THE STO.

NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS

San Roque, Rosario, Batangas
School Year 2020-2021

PHYSICAL EDUCATION AND HEALTH 3

FIRST QUARTER
INTRODUCTION TO DANCE

LESSON 1
Brief History and Nature of Dance
The human being has an innate yearning for regular rhythmic movement. Whether this is in form of athletics,
activities of daily living, or dance, the human body is the primary instrument for each. Dance Uses the body as an
instrument of expression in time and space.
What is dance?
Dance differs from athletics or other daily activities because it focuses primarily on “an aesthetic or even
entertaining experience.”
Why do people dance?
They dance for four reasons:
 To please Gods
 To please others
 To please themselves or self-expression
 To build community w/in ethnic group or social interaction.
Where do dance came from?
Dance is can be seen among:
 all civilization of the world
 different periods
Dances are rooted from prehistoric past.
Dance is….
 Form of religious rituals and social expressions
 To reinforce tribal unity and strength
 Approach to court and mating
 worship, communication and therapeutic experience

Kraus and Gaufman(1981) said that…

“Man danced originally to supplicate the gods on all important occasions of life.”
 During prehistoric time dance was not fully recorded
 Pre-Christian Era: the real knowledge of dance came about within the great Mediterranean and Middle Eastern
Civilizations…
 Ancient Egypt; Full blown and recorded (can be seen in painting and hieroglyphs: religious expressions)
Ancient Greeks…
Linked with other experience, such as
 Aid to military education among boys in Athens and Sparta
 Also for entertainment and display
 Greek philosophers such as Plato, Aristotle and Socrates strongly supported this art as an integration of the body
and soul.
 Plato stated the importance of dance in his elucidation on the LAWS.
Kinds of Music and Dance
o Noble (fine and honorable)
o Ignoble (imitating what is mean and ugly)
Ancient Rome…
 gave less importance on dancing
 stopped valuing such qualities in art as the nation grew wealthy and powerful.
 dance became brutal (slaves and captives from many nationalities; gruesome purposes)
 became integral part of corruption, resulting in condemnation of dance by the early Christians.
Catholic Church, fall of Rome, changed the history of dance…
 Sole custodian of learning, education and morals
 First Christian emperors came and theatrical dance entertainment was prohibited
 Only performed in church and religious ceremonies.
Dark and Early Middle Ages…
 church condemned dance as an entertainment
 Singers, dancers, poets, actors, musicians, and jugglers continued to wander (perform)
 Village squares, eventually welcomed in castles and chateaus of feudal lords.
 marked the beginning of SOCIAL DANCING…
 PEASANTS: two basic types of dancing; round dance and couple dance
 nobility soon followed the peasants lead in dancing but more refined and courtly form.
 court dances emerged as a part of chivalric way of life.
 Noble-limited to gliding, curtseying, posing; floor wood or polished marble called ballroom
 Peasants- wider movements; grass or on beaten earth of the town

Page 1 of 12
John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

Early Renaissance…
 Dance was wholly accepted in courts as capitalist class produced patrons of learning and art in Europe
 Dance and art gained and impetus
 Entertainers became valuable appendage to the courts of Italy and France
 15th and 16th Century…
 vast dance movement occurred
 new dance courts performed by nobility; rise of the art of ballet in Italy and France.
 ballet, contemporary dances emerged and evolved in Europe.
Benefits of Dance and Creative Movements
Dancing
 one of the oldest and most popular forms of exercise
 Considered aerobic since they entail about an hour of continuous exercise
Polly de Mille- an exercise Physiologist at the Women’s Sports Medicine Center In New York: benefits through dancing
are similar to other of activities
1. Physical
 Develops cardiovascular and muscular endurance
 Improves coordination, balance, flexibility, and body composition
 Lowers risk of cardiovascular diseases
 Lowers body mass index
 Lowers resting heart rate
 Improves lipid metabolism
 Enables joint mobility
 Helps improve and maintain bone density, thus helps prevent osteoporosis
 Helps recover coordination and neuromuscular skills after injury
2. Mental/Emotional
 Helps keep the brain sharp
 Decreases incidence of dementia and Alzheimer’s disease
 Decrease depressive symptoms
 Increases sell-esteem and improves body image
 Aids in releasing emotional and physical tension
3. Social
 Gives sense of togetherness within a group
 Encourages positive social interaction and interpersonal relationship in a group
 Contributes to the individual’s potential for self-actualization in society
4.Cultural
 Promotes cultural values
LESSON 2
ELEMENTS OF DANCE
1. Space- this is the area that the performers occupy and where they move.
Four different aspects called Spatial Elements
 Direction- dance travels in any direction
 Size- movements can be varied by doing larger or smaller actions
 Level- movements can be done in a high, medium or low level
 Focus- performers may change their focus by looking at different direction.
2. Timing- may be executed in varying tempo(speed): the tempo that underlying sound is known as BEAT OR PULSE.
Sequence of movement or group of phrases is done in varying tempos they generate rhythmic patterns.
3. Energy/Dance Energy or Force- can initiate or stop action, minimizes the monotony of the movements in the
performance
Six Qualities
 Sustained- movements are done smoothly, continuously, and with flow and control. It does not have a clear
beginning and ending.
 Percussive- movements are explosive or sharp in contrast with sustained movements. They have accented with
thrust of energy. They have clear beginning and ending
 Vibratory- movements consist of trembling or shaking. A faster version of percussive movements that produces
jittery effects
 Swinging- movements are traced a curved line or an arc in space. The movements are relaxed and giving in to
gravity on the downward part of the motion, followed by an upward application of energy
 Suspended- movements are perched in space or hanging on air. Holding a raised leg in any direction in an
example of a suspended movement.
 Collapsing- movements are released in tension and gradually or abruptly giving into gravity, letting the body
descend to the floor. A slow collapsed can be described as melting or oozing action downward direction
4. Bodily Shapes- body is molded in space on in configuration of body parts. Can be rounded, angular, or combination.
Can be wide to narrow and from high to low. They can be symmetrical and asymmetrical
Symmetrical- balanced shapes; movements are practically identical or similar on both sides
Asymmetrical- unbalanced shape; movements of two sides of the body do not match or completely different from each
other

