Path Fit 4: Dance

Course Description: This course deals with basic movement and rhythmic skills
used in leaning creating simple natural dances. It includes basic steps and dance
needed in the correct interpretation and performance of the Philippines folk dance.
Social Dance and Popular dance also introduce. Through skills training, exercise
drills, game pay and independent or self- directed Pas, fitness level will be enhanced.
In conjunction with this, fitness levels, PA participation and dietary/eating patterns
are evaluated to monitor one’s progress and achievement of personal fitness and
dietary.
Chapter 1
Dance
 has been part of human history since its earliest origins, bringing
transcendence to spiritual rituals and creating bonds within communities.
Dance styles have changed through history, but dance itself remains one of the
most expressive physical art forms.
 Is a form of creative expression through physical movement that includes
rhythmic movements that accompany music. Historically, dance has been used
in celebrations and religious observances. Dance has played an important role
in human societies since ancient times and continues to evolve and develop
today
 an art form, consisting of sequences of body movements with aesthetic and
often symbolic value, either improvised or purposefully selected. Dance can be
categorized and described by its choreography, by its repertoire of movements
or by its historical period or place of origin.
 The words "dance" and "dancing" come from an old German word "danson,"
which means "to stretch." All dancing is made up of stretching and relaxing.
 movement of the body in a rhythmic way, usually to music and within a given
space, for the purpose of expressing an idea or emotion, releasing energy, or
simply taking delight in the movement itself.

Importance of Dance
1. Better Brain Health
 A study done by The New England Journal of Medicine found that dancing
can boost your memory and even prevent the onset of dementia. Other
studies have also found that aerobic dance exercises can reverse volume
loss in the part of the brain that controls memory (the hippocampus), which
tends to shrink during late adulthood.

 Taking the time to remember steps and the changing movements of a dance
is also a great way to challenge your brain, no matter your age. Scientists
have found cognitive skills such as planning and organizing also improve
with an exercise like dance.

2. Improved Flexibility
 The movements associated with dance can increase flexibility and reduce
stiffness. Don’t over-exert yourself though – even the simple stretches
 associated with dancing can help ease joint pain and any soreness from
other more strenuous exercises.

3. Minimized Stress
 A study conducted by the Journal of Applied Gerontology found that partner
dance accompanied by music can relieve stress. Other studies have also
shown similar results, with some indicating dance can increase levels of the
hormone serotonin, which can improve your mood.
4. Reduced Depression
 A study looking at the effects of dance on patients experiencing depression
found that those who participated in an upbeat group dance showed the
least number of symptoms associated with depression and were more
energetic and upbeat as a result.

5. Weight Loss
 Increased movement also usually means increased weight loss. A study in
the Journal of Physiological Anthropology found aerobic dance training can
help you lose just as much weight as biking or jogging.

6. Increased Energy
 Research from The Scholarly Publishing and Academic Resources Coalition
found a weekly dance program can improve adults’ physical performance
and increase their energy levels.

7. Improved Cardiovascular Health

 Of course, the faster you dance, the faster your heart will beat, which can
lead to a stronger and healthier heart.
 An Italian study found that people with heart failure who started practicing
waltzing had much better heart health, breathing, and quality of life
compared to those who simply cycled or walked on a treadmill.

8. Better Coordination Strength & Balance

 Dancing requires lots of fast movement and good posture, which can help
you gain better control of your body. Moreover, there are 3 primary planes
of motion; unlike simple movements such as walking and cycling, which
only involve the sagittal plane of your body, dancing works your body from
all planes, which means ALL your muscles are involved, not just some.
 If you’re scared about falling when you’re older, dancing may ease some of
those worries as well. A study in the Journal of Aging and Physical Activity
showed that tango dancing can improve balance amongst older adults.

9. Improved Social & Emotional Health

 A dance class is a great way to make new friends and branch out socially!
Having positive relationships is a major contributing factor to better mental
health – it can increase feelings of happiness, reduce stress, and even lead
to a stronger immune system.

10. Higher Self-Esteem & Confidence

 Studies show that dancers tend to report higher levels of self-esteem and
more confidence.
 Dance can be beneficial for people of all ages. Many forms, such as ballroom
dancing, can be tame enough for people with limited mobility or chronic health
issues, while other forms can allow kids to express themselves freely, let out
their energy, and practice discipline by memorizing and learning certain steps.

Elements of Dance
basic building blocks of dance that help us identify and describe movement,
assisting in the ability to analyze, interpret, and speak/write about dance as an
artistic practice. When viewing dance, we want to put into words what we are
witnessing by analyzing its most important qualities. The elements of the dance
provide us with the tools to do so.
In dance, the body can be in constant motion and even arrive at points of
stillness. However, even in stillness, the dancers are inherently aware of
themselves.
No matter the case, all forms of dance can be broken down into their primary
elements: BODY, ENERGY, SPACE, and TIME. To easily remember the dance
elements, we use the acronym B.E.S.T., which stands for BODY, ENERGY,
SPACE, and TIME. Dance can be seen as the use of the BODY with different
kinds of ENERGY moving through SPACE and unfolding in TIME.

