CHAPTER 1: BRIEF HISTORY AND NATURE  It was only during the pre-Christian era days of the Roman Empire,

OF DANCE that the real knowledge of dance came resulting in the condemnation of
about within the great Mediterranean dance by the early Christians.
“Before man can do anything, he must draw
and Middle Eastern civilizations.
breath, he must move. Movement is the source  In fact, Plato himself immensely gave
and condition of life. To dance is to be out of  Dance became full-blown and was richly importance to dance in education as
yourself. Larger, more beautiful, more powerful. recorded in ancient Egypt as reflected in stated in his elucidation on the Laws.
This is power, it is glory on earth and it is yours their wall paintings, reliefs, and in the He highlighted the two kinds of dance
for the taking” – Agnes de Mille (1963) literary record in hieroglyphs. and music: the noble (fine and
honorable) and the ignoble (imitating
DANCE  For ancient Greeks, who thought highly
what is mean or ugly).
of dance, it was closely linked with other
“Dance is an activity which can take many
kinds of experiences such as an aid to  After the fall of Rome, the history of
forms and fill many different needs. It can be
military education among the boys in dance transformed following the
recreation, entertainment, education, therapy,
Athens and Sparta, as well as a form of development of the Catholic Church,
and religion. In its purest and most basic form,
entertainment and display. which was by then the sole custodian of
dance is art, the art of body movement.” -
learning and education as well as the
Barbara Mettler (American dancer, dance  As Kraus and Gaufman (1981) said,
source of morals. During this time,
educator, author, and film and video producer) “Man danced originally to supplicate the
theatrical entertainment was prohibited
gods on all important occasions of life”.
“Unlike athletics or other daily activities, dance and dance was performed only during
focuses primarily on “an aesthetic or even  The Greek also used dance to aid worships, church services, and religious
entertaining experience” - Myers, 2005 education in general as philosophers ceremonies.
such as Plato, Aristotle, and Socrates
REASONS OF PEOPLE FOR DANCING  Although the Church had condemned
strongly supported this art as an
dance as entertainment, some singers,
1. To please the gods integration of the body and soul.
dancers, poets, actors, musicians, and
2. To please others  The ancient Rome gave less jugglers continued to wander in village
importance to dancing as the nation squares to perform during the Dark and
3. To please themselves (self-expression) grew wealthy and powerful. early Middle Ages
4. To build community within an ethnic • It became brutal and • These performers were
group (social interaction) sensationalized as their eventually welcomed in the
entertainers were slaves and castles and chateaus of feudal
BRIEF HISTORY OF DANCES
captives from many nationalities. lords.
 People from the prehistoric era
• It was used more often for • The common people also
performed ways they hoped would
gruesome purposes. amused themselves by doing
appease the forces of nature or give
dances that were social in
them new powers of their own. • It eventually became an integral character, marking the beginning
part of the corruption in the latter of social dancing.
 The peasants performed two basic variations of ballet emerged and • Aids in releasing emotional and physical
types of dancing: the round dance and evolved in Europe. Other dance forms tension
the couple dance. In round dance, also came to light and have been widely
SOCIAL
dancers hold each other by hand, recognized worldwide.
forming a long chain and move about in • Gives sense of togetherness within a
BENEFITS OF DANCE AND CREATIVE
an open or closed circle, or in an group
MOVEMENT
extended line. Couple dance, at that
time, was not as popular as round • Encourages positive social interaction
PHYSICAL
dance as it was considered scandalous and interpersonal relationship in a group
when first seen. • Develops cardiovascular and muscular
• Contributes to the individual’s potential
