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ASSIGNMENT IN PE 2

REFLECTION
LIST OF DANCE STYLE CATEGORIES

Submitted by:
Mark A. Eguia
BSCpE

Submitted to:
Ms. May Salandanan
Professor

LIST OF DANCE STYLE CATEGORIES

1. HISTORICAL DANCE
 Historical dance (or early dance) is a term covering a wide
variety of Western European-based dance types from the past as they
are danced in the present. Today historical dances are danced
as performance, for pleasure at themed balls or dance clubs,
as historical reenactment, or for musicological or historical research.

 BALLET
Ballet (French: [balɛ]) is a type of performance dance that
originated during the Italian Renaissance in the fifteenth century and
later developed into a concert dance form in France and Russia. It
has since become a widespread, highly technical form of dance with
its own vocabulary based on French terminology. It has been
globally influential and has defined the foundational techniques used
in many other dance genres and cultures. Ballet has been taught in
various schools around the world, which have historically
incorporated their own cultures and as a result, the art has evolved in
a number of distinct ways. See glossary of ballet.

 BAROQUE DANCE
Baroque dance is dance of the Baroque era (roughly 1600–
1750),[1] closely linked with Baroque music, theatre, and opera.

 MEDIEVAL DANCE
Sources for an understanding of dance in Europe in the Middle Ages are limited and fragmentary, being
composed of some interesting depictions in paintings and illuminations, a few musical examples of what
may be dances, and scattered allusions in literary texts. The first
detailed descriptions of dancing only date from 1451 in Italy, which is
after the start of the Renaissance in Western Europe.[1]

 REGENCY DANCE
Regency dance is the term for historical dances of the period
ranging roughly from 1790 to 1825. Some feel that the popular use of
the term "Regency dance" is not technically correct, as the
actual English Regency (the future George IV ruling on behalf of mad
King George III) lasted only from 1811 until 1820. However, the term "Regency" has been used to refer to
a much broader period than the historical Regency for a very long time, particularly in areas such as the
history of art and architecture, literature, and clothing. This is because there are consistencies of style over
this period which make having a single term useful.

 RENAISSANCE DANCE

Renaissance dances belong to the broad group of historical

dances. During the Renaissance period, there was a distinction
between country dances and court dances. Court dances required the
dancers to be trained and were often for display and entertainment,
whereas country dances could be attempted by anyone. At Court,
the formal entertainment would often be followed by many hours of
country dances which all present could join in. Dances described as
country dances such as Chiarantana or Chiaranzana remained
popular over a long period – over two centuries in the case of this
dance. A Renaissance dance can be likened to a ball.

2. FREE AND IMPROVISED DANCE

 Contact Improvisation
Contact Improvisation is a form of improvised dancing that has
been developing internationally since 1972. It involves the exploration
of one's body in relationship to others by using the fundamentals of
sharing weight, touch, and movement awareness.
American dancer and choreographer Steve Paxton originated
Contact Improvisation, drawing from his past training in aikido, a
martial art form, to explore and push boundaries with his colleagues
and students to develop this new practice. Contact Improvisation plays
with the artistry of falling off balance, counterbalance, finding the
shelves of the body, learning the mechanics of the body in order to handle someone else's weight or be
lifted, breathing techniques, and can involve the art of getting to know your partner past the physical point
through the physicality.
Steve Paxton, along with many other pioneers such as Nancy Stark Smith, Danny Lepkoff, Lisa
Nelson, Karen Nelson, Nita Little, Andrew Harwood, and Ray Chung, thus participated in creating an "art-
sport", oscillating between different emphases depending on the moments and personalities who practice it:

 experimental dance (practice-based research organized in dance laboratories),

 theatrical form (improvised performances, lectures-demonstrations...),
 educational tool (classical training for professional and non-professional dancers in improvisation
and in partnering)
 social dancing (through informal gatherings known as jams)
 awareness practice

