Physical Education and Health 3 Nature of The Different Dances

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Physical Education and Health 3 Nature of the Different Dances

Course
Module
Module 001 Nature of the Different
Dances
Dance Styles
Timeline
Dancing is the most vibrant and beautiful form of art. Besides this, it's a great
way of social interaction and provides a fun workout, which increases flexibility
and cardiovascular health. It is an act of moving rhythmically and expressively to
an accompaniment. The word dancing came from an old German word
“damson” which means to “stretch”. Essentially, all dancing is made up of
stretching and relaxing.
Dance is always a bliss to watch in terms of costumes, elegant moves and

music. Dance forms take centuries to develop and reflect the customs of the
society.
Numerous dance styles have evolved over the years and each style has a
history behind it. From medieval to contemporary dance forms, every style has
its own meaning and reason of origination. Dance is regarded as the best stress
reliever and also helps in keeping one's health and fitness in check. For
centuries, people around the globe have expressed themselves through dance,
where the practice still continues, today.
Timeline of Dance
Styles
Timeline Dance Style
400 BCE Indian Classical Dance
15th Century Ballet
1600-1750 Baroque Dance
Early 16th Century Capoeira

Late 16th Century & Early 17th Century Masque
1795-1918 Vintage Dance
1795-1925 Classical Persian Dance
1790-1825 Regency Dance
Late 18th Century Bolero, Flamenco
Mid 1800s Tap Dance
1876 Cake Walk

1890s Tango
1892 Calypso
1895-1918 Animal Dance:
• Horse Trot
• Kangaroo Hop
• Turkey Trot
• Duck Waddle
• Chicken Scratch
• Grizzly Bear
1898 Merengue
19th Century English Country Dance
Late 19th Century • Samba

• Argentine Tango
• Modern Dance
1900s • Acrobatic Dance

• Black Bottom
• Jazz Dance
• Bounce
1910s • Texas Tommy

• Foxtrot
1911 Texas Swingout

1920s Swing Dance, Balboa
1926 Charleston
1927 Lindy Hop
Early 1930s Jive
1930s Moonwalk
1940s • Samba de Gafieira

• Mambo
• East Coast Swing:
o Boogie Woogie
o Rock and Roll
o Modern Jive o
Jive o Collegiate
shag
1945 Bebop/Bop Dance
1948 Line Dance
1950s • Skanking Dance

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• Hand Jive
• Contemporary Dance
1953 Cha-Cha
Early 1960s Detroit Ballroom
1960s • Swing Dance

• Locking
• Popping (Strobing, Waving, Tutting)
• Turfing
1960-1970 Liturgical Dance
1967 Robot Dancing
1970s • Salsa
• Chicago Stepping
• B-boying
• Crip Walk/Clown Walk
• Electric Boogaloo
• Hip Hop Dance
• Liquid and Digits
• Disco Dance (House Dance, Waacking,
and Hustle)
1972 Contact Improvisation
1980s • Jacking
• Voguing
• Moshing
• Zouk
Late 1980s Melbourne Shuffle, Leroc
1982 Twerking
1987 Cabbage Patch Dance
1990s Memphis Jookin’, Zumba

1997 Jumpstyle
Early 20th Century Jitterbug Dance
Mid 20th Century Contemporary Dance, Rumba
Early 2000s Krumping, Electro Dance

Mid 2000s Jerkin’, Electro Dance
2003 Flash Mob
2008 Single Ladies Dance
2012 Gangnam Styles
Each decade injects a completely different influence to these dance styles. In

tandem with these, the types of music one dances to, also undergoes a radical
evolution. For instance, the dance styles of the 1920s and 1930s were more or
less marked by simplicity and groovy moves like the Lindy Hop, Jive, and
Moonwalk. In the 1980s and 1990s the influence is derived from pop culture and
street dancing.
One can often see strong, exotic influences in some styles. For instance, most
Brazilian styles incorporate African rhythms and influences similar to America's
improvisation of many Latin dances. Indeed, it would not be untrue to state that
the dance styles of each decade reflect the overall feel of that time, which
encompasses a collective influence of arts, economy, societal norms, and culture
peculiar to that decade. This fact is famously quoted by Kristy Nilsson as,
"Dancing is the world's favorite metaphor."
Phases of the Dance

Program
1. Creative Rhythms
Creative rhythms are sometimes called fundamental rhythms or natural

dances. It is an end product of exploration and improvisation of movements
as children learn to move the parts of their body and to use them as
instruments of expression.
2. Folk/Ethnic Dance
It is a cultural art form handed down from generation to generations. It
communicates the customs, beliefs, rituals, and occupations of the people
of a region or country. Folk dancing belongs to the people. It emanates
from them. Ethnic tribes have their specific tribal art forms originated and
danced by the people of the tribe.
Examples of folk dances are the rural and country dances, jotas,
mazurkas, pandanggos, among others with foreign influence.
Examples of ethnic dances are the dances of the mountain peoples of the
Cordilleras, dances of the ethnic groups in the Cagayan Valley Region
and the ethnic dances in the Mindanao Regions.
3. Social and Ballroom

Dance
The setting of the social and ballroom dance is a social gathering with the
more formal atmosphere than the simple and informal parties in which the
recreational dances are the usual forms. Social and ballroom dancing are
generally held in the evenings. The participants are usually in formal attire.
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4. Recreational
Dance
It includes dance mixers, square dance round and couple dances. Many of
these dances have simple patterns and combinations of walking steps,
polka step and the waltz step. The setting is usually informal gatherings and
parties, reunions etc.
5. Creative
Dance
It is the highest form of dance. It is the end-product of exploration and

improvisation of movements as the dancer or the choreographer expresses
his feelings or emotions, ideas, and interpretations. This is a dance with a
definite form, a beginning and an ending. The principles of art form are all
observed in the composition of the dance.
Examples of creative dance are ballet, jazz, and modern or contemporary

dance.
Different Types of Dances and Dancing Styles Across the

Globe
Whether it's performed for religious reasons or simply as a hobby, any form
of dance has the power to bind people together from different parts of the
world.
Dance is one of the most beautiful forms of art that has grown in leaps and
bounds. Dance is no longer just a hobby; it is also one of the most lucrative
professions as well. Besides, dance therapy is very much in vogue these days
simply because the experience of dancing helps a person to heal from within.
Dance is a form of expression that helps a person bring forth who they are, and
what they're passionate about.
The different types of dances and dance styles that are prevalent all over the
world, are an indication of the popularity of this art form. From the olden days till
date, dance has always been performed for social reasons or even if just
something to aesthetically display. The various types of dances are also
considered as an entertaining way to remain fit, with zumba, and other forms of
dance, being incorporated into workout routines.
Every dance form has its own unique identity. Each dance is beautiful in its own
way and has a different appeal to it. Every country has a distinctive approach
about its dance style, with ethnicities worldwide merging dance forms, and even
creating new ones, transforming the very idea of dance.
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Figure 1. Tango Figure 2. Waltz
Figure 3. Foxtrot Figure 4. Cha-Cha-Cha
Figure 5. Paso Doble Figure 6. Jive

