DANCE

Meaning of dance

 To move rhythmically usually to music,

using prescribed or improvised steps and
gestures.
 History of dance
 The dance has been part of the history of humanity since the
beginning of time. The cave paintings found in Spain and
France with a length of more than 10,000 years, show drawings
of dancing figures and rituals associated with pictures of
hunting scenes. This gives us an idea of the importance of
dance in primitive human society.
 Many people around the world see life as a dance, from the
movement of clouds to changes in season. The history of dance
reflects changes in the way that the people understand the
world, their bodies and experiences related to the cycles of life.
 In India, among Hindus, the Creator is a dancer, dancing Shiva
Nataraj ago the world through the cycles of birth, death and
reincarnation. In the early days of the Church in Europe,
worship included dance while at other times the dancing was
outlawed in the Western world. This brief history of dance
focuses on the Western world.
 Types of dance

1. BALLET
it serves as a backbone for many other styles
of dance, as many other dance genres are based
on ballet. Ballet is based on techniques that
have been developed over centuries. Ballet uses
music and dance to tell stories. Ballet dancers
have the ability to transport an audience to
another world.
2. JAZZ
is a fun dance style that relies heavily on originality
and improvisation. Many jazz dancers mix different
styles into their dancing, incorporating their own
expression. Jazz dancing often uses bold, dramatic
body movements, including body isolations and
contractions.
3. TAP
Tap dancing is an exciting form of dance in which
dancers wear special shoes equipped with metal taps.
Tap dancers use their feet like drums to create
rhythmic patterns and timely beats.
4. HIP- HOP
 is a dance style, usually danced to hip-hop
music, that evolved from the hip-hop culture.
Hip-hop includes various moves such as
breaking, popping, locking and krumping, and
even house dance. Improvisation and personal
interpretation are essential to hip-hop dancing.
5. MODERN
is a dance style that rejects many of the strict
rules of classical ballet, focusing instead on the
expression of inner feelings. Modern dance was
created as a rebellion against classical ballet,
emphasizing creativity in choreography and
performance.
6. SWING
is a lively dance style in which couples swing, spin and jump together.
Swing dancing is a general term that means dancing to swing music, or
music that "swings." How can you tell if a song swings? Swing dancers
know when a song swings because when they hear it, they can't stand
still.

7. CONTROL
s a form of American folk dance in which the dancers form two parallel
lines and perform a sequence of dance movements with different partners
down the length of the line. Contra dances are relaxed with family-like
atmospheres. The dancing is excellent exercise, and dancers can set their
own pace. Contra dancers are usually friendly, active people with a love
of dance.
8. COUNTRY AND WESTERN
includes several dance forms, usually
danced to country-western music. If you've
ever been to a country and western club or
tavern, you've probably seen a few cowboy
boot-wearing dancers twirling around the
dance floor with big smiles on their faces.
 PHILIPPINE DANCE
 Most Philippine dances were originally patterned after
European dances during the Spanish regime. Pandango
Sa Ilaw, Cariñosa, Rigodon and Balitao are examples of
these dances Filipinos are known for. Aside from these
western-influenced dances, ethnic-created dances such
as Tinikling made its way to nationwide recognition.
Despite its apparent adaptation to western dances, still
Filipinos pay tribute to their cultural roots. Every
district in the islands has its own folk dance, interpreted
attractively in festivals and local shows, which have
added to the country’s reputed contribution to world’s
illustration of traditional arts.
 The following are examples of popular
Philippine folk dances :

