UNIT 2: 

Dance Appreciation and Composition Table of Contents 

Lesson 1: Elements of Dance 4

Lesson 2: Characteristics of a Good Dance 10

Lesson 3: Basic Choreography 15

UNIT 2 

Dance Appreciation and Composition 

“Existence is movement. Action is movement. Existence is defined by the rhythm of

forces in natural balance.” 

– Rudolf von Laban 

Lesson 1: Elements of Dance

When a person starts moving, they do so in a specific location and over a duration of time,
fueled by the calories consumed from food. 

Dance incorporates the same components of space, time, and energy (Schrader, 1996) as 

other forms of motion. Anyone involved in recognizing, evaluating, or generating activity

would benefit from these components. 

SPACE 

This is the place where dancers perform. This can be broken down into four (4) parts
which are often referred to as spatial elements. 
a. direction - The dancers have the option of moving forward, sideward, backward,
diagonally, circularly, and so on. They can also perform a single component or a
series of phrases while facing any direction.  

b. size - The steps can be big or small. 

c. level - Routines might be at a high, medium, or low level. 

d. focus - A performer may look in different directions to change their focus. 

TIMING 

Timing of dance motions may be performed at different speeds (tempo). Artists

shift in time to the rhythm of a sound known as beat or pulse. By going quicker or
smoother than the usual beat, the pacing may be changed. Rhythmic patterns are
created when a series of movements or a set of phrases is performed at a certain
pattern. Pauses or gaps may also be used to contribute to timing the rhythms. 

DANCE ENERGIES 

The strength or power that propels the movements comes from force or
energy. Force is used in starting or stopping a movement when dancing. Rhythm
uses a variety of forces, and diverse use of these minimizes the repetition of a
performer's gestures. The attributes of dance forces are listed below in six
categories: 

a) Sustained: Movements are performed in a smooth, constant, and regulated

manner. These do not have a distinct start or finish. 
b) Percussive: Differing from constant movements, actions are violent or acute.
These movements mostly use patterns of foot movement. They have a burst of
intensity in them and have a distinct start and conclusion. 
c) Vibratory: Flickering or vibration is a form of activity. A restless effect is
created by a quicker variant of shaking gestures (Minton, 2007). 
d) Swinging: Motion in this category follows a curvature or arc pattern. On the
backward aspect of the wave, the motions are comfortable and give in to gravity,
accompanied by an onward release of force. 
e) Suspended: Gestures are frozen in mid-air or poised in a vacuum. This type
of action is done when you lift one of your limbs in any direction. 
f) Collapsing: Motions release tension to gravity gradually or abruptly, allowing
the body to sink to the floor. A slow collapse can be characterized as a
downward melting or oozing activity (Minton, 2007). 

BODILY SHAPES 

It corresponds to how the whole body is formed or how parts of the body are arranged.
The shape of the individual may be circular, linear, or a mix.  Other body types range from
broad to short and large to small. They come in both balanced (symmetrical) and unbalanced
(asymmetrical) varieties. 

a. Symmetrical: balanced stature; same movements on both sides 

of the performer. 
b. Asymmetrical: unbalanced stature; motion on one side is 
different on the other. 

GROUP SHAPES 

A group of dancers executes a variety of actions in this element. The layout is large,
narrow, round, angular, symmetrical, or asymmetrical. The layout is seen as a complete
image or arrangement inside a picture frame altogether (Minton, 2007). 

Lesson 2: Characteristics of a Good Dance

All works, whether it is sports, music, or dance, must have a form brought to their
elements by means of orderly arrangement, meaning, and purpose. (Lockhart, 1982). 
A good dance proves a point or has a meaningful significance. It also depicts real-life
events on occasion. Dance may be interpreted in a conceptual or hypothetical manner, but it
still conveys sentiment and purpose (McGreevy-Nichols et al. 2005). 

A perception of orientation is needed. It has three parts: beginning, middle, and end. A
performance's start may take the form of a figure, a posture, or an introduction. The creation
or discovery of the main concept takes place in the center. The conclusion/ending should be
obvious and may take the form of a structure, a gesture, or an exit. 

In order for a good dance to be successful, the moves or choreography must have a
meaning. 

FORM 

Form is the process of arranging or combining ideas and elements into a

coherent pattern that ends in harmony and continuity. It is the
performances' organizing element. (Lockhart, 1982). 