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Figure 7. Merengue Figure 8. Rumba
Figure 9. Ballet Figure 10. Breakdance
Figure 11. Hip Hop Figure 12. Tap
Glossar
y
Dance: refers to movement set to music where there emerge organizations,
structure and pattern. Is is a composition that implies arrangement of parts
into a form.
Dancing: is a means of expressing one’s emotions through movement
disciplines by rhythm.
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Physical Education and Health 3 Modern and Contemporary Dance
Course
Module
Module 004 – Modern and Contemporary
Dance
Modern
Dance
According to historians, modern dance has two main birthplaces: Europe (Germany
specifically) and the United States of America. Although it evolves as a concert dance
form, it has no direct roots in any ballet companies, schools or artists. Modern dance
emerges as a consequence of its time, alone and outside any academic institution.
• François Delsarte (1811 - 1871, France).
He is considered as a precursor by modern dance history because he

invents a theory about the relationship between human movement and
feelings.
His researches lead him to conclude that to each emotion or mental image
corresponds a movement, or at least an attempt of it. That idea boosts one of
the main ideological components of modern dance at its origins: “feelings
and their intensity are the cause of movement and its quality”.
In other words, the source of dance lies inside the dancer, and not
outside, in codified gestures, like classical dance would propose.
These are some of Delsarte’s renowned

contributions:
- Elaboration of a new code of gestures, completely independent from
the classical dance tradition.
- Study and codification of a logic system about the relationships between
the different parts of the body, different types of movement and different
human feelings.
- Creation of a system for the study, analysis and teaching of

movement.
- Invention of the fundamental notion of the gesture’s

expressiveness.
- Introduction of the importance of the upper body (trunk, arms, face) as
the main vehicle of expression of the soul.
Delsarte’s student Steele MacKay spreads his theory and teachings in the
United States of America, leaving his influence in several figures of modern
dance history like Ruth Saint Denis, Ted Shawn and Isadora Duncan, among
others.
• Émile Jaques-Dalcroze (1865 - 1950, Austria -

Switzerland).
Dalcroze is a pianist and conductor, important for modern dance history because
he invents a new approach to movement called “Rhythmics” or “Eurhythmics”.
Its main contribution is the work over the relationship between music and
movement. According to him, body expresses a degree of ‘musicality’ that
can be studied and taught.
He doesn’t plan to apply his discoveries to dancers, but to musicians. Though,
his teaching method has such a great success throughout Europe that it reaches
some of
the most important modern dance figures of the time, like V. Nijinsky
(through Marie Rambert), Mary Wigman and Rudolph Laban.
These are some of Dalcroze’s renowned

contributions:
- Introduction of a notion of relationship between movement and

rhythm.
- Creation of an original educational method through
movement.
- Some of his essential principles: body blockages are caused by

rhythmic blockages; relaxation is indispensable to achieve a right
movement; breathing is crucial to obtain relaxation and is the
fundamental rhythmic movement.
Dalcroze’s method also leaves its influence in the United States of America
thanks to Mary Wigman’s student Hanya Holm.
• Rudolph Laban (1879 – 1958, Hungary -

U.K.).
Among the figures that produce the ideological and conceptual basis of
modern dance, Rudolph Laban is considered by modern dance history as
on of the most productive of them.
As a choreographer, dancer, teacher and researcher, he achieves to spread his
name and ideas widely: first through Europe, then to the United States and
nowadays around the whole world.
Laban publishes several articles and renowned books that are still important
references for dance theory and history. Some of his titles are: “Choreutics”,
“The Mastery of Movement” and “Educational Modern Dance”.
He also invents labanotation (or kynetography Laban), which is the most

complete and effective system for analyzing and writing movement, created till
the time. By this, he opens a completely new theoretical frame for movement
shape and quality analysis.
His thought includes the idea that human movement is the seat of life and
that it expresses the social state of being. Therefore, dance would be a need
of communitarian experience. He believes that educating individuals and
groups by the means of movement can correct society.
He influences Mary Wigman, Kurt Joos, Albert Knust and almost all
European modern dancers from the period between the two wars.
Anne Hutchinson Guest brings his movement notation system to the United
States of America, where it is taught nowadays almost in every institution for high
level dance education.
• Mary Wigman (1886 – 1973 Germany):
From a choreographic and aesthetical production perspective, Mary Wigman is,

after Laban, the first relevant, European, modern dance figure reported by
modern dance history.
As much as Laban, Dalcroze and Delsarte (who are of an extreme importance

mainly because of their ideological contributions), Wigman develops her own
understanding of dance and traduces it in a significant amount of choreographic
pieces.
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She opposes radically to classical dance values and methods, in a search for a
dance that would accomplish an expressive function of the dancer’s soul.
Concerned about a close relationship between spirituality and movement, she
defends the idea of invisible forces that would give life to dance. From this
point of view, she somehow recreates the cathartic function attributed to dance
in ancient societies.
Her choreographic work and thought are considered as part of the artistic
trend called German expressionism. Her practice itself receives the name of
dance of expression or “Ausdrückstanz” (in German).
Wigman’s dance pieces are remembered for their tragic, dark character and
are described as introspective dances that reveal vibrant, vital, excited and
passionate inner states of being.
She engages herself into the social and educational mission of the
choreographer, by creating several schools and transmitting her artistic legacy.
Among her renowned students are Hanya Holm, Harald Kreutzberg, Gret Paluca
and Kurt Joos.
According to modern dance history, she influences the whole German dance
trend during the 1920s and 1930s and what follows after the war.
Her ideas are brought to the United States of America by Hanya Holm, who
passes the heritage to figures like A. Nikolaïs.
Still, in other countries like France, for example, Wigman heirs are responsible
for the respective modern dance trends at the time.
Her most famous piece is called “Hexentanz” (The

Witch).
• Loïe Fuller (1862 – 1928, United States of

America)
Loïe Fuller is not actually regarded by modern dance history as a dancer or a
choreographer. This is because her main concern is not dance, or movement
itself, as it is for the whole rest of following modern dancers.
Though, she is the author of hundreds of scenic art pieces in which she
displays innovative experiments mixing lightning, scenic elements (big tissues)
and dance.
Initiated in her native country within music-hall shows, Fuller has no knowledge
of classical dance traditions, as any of the American pioneers of modern dance.
Though, she has a great success in Europe (especially in Paris) where she
causes a big influence and marks the artistic trends and vogue of the time.
Other than being the very first modern dancer in chronological terms (she is
already successful at a time when Rudolph Laban is just studying), she is
acknowledged by modern dance history because of her great contribution in new
possibilities of scenic illusion, thanks to the use of the development of electricity.
• Isadora Duncan (1878 - 1927, U.S.A. -
France)
Modern dance history describes Isadora as an emblematic figure of freedom.
This is not only because she refuses to follow academic dance education but
because she
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has the courage to break dance traditions and social codes with her
aesthetical propositions.
She constructs her thought by studying other artistic languages or ideological

fields (like poetry, sculpture, music and philosophy). Some when she says: “my
dance teachers are J.J.Rousseau, Walt Whitman, and Nietzche”.
For Isadora, dance is the expression of her personal life. She has an
inclination for nature, what makes her create dances around related subjects
like the waves, clouds, the wind and trees.
A remarked feature of her creative method is the use of classical music as a

source of inspiration, from which she translates its emotions. Also, her dance is
influenced by the figures drawn on ancient Greek vessels.
Europe receives her charismatic personality, transparent tunic, bare foot and
even scandals as a new lyrical message.
For modern dance history, she points the birth of another type of dance, which
would be the consequence of an interior movement of the dancer. At the same
time, she carries a new spirit of liberation from conventions and an idea of
dance as an expression of the divinity inside every human being.
Her contribution is not considered so much in terms of a dancing technique but

mostly because of what her work means for the cultural process of opening
minds. Though, from the artistic perspective she acts according to some of the
considered ‘modern dance principles’ like inventing a gestural language and
adapting movement to the artistic project.
But as I mentioned above, she is remembered mainly because of her boosting to

the liberation of conventional codes that restrict body (and especially feminine
body) as a general fact in society. Although she dedicates herself to teaching as
well and founds numerous schools in Europe, she doesn’t leave significant heirs.
• Ruth Saint Denis (1877 - 1968,