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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

5. Group Shapes- a group of dancers perform movements in different group shapes Arranged in ways that are wide,
narrow, rounded angular, symmetrical, asymmetrical and viewed ass total picture.
LESSON 3
DANCE APPRECIATION AND COMPOSITION
Did you know?
Recreational Dance
 social activity that people of all ages can participate.
 folk, cultural, historical and social dances form the past and present.
 cultural roots, historical areas and geographic areas w/c the dance originates
Dance Fitness
Increase cardiovascular endurance, strength, flexibility, fitness
A good dance lifts and transports the audience from their seats during the performance it has beginning, middle,
end/conclusion:
 Beginning- may come in shape, pose entrance
 Middle- development of exploration of main idea
 End/conclusion- clear; shape, pose, exit
A good dance therefore, must have a shape or form for its choreography to be effective
Form
 which ideas and elements are arranged or combined into a logical sequence that results to unity and consistency
 content and idea can be expressed and communicated
 must be done from the beginning to end
 Each dance is composed of phrases (small units) that are smoothly connected
 Choreographers and dancers use movement phrasing when working on dancing
Minton (1997)-suggest that movement must vary in length and shape, most of the dances these days use equal
length phrases: eight counts
Motif
 a good dance must contain motif, convey its meaning or intention
 single phrase that shows style and intention of dance is called motif
 may be repeated, varied and developed by manipulating movements. Example is itik-itik (itik concept)
CHARACTERISTIC OF A GOOD DANCE
1. UNITY- the interconnected phrase of the dance is coherent and flow smoothly together. The movement fits
together and each plays an important role that contributes to the entirety of a dance
2. CONTINUITY AND DEVELOPMENT- the phrase of the dance that are organized progressively, making each
movement phrase move naturally into the next. There is a continuous development of the movement phrase and
the audience is swept along the end.
3. VARIETY AND CONTRAST- making one or several variations that highlight the facet of motif. This provides
variety with in the development of a dance. It also add excitements and flavor in the dance.
4. TRANSITION- this is the link between movements, phrases, and section of the dance. It makes the logical
progression of the dance flow smoothly. Also, it is vital because it keeps the unity and continuity of the dance.
5. REPETITION- it emphasizes movements and phrases that are important to the dance and gives a feeling of
closure to a work (Minton, 2007). Some phrases need to be repeated in choreography so that the audience can
see those movements again and identify its significance. Usually, when a certain phrase or a section of
choreography is repeated, it is the main message of the dance.
6. CLIMAX- this is where the apex of energy in the dance is reached.
CHOREOGRAPHIC FORMS
1. SEQUENTIAL FORMS- Contain themes/motif which progress in a specific order
These forms contain themes/motif which progress in a specific order. They are arranged accordingly.
a. AB (two-part) form – the simplest of the sequential forms and is similar to a verse and a chorus of a
song. It is a binary form with two contrasting sections consisting of a beginning section (A) followed by a second
section (B). Each section contains elements that contrast in tone or quality. Examples of which are light and dark,
huge and tiny, love and hate. This form is commonly used in many folk dances and songs.
b. ABA (three-part) form – composed of introductory theme (A), a contrasting theme (B), and a
restatement of the original theme (A). (A) is the unifying theme and the center of interest, then (B) gives contrast.
The original (A) returns either as an exact repetition or in an easily recognizable variation or development. Most
popular songs use this form where there is chorus (A), a verse (B), and a repetition of the chorus (A) which is
often somewhat elaborated to highlight the idea of the song (Rickett-Young, 1996).
c. Rondo form (ABACA) – in this form, the unifying theme (A) returns after each contrasting theme. (A)
appears after every contrasting section at least three times, but it can itself be varied (Rickett-Young, 1996). It can
be described as ABACADAEAFA development of movement idea (Minton, 2007). Here, sections (B), (C), (D), (E),
(F) are the contrasting themes while (A) is constantly repeated every after each section.
d. Theme and Variations form – the motif is a series of movements to which variations are added
throughout the development of the entire choreography. The motif/theme can be a single phrase or several
movement phrases placed together in a sequence (Minton, 2007). The order of the movements is kept the same
all throughout the variations. It can take the form of subtle adjustments in dynamics, space, style, mood, and
tempo (Rickett-Young, 1996).