 Binasuan - Originated in Pangasinan Province

“meaning with the use of drinking glasses”, this
vibrant dance basically shows off balancing skill of
the performers. Glasses filled with rice wine are
placed on the head and on each hand carefully
maneuvered with graceful movements. This dance is
common in weddings, fiestas and special occasions.
 Rigodon - Originated from Spain, this dance is
commonly performed at formal affairs like inaugural
balls where prominent members of the government
participate and enjoy.
 Pandanggo sa Ilaw - The word pandanggo comes from
the Spanish dance “fandango”characterized with lively
steps and clapping while following a varying ¾ beat.
Pandanggo requires excellent balancing skill to
maintain the stability of three tinggoy, or oil lamps,
placed on head and at the back of each hand. This
famous dance of grace and balance originated from
Lubang Island, Mindoro.
 Sublian - The term “subli” is from two tagalog words
“subsub” meaning falling on head and “bali”, which
means broken. Hence, the dancers appear to be lame
and crooked throughout the dance. This version is
originally a ritual dance of the natives of Bauan,
Batangas, which is shown during fiestas as a
ceremonial worship dance to the town’s icon, the holy
cross.
 Kuratsa - Commonly performed during festivals in
Bohol and other Visayan towns, this dance portrays
a young playful couple’s attempt to get each other’s
attention. It is performed in a moderate waltz style.
 Itik-itik - According to history of this dance, a
young woman named Kanang (short for Cayetana)
happened to be the best performer in the province of
Surigao del Norte. At one baptismal reception, she
was asked to dance the Sibay, and began
improvising her steps in the middle of her
performance imitating the movements of an “itik”, a
duck, as it walks with choppy steps and splashes
water on its back while attracting its mate. Because
of its unusual steps and fascinating interpretation,
the audience began imitating her.
 Tinikling - Tinnikling is considered the national folkdance with a
pair of dancers hopping between two bamboo poles held just
above the ground and struck together in time to music. Originated
from Leyte Province, this dance is in fact a mimic movement of
“tikling birds” hopping over trees, grass stems or over bamboo
traps set by farmers. Dancers perform this dance with remarkable
grace and speed jumping between bamboo poles.
 Maglalatik - Originally performed in Binan, Laguna as a mock-
war dance that demonstrates a fight between the Moros and the
Christians over the prized latik or coconut meat during the
Spanish rule, this dance is also shown to pay tribute to the town’s
patron saint, San Isidro Labrador. It has a four-part performance
such as the palipasan and the baligtaran showing the intense
battle, the paseo and the escaramusa- the reconciliation. Moro
dancers wear read trousers while the Christian dancers show up
in blue. All dancers are male ; with harnesses of coconut shells
attached on their chests, backs, thighs and hips.
 Maria Clara - Maria Clara is the main female character
in Jose Rizal’s Noli Me Tangere -a literary piece that
features the colonial situation of the Filipinos during the
Spanish regime. She was characterized as a Filipina
woman of virtue and nobility. This dance is a mix of
Spanish gracefulness and customized native props,
such as bamboo castanets and Asian fan. Female
dancers wear Maria Clara dress that typifies the
European style, while men are in barong tagalog, a
traditional Filipino embroidered long-sleeve shirt made
of pineapple fiber.
 Cariñosa - Cariñosa is a word that describes an
affectionate, friendly and lovable woman. This dance is
performed in flirtatious manner with fans and
handkerchiefs to assist the dancers’ hide-and-seek
movements.
 La Jota Manileña - It is a dance named after the capital city of
the Philippines, Manila, where an adaptation of Castilian Jota
afloats with the clacking of bamboo castanets played by the
dancers themselves. The costume and the graceful movements
of the performers noticeably inspired by Spanish Culture.
 Sakuting - Originated in Abra, this dance interprets a mock
fight between Ilokano Christians and non- Christians with
training sticks as props. It is traditionally performed during
Christmas at the town plaza or from house-to-house as a
caroling show. As a return, the dancers receive presents or
money locally known as “aguinaldo”.
 Pantomina - Meaning "Dance of the Doves", this dance is the
highlight of Sorsogon’s Kasanggayahan Festival every third
week of October. Groups of participants, mainly elderly in
colourful costumes, dance to the tune of Pantomina song. It is a
courtship dance originated from immitating the courtship and
lovemaking of doves that then showed during the dance where
men attempt to please the women.
Other Philippine Ethnic Dances :
 Banog - Cordillera In this dance, performers
portray hunters shielding their chickens from
the famishing hawk. The hawk ends up
entrapped and dies in the hands of hunters.
 Salisid - Kalinga, Cordillera This is a courtship
dance that symbolizes a rooster trying to attract
the attention of a hen. This is performed and
portrayed by both male and female dancers as
the rooster and hen respectively. The dance
starts when each of them are given a piece of
cloth known as "ayob" or "allap".
 Palok - Kalinga, Cordillera - A tribal dance. The natives of Kalinga
perform this dance in most of their social events. Male dancers hold
gangsa or gong- a percussion instrument made of copper, and beat
it with wooden stick.
 Lumagen - Kalinga, Cordillera A tribal dance. This is a traditional
thanksgiving dance by the Kalinga tribe performed to celebrate
good harvest and events such as birth of first-born child, victory in
battles and weddings.
 Idudu - Abra, Cordillera A tribal dance. This dance stages a common
family life in the Itneg or Tinguian society. It illustrates the family
as the main foundation of the tribe’s community. Several traits of
an ordinary family are shown. It depicts a father plowing the field
while the mother caring for the children. But as soon as the father
finishes work, the mother takes over on planting, sowing and all
the remaining chores to do in the field. At this time the father is left
to take care of the kids. During the dance a Local singer breaks into
an Idudu or lullaby to put the baby to sleep. Idudu, a dance taken
from Idudu lullaby, obviously portrays the different roles in a
Tinguian family
 Dinuyya - Cordillera Ifugao dance Famous in the Ifugao
region, this dance is regularly staged during festivals in
Lagawe. Three kinds of gong instruments such as, ordinary