endurance
 Nobility soon followed the peasants’ for self-actualization in society
lead in dancing but in a more refined • Improves coordination, balance,
CULTURAL
and courtly form as court dances flexibility, and body composition
emerged as part of the chivalric way of • Promotes cultural values
• Lowers risk of cardiovascular diseases
life.
CHAPTER 2:
• Lowers body mass index
 During the Renaissance, dance, and art Elements of Dance
in general, was wholly accepted and • Lowers resting heart rate
“Existence is movement. Action is
gained impetus.
• Improves lipid metabolism movement. Existence is defined by the
• The old restraints were loosened rhythm of forces in natural balance” - Rudolf
• Enables joint mobility (hip motion and
and clerical ideas and purposes Von Laban
spine flexibility)
no longer dominate all creative
ELEMENTS OF DANCE
expressions of the human spirit. • Helps improve and maintain bone
density, thus helping prevent 1. SPACE
• The entertainers now became
osteoporosis
valuable appendage to the - the area the performers occupy and where
courts of Italy and France. • Helps recover coordination and they move
neuromuscular skills after injury
 In the 15th and 16th centuries, new court  Direction
dances in Europe performed by the MENTAL/EMOTIONAL
nobility came about at about the same Dance movements can travel in any
time as the rise of the art of ballet in • Helps keep the brain sharp direction. The performers can go forward,
Italy and France. From then on, several side, backward, diagonal, circular, and so
• Decreases incidence of dementia and
other dance forms continued to sprout on. They may also face any direction while
Alzheimer’s disease
and spread across several countries. executing a single movement or several
• Decreases depressive symptoms phrases.
 After the pinnacle of ballet prominence,
contemporary dances that were stylistic • Increases self-esteem and improves
body image
  Size - Other bodily shapes can be from
wide to narrow and from high to low.
Movements can be varied by doing larger or  Percussive - Bodily shapes can also either be
smaller actions. symmetrical or asymmetrical.
Movements are explosive or sharp in contrast
 Level with sustained movements. They are accented 4. GROUP SHAPE
with thrust of energy. They have a clear - In this element, a group of dancers
Movements can be done in a high, medium, beginning and ending. performs movements in different
or low level. group shapes.
 Vibratory - Members of the group are arranged
 Focus
Movements consist of trembling or shaking— in ways that are wide, narrow,
Performers may change their focus by faster version of percussive movements that rounded, angular, symmetrical, or
looking at different directions. produces a jittery effect. asymmetrical and are viewed
together as a total picture or
2. TIMING  Swinging arrangement within a picture frame.
- The movements in timing may be Movements trace a curved line or an arc in CHAPTER 3:
executed in varying tempo (speed). space. The movements are relaxed and giving Dance Appreciation and Composition
- Performers move with the tempo of an in to gravity on the downward part of the motion,
followed by an upward application of energy. WHAT MAKES A GOOD DANCE?
underlying sound, known as beat or
pulse.  Suspended  A good dance displays a significant
meaning or conveys a message, at
- The timing can be varied by moving Movements are perched in space or hanging times portraying life experiences.
faster or slower than the normal beat. on air. Holding a raised leg in any direction is
an example of a suspended movement.  A good dance lifts and transports the
- When a sequence of a movement or audience from their seats during the
group of phrases is done in varying  Collapsing performance.
tempos, they generate rhythmic
patterns. Movements are released in tension and  A good dance has a:
gradually or abruptly giving in to gravity, letting
- The addition of silences or pauses also the body descend to the floor. A slow collapse 1. Beginning ‒ may come in a form
adds to rhythmic patterns. can be described as a melting or oozing action of shape, a pose, or an entrance;

