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Course Code PE2 Instructor Roxane O. Bersano, LPT

Course Title Rhythmic Email [email protected]
Activities
Course Credits 2 Contact 09755680339
Number
Course Physical Consultation
Classification Education Hours
Courses
Pre- PE 1 Self-Testing Consultation Consultation Room
Requisite(s) Activities Venue

History of Social and Ballroom Dances

 Common Dance Terms
Dance Positions
 Proper Posture While Dancing
 Reminders to Good Dancing

Intended Learning Outcomes:

 Identify the common dance terms;

 Discuss the History of social dancing;
 Promote the development of social ballroom dancing among the students;
 Recognize the dance positions of social and ballroom dance;
 Explain the relevance of having a proper posture in the world of dance; and
 Establish a good character towards dancing.

HISTORY OF SOCIAL DANCING

Various changes in social dance through the ages clearly demonstrate its
interdependency with the world around it.

During the 14th century, for example, when social dance and folk dance were virtually
indistinguishable, popular ring dances moved inside English upper-class homes as part
of the evening entertainment. As long as the heart occupied the center of the room, the
dances retained their circular, and egalitarian form. With the introduction of the chimney
about 1368, however, the heart could be moved to a side wall, which cleared the floor of
obstacles and allowed processional dances – then favored in the royal courts where rank
determined the order of procession – to replace ring formations.

Throughout the Renaissance and the 16th century, social dance became more firmly
ensconced in the courts, whose members systematically dressed up and formalized the
lusty folk dances to suit their elaborate codes of manners and attire. Styles emanated
particularly for France, where the royal court dictated etiquette and moral behavior for all
European gentry.

The 17th century minuet was nothing but manners, the final flourish of aristocratic
elegance before national and then industrial revolutions returned social to the masses.
When fine demarcations of rank and title vanished, square formations like the Cotillion
and Quadrille, with partners constantly changing, filled the ballrooms. The waltz – whose
dizzying speed was derived as much from the newer, more polished surface of dance
floors and the abandonment of hobnailed shoes as it was from the public’s enthusiasm –
also became popular. The embracing, close hold of the waltz successfully dignified the
police convention of the period.

Advancing technology and two world wars so continually restructured life in the 20th
century that social dance has been changing almost constantly, quickly altering with the
values and practices surrounding it. The syncopated rhythms of American ragtime music
inspired the foxtrot and shimmy.

After the 19th Amendment gave women the vote in 1920, they became “emancipated”:
the flapper was born, as well as the Charleston. The jitterburg burst from the swing
improvisations of the 1930’s and 40’s. Long playing phonograph records appeared in
1949; thus, in the 1950’s, the teenagers born during the postwar “baby boom” could
launch the rock ‘n’ roll phenomenon in both music and dance. By then, the once-shocking
waltz position and the sexual attitudes it represented were passe. Because everyone
performed the steps individually, men no longer always “led” women, and couples were
not essential. The emergence of disco dance styles in the 1970’s and later popular dance
forms continued this trend, although some of the more formal dances required a partner.

In a world that prides itself on the speed of its transformations, new forms are
inevitable. Social dance no doubt will continue to evolve as society does.

Process of History

Coupled dance, as a dance form emerged in the Europe of the 15th century in a variety
of vigorous styles in innovative adoptions and refinements of folk dance developed by the
dancing masters of the time. These new dances, gay and lively in character, developed
first as a social dance diversion among the aristocracy of France and Italy, the expanded
developmentally to every royal court on the continent to become, in the later centuries,
part of the social life of the emerging middle class as well.

The forms of social dance in Europe developed in three phases, each characterized
by different designs in rhythm, space, and floor patterns. The nature of these dances
reflected the related elements of the respected time periods – the elaborate and bulky
fashions in clothes, the spacious floor areas of courts and palaces, and the elegance of
the successive periods.
 Each period can be characterized by its most popular dance: the age of the Galliard
(1500-1650), when that dance, bold and dashing in expanded movement, consisted
entirely of leg thrusts and leaps and demanded the utmost vigor of the dancers; the age
of the minuet (1650-1750), when the energetic, expanded, and leaping movements were
transformed to close movement in formal, measured, small steps; the age of the waltz
(1700-1900), when that dance with its gliding turns, brought a new joy and intimacy to
social dance and an enraptured all of Europe.

There were, of course, other, even opposite, dance styles in each period. The courtly
pavane and stately saraband were rivals of the galliard; the contredanse and quadrille
competed effectively with the minuet; the polka and the mazurka challenged the
supremacy of the waltz.