gongs, tobtob- a brass gong played by beating with open
palms and, hibat, a kind of gong played by beating the inner
surface with a softwood are used in this dance.
 Bendayan - Benguet This dance, which is more known as
Bendian, is performed to commemorate the arrival of
headhunters in their district. Performers dance in a circle
and show off their lively traditional steps.
 Binaylan - Agusan This is a ritual dance, which originated
from the Bagobo tribe living in the central uplands of
Mindanao, imitating the movements of a hen, her banog or
baby chicks, and a hawk. The hawk is sacred and is believed
that it has the power over the well being of the tribe. The
hawk tries to capture one of the baby chicks and is killed by
the hunters.
 Malakas at maganda - Leyte A Tribal dance. This dance
depicts the birth of the first man and woman who came
out of a bamboo tree. It has been said that the woman
named “maganda” (beautiful) and the first man “malakas”
(strong) are the parents of the whole community in the
island. The dance demonstrates how a bird discovered the
noise coming from the inside of the bamboo and perched
until it opened. A man and a woman came out of the big
bamboo tree and, the birth of this legendary couple is
amusingly interpreted in this dance.
 Burung-Talo - Sulu The dance is a unique fighting dance
in a form of martial arts by the Tausug tribe. Performers
demonstrate a battle between hawk and a cat. With their
acrobatic movements and tough facial expressions, this
dance is highlighted with the accompanying energetic beat
of drums and gongs.
 Kadal-Blelah - South Cotabato A tribal dance where in the
dancers perform simulation of movements of birds.
 Kadal Tahaw - Tiboli dance- south cotabato A tribal dance
performed by Tiboli tribe, this dance that mimics the
hopping and flying behavior of Tahaw bird is performed
to celebrate good harvest.
 Sayaw sa Cuyo - Palawan Cuyo is a small island and
capital of Palawan. There, the feast day of St. Augustin is
traditionally celebrated with parades, processions and
small performances by groups coming from all over Cuyo
Island and the nearby islets. Island dances, blended with
strong Old Cuyo ethnicity and Spanish-influenced steps,
are all brought out when Cuyo celebrates its festivals.
Today, pretty young girls daintily swirl hats to the waltz
and other European steps designed to bring out the
freshness and glow of the performers.
 Karatong - Palawan A Muslim dance. During the festival of San
Agustine in the island of Cuyo, the celebration also includes the
blossoming of mango trees. The parade starts from the church
patio and ends at the town plaza with ladies waving their colorful
props “Bunga mangga” that symbolize the flowers of mango tree,
while men lively strike their karatong instruments ; creating a
scene of joy among reveling towns folk.
 Dugso - Bukidnon A thanksgiving dance from the talaindig tribe.
 Gayong-gayong - Capiz -A Muslim dance. In rural gatherings,
this dance offers much fun. Gayong is a pet name for Leodegario.
According to the legend and to the words of the song, Gayong
and Masiong (pet name for Dalmacio) once attended a feast
commemorating the death of a townsman. While eating, Masiong
choked on a piece of Adobo so he called, "Gayong ! Gayong !" to
ask for help to dislodge a bone from the Adobo meal from his
throat. In this dance, Masiong’s liking for feasts and the
consequence of his gluttony are held up to playful ridicule.
 Kapa Malong-Malong - Cotabato A Muslim dance. This
Maranao dance is performed with women wearing
malong and shawl, mantle or head piece, whereas men
wear sash or waist band, shorts or bahag and head gear
or turban traditionally worn in the fields.
 Pagapir - Lanao del Sur This dance is usually performed
to commence an important affair. Dancers of this dance
are usually from the royal court or high society group
of Lanao Province. They use apir or fan to coordinate
with their small steps called kini-kini, which symbolizes
their good manners and prominent family background.
 Pangalay- Zamboanga Del Sur A muslim dance.
Originally performed by wealthy families during a
wedding celebration, this fingernail dance is now a
popular festival dance in Sulu.
 Why people dance
 A lot of different ideas come up when we try to figure out why people dance.
These ideas include celebration for various reasons, sharing recreation time
with one person or a group of people, expression of ideas and so on.
 Dancing is a good way to break through personal and cultural barriers.
Dances have been created and preserved among some cultures for the
purpose of bringing individuals closer within a community. But dancing may
also serve to bring individuals closer from one culture to another.
 Some organizations have established regular dance nights or programs that
allow individuals to learn about their own heritage or about the country from
which they came, if they emigrated to another part of the globe. This learning
experience sometimes opens up other ways for people to gain a larger
understanding of a once-forgotten place or way of life.
 Dancing is also considered exercise and can be a great way to improve
conditioning and coordination. Some styles ofdancing are particularly
vigorous and are goof for this purpose. Veteran dancers have also reported
that regulardancing provides some great mental benefits as well. It does take
concentration and study to perform some intricate dances, so this benefit may
well be one of the most important.
 Elements of dance
 GRAVITY:
This is the force that holds you to the earth. It is a
force you have to work with because it constantly
inhibits movement. Try to become aware of the
pulls in your own body. What points are taking
the most weight? When you push on these points
can you feel a rise up from them? You should be
holding yourself better. When you dance you
want to feel as if someone is pushing you under
your buttocks and the base of your spine and
directing the energy up through your breastbone.
 BALANCE:
Balance is concerned with more than balancing on one leg. Your aim is
to achieve and constantly maintain an inner balance of the whole
body. It is tension of mutual support among all parts that brings the
whole together in a new way. It is an inner relationship between all
the points of your body which you hold in your awareness. It is not
something you do once in awhile. It is constant. A sense of balance
whether you are moving or standing. In the actual act of balancing, if
you can find inner balance , you are nearly there. If you are aware
internally the need for the sensation of balance, you should be able to
get it. * Remember, balancing in both states is an active state.
 POSTURE:

To achieve this element you need to change your perception of your

body, there is often a wide discrepancy between what feels right and
what looks right. Dancers work all their dance live on their posture,
also called alignment. It is the key to balance and movement. Your
posture not only reveals your feelings but can also reveal feelings in
you. Learn how to stand properly. You will actually feel brighter and
more aware
 GESTURE:
Gesture involves using the body as an expressive instrument to communicate
feelings and ideas in patterns of movement. With subtle gestures and
postural attitudes we show cooperation, give confidence to friends or display
aggression to enemies. Arms crossed over chest are a protective wall. Hands
on hips mean "show me", fists on hips is even more challenging. Anger
patterns are depicted very differently form joy or sadness. Weight on one hip
-waiting. Hands out in front you ready to give or receive. Raising shoulders
is a gesture of not knowing or caring. Shoulders forward expresses pain.
Tapping foot boredom. Observe! Recognize what the body is saying.
 RHYTHM:
Finding rhythm is largely a matter of paying attention. It is something
everybody has, though, some people are not as aware or sensitive to it. Our
hearts beat to a rhythm, our lungs breathe to another. Rhythm is essential for
a dancer. Pay attention! Generally the beat is carried by the drum. Make sure
you are right on the beat, not slightly late. All the work going into making a
beat has already been completed by the time you hear it. In fact to get it right,
you have to anticipate the beat slightly. Feel as if you are making the beat
with your body as well as hearing it. Try to be at one with it, rather than
dancing to it. It is the rhythm and the beat of the dance that form the
"threads" which allow you to memorize the structure of the dance.
 MOVING in SPACE:
You need to be as aware of the space around you as a cat. You have to move
with care and awareness, gauging the space. Space is not just empty air but a
tangible element that you move through. Consider the space an area you must
go through. Consciously go through space. Feel your accomplishment as a
journey through space. You will express thoughts and emotions. Actually
press your feelings out through your torso and limbs in such a way as to show
other people how we are feeling and to satisfy our desire of movement. Our
muscles feel better when they are used, and once we get used to moving them,
the whole body will respond by working in harmony with itself; to dance.
 BREATHING:
Breathing is crucial to dance. Not only does it bring oxygen to the body but it
also gives your movements fluency and harmony. It is an expressive tool. Calm
slow breathing suggests a certain degree of self-control. Denotes a specific
quality of movement. A movement with breath has a controlled and
considered extension of time, a clear beginning and end no matter how fast or
slow the phrase. A phrase without breath looks stiff and mechanical. It is
important to learn how to do two or three things at the same time. You
frequently have to divide your attention while dancing. You must learn to
breathe deeply expanding your ribs at the back of the body rather than from
the front. This will also give a more emotional, organic look.