U.S.A.)
Ruth Saint Denis performs and is renowned mainly in the United States. She is
the daughter of one of the first women admitted to University, feminist and
amateur of alternative curative methods.
She grows within an ideological ambience of oriental religions, which will

be reflected later in her choreographic productions.
Initiated in Delsarte’s method, her mother pushes her to the scene in order
to sustain their family. This is how she starts creating music-halls in New-
York.
She has her own philosophical and mystical discourse too. The female dancer is
for her like a priestess, which contrasts with the prejudice of the time of the
dancer as a woman of little virtue. Dance is for Saint-Denis a mean for
reunification with the divine.
Being famous already, she meets Ted Shawn, who will be her partner in the
foundation of the DENISHAWN School and company (Los Angeles 1915 -
1931). They are known by modern dance history for combining the passionate
charisma of Saint-Denis with the technical rigor of Shawn.
The school offers an eclectic program of courses, from yoga and oriental
religions to Delsarte’s and Dalcroze’s methods.
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Some of its teachers are Lester Horton, Michio Ito and Louis
Horst.
Important figures in modern dance history like Doris Humphrey, Charles

Weidman, and Martha Graham, also go through their teachings and participate
in their company’s activities.
The Denishawn choreographic pieces are remembered for its big and
spectacular formats, with elaborated sceneries and development of what
Saint-Denis calls “musical visualizations”. These are danced representations
of music and are considered as a first attempt of choreographic abstraction.
In 1931 the school dissolves and the couple splits

up.
• Ted Shawn (1891- 1972,

U.S.A.)
After the dissolution of the Denishawn School and company, Ted Shawn
continues his choreographic career independently.
With the first company composed by men only in modern dance history, he
makes tours around the United States (visiting universities specially) and
attracts a lot of young people from a high intellectual level.
Shawn, inspired in Delsarte, fights the prejudice of the effeminate performer. He
educates boys that look like muscular athletes, creating an image of a masculine
and sportive dancer. He also founds a choreographic center: The Jacob ś Pillow
(Massachusetts), which is still an important place for dance as much for its
studying offers as for its dance festival.
• Doris Humphrey (1895 - 1958, U.S.A.)
Doris Humphrey joins the Denishawn in 1917, being already a dance teacher in
her native province.
She works for Saint Denis as a teacher and dancer, participating in the
company tours around America and Asia till 1926.
It is within the Denishawn that Humphrey associates with the dancer

Charles Weidman and the pianist Pauline Lawrence to create the Humphrey
- Weidman company (1927 – 1944).
Their artistic productions are known in modern dance history as being
contrastingly sober beside the commercial and spectacular wastes of Saint
Denis. Also, Charles Weidman contributes to them with a theatrical sense and
works using pantomime and humor.
Humphrey develops an original dancing technique by observing the

relationship between gravity and human body. She establishes a main
physical principle for dance: Fall and Recovery. This notion is resumed in her
famous sentence: “Movement is situated on a tended arc between two
deaths”: which are vertical balance and horizontal balance.
Other than being the first in modern dance history to chose imbalance as the base for her
movement, she also teaches extremely important notions (as technical means) like weight,
rebound, suspension and the importance of breath. Course Module
Another one of her contributions is the understanding of the dancing group
as a main choreographic entity and not only as a mass counterpointing the
soloist.
The piece called “Water study” (1928) is an example of her group

experiments.
She is concerned about other questions too, like American subjects

(reflected in choreographies like “The Shakers” (1931) or the violence of the
world (“Theater piece” (1936) or “Inquest” (1944).
She leaves a written patrimony about her choreographic thought in a book

entitled “The art of making dances”.
In 1944, she stops dancing because of arthritis and José Limón, who has
joined the Humphrey-Weidman group since 1928, creates a new company for
which she continues working as an artistic director.
• Jose Limon (José Arcadio Limón, 1908 - 1972, Mexico -

U.S.A.)
Limón is responsible for spreading Humphrey’s technique in Europe. Although

that knowledge is renowned under his name, he always insists that she is the
innovator and he is a continuator.
Though, he has his own choreographic concerns and works over social
themes. He expresses a consciousness of the precarious state of humanity in
dramatic and tragic pieces about subjects from his natal historical context.
Some examples of that are his pieces “La Malinche” (1949), “Carlota” (1972)
and “The Pavane of the Moor” (1949).
Limón is strongly affected the first time he sees a dancing piece (by Harald
Kreutzberg and Ivonne Georgia). His impression is an example of what the
entire western world is still discovering at the time: "what I witnessed, simply
and irreversibly changed my life. I saw dance as a vision of indescribable
power. A man can dance with dignity and torrential majesty; dance as
Michelangelo’s visions or Bach’s music”.
According to modern dance history, his debut in 1947 owns him the title of
the finest male dancer of the moment by the New York Times. He was
successful in Europe too, with a first performance in Paris in 1950.
• Martha Graham (1894 - 1991, U.S.A.)
Graham enters the Denishawn school and company in 1916 and becomes the
most famous and monumental pupil of this seedbed.
In 1923 she moves to New York, where she participates in music halls and
musical comedies, at the same time she works on dancing solos at her studio.
She develops her own training technique, which will reach a world-wide success
till the present time. These are some of its principles:
- Focus on the ‘center’ of the
body.
- Coordination between breathing and

movement.
- Relationship with the

floor.
-Alternation between two movement intentions: “contraction and

release”.
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She creates an original choreographic vocabulary focused on the movement of

the pelvis for she privileges this part of the body as the zone of expression of
the feminine libido. Her company is exclusively for women until 1938.
She also proclaims the idea that dance works over an ancestral
memory.
Graham remains active as a choreographer during a process that lasts over
sixty years. Some aesthetical cycles have been determined by modern dance
history in order to understand her work: the oriental cycle, the primitive, the
American and the Greek.
Her work also reflects the American ambience of the moment trough her search
for an identity, exaltation of the pioneer spirit, fight against the Puritanism and
follow of a mystical spirituality.
Figures like Louis Horst, Erick Hawkins, Isamu Noguchi and composers like
Aaron Copland or Samuel Barber are among her collaborators.
These are the titles of some of her

pieces:
Primitive period:
- “Lamentation”
(1930)
- “Primitive Mysteries” (1931). Subject: finding the universal soul

by imitating the steps from the ancestors).
American
period:
- “Frontier” (1935)
- “Appalachian Spring”
(1944)
- “American Document”
(1938)
Greek period: (inventory of archetypes from a matriarchal
society).
- “Hérodiade”
(1944)
- “Cave of the heart” (1946). Subject: Medea’s

myth.
- “Night Journey” (1947). Subject: Jocasta ‘s
myth.
- “Clytemnestra”
(1958)
- “Judith
(1950)”
- “Errand into the Maze” (1947). Subject: Arianne and the minotaur’s
myth.
In 1984, Martha Graham’s company is worldwide recognized till the point of

being invited by Rudolph Nureyev to the Paris Opera.
She dies in New York in 1991, leaving the Martha Graham Dance
Company and School as a legacy which remains as an invaluable
patrimony for the dancers community.
• Alvin Ailey (1931 - 1989, U.S.A.)
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Alvin Ailey has an important place in modern dance history for being
the choreographer of the ‘black modern dance’.
He goes trough a variety of teachings and influences (like the one of Katherine
Dunham, Lester Horton, Doris Humphrey and Martha Graham), before creating
his own company: The Alvin Ailey American Dance Theater.
What distinguishes his work the most is the focus on the expression of
black people’s feelings.
His most famous choreography is entitled “Revelations” (1960) and is
considered a master piece that gathers his most renowned aesthetical choices:
lyricism, use of ethnic music (negro spirituals in the case), Graham technique,
spirituality and revolutionary ambience.
Although he is recognized for his artistic emphasis in black culture aspects, over
the time he opens his company to multiethnic possibilities. According to modern
dance history, this happens before he establishes an own choreographic
language.
Still, he’ll stay as the one who opened the way and place for multiethnic dances
and new choreographers, through the opening of his school and company for
others to create within.
• Alwin Nikolaïs (1910 – 1993,

U.S.A.)
Designer, composer and choreographer, Nikolaïs is one of the most popular

modern dance artists around the world.
He has a marked preference for abstraction, which he expresses from the very
beginning of his choreographic career: “I had to redefine dance and I concluded
that the essence of this art is movement, just as color is for the painter and the
three dimensions are for the sculptor”.
He creates dance pieces where human body’s movement has the same
relevance as optical effects, collages, paintings, projections and all kind of
accessories for scenic illusions.
These are some of his main aesthetic
choices:
- Any point in the body can be the ‘center for

movement’.
- Human being is just another element among the moving
universe.
- Body undergoes several metamorphoses and becomes

abstract: accessories, tissues, big sticks...
- Improvisation and composition are part of the technical training.