1. Body
 The body is the dancer’s instrument of expression. When an audience looks at
dance, they see the dancer’s body and what is moving. The dance could be
made up of a variety of actions and still poses. It could use the whole body or
emphasize one part of the body. Exploring body shapes and movement actions
increases our awareness of movement possibilities.

a. Body Shapes
 The choreographer who is designing a dance may look at their
dancers as sculpture. They choose shapes for the dancers to make
with their bodies. These can be curved, straight, angular, twisted,
wide, narrow, symmetrical, or asymmetrical. These shapes can be
geometric designs, such as circles or diagonals. They could make
literal shapes such as tree branches or bird wings. They can also
make conceptual shapes (abstract) such as friendship, courage, or
sadness. Sometimes a choreographer emphasizes the negative space
or the empty area around the dancers’ bodies instead of just the
positive space the dancer occupies.
b. Body Parts
 Each part of the body (head, shoulders, elbows, hips, knees, feet,
eyes, etc.) can move alone (isolated) or in combination. In the
classical Indian dance form Bharatanatyam, dancers stomp their feet
in a percussive rhythm. At the same time, the dancer performs hand
gestures, known as mudras—codified hand gestures that are
important in the storytelling aspect of Bharatanatyam to
communicate words, concepts, or feelings.
c. Body Moves/Actions
 Dance movements or actions fall into two main categories:
 1. Locomotor: (traveling moves) walk, run, jump, hop, skip, leap,
gallop, crawl, roll, etc.
2. Nonlocomotor: (moves that stay in place) melt, stretch, bend,
twist, swing, turn, shake, stomp, etc.

2. Energy
 An exploration of ―how‖ a movement is done rather than ―what‖ it is gives
us a richer sense of dance as an expressive art. A dancer can walk, reach for
an imaginary object, and turn, making these movements looks completely
different by changing the use of Energy. For example, anger could be shown
with a loud quick walk, a sharp reach, and a strong twisting turn. Happiness
could be depicted by using a delicate gliding walk, a gentle reach out, and a
smooth, light turn. Energy is what brings the dancer’s intent or emotion to the
audience.
 The element of Energy is sometimes called efforts or Movement Qualities.
 Dancer and movement analyst Rudolf Laban broke it down into four efforts,
each of which is a pair of opposites:
1. Space (direct or indirect use of space):
When the dancer is paying attention to the use of space, they can be
direct, single-focused, and targeted in their use of space.
Conversely, they can be indirect, multi-focused, and aware of many
things in the space around them.
2. Weight or force (strong or light use of weight):
The dancer can emphasize the effort or use of force by fighting
against it, throwing their weight and strength into movements. The
opposite is using a yielding, light sense of weightlessness in their
movements.
3. Time (sudden or sustained use of time):
Not to be confused with tempo, the dancer’s use of time can be
reflected in their movement. It can appear hurried, as though
fighting against time. Conversely, the dancer can have a relaxed
attitude toward time as though they have all the time in the world.
4. Flow (bound or free use of the flow of movement):

When the dancer’s flow is bound up, they can appear to be careful
and cautious, only allowing small amounts of flow. The opposite is
when the dancer appears to throw the movement around without
inhibition, letting the movement feel carefree.
 Another way we can define Energy is by looking at the Movement Qualities.
Movement Qualities are energy released during various time spans to
portray distinct qualities. There are six dynamic Movement Qualities:
1. Sustained (slow, smooth, continuous)
2. Percussive (sharp, choppy, jagged)
3. Swinging (swaying, to and fro, pendulum-like)
4. Suspended (a moment of stillness, the high point, a balance)
5. Collapsed (fall, release, relax)
6. Vibratory (shake, wiggle, tremble)
3. Space
 An exploration of space increases our awareness of the visual design
aspects of movement.