 Dance Improvisation
 Dance improvisation is the process of spontaneously creating movement. Development of movement
material is facilitated through a variety of creative explorations including body mapping through levels,
shape and dynamics schema.
Improvisation is a free, seemingly unstructured, less technically strict and impulsive form that draws
inspiration from everyday dance practices and influences. It is a movement technique that is capable of
evoking dramatic and thought-provoking content just as well as more codified western dance techniques
such as ballet and non-western movement forms.
Dance improvisation is not only about creating new movement but is also defined as freeing the body
from habitual movement patterns (see Postmodern dance and Judson Dance Theater). Dancer and
singer Michael Jackson combined improvisation in both of those definitions, insisting that he had interest in
performing a dance to Billie Jean only if he could do it a new way each time.
A lot of improvisation is focused on finding a deeper way of comprehending otherwise concealed
thoughts or feelings of an individual. Through the emphasis of instinctual, unpredictable, free movement
that improvisation is centered upon the mover is able to explore authentic feelings and inspirations.

 Ecstatic Dance
Ecstatic dance is a form of dance in which the dancers, sometimes without the need to follow specific
steps, abandon themselves to the rhythm and move freely as the music takes them, leading to trance and a
feeling of ecstasy. The effects of ecstatic dance begin with ecstasy itself, which may be experienced in
differing degrees. Dancers are described as feeling connected to others, and to their own emotions. The
dance serves as a form of meditation, helping people to cope with stress and to attain serenity.

 Free Dance
Free dance is a 20th-century dance form that preceded modern dance. Rebelling against the rigid
constraints of classical ballet, Loie Fuller, Isadora Duncan and Ruth St. Denis (with her work in theater)
developed their own styles of free dance and laid the foundations of American modern dance with
their choreography and teaching. In Europe, Rudolf Laban, Emile Jaques-Dalcroze and François
Delsarte developed their own theories of human movement and methods of instruction that led to the
development of European modern and Expressionist dance.

 Fusion Dance
Fusion dance is a type of contemporary partner dance that combines different dance styles to create a
new aesthetic. It is typically an improvised, lead-follow approach to dancing that does not conform to any
particular defined dance styles. Fusion dancing may involve creating a new dance style, combining existing
styles, or both.

 Interpretative Dance
Interpretive dance is a family of modern dance styles that began around 1900 with Isadora Duncan. It
used classical concert music but marked a departure from traditional concert dance. It seeks to translate
human emotions, conditions, situations or fantasies into movement and dramatic expression, or else adapts
traditional ethnic movements into more modern expressions.

 Bego lelo Dance

3. AFRICAN and AFRICAN-AMERICAN DANCE

 Bolojo
Bòlòjò is an African dancing style in Yewa land of Ogun State, Nigeria.
 Cakewalk
The cakewalk or cake walk was a dance developed from the "prize walks" held in the mid-19th
century, generally at get-togethers on black slave plantations before and after emancipation in the Southern
United States. Alternative names for the original form of the dance were "chalkline-walk", and the "walk-
around". At the conclusion of a performance of the original form of the dance in an exhibit at the
1876 Centennial Exposition in Philadelphia, an enormous cake was awarded to the winning couple.
Thereafter it was performed in minstrel shows, exclusively by men until the 1890s. The inclusion of women
in the cast "made possible all sorts of improvisations in the Walk, and the original was soon changed into
a grotesque dance" which became very popular across the country.

 Patting Juba
The Juba dance or hambone, originally known as Pattin' Juba (Giouba, Haiti: Djouba), is an
African American style of dance that involves stomping as well as slapping and patting the arms, legs,
chest, and cheeks (clapping). "Pattin' Juba" would be used to keep time for other dances during
a walkaround. A Juba Dance performance could include:

 counter-clockwise turning, often with one leg raised

 stomping and slapping
 steps such as "the Jubal Jew," "Yaller Cat," "Pigeon Wing" and "Blow That Candle Out."
The dance traditionally ends with a step called "the Long Dog Scratch". Modern variations on the dance
include Bo Diddley's "Bo Diddley Beat" and the step-shows of African American Greek organizations.

 Stepping
Stepping or step-dancing is a form of percussive dance in which the participant's entire body is used
as an instrument to produce complex rhythms and sounds through a mixture of footsteps, spoken word, and
hand claps. Though stepping may be performed by an individual, it is generally performed by groups of
three or more, often in arrangements that resemble military formations.