The student is responsible of exploring his own body.
Nikolaïs is also renowned in modern dance history for his amazing teaching
skills, which focus on developing the capacity of invention in his students. Some
important figures formed at his company are Murray Louis, Carolyn Carlson and
Susan Buirge.
Contemporary
Dance
We could say that both ballet and modern dance are ancestors of contemporary
dance. Ballet creates the general concert dance frame work and technical knowledge
used or refused by contemporary dance. Modern dance is at the same time its ‘anti-
reference’ and kind of ‘mother in law’.
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So, there’s a contemporary dance history before the 1950s: that one of ballet and
modern dance, which somehow serves society to make emerge contemporary dance.
As the information about contemporary dance history is increasingly available in time,
the data about this chronological period is far larger than the one for modern dance
history or ballet history. Also, it continues to increase and change everyday. So, the
following text provides only a selection of very important figures or trends, recognized
for their creative work. A huge part of this story will wait for later pages or discussions.
• Merce Cunningham (1919 – 2009,

USA)
Merce Cunningham is a student of Martha Graham. After being a main dancer

in her company for several years, he starts an independent career as a
choreographer in 1942. Accompanied by John Cage’s music, he presents a solo
entitled “Totem ancestor”, which opens his period of individual research.
Since 1943, always accompanied by Cage, he starts a series of concerts and

tours with the purpose of exposing his new ideas concerning dance.
In 1953, he creates a group in the Black Mountain College (North Carolina)

that allows him to develop a method full of new artistic postulates. He
innovates from almost all of the possible perspectives: choreographic,
compositional, technical- interpretative, musical, philosophical and others.
Contemporary dance history considers him as the first choreographer
that proclaims himself against the established conceptions of modern
dance, and develops an independent attitude towards the artistic work.
Some of his
ideas:
• Dramaturgical and compositional

perspective:
- Abstraction: Movement is expressive and enough beyond
any intention. There’s no need to tell a story or reflect
something.
- No figurative or emotional
references.
- Away from the need of communicating something, from pre-
established formal elements or coming from an interior
impulse.
- To compose in space and time without a

goal.
- Immobility (as silence) is a sufficient aesthetical

experience.
- Chance as a method for making aesthetical choices: throwing
coins or dice, using the ‘I Ching’.
- Multiple and simultaneous

actions.
• Musical
perspective:
• Independence between dance and

music.
• Scenic frame
perspective:
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- Deconstruction of rules of perspective and symmetry defined by
court ballet: breaking of scenic space conceptions of front, center
and hierarchies: space is equal at any point, fragmented and
exploded.
- No hierarchy between
dancers.
- The audience is free to see in its own manner and with its
own looking choices.
- Out of theaters: non conventional

spaces.
- Inventor of the ‘EVENT’: sequence of dances whose dramatic
structure or content is never stable, with no sense of logical syntax
or construction (ancestor of what is later called happening).
• Technical-interpretative
perspective:
- Virtuous dancers in a new
sense.
- Mastery of tempo and movement length by inner
perception.
- Ability to dance with great speed and changing of rhythm

and directions in an unpredictable way.
- Capability of adapting and memorizing
sequences.
- Rhythmical diversity without

equivalent.
- Classical technique for the
legs.
• Philosophical
perspective:
- Abandonment of the ideas of the ‘inspired artist’, the piece of art

as an expression of an individual and an evaluation criterion
based on beauty or expressive qualities.
- Order inside
disorder.
- Never the two same ‘events’: not about fixing, but about
reflecting flexibility of life.
- Reflecting life: no linearity, no classical dramaturgy, things
don t́ happen only in a successive way but also
simultaneously.
- No politics, no narrative, no argument, no theme, no
intention.
- Creative
freedom.
- ZEN influence: “non obstructive quality” of things, they can coexist

in nature without interfering with each other.
- Dance to be danced or to be seen, not to be

analyzed.
• Others: • Innovative lighting, sets and costumes thanks to the
collaboration
with contemporary artists like Andy Warhol,
Robert Rauschenberg and Jasper Johns.
For contemporary dance history there’s a ‘before Cunningham and after
Cunningham’. His work marks the time for a completely new era of dance and
gains it the inscription inside the story of contemporary art with the same status
as other arts.
11
The ‘postmodern’
dance:
To understand the so called ‘postmodern’ dance, it is important to remember
the social context in which it develops. The 1960s in the U.S.A. are years of
questioning of the historical ‘truths’ and ideological principles that rule over the
social, political and artistic fields. Society starts a process of opening to the
recognition of plurality, relativism of knowledge and subjectivism of perception.
According to contemporary dance history, the ambience of social and
cultural changing is noticeable in arts by a tendency for experimentation and
radicalism. From this time on, choreographers stop creating ‘schools’ or
‘styles’ like their modern masters did. Influences between each other are
less direct and more fragmented.
Among the artists who start gathering with this new spirit (or join the group in
time) are Anna Halprin, Simone Forti, Yvonne Rainer, Judith Dunn, David
Gordon, Trisha Brown, Steve Paxton, Deborah et Alex Hay, Elaine Summers,
Lucinda Childs and Meredith Monk.
They do one first concert in the Judson Memorial Church (New York) in 1962.
After a time of stability there, the “Judson Church Dance Theater” is
consolidated. In 1970, it is followed by the gathering of an improvisation group
called “Grand union”.
Some of the postmodern dance features

are:
- “Anything goes” (time of subjectivism), which means that

everything proposed is valid.
- Questioning of ‘modern’ dance principles and history (in the early
times), and recovering of its heritages and acquisitions (later).
- Search for the degree zero of movement: exploration of daily life

movement as a sufficient aesthetical experience and denial of the
importance of technical virtuosity.
- Substitution of aesthetic judgment by observation and analysis (notions

of good and bad loose importance).
- Intention of approaching dance (arts) to life and big audiences (dance in

the streets, performers that are not dancers...).
- Search of a lack of expression by the

dancer.
- Identification of social and ideological marks in the body and its

movement.
- Refusal of the pretention of creating a vocabulary, repertory or
style.
- Questioning of the value of the notion of ‘author’ of an art

piece.
- Performance: doing something more than representing it. Dancers,

actors, musicians and visual artists have the same status within it.
Frontiers between artistic genres become undefined.
- Importance of
improvisation. Course Module
- Exploration of repetition as a compositional
method.
- Artists (dancers) react against the consumer society, the wars held by
the U.S.A., the art market and the elitism of its conventional places.
Some of the choreographers that started their careers during the 60s, in the
middle of this ideological ambience, continue their research independently.
Contemporary dance history has records of those examples: Lucinda Childs

