances and well coordination body

2. Maintain good posture and physical efficiency
3. Promote emotional freedom
4. Develop skills and necessary for recreational enjoyment

RHYTHM – the regular pattern of movement or sound. It is also the relationship between time
and force which is felt, seen or heard. This refers to movement activities with musical
accompaniment.

Everyone reacts to music or rhythm in one form or another. A head swaying, a foot tapping,
fingers snapping, shoulders and body moving while a musical piece is played are physical
reactions.

SPACE – The distance between two points, object a limited extent or area for specific purpose.

            In the field of dance, there are certain fundamental knowledge and rhythmic skills
considered important for proficiency and efficiency in bodily movements

            Elements of Rhythm:

1.    Beat—the underlying pulse of a rhythm.

2.    Tempo—rate of speed of a movement.
3.    Intensity—variation of stress of movement.
4.    Pitch—lowness or highness of a tone.
5.    Accent—emphasis on certain beats.
6.    Meter—the regular recurrence of beats which divides a musical design into measure.
7.    Phrase—measures grouped together.
8.    Bar—in music a vertical line across a staff dividing it into equal measures of time.
9.    Count—a pulse beat, a time limit.
10. Note—a printed symbol of a musical tone.
11. Measure—a group of pulse beats.
12. Note pattern—refers to a note or set of notes with or without rest used for a certain dance
step.
13. Step pattern—refers to the movement or movements done for each of the dance steps.
ELEMENTS OF SPACE

1. Direction – this refers to the movements forward, backward, upward, downward,

sideways right and left diagonals and combination of all of these.
2. Level – as the body moves in horizontal plane it creates movement identified as high,
medium/middle and low. It may be represented in relative’s heights while standing,
sitting, lying and kneeling.
3. Range – the maximum reach of an individual or sometimes referred to as personal
space or the size of movements.
4. Pathways or Space Design - the line or designed created in space as one moves.
Examples an arm circling (circle design is created) or line drawn from running to the first
base in softball.
5. Focus – this referred to as movement in space in relation to an object or a person’s
attention of direction.

2 KINDS OF SPACE

1. Personal Space- is the maximum space available to a person in stationary position.

This includes the space that a person can reach, bending, stretching and twisting.
2. General Apace – is the area which includes person moving in space like
gymnasium, rooms, ballroom area, plaza and others.

MODULE 2

MOVEMENTS:

IS A CHANGE OF POSITION IN SPACE? It is govern with mechanical principles that

limit the ability of individuals to move effectively and efficiently.

FACTORS THAT AFFECT MOVEMENT:

1. Psychological factor – phenomena as fear, anxiety and other effect movement either
positive or negative. All these may somehow affect the performance f an individual.
2. Physiological factor – physical fitness and the body built are two main concerns that
affect the human movement. Poor muscle development and low fitness level will surely
affect the movement.
3. Sociological factor – this refers to the relationship of the performer to the group
regarding social conformity and norms.

TYPES OF MOVEMENT:

1. Locomotor movement – is a movement done from one place goes to another.

DIFFERENT LOCOMOTOR MOVEMENT

1. Walk
2. Run
3. Hop
4. Leap
5. Jump
6. Slide
7. Gallop
8. Skip
 2. Axial movement – movement done in place or stationary position.
Are those in which various parts of the body move in space with a fixed base. The base
may be standing, kneeling, sitting or lying.

Non-locomotor movements:

1.    Flexion--- Bending or shortening of a body part occurring at a joint.

2.    Extension—Turning, twisting or circling
3.    Pendular---- Swinging/ swaying arms forward, backward or sideward.
4.    Percussive—Striking and hitting: pushing and pulling.
5.    Vibratory----- Shaking and beating.
6.    Sustained---- A slow, smooth flowing movement with a balance of movement
throughout the entire series.
7.    Suspended--- A sharp movement followed by a series of slow or prolonged
movements until a peak is reached.

MODULE 3

Dance – the inner impulse of man to rhythm or music experiencing his feelings of joy, moods,
sentiments or any human experience.

- It is the supreme means of expression thoughts and feeling of man.

- It comes from the German word “danse” meaning stretch.

Dance Education:

An educational process whereby the central focus is the learning and studying the dance
as the medium to understand their self, society and culture. The function significance of dance
in education is to relate the philosophy of education to the human body and soul. According to
the Greek philosophers, dance is the medium thought which total interest obtained in body and
spirit could be achieved.

Values of dancing
1.    Physical fitness
2.    Cultural
3.    Social
4.    Recreational

WHY DO PEOPLE DANCE?