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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

Take note that although most of these forms contain contrasting parts, the sections should be similar enough to
suit the character of the entire dance. Additionally, skillful transitions are needed between each section to
maintain unity and continuity in the dance.
2. CONTRAPUNTAL FORMS- several themes are woven together in choreography to form a complex structure.
The main theme is seen against one or more other themes. There are four contrapuntal forms of dance:
a) Ground bas- single theme starts the dance and is repeated all the way through the dance while other
contrasting themes are simultaneously performed with it.
b) Round or canon- consist of two or more movement phrases or theme in which the main movement
phrases is imitated exactly and completely by the successive movements, but done in strange manner.
c) Fugue or accumulation- a choreographic form that is constructed by adding on different movement or
dance phrases in every repetition of the main movement theme.
d) Suite- every section of the dance uses different tempos and qualities
3. EPISODIC FORM- episodic form is not musical form; instead, they are found in literature. They tell story through
connected and progressive sections called episodes.
4. OTHER COMPOSITIONAL FORMS-
a) Natural structures- mostly come from natural structures such as the season, life cycles, and everyday life
experiences.
b) Collage- consists of a series of movement phrases that often unrelated but have been brought together to
create a single dance with a beginning, middle and an end.
c) Tableau- different movement phrases are performed by different dancers simultaneously in the same
space.
d) Chance- the movement phrases are performed in random order and spatial placing
EVALUATING A GOOD DANCE
The success of any dance performance may depend on who the evaluators are. The evaluators’ role are categorized as:
1. Choreographers- they will evaluate a part of an ongoing process of developing personal style which is both
spontaneous and organized.
2. Dancers- they will evaluate according to the specific demands that the performance places on them.
3. Audience- they will evaluate according to the particular context of the dance
STAGES ON ASSESSING A DANCE
1. Description- involves close observation of all the elements, characteristic and components of a dance as
described in the previous section of this module.
2. Interpretation- involves an appreciation of the ideas, content, images, and style contained within the dance
3. Evaluation- takes into consideration how effectively the features and context of the dance have been utilized in
the actual performance of the dancers to portray the content and the quality of the dance.
GUIDE QUESTION IN ANALYZING AND EVALUATING A DANCE PERFORMANCE
 What was the title of the dance?
 Who was the choreographer?
 When was it performed?
 What was the genre/style of the dance?
 What was the accompaniment?
 Who were the dancers/company?
 Were there specific demands placed on dancers in performance? If yes, what were this?
 What are the movements and forms of dance?
 What does the set look like?
 What were the costumes/ profs used during the performance?
 How was the lighting of the show?
 Who was the designer of the show?
 What were the context and/ or significance of the dance?
 How will you evaluate the overall dance performance?

LESSON 4
WORLD OF DANCE
Dance comes in different forms. All dance style is not alike and they are distinctive.
DANCE AS AN ART
“Dance is an art which deals with the motions of the human body” –James K. Feibleman, a great philosopher.
Dance is an art of rhythmic bodily movement that projects ordered sequence of moving visual patterns of line,
solid shape, and color (Thomas Munro in Kraus and Gaufman, 1981). Some of these dances that are considered an art
are folk dance, ballet, and contemporary dance.

PHILIPPINE FOLK DANCE

FOLK DANCES are the indigenous dances of any specific “folk” or the common people. They are traditional
customary or recreational dance forms of a given country which have evolved naturally and were handed down across
generation. Most of these dances are related in origin to religious belief, stemming from emotions, superstitious, festivals,
ceremonies of birth, courtship, marriage, death, war, and countless themes common to all people around the world.

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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

Lopez (2006) defined Philippine Folk dance as a “traditional mode of expression that employs bodily movements
of redundant patterns linked to definitive features of rhythmic beats of music.” She further stated that Philippine folk
dance, to be called such, should have the following characteristics:
1. It is traditional
2. It has an expressive behavior
3. Simple, basic rhythm dominates the folk dance and establishes the pattern of movement.
4. It is created by unknown choreographer or by communal efforts.
5. It is performed a function in the life of the (folk) people.
Oftentimes, the term folk dance is being confused or used interchangeably with ethnic and national dance.
DIFFERENCE BTEWEEN FOLK, NATIONAL AND ETHNIC DANCES.
Folk dance are traditional dances found in a certain country while national dances are also traditional dances but
have national scope. Ethic dances or ethnological dances are those performed in primitive tribes and have retained their
close kinship with religious ritual and community costume.
Examples of different types of ethnic dances:

A. Ritual dances- dance that depict ritual

Did you know? ceremonies. Ex. Dugso (Bukidnon) and
Pagdidiwata (Palawan)
The first national artist for dance and the mother
of Philippine Folk dance is FRANCISCA REYES- B. Life-Cycle dances- dances relating to the
AQUINO cycle of human life such as birthing,
courtship, wedding, and funeral. Ex.
Binasuan (Pangasinan) and Daling-daling
(muslim courtship dance from sulu)
C. Occupational dances- dances that exhibit
work and occupation of the dancers. Ex.
DIFFERENT TYPES OF PHILIPPINE FOLK DANCES:
Mag-asik (Cotabato) and Mananagat (Cebu)
The three major regional classifications of Philippine folk dances are:
1. TRIBAL DANCES FROM THE CORDILLERAS- Include non-Christian dances from the Cordilleras
2. LOW LAND CHRISTIAN DANCES- Dances coming from places with western influences such as that of the
Tagalos, Ilokanos, Pampanguenos, Bisayans, ang Bicolanos. These dances are influenced by Hispanic and
European culture.
3. MUSLIM DANCES- Dances from the people of the southern islands of the Philippine such as Mindano and Sulu.
These dances are influenced by Arabic and Indo-Malayan culture.
Philippine folk dances, regardless of their classifications, may also be categorized as:
1. Life Cycle Dances- dances that serve as ritual as one passes to a different stage in life such as from birth to
childhood to adulthood; from singlehood to marriage; and from life to death. Below are the different dances that
portray life cycle.
A. Courtship dances
B. Wedding dances
C. Funeral dances
2. Festival Dances- dances that are either religious or secular and are connected with the celebration of recurring
events of special significance.
3. Occupational Dances- dances that are depict the means of livelihood of the Filipinos people. Palay Festival, a
national dance in rice-growing regions, is an example of an occupational dance wherein dancers portray different
steps in rice growing-from planting to harvesting to threshing, flailing, pounding, airing, and winnowing
(Aquino,1979)
4. Ritual and Ceremonial Dances- Dances perform as part of the rituals and ceremonies of a certain tribe or group
of people.
5. Game Dances- Derivations from local folk games. One example of these dances is the Pukol dance from Aklan
and Capiz in the Panay region. Pukol means “to sktrike or bum to each other”
6. Joke and Tricksters Dance- include jokes or tricks played by a dancer on another or a group of dancers who is
one of them. The intention is to render that individual “to a physical or mental indignity or discomfort” . Example of
these is the Pandanggo s Sambalilo dance from the tagalog regions wherein a girl teases her male partner by
playing wityh his hat then pushes him when he is about to succeed in getting back and putting his hat from the
floor.
7. Mimetic or Drama Dances- Dances that mimic animals, inanimate objects, or other people. The dancers get into
roles other than themselves and become actors totally immersed in the story the dancers tell. The Itik-itik dance
from surigao is an example of mimic dance as it imitates the movement of a duck.
8. War Dances- Dances that express feud and enmity wherein two male dancers engage in physical combat with
Spartan-like intensity. Maglaltik is an example of a war dance as this depicts a battle between Muslims of
Southern Philippines and the Christian Filipinos of the low lands over latik.
9. Social Amenities Dances- Dances that express social graces, hospitality, and offerings of gifts to friend. All
social ballroom dances and most of the “Filipinized” Western dances that show camaraderie merriment belong to
this group. Example are Minuete Yano, Alay, and Habanera Botolena dances.
The Fundamental Folk Dance Steps
Most folk dances are based on several fundamental dance steps. According to Lopez (2006), Philippine folk
dances should have simple, basic rhythm that dominates the dance and establishes the pattern of movement. With this, it

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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

is imperative to review and learn the different fundamental dance steps to perform several folk dances. The origin of these
steps varies and depends on the influences of different cultures. The following are some of the fundamental steps that are
useful in learning how to perform folk dances.
Characteristics of Various Folk Dance Steps
Dance Step Time Signature Rhythmic Counts Per Step-By-Step
Measure Description
Waltz 3/4 time 1, 2, 3
 (count 1) Step left
(right) foot in
fourth position in
front,
 (count 2) Step
right (left) close to
left (right) in first or
third position in
rear,
 (count 3) Step left
(right) in fourth
position in front.

Gallop 2/4 time 1, ah, 2, ah  (count 1) Step

right (left) foot in
fourth position in
front,
 (count ah) cut the
right (left) foot with
the left (right) thus
displacing it and at
the same time
taking the weight
of the body with
the left (right) foot,
 (counts 2, ah)
repeat counts 1
and ah.
 This is executed
with one foot
always leading
and may be done
in any direction.
 There are two
gallops to one
measure.

Change step or Two-step 2/4 time 1, and, 2

 (count 1) Step
right (left) foot in
fourth position in
front,
 (count and) Step
left (right) foot
close to right (left)
foot in third
position rear or in
first position,
 (count 2) Step
right (left) foot
quickly in fourth
position in front.
 Bend the body to
the same direction
of the step.