(known for her repetitive procedures and purist minimalism), Twyla Tharp
(known for having become a popular -more than an avant-garde- artist, who
fuses her work with pop culture), Trisha Brown (known for her exploration of
gravity, ‘accumulations’ and ‘unstable molecular structure’ period) or Steve
Paxton (famous for the development of ‘Contact Improvisation’).
• Butoh
Butoh is the name given to a group of performance practices that could be

considered as a type of Japanese contemporary dance.
Around 1959, Japan sees the birth of a new gestural language, anchored in the
complex cultural experience of the country at the time. Contemporary dance
history commonly associates the motivation for this arising with the social
devastation and misery left by the world second war. Though, it has been
recorded that it also appears as a reaction against the contemporary dance
scene in Japan, which Tatsumi Hijikata (considered the founder of butoh) felt was
based on the one hand on imitating the West, and on the other on imitating the
Noh (major form of classical Japanese musical drama).
Hijikata critiques the current state of dance as being superficial and develops
his expressive way, giving it the name of “dance of the darkness”. In a search
for an individual or collective memory, butoh find its essential subjects and
components: death, eroticism, sex and mobilization of archaic pulsations.
After Hijikata and Kazuo Ôno (considered as a founder of butoh as well), a

series of renowned figures are found in contemporary dance history: Ushio
Amagatsu (director of the famous group Sankai Juku), Ko Murobushi, and
Carlotta Ikeda, among others.
Some of the butoh’s common features

are:
-Use of taboo
topics.
-Extreme or absurd
environments.
-Slow hyper-controlled
motion.
-Almost nude bodies completely painted in

white.
-Upward rolled eyes and contorted
face.
-Inward rotated legs and

feet.
-Fetal
positions.
-Playful and grotesque

imagery.
-Performed with or without an

audience.
-No set style:” There are as many types of butoh as there are
butoh choreographers.” (Hijikata).
13
Course
Module
-It may be purely conceptual with no movement at
all.
- Its technique uses some acquisitions from the traditional Japanese

knowledge, like the control of energy, which translates into an
insistent rhythm (close to Nô Theater) and strong expressivity.
Butoh is first rejected in Japan. The first piece by Hijikata, in 1959, creates a
scandal and he is socially banned. Later, he is greatly received in the western
world (especially in Europe in the 70s).
Butoh finally gains a big success in Japan in the 80s, thanks to an artistic trend
that is interested in the search for a national identity. By the 90s, the new
generations connect Japanese butoh with cultural references spread world
wide.
Nowadays it is a dance preformed all over the world and mentioned in almost
every contemporary dance history record.
• Pina Bausch (1940 - 2009,

Germany):
Heir of the German expressive dance, Pina Bausch receives her dance training at the
Folkwang School in Essen, under the supervision of Kurt Jooss. She is engaged
there as a choreographer since 1973, thanks to what she creates the Wuppertal
Dancetheater. Under this name, although controversial at the beginning, her
company gradually achieves international recognition because of the proposal of
a new form of show that shatters the world of dance as much as the world of
theater.
The work of Pina Bausch is close related to contemporary dance but is most
commonly known as a modality of postmodern or contemporary ballet (from
the dance perspective and not the theatrical one). This is possibly because
she uses classical, virtuous dancers, but goes far away from the classical
ballet performing conventions. At the same time, even if her pieces include
theatrical gestures and voice, she refuses the theatrical procedure of
constructing characters.
According to contemporary dance history, these are some of the features of her work:
-Combination of poetic and everyday

elements.
-Shows where there’s mixture of musical hall, operetta and
happening.
-Recurrent subject: the human loss within social systems that

are stereotypical and hypocrite.
-Denunciation of codes of
seduction.
-Repetition and non linear

narrative.
-Refusal of creation of ‘characters’ in a theatrical sense, but use of voice
and theatrical gestures.
-Virtuous dancers, daily trained in classical

ballet.
Pina Bausch is also known for having developed her own compositional method.
She searches the choreographic material using the strategy of asking questions
to the
dancers (about childhood memories or buried stories). By this, she pushes
dancers to exteriorize their selves through an introspective work.
Awarded some of the greatest prizes and honors world-wide, Pina

Bausch is recognized by contemporary dance history as one of the most
significant choreographers of the end of the XX century.
Ballet and contemporary dance (art)

ideas:
While at the origins of modern and contemporary dance, ballet appears often either
as a model to refuse or as a foreign field, the second half of the XX century sees
classical and contemporary dance into a position of reciprocal interest.
From the point of view of some contemporary dance cases, ballet will be an allied
that serves mostly for the technical development of performers.
From the perspective of ballet, contemporary dance ideas will mean the access to
huge creative and experimental issues, as much as the possibility to experience
technical alternatives.
The spreading of postmodern ideas triggers a series of ‘recreations’ of classical ballets
(like Swan Lake, Giselle, Coppelia, The Sleeping Beauty or the Nutcracker) by the new
choreographers as well as the fusion of styles.
Some important figures that appear in contemporary dance history as conductors of
the crossings between ballet and contemporary dance values are:
Rudolph Nureyev (1938 – 1993): an archetypical classical figure who will not hesitate
to work with modern and contemporary dancers and that becomes a great incentive
for the classical community to start trespassing barriers.
Jirí Kylián (1947, Czech Republic) and Hans van Manen (1932, Netherlands): together
they cause the explosion of the Netherlands School in the 80s, incorporating modern
ideas to ballet vocabulary and elaborating an own style. The Netherlands Dance
Theater becomes the working place of some of the most renowned international
choreographers like Mats Ek, William Forsythe and Nacho Duato.
William Forsythe (1955, U.S.A.): highly determines the 90s with his style, searching for
the dancers’ technical limits and breaking the conventions of the representation. He
would say: “Classical vocabulary will never be old. It’s the way to use it what makes it
get old. So, I use it to tell current stories.”
The figures that could be considered as part of this trend are a lot and it would be
more than inappropriate to make generalizations about their works. I believe each
one of them deserves an own page, so I’ll be constructing and providing those at our
site in time.
For the moment, here's a list of some of the choreographers that haven’t been
mentioned yet and that are commonly found in contemporary dance history:
Maurice Béjart, Keneth Mac Millan, Robert Joffrey, John Neumeier, , Mats Ek,
William Forsythe, Nacho Duato, Mark Morris, Jean Cristophe Maillot, Maguy
Marin, Angelin Preljocaj, Dominique Bagouet, Wim Vandekeybus, Matthew
Bourne...
Classifying ‘ballet choreographers’ into a history of contemporary dance may feel