1. As profession – to educate and to entertain others.

2. Religious purposes – drives away bad spirits, thanksgiving and different rites of passage,
praise Gods.
3. Entertainment – mass and people, royalty and mobility.
4. Courtship – means to woo the opposite sex, to show what you can do for the other
person.
5. Outlet of Expression – for occasional and festivities.
6. Therapy – emotional outlet and rehabilitation.

DANCE FORMS/CLASSIFICATIONS:

1. CLASSICAL DANCE – dance with the standardized rules and restrictions. It can be
religious related dance or court and royal entertainment form.

Examples of Religion related classical dance; Balinese Temple Dance, Bali Indonesia
 Example of Court or Royal Entertainment: Thai Classical Court Dance, Thailand

2. CLASSICAL BALLET – A dance supreme standards learned from academe. This

originated from Italy from the word BAL-lo meaning to dance and flourished in the royal
Court of France.
a. Modern Dance – a deviation from the principles of classical ballet developed by Isadora
Duncan. She believes in the principles of naturalness and true expression of the human
body.

b. Contemporary Dance – this is the combination of ballet and modern dance whereby it
uses the varied medium of other dance forms like folk, ethnic or tribal dance

3. POPULAR DANCE –this highly recognized as a dance forms in television and other
dance centers like discotheque houses and other social gatherings.

4. FOLK DANCE – the term implies the traditional flavor and characteristics of the people,
their feelings and sentiments. It is also referred sometimes as traditional dance.

5. ETHNIC AND TRIBAL DANCE

6. BALLROOM DANCE – a popular term for dance performed on ballroom areas for
purposes of recreation and entertainment. Example: Cha-cha, Tango, foxtrot, boogie,
Swing, Walt’s Rumba, Samba and others.

FUNDAMENTAL POSITION OF ARMS AND FEET

1st position

                        Feet: Heels close together, toes apart with an angle of about 45 degrees.
                        Arms: Both arms raised in a circle in front of chest with the finger tips about
an inch apart.
2nd position

                        Feet: Feet apart sideward of about a pace distance.

                        Arms: Both raised sideward with a graceful curve at shoulder level.
3rd position

                        Feet: Heel of one foot close to in-step of other foot.

                        Arms: One arm raised in front as in 2nd position; other arm raised upward.

4th position

                        Feet: One foot in front of other foot of a pace distance.

                        Arms: One arm raised in front as in 1st position; other arm raised
 overhead
5th position

                        Feet: Heel of front foot close to big toe of rear foot.
                        Arms: Both arms raised overhead.
Arms Positions
Feet Position

MODULE 4

FOLK DANCES

            Are traditional dances of a country which were evolved naturally and spontaneously
in connection with everyday activities and experiences of the people who developed them.

            Folk dancing is the heartbeat of the people.

Types of Folk dances:

National – traditional dances of a given country.

Regional – local.
Character – created by individual or group.

OBJECTIVES OF TEACHING PHILIPPINE FOLK DANCES 

To foster patriotism and nationalism through the study of our dance.

To arouse better appreciation of Philippine music and folk dances.
To provide through dancing, a healthful form of relaxation and recreation.
To develop a graceful and rhythmic coordination of body movements that will improve
posture.
To preserve for posterity, folk dances and music indigenous to the different regions of the
Philippines.
To demonstrate the growth of Filipino culture through the evolution of Philippine dances.

Characteristics of Philippine Folk dances:

In general, dancers stand apart.
There is little, if any, bodily contact.
Most of the dances are done by pairs or couples.
Hand movements play an important part.
Most dances are in long formation.
Most dances begin and end with “saludo.”
Dances from the lowlands have more foreign elements those found in the uplands.
War dances are found among non-Christian tribes.
                        
Classification of Philippine Dances

I. General Classification

    A.    Geographical extent of origin

1.     National dances-found throughout the islands with little or no modification.     

Examples:  Rigodon, Carinosa, Jota, Balitaw, Pandanggo.

2.   Local dances-found in a certain locality

Examples:  Tinikling-Leyte
                   Maglalatik-Binyang
                   Esperanza-Nabua
                   Subli-Batangas
                   Biniganbigat-Abra   

B.  Nature
1.   Occupational-depicting action of certain occupation, industry, or human labor.
Examples:  Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete, etc.

2.     Religious or Ceremonial – performed in connection with religious vows and

ceremonies.
Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino, etc.