 Stick Dance
Stick dance was a dance style that African-Americans developed on American plantations during the
slavery era, where dancing was used to practice "secret military drills" among the slaves, where the stick
used in the dance was in fact a disguised weapon.

 Tap Dance
Tap dance is a type of dance characterised by using the sounds of tap shoes striking the floor as a form
of percussion. The sound is made by shoes that have a metal "tap" on the heel and toe.

 Kizomba
Kizomba is a genre of dance and a musical genre originating in Angola in 1984. Kizomba means
"party" in Kimbundu, a Bantu language spoken in Angola.
 Compas
Compas (Haitian Creole: konpa), is a dance music and modern méringue in Haiti. The genre was
popularized following the 1955 creation of the band Conjunto International by Nemours Jean-
Baptiste. Compas is the main music of many countries such as Dominica and the French Antilles, etc.
Whether it is called zouk where French Antilles artists of Martinique and Guadeloupe have taken it or
compas in places where Haitian artists have toured, this méringue style is very influential in part
of Africa the Caribbean, Portugal, France, part of Canada, South and North America.

 Jazz Dance
Jazz dance is a performance dance technique and style that first emerged in the United States in the
early twentieth century. Jazz dance may refer to vernacular jazz or to Broadway or theatrical jazz. Both
genres build on African American vernacular styles of dancing that emerged with jazz music. Vernacular
jazz dance includes ragtime dances, Charleston, Lindy hop, and mambo. Popular vernacular jazz dance
performers include The Whitman Sisters, Florence Mills, Ethel Waters, Al & Leon, Frankie
Manning, Norma Miller, Dawn Hampton, and Katherine Dunham. Theatrical jazz dance performed on the
concert stage was popularized by Jack Cole, Bob Fosse, Eugene Louis Faccuito, and Gus Giordano.

 Twerking
Twerking (/ˈtwɜːrkɪŋ/) is a type of dance that came out of the bounce music scene of New Orleans in
the late 1980s. Individually-performed, chiefly but not exclusively by women, dancers move by throwing or
thrusting their hips back or shaking their buttocks, often in a low squatting stance. Twerking is part of a
larger set of characteristic moves unique to the New Orleans style of hip-hop known as "bounce". Moves
include "mixing", "exercising", the "bend over", the "shoulder hustle", "clapping", "booty clapping", "booty
poppin", and "the wild wood"—all recognized as "booty shaking" or "bounce". Twerking is but one
choreographic gesture within bounce.

4. CEREMONIAL DANCE

 Haka
The haka (/ˈhɑːkə/; plural haka, in both Te Reo Māori and English) is a ceremonial dance or challenge
in Māori culture. It is performed by a group, with vigorous movements and stamping of the feet with
rhythmically shouted accompaniment. Although commonly associated with the traditional battle
preparations of male warriors, haka have long been performed by both men and women, and several
varieties of the haka fulfil social functions within Māori culture. Haka are performed to welcome
distinguished guests, or to acknowledge great achievements, occasions or funerals.

 Kagura
Kagura ( 神 楽 ( か ぐ ら ), "god-entertainment") is a specific type of Shinto ritual ceremonial dance.
Once strictly a ceremonial art derived from kami'gakari ( 神 懸 ( か み が か り ), "oracular
divinification"), kagura has evolved in many directions over the span of more than a millennium. Today, it
is very much a living tradition, with rituals tied to the rhythms of the agricultural calendar, thriving
primarily in parts of Shimane prefecture, and urban centers such as Hiroshima.

 Ritual Dance of China

Most early records of dances in China were ritual or ceremonial dances, and these dances formed
the yayue which were considered to be of great importance in the court. These dances have largely
disappeared from modern Han Chinese culture, although ritual dances are still found in some folk traditions
and the cultures of ethnic minorities in China.