Mazurka 3/4 time 1, 2, 3

 (count 1) slide
right (left) foot in
second position,
 (count 2) cut right
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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

(left) foot sideward

with the left (right),
 (count 3) hop on
the left (right) foot
and beat in rear or
in front the right
(left) foot close to
the ankle of the
left (right) foot.
 This is executed
with one foot
always leading
and may be done
in any direction.

Sway balance 3/4 time 1, 2, 3 to a measure Footwork:

with a Close, Point, Brush, (2 measures)  (counts 1, 2) step
Hop, Raise, Waltz right (left) foot
obliquely forward
right (left)
 (count 3) step left
(right) foot across
the right (left) foot
in front,
 (counts 1, 2) step
right (left)
obliquely
backward right,
 (count 3)
close/point/brush/h
op/raise/waltz left
(right) foot in
fourth or third
position in front.
Arms:
 Arms in fourth
position with Right
(Left) arm high.
Kumintang Right
(left) hand when
pointing with the
left (right) foot on
counts 2, 3 of the
second measure.

Closed Step 2/4 time 1, 2  (count 1) step right

(left) foot in fourth
position in front,
 (count 2) close left
(right) to right (left)
foot in third or first
position rear
Note: when done
sideward, one foot leads to
the direction of the step.
¾ time 1, 2, 3  (counts 1, 2) step
right (left) foot in
fourth position in
front,
 (count 3) close left
(right) to right (left)
foot in third or first
position rear
or
 (count 1) step right
(left) foot in fourth
position in front,

Page 7 of 12
John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

 (counts 2, 3) close
left (right) to right
(left) foot in third or
first position rear

Leap 2/4 1,2  A spring from one

4/4 1 count per leap foot, landing on
the other foot in
any direction.

Touch Step 2/4 time (Allegro) 1, 2  (count 1) point

right (left) foot in
fourth position in
front,
 (count 2) step
right (left) foot
close to left (right)
foot in first
position.
Or
 (count 1) hop on
left (right ) and
point right (left)
foot in front,
 (count 2) with a
spring, reverse the
position of the
feet, that is,
pointing the left
(right) in front and
the right (left)
taking the weight
of the body. This is
taking one count
for every change
of position of the
feet.

3/4 time (Moderato) 1, 2, 3  (count 1) point

right (left) foot in
fourth position in
front,
 (counts 2, 3) step
Right (left) close to
left (right) in first
position.

or
 (counts 1, 2) point
right (left) foot in
fourth position in
front,
 (count 3) step right
(left) foot close to
left (right) foot in
first position.

Three-Step Turn ¾ time 1, 2, 3  (count 1) step right

Waltz Turn (left) foot in
second position,
 (count 2) turn left
(right) about and
step right (left) foot
to second,
 (count 3) turn left
(right) about and
step left (right) to

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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

second to face
front.
 (count 1) close
right (left) foot to
left (right) foot,
 (counts 2, 3)
pause.

LESSON 5
BALLET
It is taken from the Italian word ballare, meaning to dance and Ballo refering to dances performed in a
ballroom.
According to Haskell (1965) ballet is a combination of the arts of dancing, poetry, music, and painting.
Burian (1963) stated that ballet is an artistic, programmatic, scenic dance accompanied by music.
Brief History of Ballet
• It was in the 15th century during the Renaissance period when ballet began in Italy.
• It started as a performance in the royal court while where the male servants would execute the movement related
to the course they are serving during a court dinner.
• 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.
• In the 16th century, Catherine de Medici — an Italian noblewoman, wife of King Henry II of France and a great
patron of the arts — began to fund ballet in the French court.
• Her elaborate festivals encouraged the growth of ballet de cour, a program that included  dance, decor, costume,
song, music and poetry.
• In the 16th century, Catherine de Medici — an Italian noblewoman, wife of King Henry II of France and a great
patron of the arts — began to fund ballet in the French court.
• Her elaborate festivals encouraged the growth of ballet de cour, a program that included  dance, decor, costume,
song, music and poetry.
• A century later, King Louis XIV helped to popularize and standardize the art form. A passionate dancer, he
performed many roles himself, including that of the Sun King in Ballet de la nuit. His love of ballet fostered its
elevation from a past time for amateurs to an endeavor requiring professional training.
• By 1661, a dance academy had opened in Paris, and in 1681 ballet moved from the courts to the stage.
• The French operaLe Triomphe de l’Amour incorporated ballet elements, creating a long-standing opera-ballet
tradition in France.
• By the mid-1700s French ballet master Jean Georges Noverre rebelled against the artifice of opera-ballet,
believing that ballet could stand on its own as an art form.
• His notions — that ballet should contain expressive, dramatic movement that should reveal the relationships
between characters — introduced the ballet d’action, a dramatic style of ballet that conveys a narrative.
• Noverre’s work is considered the precursor to the narrative ballets of the 19th century.
• In the early part of the 20th century, Russian choreographers Sergei Diaghilev and Michel Fokine began to
experiment with movement and costume, moving beyond the confines of classical ballet form and story.
• Diaghilev collaborated with composer Igor Stravinsky on the ballet The Rite of Spring, a work so different —with
its dissonant music, its story of human sacrifice and its unfamiliar movements — that it caused the audience to
riot.
• George Balanchine considered by many to be the greatest innovator of the contemporary “plotless” ballet. With no
definite story line, its purpose is to use movement to express the music and to illuminate human emotion and
endeavor. Today, ballet is multi-faceted. Classical forms, traditional stories and contemporary choreographic
innovations intertwine to produce the character of modern ballet.
Ballet in the Philippines
• American colonization paved the way for the introduction of classical ballet in the Philippines.
• In 1927, Luva adameit came to the Philippines and started a ballet school.
• Ballet performances come in different forms. Some tell a story, others develop a theme, and few are few are
simply dancing for its own sake called abstract ballet.
• The ballet company in the Philippines is the Cultural Center of the Philippines Dance Company ( now Ballet
Philippines) and Dance Theater Philippines.
• Ballet Philippines founded in 1969 by Alice Reyes with the support of Eddie Alejar.
• Ballet Philippines is widely recognized today as a cornerstone of the Filipino cultural identity.
Classical vs. Contemporary Ballet
• A classical ballet has certain rules that must be followed but a contemporary ballet has none.
• In a contemporary ballet there might not be music, costumes, scenery, story or footwear.
• A classical ballet has five specific ingredients that must be included.
1. It must tell a story – often a fairytale involving a boy/girl plot with a problem to be resolved by the end.
2. It must have costumes and scenery.
3. It must have music and the music must go with the story.
4. It must have a “folk” or “character” dance.
5. The female dancers must wear pointe shoes and tutus.