3. Comic dances – depicting funny movements for entertainment.

Examples: Kimbo – kimbo Makonggo, Kinoton

4. Game dances – with play elements (dance mixers)

Examples: Lubi – lubi, Pavo

5. Wedding dances – performed during wedding feast.

Panasahan, etc.

6. Courtship dances – depicting love making.

Examples: Hele – hele, Bago Quiere
                                       Maramion
                                       Tadek
                                       Daling – daling
7. Festival dances – suitable for special occasion or any social gathering.
Examples: Pandanggo, Habanera, Jota, Surtido.

8. War dances: showing imaginary combat or duel.

Examples: Sagayan, Palu-palo, etc.

C. Movements               
1. Active – with fast energetic movements.

Examples: Tinikling, Maglalatik, Sakuting, Polkabal, etc.

2. Moderate -

                    Examples: Cariñosa, Tagala, Habanera, Purpuri, etc.

3. Slow -

                    Examples: Pasakat, Amorosa, Tiliday, Kundiman, etc.

       4. Slow and Fast –

                     Examples: Putritos, Ba-Ingles, Habanera Botoleña, Alcamfor, etc.

      D. Formation                
1. Square or Quadrille
           Examples: Rigodon, Los Bailes de Ayer, etc.

2.    Long formation (two or more parallel lines)

  Examples: Lulay, Sakuting

3. Set – consisting of two or more pairs as a unit, partners facing each other or standing
side by side.
       Examples: Binadyong, Haplik, Kakawati, etc

II.            Special Classification-Group dances having special distinctive features.

A.   Dances with Songs
Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.

B.   Old Ballroom Dances

Examples:  Polka, Mazurka Chotis, Valse, etc.

C.   Dances with Implements

Examples:   Maglalatik
                    Sakuting
                    Jota Moncadena
                    Tinikling
                    Salakot,

D.   Dances of Combined Rhythm

Examples:    Surtido, Pantomina, Los Bailes de Ayer

Factors Affecting Folk Dances

1.    Geographical location
2.    Economic conditions
3.    Climatic conditions
4.    Customs and traditions.

      Do’s in Folk Dancing

1.    Dance in a natural, simple and direct manner.
2.    Dance with ease and smoothness.
3.    Use the proper costume for the dance.
4.    Follow directions and dance instructions as closely as possible.
5.    Dance with feeling and expression.

        Don’t’s in Folk Dancing

1.    Do not exaggerate the dance steps.
2.    Do not make the dances too dainty and graceful like ballet.
3.    Don’t make entrance and exit long.
4.     Don’t make steps too elaborate and complicated.
5.    Don’t call a dance a folk dance unless steps come from traditional dances.

COMMON DANCE TERMS

1.    Arms in lateral position – Both arms are at one side either right or left, at
shoulder, chest or waist level.

2.    Brush – Weight on one foot, hit the floor with the ball or heel of the other foot and lift
that foot from the floor to any direction.

3.   Crossed Arms – Partners facing each other or standing side by side join their left
hands together and the right hands together; either right over left or left over right hands.

4.   Cut – To displace quickly one foot with the other.

 5.    Do-si-do – Partners advance forward, pass each other’s right (left) side, step across
to the right move backwards without turning around, and pass each other left side to
proper places.

6.    Hayon-hayon – To place one forearm in front and the other at the back of the waist.

7.    Hop – A spring from one foot landing on the same foot in place or in any direction.

8.    Jaleo – Partners turn around clockwise (with right elbows almost touching) or
counterclockwise (with left elbows almost touching) using walking or any kind of dance
step.

9.    Jump – A spring on one foot or both feet landing on both feet in any direction.

10. Kumintang – moving the hand from the wrist either in a clockwise or
counterclockwise direction.

11. Leap – A spring from one foot landing on the other foot in any direction.

12. Place – To put foot in a certain position without putting weight on it.

13. Pivot – To turn with the ball, heel or whole foot on a fixed place or point.

14. Point – Touch the floor lightly with the toes of one foot, weight of the body on the
other foot.  

15. Masiwak – To turn the hand from the wrist half-way clockwise then raise and lower
wrist once or twice. This is an Ibanag term.

16. Panadyak – To stamp in front or at the side with the right foot and tap with same foot
close to the left foot. This is a Tagalog term.

17. Patay – To bend the head downward and to support the forehead with the R forearm
or with the crook of the R elbow while the left hand supports lightly the palm of the right
hand. This is usually done with the left foot pointing in rear and knees slightly bent. This
is an Ilocano term and the movement is commonly found in Ilocano dances.