1. Personal Space:
 The space around the dancer’s body can also be called near space. A
dance primarily in personal space can give a feeling of introspection or
intimacy.
2. Negative Space/Positive Space:
 Sometimes, a choreographer emphasizes the negative space or the
empty area around the dancers’ bodies instead of just the positive space
the dancers occupy. Look at the positive and negative space in the
photograph below.
3. General Space:
 The defined space where the dancer can move can be a small room, a
large stage, or even an outdoor setting.
4. Levels:
 Dancers use a variety of levels: high, middle, or low. High movements
can reach upward using jumps, leaps, or when lifting each other. A
middle-level move is generally a move that takes place between the
height of the dancer’s shoulders and knees. Low-level moves can include
sitting, kneeling, sinking to the ground, rolling, or crawling.
5. Directions:
 While dances made for the camera often have the performers facing
forward as they dance, they can also change directions by turning, going
to the back, right, left, up, or down.
6. Pathways or Floor Patterns:
 Where the dancer goes through space is often an important design
element. They can travel in a circle, figure eight, spiral, zig-zag, straight
lines, and combinations of lines.
7. Range:
 Movements or shapes can be near reach, mid-ranged, or far reach.
Range is associated with one’s kinesphere. Kinesphere is the immediate
area surrounding the body and is described as a three-dimensional
volume of space. Imagine a bubble around the dancer’s body, with their
arms and limbs extended to their fullest extent in every possible
direction without moving from a fixed spot; this is considered a personal
kinesphere.
 Movement occurs in a person’s kinesphere and includes
a. near reach (movement that is close to the body, small, or
condensed),
b. mid-reach (movement that is neither near not far but comfortably
in the middle)
c. far reach (large and expansive movement).
8. Relationship:
 Dancers can explore the relationship between different body parts, the
relationship of one dancer to another dancer or a group of dancers, or
the relationship to a prop or to objects in the dance space.
4. Time
 Dance is a Time art; movement develops and reveals itself in Time. Adding a
rhythmic sense to movement helps transform ordinary movement into dance
and informs when the dancer moves.
• Pulse: The basic pulse or underlying beat.
• Speed (tempo): Fast, moderate, slow.
• Rhythm Pattern: A grouping of long or short beats, accents, or silences.
• Natural Rhythm: Timing that comes from the rhythms of the breath,
the heartbeat, or natural sources like the wind or the ocean.
• Syncopation: Accents the off-beat in a musical phrase.

Chapter 2 Folk Dance

Filipino folk dance history is not the history of a single national dance of one or
two regions. Dances evolved from different regions which are distinct from one
another as they are affected by the religion and culture.

Many people especially Filipinos are fond of dances. Our country is very rich
indifferent native dances like Cariñosa, Tinikling, La Jota Banal, La Jota Caviteño,
etc. Many of us find it hard to enjoy and get information about dance at the same
time. This proposed system would make it possible for us to enjoy and learn different
native dances here in the Philippines by means of computerizing it.

Folk Dance, recreational or ceremonial dance performed usually by members

of the community to which the dance is traditional. Varying criteria have been used
to differentiate folk dance from other kinds of dance: For example, the dancers are
said to belong to a certain economic level or come from certain locales; the steps are
simple and repeated, so that any member of the community can participate; the
dances require no audience; and they are passed down through many generations.
Each of these criteria can be contradicted by dances that are indisputably folk
dances, and in each of these criteria, folk dance overlaps with other kinds of dance.
During the last few centuries many trends have affected folk dancing. As the spread
of industrialization brought rural people into the growing cities, dances related to
agricultural activities or to communal rituals gradually lost their meaning. In the
changing circumstances of urban life, new dances evolved. Colonization also affected
dances-frequently, indigenous forms fused with dances of the colonial powers. In the
Philippines, for example, new dances developed when Spanish influenced dancers of
traditional native forms and Islamic dance forms and styles.

A. GEOGRAPHICAL EXTENT OF ORIGIN

1. National dances - found throughout the islands with little or no modification.
 Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.

2. Local dances-found in a certain locality. Examples: Tinikling(Leyte),

Esperanza(Nabua),
Maglalatik(Binyang), Subli (Batangas), Biniganbigat (Abra)
B. NATURE
1. Occupational-depicting action of certain occupation, industry, or human labor.
 Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik,
Mananguete,

2. Religious or Ceremonial –performed in connection with religious vows and

ceremonies.
Examples: Dugsu, Sua-sua, Putong, Sta. Clarang Pinong-
pino, etc.

3. Comic dances – depicting funny movements for entertainment. Ex: Kimbo –

kimbo
Makonggo, Kinoton

4. Game dances – with play elements (dance mixers). Examples: Lubi – lubi, Pavo

5. Wedding dances–performed during wedding feast. Panasahan, etc.

6. Courtship dances –depicting affection. Ex: Hele –hele, Bago, Quiere,

Maramion, Tadek
Daling-daling

7. Festival dances – suitable for special occasion or any social gathering. Ex:
Pandanggo, Habanera, Jota, Surtido.

8. War dances: showing imaginary combat or duel. Examples: Sagayan, Palu-

palo, etc.
C. MOVEMENTS
1. Active – with fast energetic movements.Examples: Tinikling,
MaglalatikSakuting, Polkabal

2. Moderate -Examples: Cariñosa, TagalaHabanera, Purpuri, etc.

3. Slow -Examples: Pasakat, AmorosaTiliday, Kundiman, etc.

4. Slow and Fast – Examples: Putritos, Ba-Ingles Habanera Botoleña Alcamfor,

etc.