 Yi Dance (佾舞, literally "row dance") was originally a court dance, but adopted to form part of a
Confucian ceremony. This ancient dance may be performed with rows of dancers holding pheasant
feathers and red flutes in a square formation (Civil dance) or they may hold a shield and a battleaxe
 (Military Dance). The tradition of dancing holding items such as feather plumes dated back to Shang
Dynasty. The most important ceremony is performed with 8 rows of 8 dancers (the Eight Yi Dance, 64
dancers in all). Originally dances were only performed in 6 rows of dancers (36 dancers in all) in
Confucian temples as 8 rows were restricted to the Imperial court, but permission was later granted to
perform the 8-row dance as well on the basis that he was given the title of a king by an
emperor. Modernized version of such performances are presented for tourists at the confucian
temple in Qufu. This Confucian dance is also performed in Taiwan and Korea.
 Nuo Dances (儺舞) - a dance with masks which may be performed in Nuo opera or as rituals during
festivals to drive away evil spirits.
 Cham dance - a Tibetan Buddhist dance

 Sacred Dance
Sacred dance is the use of dance in religious ceremonies and rituals, present in most religions
throughout history and prehistory. Its connection with the human body and fertility has caused it to be
forbidden by some religions; for example, its acceptability in Christianity has varied widely. Dance has
formed a major element of worship in Hindu temples, with strictly formalized styles such as bharatanatyam,
which require skilled dancers and temple musicians. In the 20th century, sacred dance has been revived
by choreographers such as Bernhard Wosien as a means of developing community spirit.

 Cham Dance
The cham dance (Tibetan: འཆམ་, Wylie: 'cham) is a lively masked and costumed dance associated with
some sects of Tibetan Buddhism and Buddhist festivals. The dance is accompanied by music played
by monks using traditional Tibetan musical instruments. The dances often offer moral instruction relating
to karuṇā (compassion) for sentient beings and are held to bring merit to all who perceive them.
Chams are considered a form of meditation and an offering to the gods. The leader of the cham is typically
a musician, keeping time using some percussion instrument like cymbals, the one exception being Dramyin
Cham, where time is kept using dramyin.
The term "devil dance" was an early 20th century Western description of the performance; its name was
derived from the costumes worn by performers.

 Drametse Ngacham
The Drametse Ngacham (meaning "mask dance of the drums from Drametse", nga means "drum"
and cham means "mask dance") is a sacred dance performed in the village of Drametse in eastern Bhutan. It
is performed twice a year during the Drametse festival, which occurs on the fifth and tenth months of the
Bhutanese calendar. The festival is organized by the Ogyen Tegchok Namdroel Choeling Monastery to
honor Padmasambhava, an 8th-century Buddhist master.

 Kumha Pyakhan Dance

Kumha Pyakhan (Devanagari: कु म्ह प्याखं) is a sacred dance of the Tuladhar and Kansakar caste groups
of the Newars of Kathmandu. The dance (alternative name: Kumar Pyakhan) is performed in temple and
market squares during religious festivals.

 Prophetic Dance
Prophetic dance is a ritual dance in which the purpose is to obtain a communication from or
to God (gods) spirits in order to receive a favorable response (rain and good harvests, for example). Is also
present in modern Christian culture, in which the term is fixed.
 Rejang Dance
Rejang (Indonesian: Tari Rejang) is a sacred Balinese dance, a sacrificial dance in which the girls
offer themselves to the gods. It is usually held at the Hindu temple's of Klungkung
Regency and Karangasem Regency in Bali, Indonesia. “Rejang” means “offering”, a dance to greet the gods
that come down to the Earth. This dance is part of the sacred offering ceremonies, which all happen around
about the same time on Bali’s ceremonial calendar.

 Sanghyang
Sanghyang is a sacred Balinese dance based on the premise that an unseen force enters the body of
an entranced performer. The force, identified as hyang, is an important type of spiritual entity in
ancient Indonesian mythology.
The sanghyang dances are considered sacred ritual dances and are performed exclusively at Hindu
Balinese religious ceremonies.