18. Salok – T o swing the arm downward-upward passing in front of the body as
if scooping, the trunk is bent following the movement of the arm doing the salok. This is
aTagalogterm.

19. Saludo – Partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This is of Spanish origin and is used in almost all Philippine
dances.

20. Sarok – Cross the R foot in front of the L , bend the body slightly forward and cross
the hands down in front of the R hand over the L. This is a Visayan term.

21. Slide – To glide foot smoothly along the floor. The movement may be finished
 with or without transfer of weight.

22. Stamp – To bring the foot forcibly and noisily on the floor with or without transfer of
weight.

23. Tap – To rap slightly with the ball or toe of the free foot, flexing the ankle joint
keeping weight of the body on the other foot. There is no change or transfer of weight.

24. Whirl – To make fast turns by executing small steps in place to right or left.

BASIC DANCE STEPS

2/4 time dance steps

   Dance Steps              Step Pattern                                             Counting

1. Bleking step                      heel-place, close 1,2

2. Touch step                        point, close 1,2
3. Close step                         step, close 1,2
4. Hop step                            step, hop 1,2
5. Cross step                         step, cross or cross, step 1,2
6. Change step                     step, close, step 1 and 2
7. Changing step                 jump (one ft. in front and
                                            The other in rear) there are two
                                            Changing steps in a measure                   1,2
8. Contraganza step            leap, cross-step, step 1 and 2
9. Habanera step                 step, close, step 1, 2 and
10. Heel and toe
      Change step                   heel-place, toe-point, step, close, step 1, 2/ 1 and 2
11. Shuffling step                with both feet flat on floor, take tin
                                                Slide steps                                                    1 and 2 and

¾ time dance steps

1. Native waltz                      step, close, step 1, 2, 3

2. Cross waltz                       cross-step, close, step 1, 2, 3
3. Waltz balance                  step, close-heels raise, heels down 1, 2, 3
4. Mazurka step                    slide, cut, hop 1, 2, 3
5. Redoba step                     slide, cut, cut 1, 2, 3
6. Sway balance w/
     A point                              step, cross-step, step point 12, 3/ 1, 23
7. Sway balance w/
     A hop                                step, cross-step, step, hop 12, 3/ 1, 23
8. Sway balance w/
     A waltz                              step, cross-step, step, close, step 12, 3/ 1, 2, 3
9. Engano w/ a waltz           step, cross-step, step, close, step 12, 3/ 1, 2, 3

4/4 time dance steps

1. Schottische step              step, close, step hop( raise foot

                                                In front)                                                          1, 2, 3, 4
2. Escotis step                      step, close, step, hop( raise foot
                                                In rear)                                                           1, 2, 3, 4
3. Chotis step                        brush, raise, brush, raise/
                                              Step, step, step, close 1, 2, 3, 4/

                                                                                                                      1, 2, 3, 4

Midterm
MODULE 5

Social and Ballroom Dances

Popular couple dances without set patterns are classified as social and ballroom dances. Most
social dances are characterized by the man leading and the woman partner following whatever
steps, styling, and rhythmic variations he chooses and indicates.

Social dances are usually done to introduce people with one another during a formal social
gathering or to welcome guests to a social gathering. Many of the social dances like polka and
mazurka started as folk dances while some were deliberately designed for its social purpose,
such as the waltz, regoudon and polonaise (Nimor, 2006). Social dancing is believed to have
existed since the beginning of human society in some forms.

Ballroom dancing has lots of benefits for young people. It is less threatening to their young
developing bodies compared to many sports such as football, basketball and hockey that
endanger forming cartilage, break bones and in some cases disfigurement cause by various
swinging sticks and equipment. Ballroom dancing provides general conditioning for the body.
Mentally, it stretches the thinking and the “do – it” abilities of the young. The sense of
achievement is a confidence builder. Teamwork of couples is more stimulating to concentration
and learning. For older groups, competitive dancing is an excellent learning achievement and
self-confidence. Socially, the young people have an opportunity to interrelate with others,
especially the opposite sex, in a setting that includes discipline and emphasis on courtesy and
consideration for others. Ballroom dancing provides lesson on social skills that will be beneficial
to the youth for the rest of their lives.

Ballroom dance training offers unique advantages. It is not only a rhythmical exercise that adds
life, graceful muscular movements but it is also a group recreation. A child who has learned
ballroom dancing gains not only improved posture and coordination but ease in relationships
with companions. Dancing is one means of instilling graceful body coordination, it is also a
muscular activity that brings social ease. A girl who has learned to be a good ballroom dancer
never fades into a wall flower. A Boy who can dance is spared from many agonies of a teenage
self – consciousness. Children who dance well are popular, ones instilled, those ingredients of a
good manners are never forgotten. Ballroom dancing offers more than mere steps it includes
charm of manners and consideration of others.