D. FORMATION
1. Square or Quadrille Examples: Rigodon, Los Bailes de Ayer, etc.

2. Long formation (two or more parallel lines) Examples: Lulay, Sakuting

3. Set – consisting of two or more pairs as a unit, partners facing each other or
standingside by side. Examples: Binadyong, Haplik, Kakawati, etc.

SPECIAL CLASSIFICATION
 Group dances having special distinctive features.
1. Dances with Songs – Ex: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis
Kawayan, etc.
2. Old Ballroom Dances – Examples: Polka, Mazurka Chotis, Valse, etc.
3. Dances with Implements – Ex: MaglalatikSakutingJota
MoncadenaTiniklingSalakot,
 4. Dances of Combined Rhythm – Examples: Surtido, Pantomina, Los Bailes de
Ayer

Fundamental Positions of the Arms and Feet

Feet Positions
1. First Position
 form a V-shape with your feet by bringing your heels together to
touch while keeping your toes away from each other.

2. Second Position
 move one foot sideward. Your feet should be parallel to each
other while maintaining a distance of about 12 inches.

3. Third Position
 bring your foot’s heel to touch the arch of your other foot, with
both feet turned outward.

4. Fourth Position
 put your foot forward while the other foot still retains its
position. The distance between the two feet should be about 12
inches.

5. Fifth Position
 Bring the heel of the foot in front to touch the toe of the other.
Both feet should still be pointing outward.

Arms Positions
1. First Position
 raise your arms into a circle in front of your chest. Your hands
should be aligned in front of your chest with both arms
slightly curved, and your fingertips should be at least 1 inch
apart.
2. Second Position
 open your arms sideward at shoulder level.
3. Third Position
 One arm is raised above your head, while the other arm
maintains the second position. The arm that was raised
should be slightly curved as well.
4. Fourth Position
 the arm in the second position would be raised forward in front
of your chest again, similar to how it was in the first position.
The arm that is lifted above your head will still maintain its
position.
5. Fifth Position
 For the fifth position, both arms should be lifted above your
head, slightly curving. The posture is similar to that of the first
position but raised above the head instead.
Dance Terms in the Philippine Context - Understanding specific dance
terms and steps relevant to Philippine dance can enrich appreciation and practice.

1. Abrasete- girl on the right side holds her partner's right arm with her free left
hand down by her sides.

2. Arms in lateral position- either the right or left arm is at one side.

3. Arms in the reverse "T" position- forearms parallel to the head, elbows at right
angles, arms horizontally sideways, fists slightly closed, and facing one another.

4. "Bilao"- is bending elbows toward the waist, palms down, hands in front, fingers
pointing front. Alternately raises and lowers hands.

5. Brushing- act of striking the ground w/ one foot's ball/heel, then lifting that foot
off the ground in any direction.

6. Cabecceras - The couples occupy the hall's width as the dancers form a square,
known as cabecceras.

7. Cast-off- The dancers create a long line, with the lead or head couple
countermarching outward to the end of the line, where the last couple was, and
then countermarching inward to their respective positions.

8. Clockwise- going in the direction indicated by the clock's hand. The R shoulder
points in the direction of the imaginary circle's center.

9. Costados- also known as side couples are dancers who form a square and take
up the entire length of the auditorium.

10. Counterclockwise- The L shoulder points toward the center of an imaginary

circle when moving counterclockwise, which is the opposite of clockwise.

11. Cross-over- A cross-over occurs when two couples are in opposition to one
another. Every couple travels to the opposite location in a straight line. Between
the lads, the girls pass their L shoulders. When boys meet at the middle or around
one-third of the way, they bow to one another before moving on to the other
location. When they get to the other location, partners turn around, and girls
stand to their right.

12. Curtsy- bends your knees a little and places your right foot behind your left.

13. Cut- to swiftly move one foot with the other foot.

14. Do-Si-Do, or dos-a-dos - involves couples facing one another. Step the L foot
across the R foot in front, taking three walking steps backward without turning
around, and then take three walking steps forward, starting with the R foot,
passing each other by the R shoulders, to the partner's location. Close L to R.

15. Folded arms- place one forearm on top of the other and bend the arms in front of
the chest.

16. A free foot - is one that is not supporting the body's weight.
17. Free Rand- is the hand that is not moving or doing anything.

18. "Hapay” - means to extend an invitation by offering someone a glass of wine or a

handkerchief.

19. "Hayon-Hayon." - Putting one forearm in front of the waist and the other at the
back is known as "Hayon-Hayon."

20. Inside hand or foot - When standing side by side with a partner, the inside hand
or foot is the one closest to them.

21. "Jaleo"- R places a hand on the waist, the elbows nearly touch, and the partner
rotates once clockwise while doing any dancing move.

22. "Kewet"- bend the wrist outward while keeping the fist slightly closed and the
thumb protruding.

23. "Kumintang."- Moving the hand from the wrist in either a clockwise or
counterclockwise manner is known as "Kumintang."