By the end of the 19th century, however, these social dance steps had become
repetitious and no longer reflected the quickened pace of the emerging contemporary
world. In this vacuum a social dance explosion occurred – the American introduction of
the Two-step in 1891. Social dance from then on, as a product of the 20 th century, belongs
to the United States.

The two-step was followed by the cakewalk of 1893, in turn followed by the ragtime
music. Vernon and Irene Castle, in the decade from 1910 to 1920, enchanted both Europe
and America with their famous exhibitions of the tango (derived from the Argentine folk
dance), the Brazilian maxixe, the Cakewalk and the foxtrot. The black influence in jazz
dominated in the 1920’s with the shimmy and the Charleston, a form of the jitterbug, of
which another later version was the lindy hop.

The 1930’s incorporated Latin-American rhythms with the rumba, conga, and samba.
World War II interrupted dance evolution in the 1940’s, but the 1950’s brought the
merengue and chacha. The mid-1950’s saw the dramatic emergence of rock ‘n’ roll, which
utterly changed popular music. The 1950’s closed with people jitterbugging to rock, but
with the 1960’s came the bossa nova and discotheque dancing, the latter producing
dozens of individualized, free-moving dances, such as the twist. Disco dancing of the
1970’s returned to couples together executing often complex, choreographed moves.
Break dancing – street dancing that combined acrobatic and martial arts movements –
achieved popularity in the 1980’s, and the lambada became a craze in 1990.

The role of composers of popular dance music in this development cannot be

overestimated, not can the many other elements the popularized American social dance
throughout the world during the first half of the 20th century. Major influences were
Vaudeville, musical comedy, films, and the popularity of sch stars as Fred Astaire and
Gene Kelly. Further reinforcement came from the accompanying technology, such as the
mass impact of dance music on radio, records, and tape, and, more recently, the dance
images on television. Social dance today is international and reflects the democratization
of dance more clearly than any other contemporary dance form.

Social and Ballroom Dances

 Popular couple dances without set patterns are classified as social and ballroom
dances. Most social dances are characterized by the man leading and the woman partner
following whatever steps, styling, and rhythmic variations he chooses and indicates.
Social dances are usually done to introduce people with one another during a
formal social gathering or to welcome guests to a social gathering. Many of the social
dances like polka and mazurka started as folk dances while some were deliberately
designed for its social purpose, such as the waltz, regoudon and polonaise (Nimor, 2006).
Social dancing is believed to had existed since the beginning of human society in some
forms.
Ballroom dancing has lots of benefits for young people. It is less threatening to
their young developing bodies compared to many sports such as football, basketball and
hockey that endanger forming cartilage, break bones and in some cases disfigurement
cause by various swinging sticks and equipments. Ballroom dancing provides general
conditioning for the body. Mentally, it stretches the thinking and the “do – it” abilities of
the young. The sense of achievement is a confidence builder. Teamwork of couples is
more stimulating to concentration and learning. For older groups, competitive dancing is
an excellent learning achievement and self-confidence. Socially, the young people have
an opportunity to interrelate with others, especially the opposite sex, in a setting that
includes discipline and emphasis on courtesy and consideration for others. Ballroom
dancing provides lesson on social skills that will be beneficial to the youth for the rest of
their lives.
Ballroom dance training offers unique advantages. It is not only a rhythmical
exercise that adds life, graceful muscular movements but it is also a group recreation. A
child who has learned ballroom dancing gains not only improved posture and coordination
but ease in relationships with companions. Dancing is one means of instilling graceful
body coordination, it is also a muscular activity that brings social ease. A girl who has
learned to be a good ballroom dancer never fades into a wall flower. A Boy who can dance
is spared from many agonies of a teenage self – consciousness. Children who dance well
are popular, ones instilled, those ingredients of a good manners are never forgotten.
Ballroom dancing offers more than mere steps it includes charm of manners and
consideration of others.