Ballroom dancing - any of a variety of social dances performed by couples in a ballroom.

The term 'ballroom dancing' is derived from the word ball, which in turn originates from the Latin
word ballare which means 'to dance' (a ballroom being a large room specially designed for such
dances). In times past, ballroom dancing was social dancing for the privileged, leaving folk
dancing for the lower classes.

The History of Ballroom Dancing

The history of ballroom dancing goes back to the 15th century in Europe, during the
Renaissance, when folk dancing became popular. The structured dancing in groups led to more
developments as music styles changed and grew.
Ballroom dance styles that are now recognized as standards started in Vienna in the late 1700s
with the Waltz. This was revolutionary in that dancers remained in closed position for the entire
dance. Other styles of ballroom dance followed in European countries, such as Polka and
Tango. As the trend spread to America and Latin-influenced countries, styles such as Foxtrot,
Swing, Cha Cha, Samba, Rumba and Mambo were added.
In the 1900s in America, new ballroom dance styles emerged. The Foxtrot was first,
followed by the Quickstep and Jitterbug. As music styles changed and Rock and Roll started to
become popular, Jive, Swing and the Twist were added. These dances fit in with older styles of
ballroom dance because they also involve couples dancing.

For the last 30 years or so, ballroom dancing was only something for the older
generation. Lately, with the popularity of dance reality shows like "Dancing with the Stars" and
"So You Think You Can Dance?" ballroom dancing instruction has become popular again.
Couples getting married may take lessons in ballroom dance so they can do a couples dance at
their wedding and look elegant.

Ballroom dancers can enroll in their pick of competitions, and not just on reality television. In
competitive dance, dancers learn and perfect routines in the styles of ballroom dance. The
routines are judged by a panel of judges based on poise, accuracy, expression, posture and
difficulty. Dances such as Waltz require a flowing style, while Swing has complex moves and
acrobatic features. Each style of dance has its own characteristics, all of which can be enjoyed
by those who learn.
The group Dance Sport has even campaigned to make ballroom dancing an Olympic event. As
of now, it has neither been approved nor rejected.

Ballroom Dance for Social Enjoyment

Whether you learn ballroom dancing for fun or for an event, groups of people enjoy
getting together and dancing. Many dance studios and venues offer ballroom dance night, and
many have a brief lesson before the event for those who wish to brush up or learn some new
steps.

MODULE 6

Types of Ballroom Dance

1. The Cha Cha is a lively, flirtatious ballroom dance full of passion and energy. The
classic "Cuban motion" gives the Cha Cha its unique style. Partners work together to
synchronize each movement in perfect alignment.
2. The Foxtrot is a ballroom dance that is lots of fun and simple to learn...an excellent
dance for beginners. The Foxtrot is a smooth dance in which dancers make long, flowing
movements across the floor.
3. Jive is a ballroom dance style that originated in the United States from African-
Americans. It is a lively form of Swing dance, and a variation of the Jitterbug.
4. The Lindy Hop is the ballroom dance considered to be the father of all Swing dances. It
is known for its unique, athletic style, and often contains aerial jumps, twists and flips.
5. The Mambo is one of the most sensual and emotional Latin American ballroom dances.
Swaying hip movements, facial expressions, arm movements and holds all add to the
sensuality of the dance.
6. The Paso Doble is one of the liveliest ballroom dances, originating in southern France. It
is modeled after the sound, drama, and movement of the Spanish bullfight.
7. The Quickstep is a quick version of the Foxtrot. It is a ballroom dance comprised of
extremely quick stepping, syncopated feet rhythms, and runs of quick steps. The
Quickstep is exciting to watch, but among the most difficult of all the ballroom dances.
8. The Rumba is considered by many to be the most romantic and sensual of all Latin
ballroom dances. It is often referred to as the "Grandfather of the Latin dances."

COMMON DANCE TERMS

1. To Address Partner is to bow to partner. Facing partner, boys bow by bending slightly from
the waist as girls do curtsy.

Curtsy is to bend knees and body slightly with a bow of the head; the weight of the body is on
one foot. One foot crosses the other in rear.

2. An Amalgamation is a combination of two or more patterns or movements.

3. An Amateur Dancers is a person who is dancing as a hobby and who does not seek
financial gain from teaching or dancing.