24. Hook elbows or link elbows- Hook elbows, also known as link elbows, are
performed with a partner or any other dancer.

25. Masiwak- rotates the hand counterclockwise, then lift and lower the wrist a
couple of times. This term is "Ibanag."

26. Outside hand or foot- When standing side by side with a partner, the outside
hand or foot is the one that is not touching them.

27. Pandayak- to tap with the same foot near the L foot and stamp with the R foot in
front or to the side.

28. Place- to align the entire foot's sole in a preferred position without placing
weight on it.

29. Point- Use your toes to lightly touch the floor without bearing any weight.

30. Salok- to pass in front of the body as though scooping, swinging the arm
downward and upward to the fifth position. The trunk bends forward in response
to the arm's "salok" motion.

Basic Dance Steps

2/4 dance steps

1. Bleking Step Heel-place, close 1, 2
2. Touch Step Point, close 1, 2
3. Close Step Step, close 1, 2
4. Hop step Step, hop 1, 2
5. Cross step Step, cross or cross, step 1, 2
6. Change Step Step, close, step 1 and 2
7. Changing step Jump (one ft in front and other in 1, 2
rear(back) there are two changing
steps in a measure
8. Contraganza step Leap, cross-step, step 1 and 2
9. Habanera step Step, close, step 1 and 2
10. Heel and toe Heel, toe 1,2/ 1 and
2
11. Change step Heel-place, toe-point, step 1,2, 1 and
heel place, toe point 2
12. Shuffling w/both feet flat on floor, take tiny slide 1 and, 2
steps and

¾ time dance steps

1. Native waltz Step, close, step 1, 2, 3
2. Cross waltz Cross-step, close step 1, 2, 3
3. Waltz balance Step, close-heels raise, heels 1, 2, 3
down
4. Mazurka step Slide, cut, hop 1, 2, 3
5. Redoba step Slide, cut, cut 1, 2, 3
6. Sway balance with a Step, cross-step, step, point 1 2, 3/1, 2 3
point
7. Sway balance with a Step, cross-step, step hop 1 2, 3/ 1, 2 3
hop
8. Sway balance with a Step, cross-step, step, close, step 1 2, 3/ 1, 2, 3
waltz
9. Engano with a waltz Step, cross-step, step, close, step 12, 3/ 1, 2, 3

4/4 – time dance steps

1. Schottische Step, close, step hop (raise foot in front) 1, 2, 3, 4
step
2. Escotis step Step, close, step, hop (raise foot in 1, 2, 3, 4
rear/back)
3. Chotis step Step brush, raise, brush, raise/step, step, 1, 2, 3, 4
step, close
(Final)

Chapter 3
What is Social Dancing?

Social dancing is a non-competitive version of ballroom and Latin dancing. It is

comprised of all the same dances, like Foxtrot, Tango, Swing, or Cha-Cha, but
designed to be used in practical settings like wedding receptions, nightclubs,
business functions, or informal gatherings. Social dancing is less formal that
exhibition dancing and is meant to be enjoyed while socializing.

Social dances are dances that have social functions and context. Social dances are
intended for participation rather than performance. They are often danced merely to
socialize and for entertainment, though they may have ceremonial, competitive and
erotic functions.

Social dances are a category of partner dance styles that focus on socializing and
having fun, instead of performing or competing. Dances are improvised and rely on
leading and following techniques. There are dedicated parties and festivals for
dancers where everyone can dance without having a fixed partner.

There is also ―ballroom dance‖, but social dance is a wider term since you can also
dance at street parties, pool parties or beach parties. Competitive ballroom aka
dance sport is not considered social dancing, but there are non-competitive forms of
Dane sport that can be.

Social Dances from Latin-America

Argentinian tango, Dominican bachata, Brazilian zouk, Cha Cha Chá, Forró,
Merengue,
Salsa, Samba de gafieira, Bolero, Cumbia …and more

Social Dances from the United States

West Coast Swing, East Coast Swing, Lindy Hop, Street Swing, Balboa, Hustle,
Foxtrot … and more

Social Dances from Africa

Kizomba, Semba… and more

Social Dances From Europe

Waltz, Quadrille, Polka, Urban Kiz, Sensual bachata… and more

The Development of Ballroom Social Dance

The early social dances of the fourteenth to mid-sixteenth centuries involved

processional dances with subtle, relatively simple steps. The dances usually involved
couples interacting with each other, or long lines of dancers. The dances were lively,
filled with flirtations, conversations, and even "poaching," where partners would
switch in the middle of the dance. Groups such as the Society for Creative
Anachronism still enjoy these dances at their gatherings.