 Sufi Whirling
Sufi whirling (or Sufi turning) (Turkish: Semazen borrowed from Persian Sama-zan, Sama, meaning
singer, from Arabic, and zan, meaning doer, from Persian) is a form of physically active meditation which
originated among certain Sufi groups, and which is still practiced by the Sufi Dervishes of
the Mevlevi order and other orders such as the Rifa'i-Marufi. It is a customary meditation practice
performed within the Sema, or worship ceremony, through which dervishes (also called semazens,
from Persian ‫ماعزن‬a‫ )س‬aim to reach the source of all perfection, or kamal. This is sought through abandoning
one's nafs, ego or personal desires, by listening to the music, focusing on God, and spinning one's body in
repetitive circles, which has been seen as a symbolic imitation of planets in the Solar System orbiting the
sun.

 Worship Dance
Worship dance is any kind of dance that is undertaken for the specific purpose of religious worship.
As a basic element of human expression, dance is found within many of the world's religions, and is
frequently associated with worship. However, use of the term worship dance appears to be restricted
to Christianity and Messianic Judaism.

5. SOCIAL DANCE
 Country Dance
A country dance is any of a very large number of social dances of a type that originated in the British
Isles; it is the repeated execution of a predefined sequence of figures, carefully designed to fit a fixed length
of music, performed by a group of people, usually in couples, in one or more sets. The figures involve
interaction with your partner and/or with other dancers, usually with a progression so that you dance with
everyone in your set. It is common in modern times to have a "caller" who teaches the dance and then calls
the figures as you dance.

 Contra Dance
Contra dance (also contradance, contra-dance and other variant spellings) is a folk dance made up of
long lines of couples. It has mixed origins from English country dance, Scottish country dance, and French
dance styles in the 17th century. Sometimes described as New England folk dance or Appalachian folk
dance, contra dances can be found around the world, but are most common in the United
States (periodically held in nearly every state), Canada, and other Anglophone countries.

 Social Dance
Social dance is a category of dances that have a social function and context. Social dances are intended
for participation rather than performance and can be led and followed with relative ease. They are often
danced merely to socialise and for entertainment, though they may
have ceremonial, competitive and erotic functions.

 Solo Dance
A solo dance is danced by an individual dancing alone, as opposed to couples dancing together but
independently of others dancing at the same time, if any, and as opposed to groups of people dancing
simultaneously in a coordinated manner. Solo dancers are usually the best dancers in a group or dance
school. Most solo dancers start after about 6–7 years of dance or sooner. Most soloists are company kids of
their dance school. They are usually in more than one dance.

 Partner Dance
Partner dances are dances whose basic choreography involves coordinated dancing of two partners, as
opposed to individuals dancing alone or individually in a non-coordinated manner, and as opposed
to groups of people dancing simultaneously in a coordinated manner.

 Group Dance
Group dances are danced by groups of people simultaneously, as opposed to individuals dancing alone
or individually, and as opposed to couples dancing together but independently of others dancing at the same
time, if any.

 Circle Dance
Circle dance, or chain dance, is a style of dance done in a circle or semicircle to musical
accompaniment, such as rhythm instruments and singing. Circle dancing is probably the oldest known
dance formation and was part of community life from when people first started to dance.

 Line Dance
A line dance is a choreographed dance with a repeated sequence of steps in which a group of people
dance in one or more lines or rows, all facing either each other[citation needed] or in the same direction,
and executing the steps at the same time. Unlike circle dancing, line dancers are not in physical contact with
each other.

 Round Dance
Modern social round dance, or round dancing, is a choreographed and cued ballroom dance that
progresses in a circular counter-clockwise pattern around the dance floor. The two major categories of
ballroom dances found in round dancing are the smooth and international ballroom styles (such
as foxtrot and waltz) and the Latin dances (such as cha-cha-chá, salsa, and rhumba). It is not to be confused
with circle dancing, which is a type of folk dance in which dancers are connected in a circular chain.
 Square Dance
A square dance is a dance for four couples (eight dancers in total) arranged in a square, with one
couple on each side, facing the middle of the square. Square dances were first documented in 16th-century
England but were also quite common in France and throughout Europe. They came to North America with
the European settlers and have undergone considerable development there. In some countries and regions,
through preservation and repetition, square dances have attained the status of a folk dance. The Western
American square dance may be the most widely known form worldwide, possibly due to its association in
the 20th century with the romanticized image of the American cowboy. Square dancing is, therefore,
strongly associated with the United States. Nineteen U.S. states have designated it as their official state
dance.