4. A Ball change is a transfer of weight from the ball of one foot to the other foot.

5. A Basic figure is a standardized step pattern, which together with other constitute the basics
of a dance.
6. To Brush is to lightly touch the inside edge of the supporting foot with the inside edge of the
free foot between changes of weight.

7. A Chasse is composed of three changes of weight with a close on the second and may be
performed sideward or forward.

8. A Choreography is a creation or compilation of steps, patterns and movements, which make

up the dance or a dance routine.

9. To Close is to move the free foot next to supporting foot with one change of weight.
10.A Commando is a forward or backward rock and close.

11. A Combination is a group of consecutive patterns and choreography. It is similar to

amalgamation but it sometimes involves a slightly more advanced set of patterns.

12. A Continuity Movement is the continuous passing of the step from one step to the next.

13. The Contrary body movement is the action of turning the opposite hip and shoulder toward
direction of the moving leg. It is used to begin all turning movements.

14. A Conversation is a position when partners stand side by side, right hand of the gentleman
holds the lady’s waist; L arm of the lady placed at the gentleman’s, outside arm at the side.

15. A Corte, in tango, is a stop and change of direction either forward or backward.

16. A Cuban motion is a discreet but expressive hip movement achieve by bending and
straightening the knees with carefully timed weight transfer.

17. Dance Sports is the official name given to competitive Ballroom Dancing.

18. The Floor chart is the ability of the leader to maneuver around the dance floor in a skilled
and controlled manner as to avoid colliding with the other dancers.   

19. A Drop is a theatrical movement in which the follower’s body remains in contact with the
floor.

20. A Fan is a half a turn done on the ball of one foot while the free foot is kept directly behind
the foot on which the turn is made.

21. A Figure is a standardized step pattern that, together with the other patterns, constitute the
dance.

22. A Hip motion is a very general term to mean any type of hip movement used in Latin
dancing.

23. A Pivot is a turning movement during which the free foot is kept either in front or directly
behind the foot on which the turn is made.

24. A Spin is a turn done in place using both feet, usually done as a couple.

25. Variation is a varied or more advanced pattern than the corresponding basic figure, which
still contains the same main elements.   

DANCE POSITION         

Ballroom or Social Dance Position – partners stand face to face, shoulders and hips parallel.
Boys R hand is placed around Girl’s waist. Girl’s L hand rests lightly against his R shoulders.
Boy’s L hand is raised to the side holding the Girl’s R hand. The fingers of her R hand rest
lightly in the palm of the Boy’s L.

Open or Conversation Position – partners stand side by side, both facing the same direction.
Girl R of partner. Boy’s R is around Girl’s waist in back. Girl’s L hand rest lightly on Boy’s R
shoulder. Outside hands may be joined with arms extended forward or the outside hands maybe
on hips or side.

Shoulder – Waist Position – partners face each other. Boy’s places hands on Girl’s waist.
Girl’s hands are on the Boy’s shoulders.
Cross – Hold Position – partners stand face to face, R hand joined over L hands, extended
about waist level.

Promenade Position – partners stand side by side, both facing on the same direction. Girl at R
of partner. The hand crossed in front, R hands joined over L.

Schottische Position – partners stand side by side, Girl to R of Boy both facing the same
direction. Boy’s R arm around Girl’s waist, her L arm shoulder behind his R shoulder, her L hand
resting lightly on that shoulder, free hands on waist.
Varsovienne Position – partners stand side by side, girls stands to the R and slightly in front of
Boy. Boy reaches R arm over the girl’s R shoulder and takes her R hand in his, his L holds her L
a little above his L shoulder.

Swing is a rhythmic rotation of a couple performed with a walking step or shift steps.

Elbow Swing – hook designated elbows firmly of the hand carried at the height of the locked
elbows. While swinging, pull away from partner at shoulders.

One Hand Swing – with the elbow bent and down, join the designated hands at shoulder
height. In balancing “pull against pull” while swinging, apply pressure against the thumbs and
heels of hands, pulling away at shoulders.

Two – Hand Swing – Boy present hands at shoulder height with palms up, elbows close to
sides and should support while balancing “pull against pull” leaning away at shoulders.

Waist Swing – In a modified closed ballroom dance positions with R foot and hips adjacent the
support weight of the body on the R foot swing, balance “pull against pull”, leaning away from
partners at shoulder.

Hungarian or Russian Swing – dancers stand facing in opposite direction with R (L) hips
adjacent, each R (L) arm around each other’s waist in front, on partners hip, L(R) arm curved
overhead, both lean slightly away from each other when turning.