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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

Composition of the Ballet Class

1. Warm-Up – limbring and stretching exercise that warm and gently stretch the muscles before trying the difficult
moves.
2. Barre exercises – the students hold on a barre to help maintain balance and correct placement of the body.
3. Center Work Exercises – after the barre exercise the students move to the center of the room to do more
stretching and relaxing exercises to loosen the back and the muscle in other parts of the body which have worked
hard in the previous exercises. (Dufort, 1985)
4. 4. Corner Drills – consist of sequence of steps combining big jumps, leap turns which cover large areas and put
the demands on the body’s strength, endurance and control.
LESSON 6
MODERN DANCE
Modern dance, a term to describe contemporary dance, is a style of dancing where dancers are free to express
their feelings through movements without adhering to any rules in dance particularly that of ballet. It is a rebellion against
the confining nature of classical ballet (Horwitz, in Reynolds, 1979).
Unlike ballet, dancers of modern dance use their interpretations instead of structured steps. They thrust aside the
classical ballet stance of an upright, erect body, and instead often opt for deliberate falls to the floor (Bedinghaus, 2016).
The movements are not always necessarily light, beautiful, and effortless, but instead strong and sometimes ugly as the
effort involved in producing it is revealed (Horwitz in Reynolds, 1979). Modern dance uses more of the torso on a
horizontal rather than a vertical plane, and new varieties of tilting, twisting, and bending movements. The feet are not
always turned out and are either pointed or flexed.
Beauty and ethereal qualities of the human situation are what is mostly being emphasized in ballet, while modern
dance portrays the actual human situation as it is. Even the training structure also differed with that of ballet. Modern
dance makes use of the floor as part of the movements, whereas in ballet, the floor was merely for standing or sitting
purposes. It also includes several areas of dance movement, namely, technique, improvisation, and choreography
(Minton, 1984).
Characteristics of Modern Dance
1. Technique. Although some would see modern dance as just purely an “interpretative dance,” there is a technical
approach to training a modern dancer. This teaches the dancer to control the body and to make it the instrument.
It also provides the skills of dance movement to make the body move efficiently and with precision. There are
several techniques from various modern dance choreographers, but the main goal of each technique is “to
develop an instrument, which is the human body, that is capable of expressing any and all aspects of human
behavior” (Horwitz in Reynolds, 1979).
Famous techniques in modern dance:
 Graham Technique
 Humphrey-Weidman Technique
 Limón Technique
 Cunningham Technique
 Hawkins Technique
 Horton Technique
 Nikolais/Louis Technique