Common Dance Terms

1. To Address Partner is to bow to partner. Facing partner, boys bow by bending
slightly from the waist as girls do curtsy.
2. Curtsy is to bend knees and body slightly with a bow of the head; the weight of the
body is on one foot. One foot crosses the other in rear.
3. An Amalgamation is a combination of two or more patterns or movements.
4. An Amateur Dancers is a person who is dancing as a hobby and who does not seek
financial gain from teaching or dancing.
5. A Ball change is a transfer of weight from the ball of one foot to the other foot.
6. A Basic figure is a standardized step pattern, which together with other constitute the
basics of a dance.
7. To Brush is to lightly touch the inside edge of the supporting foot with the inside edge
of the free foot between changes of weight.
8. A Chasse is composed of three changes of weight with a close on the second and
may be performed sideward or forward.
9. A Choreography is a creation or compilation of steps, patterns, and movements,
which make up the dance or a dance routine.
10. To Close is to move the free foot next to supporting foot with one change of weighA
Commando is a forward or backward rock and close.
11. A Combination is a group of consecutive patterns and choreography. It is similar to
amalgamation, but it sometimes involves a slightly more advanced set of patterns.
12. A Continuity Movement is the continuous passing of the step from one step to the
next.
13. The Contrary body movement is the action of turning the opposite hip and shoulder
toward direction of the moving leg. It is used to begin all turning movements.
14. A Conversation is a position when partners stand side by side, right hand of the
gentleman holds the lady’s waist; L arm of the lady placed at the gentleman’s,
outside arm at the side.
15. A Corte, in tango, is a stop and change of direction either forward or backward.
16. A Cuban motion is a discreet but expressive hip movement achieve by bending and
straightening the knees with carefully timed weight transfer.
17. Dance Sports is the official name given to competitive Ballroom Dancing.
18. The Floor chart is the ability of the leader to maneuver around the dance floor in a
skilled and controlled manner as to avoid colliding with the other dancers.
19. A Drop is a theatrical movement in which the follower’s body remains in contact with
the floor.
20. A Fan is a half a turn done on the ball of one foot while the free foot is kept directly
behind the foot on which the turn is made.
21. A Hip motion is a very general term to mean any type of hip movement used in
Latin dancing.
22. A Pivot is a turning movement during which the free foot is kept either in front or
directly behind the foot on which the turn is made.
23. A Spin is a turn done in place using both feet, usually done as a couple.
24. Variation is a varied or more advanced pattern than the corresponding basic figure,
which still contains the same main elements.

DANCE POSITIONS

 Ballroom or Social Dance Position – partners stand face to face, shoulders and
hips parallel. Boys R hand is placed around Girl’s waist. Girl’s L hand rests lightly
against his R shoulders. Boy’s L hand is raised to the side holding the Girl’s R
hand. The fingers of her R hand rest lightly in the palm of the Boy’s L.

 Open or Conversation Position – partners stand side by side, both facing the
same direction. Girl R of partner. Boy’s R is around Girl’s waist in back. Girl’s L
hand rest lightly on Boy’s R shoulder. Outside hands may be joined with arms
extended forward or the outside hands maybe on hips or side.
 Shoulder – Waist Position – partners face each other. Boy’s places hands on
Girl’s waist. Girl’s hands are on the Boy’s shoulders.
 Cross – Hold Position – partners stand face to face, R hand joined over L hands,
extended about waist level.
  Promenade Position – partners stand side by side, both facing on the same
direction. Girl at R of partner. The hand crossed in front; R hands joined over L.
 Schottische Position – partners stand side by side, Girl to R of Boy both facing
the same direction. Boy’s R arm around Girl’s waist, her L arm shoulder behind his
R shoulder, her L hand resting lightly on that shoulder, free hands on waist.
 Varsovienne Position – partners stand side by side; girls stand to the R and
slightly in front of Boy. Boy reaches R arm over the girl’s R shoulder and takes her
R hand in his, his L holds her L a little above his L shoulder.
Swing is a rhythmic rotation of a couple performed with a walking step or shift steps.

 Elbow Swing – hook designated elbows firmly of the hand carried at the height of
the locked elbows. While swinging, pull away from partner at shoulders.
 One Hand Swing – with the elbow bent and down, join the designated hands at
shoulder height. In balancing “pull against pull” while swinging, apply pressure
against the thumbs and heels of hands, pulling away at shoulders.
 Two – Hand Swing – Boy present hands at shoulder height with palms up, elbows
close to sides and should support while balancing “pull against pull” leaning away
at shoulders.
 Waist Swing – In a modified closed ballroom dance positions with R foot and hips
adjacent the support weight of the body on the R foot swing, balance “pull against
pull”, leaning away from partners at shoulder.
 Hungarian or Russian Swing – dancers stand facing in opposite direction with
R(L) hips adjacent, each R(L) arm around each other’s waist in front, on partners
hip, L(R) arm curved overhead, both lean slightly away from each other when
turning.
 Star post – Partners are in opposite directions, their right hands holding each
other, lady facing away from audience, while gentleman faces the audience.
 Challenge position – Partners face each other about a step apart without
touching.
 Cuddle or skating position – Woman is at man’s left or right side, both facing the
same direction; one arm of man is across woman’s back.