Star post – Partners are in opposite directions, their right hands holding each other, lady facing
away from audience; while gentleman faces the audience.

Challenge position- Partners face each other about a step apart without touching.

Cuddle or skating position – Woman is at man’s left or right side, both facing the same
direction; one arm of man is across woman’s back.

MODULE 7

SOCIAL DANCE GUIDELINES

Practice correct dancing position even without a partner.

• Maintain a good standing position. Bring out the best in your look.
• Keep your weight over the balls of your feet to make you feel quicker and lighter, and
place your weight even on the soles of your shoes. No weight on the heel.
• Maintain the habit of keeping feet close together unless you are taking a definite
step. Feet apart are not a pretty sight.
• For a graceful dancing, always turn your toes out, not in.
• When dancing with a partner, adapt a comfortable position for both of you; not too
close and not too far.
• Don’t lean forward or backward. Just assume a natural comfortable dancing
companion.
• When facing the audience, the lady is at the right side of the male.        

SOCIAL DANCE ETIQUETTE

1.   Do not teach your partner on the dance floor.

2.   Anticipate the next step.
3.   be confident strive to become a proficient dancer.
4.   Don’t show off.
5.   Find mutual topics of interest for conversation, never gossip.

Dancing Personalities

Dancing is an expression of one’s personality. We can read one’s personality and character by
the way he dances. Traits such as timidity, aggressiveness, and consideration for others,
arrogance, and other characteristics are revealed when people dance.

1.   Dancers who loves themselves--- point their toes too gracefully.

2.   The cuddly couples--- are fun to watch if they are not related to you.

3.   The bully type--- meanders around the dance floor, pushing his partner into everything that
comes his way.
4.   The casual dancers--- girl show that sloppy I don’t care posture and the man just shuffling
along.

5.   The possessive man--- holds tightly on his partner’s back. His posture is crouching as
though ready for a springing pounce.

7. The jealous girl--- clings to her partner like a glue, looks up in his eyes and is always
tremendously attentive.

8. The timid souls--- could almost sink to the floor if you stare at them. Males have an
apologetic manner and takes faltering steps, barely touches his partner. He is hard to follow
because he is too shy to lead. The girls of this type take uncertain steps, droop their arms
and get an until-death-do-us part grip on their partner.

In common usage, Ballroom dance refers to the ten dances of International Standard
and International Latin, though the term is also often used interchangeably with International
standard dances.

International Style

International Standard dances are normally performed with Western Music. A couple dances
counter clockwise around a rectangular floor following the line of dance.

Costume

Women – full gown          Men       - bow tie and tail coats or tuxedos, vest

Dances:
1. Slow Waltz             
2. Tango           
3. Viennese Waltz
4. Slow Foxtrot          
5. Quick step

International Latin Dances are performed with contemporary Latin American Music and
with the exception of a few traveling dances.

Costume

Women – Short skirted Latin outfits, Gown / Latin gown/ Night Gown or any kinds of Gown
Shoes: Close or Open Shoes with height heels

Men - outfitted in tight fitting shirts and pants, Shirt/ cotton shirt
Shoes: Close Shoes with 1 to 2 height heels

Final

MODULE 8

Modern Dance

1. Modern is a term used to describe contemporary dance. Centers on a dancer's own

interpretations instead of structured steps, as in traditional ballet dancing. A modern dancer
rejects the classical ballet stance of an upright, erect body, often opting instead for deliberate
falls to the floor.
2. Modern dance was created to show emotion and a more "human" side to the art, a
striking contrast to the strict rules and guidelines of ballet, which was the most popular style of
dance in America at that time.

Brief History of Modern Dance

The Modern Dance form evolved during the early 3. 20th century. The term Modern
Dance sometimes also refers to the 20 th-century ballroom dance, but it is usually referred to as
the 20th-century concert dance.

2 important developments
There were two important developments that helped in founding what is now known as
Modern Dance.

1. 4. Natural expression - developed by the French Actor Francois Delsarte. It is a system

that is used to teach musical rhythms with the help of body movements.

2. 5. Eurhythmics - developed by 45 Emile Jacques Dalcroze. The system was created by

music

In the 6. 1920s, the newspapers began to criticize the dancers such as 7-8 Walter Terry and
Edwin Denby who used to perform with a view of movement specialists rather than a reviewer of
music.
 
Later, as education spread, so did the Modern Dance form? It was integrated into the curricula
of various schools and universities, first as physical education and then as a performing art
form.
9. 1934 - Was established in The 10. Benington Summer School, which acted as a training
institute for many college teachers.
 