inadequate. Tough, I’ve chosen to mention them briefly in this page, because for this
chronological period of contemporary dance history, aesthetical frontiers are very
much undefined. It would not be very precise to say that one choreographer is more
‘classical’ or
15
‘contemporary’, as the correspondent features are used freely by all with the
creative purposes of each choreographic project.
That’s why our contemporary dance history tale finishes here. Look in the future for
the linked pages that will provide the specific information about each one of the
artists.
Philippine Contemporary
Dance
Rising from the rubbles of WW II and freed from American domination, the
Filipinos surged in creativity. The ’50 and ’60s saw dance revival and
choreographic invention.
Schools put up folk dance troupes like the Far Eastern University, Philippine Normal
University (Barangay Folk Dance Troupe) and Philippine Women’s University. The
Bayanihan Philippine Dance Company captivated the world at Brussels Exposition in
1958. Leonor Orosa Goquingco’s Filipinescas Dance Company, Teresita Pil’s Leyte
Kalipayan Dance Company, University of the Philippines Filipiniana Dance Group,
Darangan Cultural Troupe at Mindanao State University-Marawi, and Ramon Obusan
Folkloric Group followed to win their own awards and accolades abroad. All at first
capitalized on the efforts of now- declared National Artist, Francisca Reyes Aquino, to
gain national and international recognition, from Manila to Broadway and across the
Iron Curtain.
In ballet, Orosa Goquingco went to stage Noli Dance Suit and other ballets. Remedios
de Oteyza’s abstract ballets were performed by the De Oteyza Ballet, Manila Ballet
Company and Hariraya Ballet Company (founded with Inday Gaston Manosa). Rosalia
Merino Santos staged and lectured with the Far Eastern University Modern
Experimental Dance Group. Anita Kane toured nationwide with classical and Filipino
ballets of hers called Anita Kane Ballet Company, later Pamana Ballet. Joining them
was Ricardo Cassell from America, first teaching for Pacita Madrigal (staging Giselle
for her and Benny Villanueva Reyes) and later his wife Roberta’s school and Studio
Dance Group. Trudl Dubsky Zipper periodically returned from the United States to
stage ballets and operas.
They all inspired a new group of dance-makers and leaders. Corazon Generoso Iñigo
staged folk dances and choreographed modern pieces for university groups, for the
films and the productions of J. Amado Araneta in Cubao, Quezon City. Maribel Aboitiz
and Eddie Elejar followed up the fame of Manolo Rosado and Fely Franquelli in Europe.
With Joji Felix and Cesar Mendoza, Elejar set up a school at PWU. He and Julie
Borromeo and Felicitas “Tita” Layag Radaic later formed Dance Theater Philippines as
the first professional company, along with the Hariraya. DTP was later solely directed
by Radaic or Basilio (Steve Villaruz), carrying on Ballet at the (Rizal) Park for more than
12 years and producing ballerinas Anna Villadolid, Lisa Macuja and Eloisa Enerio. Still
later, the Dance Concert Company of Vella Damian and Eric Cruz, and Manila
Metropolis Ballet of Elejar and Toby Fabella served the widening audience for ballet.
This was also met by visiting companies from Asia, Australia, the United States, Britain,
Europe and Russia.
With the opening of Meralco Theater and the Cultural Center of the Philippines, still later of the
restored Manila Metropolitan, U.P. and Camp Aguinaldo Theaters, choreographic
ambitions were no better served than in the old Far Eastern University, Philamlife and
Girls Scouts of the Philippines auditorium, and the defunct Rizal Theater.
Starting as a private group called Alice Reyes and Modern Dance Company, Ballet Philippines
had the advantage as resident dancers of the CCP. Reyes (starting with Elejar as Course
Module
co-director) built a modern repertoire with her Amada, Itim Asu, Rama Hari, Carmen,
choreographers Elejar, Fabella, Gener Caringal and Norman Walker, and the ballet
classics with foreigners, especially William Morgan and the Russians. Subsequent
directors were Edna Vida, Denisa Reyes, Agnes Locsin–all choreographers in their own
right, and now Cecile Sicangco. In 1987, CCP accommodated Philippine Ballet Theater
who came under the directorship of Manosa, Borromeo, Elejar and now Caringal. The
Company’s strength had been its wide choice of local choreographers. In 1966, a
splinter group from PBT formed Ballet Manila with Cruz and Macuja as directors. It
espouses Russian style, although it has lately acquired works from David Campos,
Vida, Fabella, Nonoy Froilan and Osias Barroso. All these companies have won merits
in performances abroad. They have toured nationwide, following the pioneering work of
Kane and of Fe Sala Villarica in the Visayas.
In the idiom of jazz, Douglas Nierras and his Powerdance are the most prominent,
following the groups Hotlegs, of Julie Borromeo, Metropolitan Dance Theater, etc. The
new groups are Whiplash and several others dancing for television. They have graced
the shows of Vilma Santos, Nora Aunor and Sharon Cuneta, following up those of Pilita
Corrales, Nida Blanca and Nestor de Villa in their time. Television has also provided
exposure for the popularization of ballroom dancing, earlier served by Dance Time with
Chito (Feliciano) and the Penthouse editions. The Dance Sports Council has also
helped standardize dance competitions and dance instructions. The Old and new dance
forms are the boogie-woogie, rock ‘n roll, mashed potato, twist, boogaloo, bossa nova,
frug, pachanga, watusi, hustle, lambada, swing, hip-hop and the free-for-all disco-
dancing.
In dance education, physical education departments continue to teach dance (mostly
folk) from the grade school to college level. Dance degree programs are offered at
University of the Philippines and De la Salle University. In addition to the workshops of
the Dance Committee of the National Commission for Culture and the Arts, the
Philippine Folk Dance Society, Dance Educators Associations of the Philippines and
Francisca Reyes Aquino Memorial Foundation also offer annual workshops.
During the leisure time Filipinos can be found dancing more. This include the battalas
(choreographed skirmishes) in the moro-moro or comedia that still exist, and in many
festivals around the country like the sinulog, ati-atihan, caracol, guling- guling,
dinagyang, sayaw sa Obando, turumba in Pakil, etc. These may be found on the
streets, the stage or the shopping malls today.
Differences between Modern and Contemporary

Dances
Modern vs Contemporary
Dance
You won’t see much of a difference between modern and contemporary dance if you do
not know what each dance style stands for. Modern and contemporary dances are both
developed from the art of rhythmic body movement used as a medium of social
communication and expression. They are equally potent channels that utilize different
nuances in style and varieties of techniques to represent the emotions and unuttered
speech. If you look at the two words, modern and contemporary, the word modern
speaks about something new. Then, the word contemporary speaks about something
that is happening now, in the present time. Is this how you make the difference
between the two dance styles too? Let us see what they truly mean by examining each
dance style separately.
What is Modern
Dance?
17
Modern dance reflects a style that is devoid of the restrictions of classic ballet, removed
of structured routines, and focused on free-interpretations derived from inner emotions.
Dating back to the late 19th and early 20th century, modern dance has been the
product of performers’ rebellion against classic performances, costume, and footwear
use. Turning against the previously established practices, dancers started a trend of
relaxed, barefoot, and non-traditional costume wearing acts with modern dance.
Actually, apart from the movements, the costumes are very interesting in modern
dance. You will see costumes that are very out-of-the-box productions with colors that
blend in with the act very well. These costumes are not like traditional classic dance
costumes.
What is Contemporary
Dance?
Contemporary dance is a specific concert dance genre that is all about
unchoreographed movements as influenced by compositional philosophy.
Contemporary dance dates back to the 20th century. This dance variety draws
inspiration from a range of methods and skills drafted from modern dance and ballet,
though it is strictly made to be non-classical in nature. Emphasizing the need of
impeccable form, the contemporary dance frequently utilizes groundwork to produce a
piece that is neither of cultural or conventional jazz orientation. Merce Cunnigham is
considered the first choreographer to use contemporary dance. Other pioneers of
contemporary dance are Ruth St. Denis, Doris Humphrey, Mary Wigman, Francois
Delsarte, Émile Jaques-Dalcroze, Paul Taylor, Rudolph von Laban, Loie Fuller, Jose
Limon and Marie Rambert.
What is the difference between Modern and Contemporary

Dance?
• Modern dance reflects a style that is devoid of the restrictions of classic ballet, removed
of structured routines, and focused on free-interpretations derived from inner
emotions.
• Contemporary dance is a specific concert dance genre that is all

about unchoreographed movements as influenced by compositional
philosophy.
• Modern dance is older than contemporary

dance.
• The development of both modern and contemporary dance revolved around the desire of
attaining an improved ranged movement as expressions of style, which are
detached from the one that is viewed as traditional.
• Modern dance, however, gives more accent to moods and emotions to come up with
routines that are distinctly of its own. Contemporary dance, on the other hand,
transcend boundaries by developing relatively new styles of movement,
emphasis on motion that have not been practiced universally.
• Modern dance routines are all for the deliberate use of gravity, while
contemporary dance retains elements of lightness and fluidity.
Throughout these years, dance forms have endured extensive growth. Dance, in
itself, has rightfully served its purpose to express and to define perspectives on
various societal issues that are often obscured. What matters when looking at the
difference between modern and contemporary dance is remembering that both are
forms of non-classical dances.
Course
Module
Modern vs Contemporary
Dance
It is not certain when man started to learn how to dance, but dancing has been an
integral part of human history. As evidenced by the rituals and customs handed down
through generations, the dance is one art form that has been used by man to express
himself.
It is a way for people to communicate with one another, of expressing one’s ideas
and emotions. It provides a way for people to socialize and interact with each other
and, in most cases, dances usually tell stories.
One can dance solo, with a partner, or in a group. A dance can be performed with any
type of music, the beat of drums in a ceremonial dance or to the music of a waltz or
tango. There are also several classifications of dance, two of which are modern dance
and contemporary dance.
Modern dance was developed in the early 1900s, the time when dancers came out
against the stiffness and restraints of classical ballet. It created its own techniques,
costumes, shoes, and gave more attention to self-expression and individual creativity
rather than technical expertise. It allows dancers and choreographers to create steps
using their moods and emotions producing a more relaxed dance style. Initially, modern
dance was based on myths and legends but later came to dramatize the ethnic, social,
economic, and political climate of the time.
In later years, modern dance became influenced by dances from different countries,
including African, Caribbean, and Latin. Today, modern dance is more technical and
addresses more issues than when it was created. It paved the way to the development
of the concert dance, one type of which is the contemporary dance. It uses ballet,
modern, and postmodern dance techniques while at the same time letting dancers use
their artistic and creative abilities.
Contemporary dance may include techniques that are found in ballet and modern
dance such as floor work, fall and recovery, improvisation, even incorporating yoga,
pilates, and martial arts together with techniques introduced by such famous dancers
as Graham, Hawkins, Horton, and Cunningham.
While both modern dance and contemporary dance have developed to allow dancers
and choreographers to have more room for self-expression and break away from
traditional dance, modern dance focuses more on emotions and moods while
contemporary dance focuses on creating new techniques and styles. Contemporary
dance creates lighter and more fluid movements emphasizing the connection
between one’s body and mind. Modern dance, on the other hand, is more influenced
by ballet and jazz which utilizes gravity in their techniques.
References and Supplementary