Posture

Essential to comfortable and effective dancing is good posture, achieved through

the proper alignment of the various body parts in correct relative position with one another.
The various body parts, including the head, chest/torso, pelvis/hips, legs, and feet, are
properly aligned when they are placed directly on top of one another in a natural and
upright manner.
 Head
The head should be held upright with the chin parallel to the floor. The
neck should stretch upward, but be careful not to lengthen any one
side of the neck at the expense of the opposite side, all sides of the
neck should stretch upward. Pay particular attention to the back of the
neck, which is often shortened when the chin is held too high. Be
careful not to thrust the head forward from the neck, as the vertebrate
in the neck should continue upward as an extension of the spine.

Chest / Torso
The chest and hips must always be in good, vertical alignment. The
ribcage should feel as though it is being lifted off of the hips, in such a
way as to lengthen the spine. Any lifting of the chest, however, should
always be accomplished in such a way as to allow for normal,
comfortable breathing. Never allow the chest to pitch forward or slouch
back in relationship to the hips.

Pelvis
The position of the hips must allow for a natural curve of the spine. The
pelvis should therefore be held in a midway position, neither tucking
excessively under, nor sticking out backward.

Legs
When the legs are straight, the knees will be positioned directly between the hips and the
feet. When the knees bend forward, the alignment of the hips and feet should remain
constant, so that the body can remain upright. Always try to feel that you lengthen your
torso as you bend your knees, so that your posture does not "deflate". Never allow your
pelvis to stick out backward, even slightly, as the knees bend.

Feet
It is very important for a good dancer to become aware of the placement of the body
weight over the feet. In a normal, standing position, the body weight should remain slightly
forward of the middle of the feet, between the heel and the ball of the foot. In motion, this
position is variable, based on the mechanics of the specific movement. It will range from
the back of the heel to the front of the big toe, but this distribution of weight should not
affect the alignment of the upper blocks of weight, from hips to head.

Exercise
Lie down flat on your back, with your knees bent to approximately a 90° angle, and feet
flat on the floor. Let your arms fall easily to your sides, or rest them on your stomach.
Breathe normally, allowing all of the muscles is your body to relax. Feel your back flat
against the floor, and try to minimize any spaces, particularly in the area of the small of
the back. There will inevitably be a space at the neck, but this space will be reduced
slightly when the neck is stretched longer. (This exercise can also be done against a wall,
in a standing position. The feet should be held 6-12 inches away from the wall).
Correct: Relaxed, straight back, neck stretched long.

Incorrect: Tense, arched back, kinked neck.

Reminders to Good Dancing

1. Find a Great Instructor

Experienced dancers know the importance of having a good dance instructor. A dance
teacher can not only show you some new steps and techniques, but he will also correct
any mistakes that you're making.

Choose your instructor carefully, particularly if you're new to dance. Ask for referrals if
you know anyone who takes lessons, or if you know anyone who knows someone else
who takes lessons. Check with local troupes for recommendations. If you've been taking
lessons for a while and don't seem to be improving, consider looking around for a different
teacher.

2. Watch Other Dancers

Rent a few dance movies or instructional DVDs. Watch the dancers closely, noting things
such as body alignment, posture, and technique. Try to find ways to incorporate styles
you like into your own dancing.

3. Perfect Your Posture

Stand up straight, push your shoulders down and back, and hold your head up. It's truly
amazing what good posture does for a dancer. You'll want to look your best on the dance
floor.

4. Stretch Every Day

Daily stretching will make your body much more flexible. A big goal in dancing is to make
each move look effortless. The more limber your legs are, the easier it will be to move
them. Make it a habit to stretch every day.

5. Improve your Technique

Professional dancers spend their entire careers perfecting their technique. Good
technique is what separates the good dancers from the best dancers. Learn new moves,
but strive to perfect the skills of each step.
 6. Wear Proper Shoes

Each dance style requires a specific type of shoe. Dance shoes are carefully structured
to protect the legs and feet and to benefit the dancer. Make certain that you're dancing in
the correct type of shoe and that the shoes are the right size.

7. Relax

Your body will dance its best in a relaxed state. Take a few deep breaths and clear your
mind. Teach yourself to unwind to the music. Consider learning meditation and using that
before you begin to move.

8. Smile

A smile is an expression of pleasure, happiness, or amusement. If you smile when you're

dancing, people will get the feeling that you love what you're doing. Even if you're dancing
alone, smile to yourself.

REFERENCES:

http://hnupe.weebly.com/pe-2-notes.html

Tulio, Physical Education 2 FOR COLLEGE, National Book Store, 2008.

http://hnupe.weebly.com/

https://www.ballroomdancers.com/learning_center/Technique/Posture/

https://www.liveabout.com/top-dance-tips-1007108

-END OF MODULE 5-