In the early 1900s, modern dancers always wanted to give their dance form a more powerful
communication system. They therefore always looked beyond what was the traditional Western
Theatrical Dance (Ballet). During this same period, some choreographers of ballet were also
looking for similar dance forms.
 
For example, Isadora Duncan used Greek sculptures for drawing inspiration and used to dance
in bare feet with the help of a simple tune.
 
Later in 1930, Next came 26 Ruth St. Denis who turned to Asian dance styles as a basis, and in
1915 she formed 27 Denishawn, which was a dance company. This training school used to train
dancers in varistylestyle of dances. New York saw the emergence of what is known as the
second wave of modern dancers. This wave included Americans 28-30 Martha Graham, Doris
Humphrey, and Charles Weidman among others.
 
Also, during this period the various choreographers used to describe ballet and modern
dance as separate which resulted in opposition to one another. Both these dance types' focus
was their traditions. While the founders of this form of dance continued their work, which was
largely based on myths and legends, the students of these choreographers saw this form of
dance as a potential form of change.

The legacy of the Modern Dance has been carried on right from its inception. It can be
seen even today. Many Modern Dance artists share a common heritage that can be located
right back to the free dance era. On one hand, the postmodern dance was a direct opposition to
the Modern Dance, the contemporary dance uses both the modern and postmodern dance
forms as its source of inspiration.

10-16 The Pioneers of Modern Dance

36 Martha Graham is considered one of the foremost pioneers of American modern dance. In
order to express the passion, rage, and ecstasy of humans, she developed her very own
language of movement. Graham's brave vision for modern dance earned her several awards
and honors.

35 Paul Taylor These classically trained dancers all shared the same sentiment that dance
could be enjoyed outside of the realms of rigid ballet.

34 Loie Fuller began experimenting with the effects of gaslighting on her silk costumes. Fuller
developed a form of natural movement and improvisation techniques that were used in
Conjunction with her revolutionary lighting equipment and translucent silk costumes

33 Isadora Duncan Considered the founding mother of American modern she discarded the
corset, slippers, and tutu of conventional ballet dress, adopting instead tunics that freed the
body and revealed its movement. She used music by Chopin, Beethoven, Gluck, Wagner, and
other first-rank composers. She danced on concert stages and in opera houses. She spoke of
her dancing not as entertainment but as art with a high moral purpose.

32 Ruth St. Denis was raised in a Bohemian environment and was encouraged to perform from
a young age. She studied ballroom and skirt dancing, and was drilled in Delsarte poses by her
mother. She called her dance translations (ethnically‐inspired movements that included
contemporary dance steps that became famous for their theatricality), which were inspired by
Eastern cultures and mythologies including those from India and Egypt.

31 Ted Shawn was responsible for teaching technique and composition. In 44 1933, Shawn
founded his all-male dance group, Ted Shawn and His Men Dancers, which was based at
Jacob’s Pillow farm in Massachusetts.

17-23 Types of Modern Dancing

39 Tap Dancing- Style of American theatrical dance using precise rhythmical patterns of foot
movement and audible foot tapping. It is derived from the traditional clog dance of northern
England, the jigs and reels of Ireland and Scotland, and the rhythmic foot-stamping of African
dances
38 Contemporary Dance - This dance form is an example of a partnered/non-partnered dance.
In classes, a choreographed sequence is generally taught, but in practice, it is an improvised
dance. (Editor)
Contemporary dance is the name for a modern concert dance genre. It is not a specific dance
technique but a collection of methods developed from modern and post-modern dance and can
take on many forms including dance fusion, emergent dance, and revisionism.
37 Hip Hop Dancing - an urban youth culture associated with rap music and the fashions of
African-American residents of the inner city youth culture - young adults (a generational unit)
considered as a cultural class or subculture
41 Brake Dancing - a form of solo dancing that involves rapid acrobatic moves in which
different parts of the body touch the ground; normally performed to the rhythm of rap music
40 Street Dancing - an informal style of dance involving a variety of moves, which is popular
with young people and often developed in public spaces such as streets, clubs, playgrounds,
etc.
42 Ballet Point Dancing - point of the foot. Point refers to how far the heel is raised off the floor
in a relive. A quarter-point is with the heel just off the floor; a three-quarter point is a straight line
from the knee to the ball of the foot. Demi-pointe is halfway between. Sur Les points are on the
tips of the toes — literally.
43 Lap Dancing - an activity in a bar or nightclub in which a woman who is not wearing many
clothes dances very close to a customer in exchange for money.