Republic of the Philippines

Department of Education
Region VIII
Ormoc City Senior High School
Brgy, Don Felipe Larrazabal, Ormoc City

ELEMENTS
OF THE BODY
Submitted by:

Abayon, Roman Anthony L.

Acodesin, Aliyah Shen T.
Alcarez, Dave Matthew C.
Alvarez, Angel D.
Apas, Cristelyn U.
Arones, Faye Isabella E.
Arpon, Athena Shenila L.
Ascura, Alex Huan Karl A.
Baring, Francis R.
Bonife, Kelly A.

12- CURIE

Submitted to:

Mr. Julius Lanonte

 I. Introduction

Dance is a powerful form of expression that transcends language, allowing

individuals to convey emotions, stories, and cultural narratives through movement. It is
an art form deeply rooted in human experience, serving as a reflection of society,
tradition, and personal identity. Understanding the elements of the body in dance is
crucial for both dancers and audiences, as it illuminates how physicality shapes the art
form.

The body is the primary instrument through which dancers communicate, and
each movement carries meaning. Whether it’s a ballet dancer's elegant lines or a hip-
hop performer's rhythmic pulses, the way a dancer uses their body can evoke a wide
range of emotions and interpretations. The body, when used with intention and
precision, becomes a powerful tool for storytelling and emotional expression.

II. Elements of the Body

Dance is a captivating art form that utilizes the human body as its instrument.
Choreographers, akin to sculptors, manipulate the body's capabilities to create visual
narratives and evoke emotions. This report delves into the key elements of body
manipulation in dance, providing a foundation for understanding the choreographer's
craft.

A. Body Shapes

The choreographer who is designing a dance may look at their

dancers as sculptures. They choose shapes for the dancers to make with
their bodies. These can be curved, straight, angular, twisted, wide, narrow,
symmetrical, or asymmetrical. These shapes can be geometric designs,
such as circles or diagonals. They could make literal shapes such as tree
branches or bird wings. They can also make conceptual shapes (abstract)
such as friendship, courage, or sadness. Sometimes a choreographer
 emphasizes the negative space or the empty area around the dancers’
bodies instead of just the positive space the dancer occupies.

Fig 3. www.orenda.net.in/ – First found on Nov 17, 2019 Filename: coach-1-550×380.jpg (550 x 380, 19.1 kB).

B. Body Moves/Actions
a. Dance movements or actions fall into two main categories:
● Locomotor: (traveling moves) walk, run, jump, hop, skip, leap,
gallop, crawl, roll, etc.
● Nonlocomotor: (moves that stay in place) melt, stretch, bend,
twist, swing, turn, shake, stomp, etc.
C. Body Parts

Each part of the body (head, shoulders, elbows, hips, knees, feet,
eyes, etc.) can move alone (isolated) or in combination. In the classical
Indian dance form Bharatanatyam, dancers stomp their feet in a
percussive rhythm. At the same time, the dancer performs hand gestures,
known as mudras—codified hand gestures that are important in the
storytelling aspect of Bharatanatyam to communicate words, concepts, or
feelings.

Key elements:

● Body Awareness
● Body Parts
● Movement Quality
 ● Isolation
● Coordination
● Body Dynamics
● Spatial Awareness
● Facial Expressions

1. Body Awareness: Understanding one's own body, including posture,

alignment, and balance.

Example: A ballet dancer practices pliés and relevés to develop an awareness of

their alignment and balance, ensuring they maintain a strong core while
performing intricate movements.
 In ballet and dance, pliés refer to bending movements. The correct
pronunciation is essential for dancers and dance enthusiasts!

 In ballet and dance, relevés refer to movements where the dancer rises
onto their toes (en pointe) or raises their heels.


2. Body Parts: The roles of different body parts (arms, legs, torso, head) in
movement and expression.

Example: In contemporary dance, a dancer might use sweeping arm movements

to complement fluid leg work, highlighting the connection between different body
parts.

3. Movement Quality: The dynamics of dance, including weight, space,

time, and flow, which affect the expression of movement.

Example: A lyrical dancer might utilize soft, flowing movements to convey a

sense of vulnerability, while a hip-hop dancer might employ sharp, explosive
movements to express energy and attitude.

4. Isolation: The ability to move one body part independently from others.

Example: In jazz dance, a performer may isolate their shoulders, moving them
independently from their hips, adding stylistic flair and emphasis to the
choreography.
 5. Coordination: The synchronization of movements across multiple body
parts.

Example: In a group routine, dancers must coordinate their movements to

achieve synchronized choreography, such as in a musical theatre performance
where they execute complex formations together.

6. Body Dynamics: The interaction of force, energy, and control in

movement.

Example: In modern dance, a dancer might use varying levels of force,

transitioning from heavy, grounded movements to light, airy jumps, showcasing
the contrast in energy.

7. Spatial Awareness: Understanding the use of space in relation to the

body and other dancers.

Example: A dancer in a duet must be aware of their position relative to their

partner to maintain an intimate connection, adjusting their movements to avoid
collisions while creating visually appealing shapes.

8. Facial Expressions: The role of the face in conveying emotion and

enhancing the narrative of the dance.

Example: A performer in ballet can convey emotion through subtle facial expressions,
such as a wistful smile during a romantic pas de deux, enhancing the story being told
through their movements.

III. Practical Applications

A dancer's journey is not merely about learning steps but about embodying the
emotions and stories that those steps represent. Through rigorous training, including
technique classes, warm-ups, and improvisation sessions, dancers cultivate a deep
understanding of their bodies and the expressive potential of movement. By
incorporating cross-training, body mapping, visualization, performance opportunities,
and workshops, dancers can enhance their skills and delve into the emotional depth of
dance. This holistic approach allows dancers to not only master the elements of the
body but also to connect with the artistry and storytelling that dance embodies.
IV. Conclusion
The body is the medium through which a dancer conveys their art. Every element
serves its purpose in delivering a performance; the movements acted, shapes that were
formed, and body parts that were used each play their role in showcasing one’s ability in
dance. Every pose is a stroke, every pattern is a symbol, and its dance is the message.
Understanding the capabilities of the body in dance enables one to explore more
movements and dance forms, expanding their knowledge of bodily gestures to better
express the message that the artist wishes to convey: substantially improving their work
and honing their craft. Applying this belief to the knowledge one learns of the
importance of the body in dance, they will perform better dances.

V. References

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musical content and structure on body movement. Musicae Scientiae, 24(2), 186-
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Chodorow, J. (2022). The body as a symbol: Dance/movement in analysis. In Anthology

of Contemporary Clinical Classics in Analytical Psychology (1st ed., pp. 21-23).
Routledge. https://doi.org/10.4324/9781003148968-7

Chen, D. (2024). Basic characteristics and body aesthetics analysis of modern dance.
Frontiers in Art Research, 6(4), 47-50.
https://doi.org/10.25236/FAR.2024.060408

Fink, B., Bläsing, B., Ravignani, A., & Shackelford, T. K. (2021). Evolution and functions
of human dance. Evolution and Human Behavior, 42(3), 185-195.
https://doi.org/10.1016/j.evolhumbehav.2021.01.003

Greene Haas, J. (2023). Dance anatomy (3rd ed.). Human Kinetics.

https://books.google.com.ph/books?id=mrf4EAAAQBAJ
Sheets-Johnstone, M. (2023). Exploring the aesthetic uniqueness of the art of dance. In
The new yearbook for phenomenology and phenomenological philosophy (1st
ed., pp. 23-30). Routledge. https://doi.org/10.4324/9781003434801-16