2. Improvisation. This refers to the spontaneous movement performed by dancers in response to suggestions by
the choreographer. Various images, ideas, feelings, or other stimulating events may be motivations for
improvisations. Modern dance allows considerable freedom to the dancer.
3. Choreography. Modern dance allows choreographic freedom. The form in this dance mostly represents the
personal and emotional experiences of its creators. The intent and style of the dance choreography are not limited
to certain areas or subject matters, giving the choreographers freedom to choose their own. (Minton, 1984)
The Basic Modern Dance Skills
Modern dance movements are based on basic locomotor and non-locomotor skills (Hays, 1981). It is the
application and the incorporation of the meaning of the movement that turns it to dance movements.
The following are the basic modern dance skills:
Dance walk – an even rhythm pattern in which an alternate transfer of weight occurs from one foot to the other. Walks
help maintain body weight ready for immediate action. There are different directions to which dance walks are done:
a. Forward
b. Backward
c. Sideward (grapevine action)
Run – an even rhythm pattern in which there is an alternate transference of weight from one foot to the other. It is faster
than a walk and requires more energy. A smooth run should be done with toes reaching forward so that the ball of the foot
strikes the floor first, followed by the heel, to absorb shock. Its many uses in dance include covering distance, changing
direction, gaining momentum for another movement or gaining height.
Triplet (plié, relevé, relevé) – basic modern dance experience performed in an even ¾ meter with each step requiring a
complete change of weight. Its pattern consists of one step with a slight flexion of ankle, knee and hip (plié), followed by
two steps on half-toe (relevé). It is done with alternate feet (R L L / L R R).
Step-by-step description:
a. Step out in demi-plié on Right (R) leg turned out, Left (L) leg extended and the knee straightened.
b. Step through in relevé on L foot.

Page 10 of 12
John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

c. Remain on relevé position and step through on to R foot.

d. Perform in a series across the floor or a defined space pattern with a slight accent on
the first of each of the three steps.
Waltz – even rhythm with counts 1 2 3/ 1 2 3/. Begin as in the walk, turned out the fifth position. Reach forward
strongly onto R demi-plié carrying upper body evenly with the pelvis over the R leg (ct. 1). Cut under the body in relevé on
L through fifth position (ct. 2). Shift weight back to R demi-plié in place (ct. 3). Repeat side Right and side Left for the
traditional balance movement.
Gallop – this are two steps performed in an uneven rhythm 1 & 2/ 1 & 2/, long-short, long- short. One foot always
maintains the lead.
Step forward in slight demi-plié and push-off into the air, extending ankles and legs. Recover on opposite foot in demi-plié.
Increase force on takeoff for added height and vary directions and position of the legs while in the air.
Chassé or Slide – an uneven rhythm with counts 1 & / 2 &/ with one foot maintaining the lead. It is smoother in
quality than the gallop, and the slide retains other of its features. Emphasis is placed on the gliding action of the leading
foot, following foot cuts under, body weight is lifted sharply as this takes place in either through third or fourth position.
Jumps
a. Basic (Sauté) – uneven rhythm / & 1/ & 2 /. Starting with the first position turned out in a demi- plié
preparation, jump straight into the air (ct. &). Land in demi-plié (ct. 1). Repeat several times. May also be done in second,
third, fourth and fifth positions with both turns out and parallel rotations.
b. Échappé – jump from the first position in demi-plié springing with legs on a slight diagonal outward from
hip joints (ct. &). Land with feet in the second position (ct. 1). Spring into the air, legs extended (ct &) and finish with feet in
first position demi-plié (ct 2). It may be done in all five positions.
c. Sissone – spring to the right side from fifth position demi-plié with right foot forward. Allow left leg to
extend to knee height through the second position and tilt shoulders and head slightly right (ct &). Finish in demi-plié fifth
position with the left foot in front, torso erect (ct 1). It can be done forward and backward and alternate sides.
Leap – in the gap between take-off and landing, the body is suspended in the air with both feet off the floor for a
short flight of freedom.
a. Jeté (Je tey) – it means “thrown”. Soaring through the air and land as lightly as possible. Brushing the back leg off the
floor at a certain height. Pushing off the other leg, and leap to the other leg.
b. Prance – like the run, the weight changes alternate the feet in an even rhythm with counts 1 2 / 1 2/. As weight is taken
on L leg in demi-plié, the R knee is lifted sharply and R foot strongly extended. Both knees should extend ankles together
at the highest point of elevation. The body elevates slightly between each step.
Note: Emphasize the lightness of the pelvis and strong articulation of the foot on both take-off and landing.
Falling – falling action can be aesthetically breathtaking when performed quickly and with control. It can be done
in any direction.
a. Simple side fall
I. Stand erect, feet diagonally turned out and arms hanging
naturally. Bring rib cage and right side of the head to the right
until body losses balance stumbling to R side.
II. Side falls – from a side sitting position, arms and legs pointed in the same direction, bend body to L,
dropping L arms across the body and placing hard on floor. Slide L hand sideward as legs extend in opposite direction.
Weight of the
body is taken first on L hip and then as the body extends, on the L side. At the end of the fall, the L arm is extended, head
resting on shoulder, and R arm is parallel with extended legs.
III. Side split fall – stand in first position, shift weight slightly onto L letting R slide to the side.
Simultaneously slide forward reaching for the floor with hands without collapsing. Control descent by maintaining pelvic
and abdominal lift and a well-arched spine. As hands touch the floor, elbows bend to catch the weight of the torso. The
body should resist the floor to maintain smooth quality and control.
b. Simple forward fall – from standing erect, feet parallel and arms hanging naturally step forward R and bring
your face and chest forward. As weight progresses forward, allow L leg to rise in a small arabesque (see ballet definition).
Continue until the body falls forward off balance almost stumbling.
c. Overcurves (Glissade) – stand erect, arms curved downward and feet turned out. Inhale and reach out to R
side sensing a lift at the moment of weight transfer through second position (ct 1). Shift weight to working leg and close
other foot in front to a relaxed fifth position allowing knees to bend. Exhale (ct2). Repeat sideward action in the same
direction closing the foot in back on count 2 to produce a grapevine effect.
d. Tombé – this indicates any time the body falls forward, backward
or sideward off the supporting leg onto the working leg in a demi-plié.
Example: stand in parallel first position, brush R forward and let body weight follow leg until a shift or weight onto
the R in demi-plié occurs.
e. Front falls
I. Simple – from a high kneeling position, contract body forward and downward, placing hands on the floor
below shoulders. Slide hands forward, extending hips and arching upper spine until the body is fully extended in the prone
position.
II. Swedish fall – from the first position, step forward on one foot, lifting other leg towards the back. Arch
upper spine and swing arms forward with palms toward the floor. Fall forward to catch weight on hands, back leg still
extended in the air. Lower body to floor by bending the elbows then sliding hands forward as legs straightens.
Page 11 of 12
John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