From the start to the end of the choreography, the form should advance over time
(Minton, 2007). Each segment is made up of many units, or phrases, that are linked
in a seamless manner. 

PHRASES 

As they merge multiple movements into unity, you get a unit. When units are cobbled back
during the dance, they create a section. These segments are combined to create an entire
dance routine. As a result, “a phrase is the smallest unit of form in the whole dance” (Blom
and Chaplin, 1988). In writing papers, it may be compared to writing a sentence. 

About the fact that Minton (1997) recommends that activity phrases differ in duration and
form, most routines today use equally sized phrases. A short statement is usually made up
of eight counts. 

MOTIF 
To be capable of communicating its purpose to the viewer, a successful
choreography must have a concept or motif. It may be a short action or a
gesture that expresses the fashion and meaning. By controlling its sections, such
motions are replicated, altered, and formed. 

The Itik-Itik Filipino dance style is a great example of a performance with a theme.
The theme of this dancing is easily recognized because it clearly depicts the
gestures of an itik (duckling). 

CHARACTERISTICS OF A GOOD DANCE 

Dance must have certain characteristics that make the artistry accurate, if it has
significance, or can be viewed intuitively. These characteristics include unity,
continuity and development, variety and contrast, transition, repetition, and climax. 

1) Unity: The dance's intertwined processes are well-coordinated and flow

seamlessly around. The actions are in sync with one another, and each one adds to
the overall success of the dance. 

2) Continuity and Development: The movement expressions are 

arranged in a logical order, allowing each activity expression to fall freely onto
another. The action expression is developed in a linear fashion and the spectator
is carried along with it until the finish. 

3) Variety and Contrast: Creating one or more variants that 

illustrate the motif's feature adds diversity to the dance's 
progression. These contribute to the dance's impact and taste. All 
are accomplished by altering the direction of motion, application of 
accents, pacing of an activism expression, and eliminating 
repetition. From slow to the swift, short to lengthy, and small to 
massive motion phrases are instances of varied gestures. 

4) Transition: This is the connection seen between dance's 

gestures, movements, and parts. It allows the dance's natural 
progression to flow efficiently. It also maintains the dance's 
harmony and consistency. The duration and difficulty of transitions 
can vary. 

5) Repetition: Any expression in action sequences can be replicated 

so that the viewer can see the gestures again and recognize their 
meaning. When an expression or part of artistry is recycled, it is 
normally the dance's main idea or message. 

6) Climax: This condition is achieved once the dance's momentum 

reaches its pinnacle (Schrader, 1996). The conclusion can be a 
frantic, enraged burst of energy and movement, or it can be a 
tender, silent departure that signals the culmination of a novel 
(Rickett-Young, 1996). When deciding this stage of progress, music 
will also help both the dancer and the viewer (Schrader, 1996). 

Lesson 3: Basic Choreography

In dance, there are four harmonic fixed styles known as choreographic forms:
sequential, contrapuntal, episodic, and other compositional forms. 

1) Sequential Forms 

These modes include a collection of themes that are shown in a certain series.
They've been set in the correct and specific order. 

a. AB (two-part) form: The most basic of the continuous type, it is identical to an

album's sequence and melody. It's a discrete format with two distinct parts, one at
the start (A) and the other at the end (B).  There are components in each segment
that differ in tone or content. Shades (light and dark), big and small, and affection
and despise are only a few examples. Many folk music and lyrics make use of this
type. 
b. ABA (three-part) form: The piece is made up of an introduction framework
(A), a countering concept (B), and a reaffirmation of the initial theme (A). The
introduction motif (A) is the focus of attention, while (B) provides a comparison.
The actual (A) reappears as an exact replica or as a clearly distinguishable
variation of the introduction framework. Most common songs follow this format,
with a chorus (A), a verse (B), and a refrain (A) repeat, which is also extended to
emphasize the song's theme (Rickett-Young, 1996). 

c. Rondo form (ABACA): The unifying theme (A) reappears after each
conflicting theme in this format. (A) occurs at least 3 times after each conflicting
part, although it can be changed (Rickett-Young, 1996). It can be defined as an
ABACADAEAFA movement concept creation (Minton, 2007). The conflicting
concepts are parts (B), (C), (D), (E), and (F), whereas (A) is replicated after each
segment. 