SIX QUALITIES OF DANCE ENERGIES in a downward direction. 2. Middle ‒ consists of a

3. BODILY SHAPE development or the exploration of
 Sustained the main idea; and
- Bodily shape refers to how the entire
Movements are done smoothly, continuously, body is molded in space or the 3. End/Conclusion ‒ should be
and with flow and control. It does not have a configuration of body parts. clear and may be in a form of a
clear beginning and ending. - The body can be rounded, angular, shape, a pose, or an exit.
or a combination of two.
  A good dance must have a shape or  It is used in a good dance in which the It emphasizes movements and phrases that are
form for its choreography to be effective. movements are repeated, varied, and important to the dance and gives a feeling of
developed by manipulating the closure to a work.
FORM
movement components or elements.
• CLIMAX
 It is the instrument by which ideas and
 One good example of a dance with
elements are arranged or combined into It may be a fast and enraged blast of energy
motif is the Itik-Itik Philippine folkdance.
a logical sequence which results in unity and action, or it could fade away to a gentle
It is easy to identify the motif of this
and consistency, and by means of and quiet exit that marks the end of a particular
dance as it simply portrays the
which the content or idea can be story.
movements of an itik (duckling).
expressed and communicated.
CHOREOGRAPHIC FORMS IN DANCE
CHARACTERISTICS OF A GOOD DANCE
 It is the organizing factor of any work or
 SEQUENTIAL FORMS
dance composition. • UNITY
- These forms contain themes/motifs
 It should progress through time from the The interconnected phrases of the dance are which progress in a specific order.
beginning to the end of the coherent and flow smoothly together. a. AB (two-part) Form
choreography.
• CONTINUITY AND DEVELOPMENT o It is the simplest of the
Phrase sequential forms and is
The phrases of the dance are organized
similar to a verse and a
 It is “the smallest unit of form in the progressively, making each movement phrase
chorus of a song.
whole dance”. move naturally into the next. There is a
continuous development of the movement o It is a binary form with two
 Commonly, a single phrase consists of
phrase and the audience is swept along to the contrasting sections
eight counts, with which it is easier for
end. consisting of a beginning
building routines and choreographic
section (A) followed by a
combinations. • VARIETY AND CONTRAST
second section (B).
Motif This means making one or several variations
o This form is commonly used
that highlight the facet of the motif to provide
 It is a single movement or a short in many folk dances and
variety within the development of a dance and
phrase of movement that embodies the songs.
to introduce new material.
style and intention of the dance.
• TRANSITION
 It is used in a good dance to be able to
b. ABA (three-part) Form
convey its meaning or intention to the This is the link between movements, phrases,
audience since a dance without and sections of the dance to make the logical o It is composed of an introductory
meaning makes it harder for the progression of the dance flow smoothly and to theme (A), a contrasting theme
audience to understand; thus, making it keep the unity and continuity of the dance. (B), and a restatement of the
superficial and easy to forget. original theme (A), which is the
• REPETITION
 unifying theme and the center of  CONTRAPUNTAL FORMS o The movement phrases or
interest. - Here, several themes are woven the motif can be developed
together in choreography to form a by reversing, inverting,
o Most popular songs use this
complex structure. The main theme augmenting, or diminishing
form where there is chorus (A), a
is seen against itself or against one throughout the dance.
verse (B), and a repetition of the
or more other themes.
chorus (A), which is often d. Suite
a. Ground Bass
somewhat elaborated to
o Every section of the dance
highlight the idea of the song. o Single theme starts the
(beginning, middle, and end)
dance and is repeated all the
c. Rondo Form (ABACA) use different tempos and
way through the dance while
qualities.
o In this form, the unifying theme other contrasting themes are
(A) returns after each simultaneously performed o Commonly, it has a
contrasting theme and appears with it. moderate beginning, a slow
after every contrasting section at middle section, and a fast
o This form is best done in a
least three times, but it can itself and lively end section.
group working either in
be varied.
contrast to each other or  EPISODIC FORMS
o It can be described as against a soloist.
ABACADAEAFA development of - They are not musical forms; instead,
b. Round or Canon they are found in literature.
movement idea.
o It consists of two or more - They tell a story through connected
d. Theme and Variations Form
movement phrases or and progressive sections called
o The motif is a series of themes in which the main episodes.
movements to which variations movement phrases are
are added throughout the imitated exactly and - Narrative form is an episodic form that
development of the entire completely by the successive tells a story or conveys an idea and the
choreography. movements, but done in sequence of the story determines the
staggered manner. structure of the dance.
o The motif/theme can be a single
phrase or several movement c. Fugue or Accumulation - As in all good soap operas, each
phrases placed together in a section or chapter reveals more of the
o It is a choreographic form plot and has its own interest, variations,
sequence.
that is constructed by adding and contrast.
o The order of the movements is on different movement or
kept the same all throughout the dance phrases in every - Classical ballet often uses these forms.
variations. It can take the form of repetition of the main 4. OTHER COMPOSITIONAL FORMS
subtle adjustments in dynamics, movement theme. a. Natural Structures
space, style, mood, and tempo.
They mostly come from natural structures such Evaluating a Good Dance GUIDE QUESTIONS IN ANALYZING AND
as the seasons, life cycles, and everyday life EVALUATING A DANCE PERFORMANCE
CATEGORIES OF EVALUATORS’
experiences all of which present rich materials
ROLES
for organic dance structure.
• Choreographers
b. Collage
- It consists of “a series of movement They will evaluate a part of an
phrases that are often unrelated but ongoing process of developing a
have been brought together to create a personal style which is both
single dance with a beginning, a middle, spontaneous and organized.
and an end”.
- The overall form remains a whole even • Dancers
though the content may be illogical. They will evaluate according to the
c. Tableau specific demands that the
- In this form, different movement performance places on them.
phrases are performed by different SAMPLE DANCE ANALYSIS AND
dancers simultaneously in the same • Audiences EVALUATION
space wherein the dancers may
They will evaluate according to the
execute it at a different location on the
particular context of the dance.
stage and connect transitional
movements for each scene to produce STAGES IN ASSESSING A DANCE (DANCE
a progression of moving snapshots. CRITIQUE)
d. Chance
• Description
- The movement phrases are
performed in random order and It involves close observation of all the elements,
spatial placing. characteristics, and components of a dance.