The Rage of the Seventeenth Century: The Waltz

The popularity of this dance has lasted for centuries, and it is still one of the first
dances taught by ballroom teachers. It began in Vienna, where, by focusing on the
graceful movements of the couple instead of large group patterns, the Waltz set
people free from the restricted movements and set poses of the earlier courtly
dances. However, it also was considered "...riotous and indecent" well into the 19th
century, which only proved to make it even more popular. You can still see the Waltz
performed in social dance halls today.

Social Dances of the Late Eighteenth Century

In England and the United States the late eighteenth century witnessed a beginning
of a blend between the rigid group dances and the intense coupled dances like the
Waltz. Called "contra dances," "cotillions" or just "square dances," the lively music
would include "calling," as the moves were announced just before they happened.
The flirting and partner-swapping made these amazingly social happenings, and they
survived into the modern day, both in their original form and in country line dances
and hip-hop such as "Unk 2 Step."

The Many Dance Forms of the Nineteenth Century

During the early part of the nineteenth century, group dances remained extremely
popular. The English Country Dance grew more popular throughout the first half of
the nineteenth century. In addition to the Waltz, there were many other popular
dances of the period, including:

Scottish Reel and the Quadrille

Polka

Pavan

Mazurka

Polonaise

Two Step, referred to as the Washington Post

As the century came to a close, the influence of African-based dance grew as dances
such as the Cakewalk and South American forms such as the Argentine Tango were
introduced to audiences in the United States.

The History of Social Dance in the Twentieth Century

The twentieth century was "scandalous" according to many, with its dances using
strong rhythms and strutting style, starting when a modified version of the Cakewalk
found its way into the stately ballroom dancing of the time.

The dances reflected the freedom felt by the people, freed from the dress constraints
of the earlier years, and the growing role of women in the work force. Dances such
as the Turkey Trot, the Grizzly Bear and the Bunny Hug included a lot of hugging,
swaying and grinding to the strong rhythms of the music.

The two world wars of the time helped cross-pollinate dances such as the Charleston,
Lindy
Hop, Fox Trot and Twist between Europe and the U.S. and South America. Motion
pictures featured dances, which allowed choreography to spread faster than ever.
Every decade created its own set of dance fads such as swing, the Twist, the
Jitterbug or even disco dancing.

Social Dancing into the Present Day

Thanks to advances in media, social dancing has remained one of the most popular
pastimes of people all over the world. You can go ballroom dancing in Moscow,
dance to blues legend Buddy Guy in Japan, and find an Argentine Milonga to tango
the night away in Madison, Wisconsin. New forms such as hip hop dancing and
contact improvisational jams are becoming the new social dances, but the older
forms from medieval times, as well as their descendants, are still immensely popular.

A Living History

As the dances continue to evolve and influence each other, one thing is clear:
humans love using movement to interact and be social with each other. Along with
music and the language of lyrics, social dancing is one of the few things that can
unite the globe: mankind loves to dance.

Types of Social Dance

1. Cha Cha

A continual, flirtatious game of ―cat and mouse‖ - the International Cha Cha has
Cuban roots, and is known for its breaking action on count ―2‖ (unique to Cha Cha,
Rumba, and Mambo) and syncopated action on counts 4&1 (also counted as ―cha
cha cha‖). Differentiating itself from the American Cha Cha, the International style is
danced with a straight leg action throughout.

2. Samba
The Samba is a ballroom dance is inspired by the Brazilian carnival dances. While
Brazilian Samba is traditionally danced alone, the International Latin Samba derives
rhythmic actions and high energy from its Brazilian ancestry. Samba is notably a
―bouncy‖ dance, known for intricate combinations of timings and beat values.

3. Rumba

The International Rumba is the slowest International Latin dance in terms of music,
however, it showcases alternating timings to depict fast moments within a slow
dance. Known as the dance of love, the Rumba is crowd favorite, often telling a
romantic story between two people. Unlike the American Rumba, the International
style is danced with a straight leg action, likened to the International Cha Cha.

4. Paso Doble

Much to people's surprise, the Paso Doble originated in France, and many named
figures within this dance are in French, such as ―apel,‖ meaning ―call to action"
(this is a weight replacement that involves articulation of the entire foot with the
ground, typically creating a stomping sound). A captivating dance style, the Paso
Doble is based on the story of the
Spanish Bullfight, with partners encapsulating the personalities of the Spanish
Bullfighter (Matador) and either a Matador’s Cape or Spanish Dancer.

5. Jive

It’s party time! International Latin concludes with the joyful and energetic Jive. The
Jive is a dance built from multiple styles of Swing: East Coast, West Coast, Lindy
Hop, Jitterbug, and more. Characterized by quick feet and fun tricks, the Jive often
has a crowd on their feet cheering.

6. Waltz

The classic, elegant, International Waltz is the quintessential, ―ballroom dance‖

(think, Cinderella!) Known for its characteristic ―123,‖ the Waltz is danced in a
closed hold (partners do not break their frame and remain connected) from start to
finish. This is a unique element to all International Ballroom dances.