Materials
Online Supplementary Reading
Materials
Contemporary Dance History; http://www.contemporary-dance.org/contemporary-
dance-history.html
Modern Dance History; http://www.contemporary-dance.org/modern-

dance- history.html
Philippine Contemporary Dance;

http://ncca.gov.ph/subcommissions/subcommission- on-the-arts-
sca/dance/philippine-contemporary-dance/
19
Difference Between Modern and Contemporary Dance;

http://www.differencebetween.com/difference-between-modern-and-vs-contemporary-
dance/
Difference Between Modern and Contemporary Dance;

http://www.differencebetween.net/miscellaneous/entertainment-
miscellaneous/difference-between-modern-and-contemporary-da
1
Physical Education and Health 3 Ballroom Dancing as a Social Dance
Course
Module
Module 004 – Ballroom Dancing as a
Social Dance
What is Ballroom
Dance?
The term “ballroom dance” refers to the traditional partnered dance forms that are done
by a couple, often in the embrace of closed position (ballroom dance position). This is
the overall umbrella term covering three forms which will be discussed below.
Ballroom dance is exclusively a couple dance. They’re mostly done with body
contact, especially with the man’s arms supporting the waist of his partner. However,
they can be danced without body contact since the man’s hands and arms should
provide a frame rigidly fixed to his body that moves precisely as his body moves.
In ballroom dancing, a skillful and technically correct execution of the dance is

regarded as more satisfying and enjoyable because it apparently feels more
comfortable and coordinated.
Forms of ballroom
dance
There are three forms of ballroom dancing: the social ballroom, competitive ballroom and
exhibition ballroom. For this module, we will discuss its differences and its
examples.
The most essential difference between the three forms is its audience. Each form of dance
is performed before different types of audience for their enjoyment. Social
ballroom is performed mainly for the partner, competitive ballroom is mainly for
judges, exhibition ballroom is for a public audience.
The following are the audience’s expectations for each form of ballroom
dancing:
1. In social ballroom, the partners would like to interact with the other
spontaneously, for fun, doing steps that are also enjoyable for them. 2. In competitive
ballroom, judges expect to see the accurate, precise and correct
steps and styles from the dancers done with great flair. 3. In exhibition ballroom, the
audiences expect to be entertained by beautiful and
impressive moves by the
dancers.
Furthermore, the attitude of social ballroom dancers is commonly sociable,

friendly or kind, and flexibly adaptive to accommodate the styles that are different
from your own. In competitive ballroom dancing, the attitude of dancers must be
correct and expansive, recognizing the importance of sticking to the official
syllabus of each style. In exhibition ballroom, the performance attitude varies
widely, depending on the dance form.
In social ballroom dancing, mistakes are accepted as inevitable. When the move
that follows the lead is different from what is intended, it is understood as a valid
alternative interpretation of the lead. Most dancers of social ballroom obtain
enjoyment from performing if things work out 80% of the time. The remaining
20% is when most learning happens.
On the other hand, in competitive ballroom dancing, mistakes of the dancers

count as deductions from their points as it is aligned against making mistakes. If
the follow is different from what the lead has intended, it is called a mistake and
may possibly lead to elimination. Unlike in social ballroom dancing, competitive
ballroom dancing always aims for the 100%.
For exhibition ballroom dancing, there are two types of common performances:
one is the professional performance while the other is for amateur performances.
For professional performances, the audiences expect perfection so dance
companies rehearse extensively to avoid mistakes while performing onstage. For
amateur performances, audiences mostly watch for the enjoyment of the dancers
so mistakes are generally accepted and tolerated.
The reward for social ballroom dancing is the enjoyment of dancing, attainment
of self-confidence and the satisfaction of becoming more proficient in a dance
form. In competitive ballroom dancing, the reward is always winning the
competition and impressing the audience. For exhibition dancing, the reward is
in the enthusiastic applause of the entertained audience.
There is no standardization in social ballroom dancing because the partner differs

in each performance and with a different partner comes a different set of steps. In
competitive ballroom dancing, however, there is a rigorous standardization of
steps and techniques because the competitors need to know what technical
details the judges expect to see from their performances. For exhibition
performances, there are times when it is standardized but sometimes it is not. It
wholly depends on the audience’s preference.
Social ballroom dancing doesn’t have a standard style. In this form of dancing,
the pair is required to develop a personal style that differs from others. In
competitive ballroom, dancers are trained to imitate the style of the previous
champions as the standardized style. While individuality is welcome in this form
of ballroom dancing, it is important that it still stays within parameters.
Performing ballroom dancing for exhibitions use styles that are mostly unique to
the choreographer.
Social ballroom dancing doesn’t have a fixed choreography. It is often

spontaneous and depends on how the Lead and Follow explores the
possibilities. In competitions and exhibitions, ballroom dancers rehearse and
master choreographed routines.
In making decisions, social ballroom dancing gives the chance for both people
in a pair to engage in split second decision making. However, for competitions,
most decisions come from the organizers who provide syllabus of acceptable
steps. One thing that the dancers must focus on is the style and execution.
Exhibition does not often allow the dancer to make his/her own decision
regarding their dance. Most of the dance is made by choreographers, and like in
competitive dancing, there is always the focus on improving the style.
Social Ballroom
Dancing
Social ballroom dancing originated in the first century of closed-couple dancing. It is
said that it was in the 19th century when ballroom dance meant dancing in a
“ballroom,” its literal meaning.
3
One of the most prominent mindsets in ballroom dancing during this century, both in
Europe and America, is selfless generosity wherein the focus of the dance is the
pleasure of dancing with a partner and assembled company.
Some of the famous quotes from this era are the

following:
"In general manners, both ladies and gentlemen should act as though the other
person's happiness was of as much importance as their own." — Prof. Maas,
American dance master, 1871
"True, genuine politeness has its foundation deeper than in the mere conformation to
certain rules, for it is the spontaneous and natural effect of an intelligent mind and
kindly heart which overlooks annoyances in consideration for the happiness of
others." — Edward Ferrero, American dance master, 1859
Another prominent ballroom attitude was the flexible mindset that allows the dancer
to adapt to his/her partner. The American dance master William DeGarmo wrote in
1875,
"Gentlemen who acquire a diversified style easily accommodate themselves to

different partners. No two persons dance alike. When their movements harmonize,
this individuality is not only natural and necessary, but it pleasingly diversifies the
whole."
People derive enjoyment and satisfaction from social ballroom dancing. This
encourages people to socialize with others especially during social events. Social
ballroom dancing must also match the mood of the occasion. It is considered more
fun to do social ballroom dances but they are “less showy and spectacular than some
other dances.” As this is not a performing art, people tend to enjoy doing it more.
Social ballroom dancing can also help the participants to overcome their shyness.
However, for the dance to work, it is better to know at least the basics of ballroom
dancing to participate.
Examples of Social Ballroom