- Every time the dance is • Interpretation

performed, it is done in different It involves an appreciation of the ideas, content,
order and therefore has a images, and style contained within the dance. CHAPTER 4:
different appearance.
• Evaluation DANCE AS AN ART
- Originally, the dance phrases
It takes into consideration how effectively the “Dance is an art which deals with the motions
were arranged by tossing coins
features (i.e., elements, characteristics) and the of human body” – James K. Feibleman, great
to decide on choices and the
context of the dance have been utilized in the philosopher
order of performance, hence,
coming from the word by chance. actual performance of the dancers to portray FOLK DANCES
the content and the quality of the dance.
  Folk dances are the indigenous dances 4. It is created by an unknown 6. Joke and trickster dances
of any specific “folk” or the common choreographer or by communal efforts.
7. Mimetic or drama dances
people.
5. It performs a function in the life of the
8. War dances
 They are traditional, customary, or (folk) people.
recreational dance forms of a given 9. Social amenities dances
MAJOR REGIONAL CLASSIFICATIONS OF
country which have evolved naturally
PHILIPPINE FOLK DANCES BALLET
and have been handed down across
generations. 1. Tribal dances from the Cordilleras - Ballet, according to Arnold Haskell
 Folk dances are related to everything of These include non-Christian dances from the (1965), is a: “combination of the arts of
importance in our daily lives, such as Cordilleras. dancing, poetry, music and painting.
customs, rituals, and occupations of a The essential quality of the ballet
specific group of people. 2. Lowland Christian dances dancer is grace that is phrasing, fluidity,
harmony, the making of words into a
 According to Duggan, Schlottmann, and Influenced by Hispanic and European cultures,
poetic whole; bound up with the reaction
Rutledge (1948), “folk dance became these are dances coming from places with
to music that goes far deeper than a
the overt expression of emotions and Western influences such as that of the
purely rhythmic reaction”.
ideas which were peculiarly significant Tagalogs, Ilokanos, Pampangueños,
- K. V. Burian (1963) further affirms that:
or the re-enactment of customs and Pangasinense, Bisayans, and Bicolanos.
“Ballet is an artistic, programmatic,
events constituting an important part of 3. Muslim dances scenic dance accompanied by music. It
their history and patterns of daily living.” is basically a special and generically
Influenced by Arabic and Indo-Malayan cultures, unique form, which resulted from the
PHILIPPINE FOLK DANCE these are dances from the people of the synthesis, collaboration, and equilibrium
It is “a traditional mode of expression that Southern Islands of the Philippines such as in of several different types of art. The art
employs bodily movements of redundant Mindanao and Sulu. These dances are of gesture and mime interprets, by
patterns linked to definitive features of rhythmic influenced by Arabic and Indo-Malayan cultures. specific means of expression, the
beats or music”. PHILIPPINE FOLK DANCES, REGARDLESS thematic and emotional content of the
OF THEIR CLASSIFICATIONS, MAY ALSO scenario on which it is based, bringing
BE CATEGORIZED AS… the poet’s ideas to life, presenting the
PHILIPPINE FOLK DANCE SHOULD HAVE story with all its conflicts, plots, and
THE FOLLOWING CHARACTERISTICS 1. Life-cycle dances solutions”.