7. Tango

The fiery and passionate Tango features staccato actions and powerful leg
movements. Dancers do not have ―body rise‖ within this dance, so it appears flatter
and more linear across the dance floor. These features, along with a varied dance
position and footwork, present interesting technical differences between the Tango
and other International Ballroom dances.

8. Viennese Waltz

Originating in Vienna, Austria, the Viennese Waltz is significantly faster-paced than

the Waltz (often referred to as the ―Slow Waltz‖ for this reason). The Viennese
Waltz is only comprised of seven figures, therefore dancers spend a lot of time
focusing on the creation of the same full, voluminous movements that seem to race
around the dance floor.
9. Foxtrot

The jazzy foxtrot takes on a smoother appearance within the International Ballroom
style, ebbing and flowing like waves across the shore. Intricate rise and falls are
created by decisive footwork that anecdotally awarded Foxtrot the title of the most
difficult Ballroom dance.

10. Quickstep

Leaps, kicks, and running down the floor, all while being connected to another
person? In the Quickstep, dancers seem to play Tetris while dancing and navigating
in and out of
"traffic" on the floor. It's a true talent.

Basic Partner Positions

Six basic partner positions are used in social dances. These basic dance positions
determine how you relate to your partner during the dance. The man stands on the
left side, and the woman is always on the right side in all these positions.

Shine position - In this position, the partners face each other without touching
(figure 5.26).

Two-hands joined position - Partners stand facing each other. Both the man and the
woman hold their elbows by their sides with their forearms extended (figure 5.27).
They can both have their palms facing down, and the man can place his thumb in the
woman's palm and wrap his fingers around the top of her hands, or the man can
have his palms facing up and place his thumb on top of the woman's fingers and his
fingers in her palm.

One-hand joined position - This position is the same as the two-hands joined position
except that each partner uses only one hand (figure 5.28).

Closed position - The partners face each other in this position. The man's left hand
holds the woman's right hand. Palms are touching, and fingers and thumbs are
loosely clasped around each other's hands. The man's right hand rests on the
woman's back, cradling her left shoulder blade. The woman's left arm rests on top of
the man's right arm, and her left hand rests gently on his right shoulder (figure
5.29).

Semi open position - In this position, the partners stand beside each other with their
bodies turned at a 45-degree angle to each other. The man places his right hand
below the woman's left shoulder blade with his elbow slightly bent. The woman's left
arm rests gently on the man's right arm, and her left hand is in front of his right
shoulder. Both partners extend their outside arms and hold hands (figure 5.30).

Inside-hands joined position - The partners stand side by side. The man extends his
right arm and offers his right hand to his partner, and the woman places her left
palm in the man's right hand. Both place their outside hands on their hips (figure
5.31).
Basic Steps

In social dance, basic movements are connected in recurring patterns to create the
dances. Because social dances are partner dances, someone always leads the
movement, typically the male, and someone follows, typically the female. The lead
usually begins the steps on the left foot, and the person who is following uses the
right foot to begin the patterns. Here are some of the common steps you will need to
know.

Step hop - For a step hop you step from one foot onto the other, shifting your weight,
and then hop on that foot.

Triple step - In this step you take three steps in two counts. You step on the right
foot, then step on the ball of the left foot, and conclude with another step on the
right foot. This step is counted "1 and 2." A series of triple steps are often done
together and in various directions.

Rock step - In this step you transfer weight from one foot to the other with a rocking
motion. You step backward on one foot with a full transfer of weight and complete it
by stepping forward on the other foot while again transferring your weight. The rock
step can also be done by rocking and stepping forward with the first foot and then
stepping back onto the second foot. Each step receives a full count.

Box step - This six-count step makes a box, or square, pattern on the floor. The lead
starts with the left foot stepping forward. A step to the side with the right foot
follows, and then the left foot steps in to meet the right foot. The right foot then
steps back, the left foot steps side, and the right foot steps in to meet the left. The
person following begins with the right foot stepping backward and reverses the
pattern.

Chapter 4
Popular dance

Popular dance encompasses a diverse range of dance styles and movements that
gain widespread recognition and engagement within a particular community.

Popular dance, which refers to dance genres accompanied by popular music that
have wide appeal and distribution among large audiences. - Popular dance can be
enjoyed and performed by people with little dance training, in contrast to dances
requiring extensive training like ballet or jazz.

Top Dance Genres

Ballet

Ballet dance developed during the Italian Renaissance, before evolving in France and
Russia into a concert dance meant for public performance. This is in the form of a
ballet, in which the dance is choreographed with classical music.

Ballet productions vary between using elaborate costumes and staging and using
minimal costuming and bare staging.

Ballet is now a widespread, highly technical form of dance with many subgenres
including classic, romantic, neoclassical and contemporary.