d. Theme and Variations form: The pattern is a collection of activities to

which modifications are applied during the production of the choreography. The
theme/motif may be a particular expression or a series of action sequences
arranged in a certain order (Minton, 2007). All through the changes, the motions
are performed in the given manner. Minor differences in geometry, storage,
fashion, tone, and rhythm may all be examples (Rickett-Young, 1996). 
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2) Contrapuntal Forms 

Keep in mind that because most of such styles have opposite parts, the
portions must have a smooth transition to fit the overall theme of the
performance. In order to preserve harmony and consistency in the performance,
skilled changes are often required across each segment. The following the
different contrapuntal forms of dance: 

a. Ground Bass: A particular concept begins the movement and is mirrored

during the performance, while other conflicting variations are played at the same
time. This style is best executed in a group, either in opposition to one another or
against a solo performer. A group can dance the replicated theme while a solo
performer or a smaller group number performs the other style. It may also be
done in a circle, with the recurring theme done by the musicians in a circle and
the opposite theme executed by a performer or minor unit in the middle. 

b. Round or Canon: It is made up of two or more phrases or themes in which

the succeeding phrases mimic the central idea phrases precisely and perfectly
(McGreevy-Nichols et al. 2005). The initial performer, for example, executes the
phrase, followed by the next dancer at the end of the first half of the phrase, the
next performer starts at the end of the second phrase, and the fourth at the last
part of the second phrase. Each round comes to a close once the final member
completes the action or sequence (Rickett-Young, 1996). 

c. Fugue or Accumulation: It is a compositional style in which separate

movements or dance phrases are added to each repeat of the main performance
theme (McGreevy-Nichols et al. 2005). Some methods to develop the motif or
movement phrases during the routine are reversing, augmenting, inverting, and
diminishing (Rickett-Young, 1996). 

d. Suite: Unique rhythms and values are used in each segment of the dance
(early stages, central, and finish). It usually has a sluggish starting, a mild middle
portion, and a short and vibrant end phrase (Minton, 2007). 

3) Episodic Form 

This style is mainly used in performing ballet (Rickett-Young, 1996). The plot is told in
chapters, which are interconnected and advance in time. The storytelling process is an
ephemeral form that relates a story or imparts an interpretation, and the composition of the
narrative is determined by the order in which the story is told (McGreevy-Nichols et al.
2005). 
4) Other Compositional Form 

a. Natural structures: Episodes, life spans, and regular activities are all examples

of natural systems. 

b. Collage: It comprises "a collection of motion phrases that are frequently

identical but have been combined to form a continuous dance with a start, middle,
and end" (McGreevy-Nichols et al. 2005). And if the material is absurd, the actual
process remains intact (Rickett-Young, 1996). 

c. Tableau: This is done by executing different patterns in the same routne at the
same time. The performers may perform each sequence in a separate position on the
platform, connecting intermediate gestures for each scenario to create a series of
changing depictions (Minton, 2007). 

d. Chance: The movements are done in an erratic and spatially-dispersed manner.

The dance is performed in a random manner each time, giving it a unique look
(McGreevy-Nichols et al., 2005). The order and kind of dance phrases during the
performance are determined by flipping a coin, hence the term “chance.” 

Winning Moments 

Each time our body moves, we use space, time, and energy. Since dance is primarily the
movement of the human body, these three comprise the elements of dance: space, timing,
and energy. In addition, the human body itself also contributes bodily and group shapes. 

Like any work that requires clear and effective conveying of message to an audience, a
dance must have a form that follows an orderly arrangement and purpose. It is broken down
into phrases which is repeatedly used to put emphasis on a particular message as a motif.
The characteristics of a good dance include unity, continuity and development, variety
and contrast, transition, repetition, and climax. All these characteristics contribute to
making a dance expressive and meaningful. 

Choreography comes in various forms. These compositional forms have set patterns
categorized as sequential, contrapuntal, episodic, and other compositional forms. Each
choreographic form has its own special characteristics to coincide with a particular need in
expressing a message through the movement of the body by an individual or a group. 

Choreography: It refers to the planning and arrangement of movements, steps, and patterns
of movement by the body. 

Choreographer: It is a person who creates dance compositions and arrangement of

movements. 

Motif: It is a single movement or a short phrase of movement that embodies the intention of
a dance. 

Section: It is a combination of units. 

Phrase: It is the smallest unit of a whole dance. 

Unit: It is a combination of one movement with several others.