1. It is traditional. 2. Festival dances BALLET IN THE PHILIPPINES

2. It has an expressive behavior. 3. Occupational dances • In 1915, distinguished ballet dancer

Paul Nijinsky performed classical ballet
3. Simple, basic rhythm dominates the folk 4. Ritual and ceremonial dances
at the Manila Hotel Roof Garden.
dance and establishes the pattern of 5. Game dances
movement.
 • In 1927, dancer, teacher, and any rules in dance particularly  Various images, ideas, feelings,
choreographer Luva Adameit came to those of ballet. or other stimulating events may
the Philippines and started a ballet - It is actually a rebellion against be used as motivations.
school named Cosmopolitan Ballet and the confining nature of classical
• Choreography
Dancing School. ballet.
- While ballet mostly emphasizes  Modern dance allows
• From then on, ballet has thrived in the
beauty and ethereal qualities of choreographic freedom.
country and brought a number of foreign
the human situation, modern
teachers and performers to perform and  The form in this dance mostly
dance portrays the actual human
teach as well. It paved the way for “a represents the personal and
situation as it is.
receptive outlook towards the artistic emotional experiences of its
values of the art form”. CHARACTERISTICS OF MODERN DANCE creators.
BASIC DANCE POSITIONS IN BALLET • Technique  The intent and style of the dance
choreography are not limited to
 This teaches the dancer to
certain areas or subject matters,
control his/her body and making
giving the choreographers
it an instrument.
freedom to choose their own.
 This also provides the skills of
BASIC MODERN DANCE SKILLS
dance movement to make the
body move efficiently and with • Dance Walk
precision.
 An even rhythm pattern in which
- since ballet dancers do not use  Famous techniques in modern an alternate transfer of weight
verbal communication in dance, dance are Graham Technique, occurs from one foot to the other
they make use of mime to tell a Humphrey-Weidman Technique,
Limón Technique, Cunningham  Directions: forward, backward,
story. The movements are done
Technique, Hawkins Technique, sideward (grapevine action)
in a way that makes them visible
to understand. Most ballet Horton Technique, and
performances (both in the past Nikolais/Louis Technique.
and the present) use mime to tell • Run
• Improvisation
a story.  An even rhythm pattern in which
 This refers to the spontaneous there is an alternate
MODERN DANCE movement performed by transference of weight from one
- a term to describe contemporary dancers in response to foot to the other
dance, is a style of dancing suggestions by the
where dancers are free to choreographer.  Faster than a walk and requires
express their feelings through more energy
movements without adhering to
  Uses include covering distance,  Emphasis placed on the gliding • Turns
changing direction, gaining action of the leading foot,
 Three step turn
momentum for another following foot cuts under, body
movement or gaining height weight is lifted sharply as this  Cross over turn (Soutenu/ turn)
takes place in either through
• Triplet (plié, relevé, relevé)  Chainé
third position or fourth position
 Basic modern dance experience  Grapevine
• Jumps
performed in an even ¾ meter
with each step requiring a  Basic (Sauté)  Coupé turn
complete change of weight  Pas de Bourrée turn
 Échappé
 Consists of one step with a slight  Pique turn
 Sissone
flexion of ankle, knee and hip
(plié), followed by two steps on • Leap  Pirouette
half-toe (relevé)
 Jet
 Done with alternate feet (R L L /
L R R)  Prance

• Waltz • Falling

 Even rhythm with counts 1 2 3/ 1 2  Simple side fall

3/  Simple forward fall
• Gallop  Overcurves (Glissade)
 Two steps performed in uneven  Tombé
rhythm 1 & 2/ 1 & 2/, long-short,
long-short  Front falls ‒ simple, Swedish fall,
front sliding fall
 One foot always maintains the
lead  Back fall

• Chassé/Slide  Spiral fall

 Uneven rhythm with counts 1 & / • Rolls

2 &/ with one foot maintaining
 Leg roll
the lead
 Forward roll
 Smoother in quality than gallop
 Backward roll