With six core recognized methods: the Cochiti method, the Bourneville method, the
Vaganova method, the French School, the Royal Academy of Dance method and the
Balanchine method, ballet is studied professionally at top dance schools all over the
world.

Ballroom

Ballroom dance is a type of partner dance originating at the end of the sixteenth
century in France. Commonly used as shorthand for any partner dance, ballroom has
today evolved into two main subgenres – standard/smooth and Latin/rhythm.

Dances within these categories include the waltz, tango and foxtrot, and pasodoble,
bolero and samba.

Ballroom is a popular form of competitive dance, or dancesport, with competitions

being held all over the world.

Contemporary

Developed during the mid-twentieth century, contemporary dance is now one of the
most popular and technical forms of dance studied and performed professionally,
especially in the US and Europe.

Drawing on classical, modern and jazz dance styles, contemporary dance has evolved
to incorporate many characteristics of a broader range of dance forms.

Known for its emphasis on strong torso and legwork, contract and release, fall and
recovery and floor work, it is often known for unpredictable and disordered changes
in speed and rhythm throughout a performance.
Hip-Hop

Hip-hop dancing refers to a range of street dances that developed in relation to hip
hop music and culture. Hip-hop dancing dates back to the early 1970s in New York
and California, evolving out of Funk and the development of break beat.

Main styles of hip-hop dancing include Breaking, Locking and Popping, with
derivative styles emerging out of these including Memphis Jookin’, Turfing, Jerkin’
and Crumping. These were often popularized and made mainstream after being
featured in music videos of the time.

Today, hip-hop is performed in outdoor spaces, in dance studios and competitively.

Unlike many competitive dance styles, hip-hop is often improvisational with dance
crews challenging each other to dance battles.

Jazz

Jazz dancing has its roots in seventeenth-century African traditions, brought to the
Americas via the Atlantic slave trade as slaves continued dancing traditions in Brazil,
the US and elsewhere on the continents.

Known for its improvisational and dramatic body movements, the jazz dancing grew
in popularity in early twentieth-century jazz clubs.

Today, jazz dancing builds on African American vernacular dance styles that
emerged along with Jazz music in the US. Swing, the Lindy Hop, the Shimmy and the
Charleston are popular kinds of jazz dances.

Tap Dancing

Tap dancing is a type of percussive dance characterized by the ―tap‖ of shoes

hitting the floor as the person dances. Tap dancers often wear metal ―taps‖ on the
heel and toe of a shoe to accentuate the sound.

Often performed as part of musical theatre, tap dancing often focuses on

choreography and formations, with more than one tap dancer performing at once.

Tap dancing characterizes a range of dances including flamenco, rhythm, classical,

Broadway and postmodern tap.

Folk Dance

Folk dancing is celebrated worldwide with people of different cultures and religions
using various forms of folk dance to portray emotions, stories, historical events or
even aspects of daily life.

Some well-known types of folk dance include: Bharatanatyam (India), Samba (Brazil)
and Hula (Hawaii). Some cultures may even perform multiple variations of folk
dances, with countries like South Korea performing individual dances for key events
such as victories in war, farming, music and religion.
Folk dances are commonly held at public events, where people can participate
regardless of whether they are professional or complete beginners. Such dances are
also accompanied by traditional music to further enhance the cultural experience.

Irish Dance

Originating in Ireland, this form of traditional dance has been popular for hundreds
of years amongst Irish people and other countries worldwide. Popularized by shows
such as River dance, Irish dancing is famously known for its fabulous display of
footwork and dance formations.

Most Irish dancing events are traditionally accompanied by signing and music.
During festivals, dances are held to showcase talent and to compete for trophies or
medals.

Whilst most people may recognize Irish dancing as being a group performance, there
are many well-known forms of solo Irish dances, such as the step dance.

Modern Dance

Considered as being a broad genre of dance, modern dance primarily arose from
western countries such as the USA and Germany during the late 1900s. While most
forms of dance are structured and feature set steps, the purpose of modern dance is
to rely on the dancer’s interpretation of the music and feeling to guide movements.

Modern dance was initially born out of dislike for the limitations of traditional dances
such as ballet, which often oppressed dancers with rigid rules and techniques.

Currently, modern dance is enjoyed across the world with participants having the
ability to practice ballet dancing without having to place strict focus on their
techniques or turnout. Instead, dancers can choose a piece of music and use
unconventional movements to convey emotions or to tell a meaningful story.

Swing

Swing is a variation of jazz dance which developed between the 1920s to the 1940s
as a response to the growing popularity of swing jazz in America. With the evolution
of music that occurred during the Jazz era, dance also began to change with the likes
of swing music encouraging faster, more rigorous movements.

Popular forms of swing dance include the Lindy Charleston, the Jitterbug, Lindy Hop
and the Balboa, many of which are still performed today. Swing dancing would
commonly be accompanied by Big Band musicians who often played upbeat melodies
which were smooth and easy to listen.