III. Front sliding fall – begin in a slow run as a preparation. Lunge forward on R allowing torso and arms to
reach out towards the floor. Upon contact with the floor, pull backward with hands while maintaining a strongly arched
back, extended legs and feet, and pulled up abdominals.
f. Back falls – from an erect standing position, cross R foot in back lowering to R knee. Sit on floor extending L
foot forward and reaching hands sideward. Curl spine down while
extending R leg and using hands to help support and control torso.
g. Spiral falls – from erect standing position and legs turned out, cross L foot behind and twist shoulders to right
while contracting into R hip. Deepen this spiral action to the right lowering to floor balanced on the L hip. Control descent.
Avoid moving the feet intentionally as they only react to changes in torso position.
Rolls
a. Log rolls – from a supine lying position, with arms extended overhead and feet and ankles extended,
revolve entire body to end in a prone lying position. Repeat as many times as desired.
b. Forward roll – starting with a kneeling position, sitting on heels, body curled forward, head turned to
one side and elbows in at the center of body. Make a complete body roll in the direction opposite to the turned position of
the head, to end in starting position.
c. Backward roll – begin supine lying, arms at the sides of the body. Contract abdomen and hinge legs up
and backward. Aim knees slightly to the R shoulder and turn head to left. End on knees or feet in a squat.
Turns
This involves establishing an axis within the body, through the body’s point of contact with the floor. It is
vital to learn how to spot - to execute the turns efficiently and smoothly. Spotting is an attempt to trick the eye and inner
ear balance receptors into thinking one has not turned at all. This is done by selecting a spot at eye level upon which to
focus. Hold that spot for as long as possible without allowing the head to tilt, usually ¼ of the turn. The head then flips
around to focus on the spot again before the body has completed its turning action. In turning, the head is last to leave
and first to arrive.
A. Three step turn – begin with weight on left foot, right leg extended to side. Step on the right doing a ½ right turn. Step
left continuing a right turn to end facing forward, recovery step to the right side. Focus in one direction of the turn.
B. Cross over turn (Soutenu/ turn) – weight on left, right arm extended to the second position. Step right foot, crossing the
left over. This can be done with or without a slight springing action to the step, weight on both feet, pivot right to face
forward.
C. Chainé – keeping the feet close together on a ½ toe, step on right doing a ½ turn. Step the left foot completing the turn.
Perform a series in a straight line. It is important to spot on chainés because of the speed and desired accuracy.
D. Grapevine – exaggerate the twists so that both hips and shoulders turn from side-to-side on each step. Step right,
cross over left, and twist to face right. Step side right, cross back left to face side left.
E. Coupé Turn – related to the chainé with the same footwork only on each step with the working leg is placed slightly
above the front of the supporting ankle. Also, springing instead of stepping onto the supporting leg. Each step makes a ½
turn, therefore two coupés result to a whole turn. Make sure to spot in the line of direction of the turn. Do in series.
F. Pas de Bourrée Turn – begin with weight on right foot, and the left foot behind. Stepping underneath the body, step on
the left making a 1/3 turn to left. Step right continuing a turn to the left. Finish the turn in a coupé on left foot.
G. Pique turn – start with weight on right, left foot extended forward. Reach to the left diagonal with fully extended leg and
foot. Shift weight over to left leg and turn left to face forward shifting the weight back to its original position. Working leg is
held with a knee flexed and ankle resting against back of left calf, thigh turned out. Turn progresses in a straight line.
H. Pirouette – the preparation always begins with the supporting leg turned out in demi-plié. Beginners and intermediate
students would begin the turn with the working foot also on the floor. Start in a small forward lunge, weight on the forward
leg. Whip the back leg around to the pirouette position and turn in the same direction as the supporting leg.

Page 12 of 12
John Kevin L. Espiritu
Subject Teacher