Dances
• Foxtrot The foxtrot started in America in 1914 in an ill-defined form. Do not

confuse this with the competition foxtrot, or the slow foxtrot, because slow
foxtrot is not really suitable for social dancing. This is a dance that can be
performed with an almost any piece of music with 4 beats. The most basic
steps are as follows:
LEADERS'/MEN’S
FOOTWORK
Before you begin, face your nearest wall. Then turn to your left slightly so
that you are on a diagonal. As all the ballroom dances move anti-
clockwise in a big circle around the room, you should get used to moving
in this direction. This circle is called the Line of Dance.
Start with your Left foot and take two Slow steps forward (on the
diagonal). Left foot then Right foot.
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Module
On the “Quick, Quick” you take a side step onto your Left foot first,
changing your angle 90° so that you are now facing the corner to your
right. And close your Right foot to your Left on the second Quick.
Step back on your Left foot for the next set of two walks (Slow, Slow)
and side together Left, Right – changing the angle back to your
original line (Quick, Quick).
Repeat moving forward with your left foot again to

continue.
FOLLOWER’S/LADIES’
FOOTWORK
For this basic movement, the lady exactly mirrors the man’s steps. You
start with your back to the closest wall and then turn slightly so that your
Right shoulder is closer to the centre of the circle.
Start with your Right foot and take two steps backwards on two
“Slow” counts. (Right then Left on “Slow, Slow”.)
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Module
Step side onto your Right foot and close your Left foot to your Right on
the “Quick Quick”. As you take these two steps you should change the
angle of your body 90° to be facing a new diagonal.
Step forward with your Right foot and then your left on the next two
“Slow” counts and then do another 90° turn back to where you started
on the “Quick, Quick” stepping side on your right foot and bringing your
feet together with your left.
Continue by stepping back again with your Right

foot.
Notes for both the leader and

follower:
- All forward and backwards steps should be “in line” – which means on
the same track as your partner’s feet. Do not attempt to step around or
outside your partner, merely place your foot into the space vacated by
theirs. - To turn corners, slightly change the degree of your turn on the
side together to facilitate moving around the corner. Make sure that the
gent is always
moving generally towards his left side and the lady to her right around the
room. - When stepping forward, step onto your heel – as you would when
walking normally. - When stepping backwards, step onto your toe and roll
through the foot – as you would should you need to walk backwards
generally. - As this is a dance which ALWAYS changes feet – and is very
much like walking in that way – I would count the rhythm when practicing
instead of the feet. It is always “Slow, Slow, Quick, Quick-Slow, Slow,
Quick, Quick-" etc instead of "Left, Right, Left, Right, Left, Right..." etc.
• Waltz Waltz is known for its rise and fall action, mostly including a step,
slide and step in 3⁄4 time. According to Bedinghaus, “Dancers should move
their shoulders smoothly, parallel with the floor instead of up and down, and
they must strive to lengthen each step. On the first beat of the music, a step
is taken forward on the heel, then onto the ball of the foot with a gradual rise
to the toes, continuing on to the second and third beats of the music. At the
end of the third beat, the heel is lowered to the floor to the starting position.”
The rise and fall description of waltz came from the act of elevating
and lowering of the dancer as he or she moves using the toes then
relaxes through the knee and ankle, ending on a flat foot, giving the
outward appearance of the dancer moving up and down around the
dance floor.
WALTZ DISTINCTIVE STEPS The basic movement of the Waltz is a

three-step sequence consisting of a step forward or backward, a step to
the side, and a step closing the feet together. The timing of the steps is
known as "Quick, Quick, Quick" or "1,2,3." The following steps are
distinctive to the Waltz:
• Hover Corte
• Whisk
• Natural Spin Turn
• Hover Telemark
• Open Telemark Group
• Hairpin
• Oversway
• Swing
• Tango
Tango is danced to a repetitive style of music. The count of the music is

either 16 or 32 beats. While dancing the tango, the lady is held in the
crook of the man’s arm. She holds her head back and rests her right hand
on the man's lower hip. The man must allow the lady to rest in this position
while leading her around the floor in a curving pattern.
Tango dancers must strive to make a strong connection with the music as well as their
audience.
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Module
• Slow Dancing Slow dancing may either mean the slow end of the normal
spectrum of tempos (like 30 bars per minute) or it could mean distinctly
slower than the normal spectrum of tempos. But for social dance, it is mostly
the latter.
The steps could be taken from onestep, twostep or waltz, depending on

the rhythm or the preferences of the dancers. The technique is different
from the normal spectrum of tempos. In the normal range of tempos
onestep is the only dance with heels kept off the floor. But in slow dancing
it is best to keep heels slightly off the floor in all three dances. The heels
might barely touch the floor, but no weight would be put on them. This is
the easiest way to achieve a floating feeling in the dance.
When the tempo is slow, but fast enough that large steps can be taken,
then normal toe/heel footwork should be used in twostep/foxtrot and in
waltz so that smooth motion can be achieved with large steps.
1
Physical Education and Health 3 Competitive Ballroom Dancing
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Module
Module 005 – Competitive Ballroom
Dancing
What is Competitive
Dancing?
The differences between social ballroom dancing, competitive ballroom dancing
and exhibition ballroom dancing has been enumerated in the previous module.
Bedinghaus (2016) provided the following information on competitive

dancing:
Competitive dancing is a style of dance in which dance competition is the main focus.
Couples perform several different dances in front of judges whom evaluate and score
each routine. In recent years, this style of dance has come to be viewed as a sport,
demanding high levels of strength, stamina and flexibility.
DANCESPO
RT
DanceSport is the official name for competitive ballroom dancing. DanceSport is a
stylized form of ballroom dancing in which the main emphasis is on performance and
appearance.
In a DanceSport competition, couples dance together on the same floor while being
judged on their speed, elegance, body action, and dramatic movements.
Ballroom dancing is a competitive sport with specific rules, structures, and judging
criteria. A typical ballroom competition consists of events in various dance styles, age
groups, and skill levels.
SKILL
LEVELS
In a dance competition, dancers show off and compare their skills with other dancers of
the same level. The competitors are required to perform at least one dance from a
particular division. As competitors move up in skill level, they are required to perform
more dances in the category level.
In ballroom parlance, the term proficiency level is used to describe the expertise with
which a given couple performs—a combination of their training, competition experience,
and natural talent. Depending on the skill level, dancers will compete in single-dance
events (one dance at a time) or multi-dance events (several dances in a row). As the
skill level increases, so do the number of dances available to the dancers.
Newcome
r
Dance Fest includes a newcomer level, consisting of single-dance events, which

provides dancers new to competing with a level in which they can primarily dance
with other newcomers.
Syllabus
Levels
• Newcomer
• Bronze
• Advanced Bronze
• Silver
• Gold
In each dance style, couples generally begin at the bronze syllabus level and work their
way up through silver and gold. Each syllabus level has a list of clearly defined dance
steps, or figures. Couples competing in a given syllabus are not allowed to perform
figures of a higher proficiency level, although couples competing in silver or gold usually
include certain bronze figures in their routines. There are also certain costume
restrictions on syllabus dancers. For example, syllabus costumes may not feature shiny
fabric, crystals, or decorations.
Open
Levels
• Novice
• Pre-Championship
• Championship
Dancers typically graduate from the syllabus levels on to the open levels. At the open
levels, both costume and figure restrictions are lifted, though dancers do still use
syllabus figures along with original, non-syllabus choreography. Championship is the
most competitive level in ballroom dance.
Mixed
Proficiency
Mixed-proficiency events give dancers a unique opportunity to compete with someone
at a different level of dancing. Brand-new dancers can dance with people who have
been dancing awhile; people who have been dancing for over twenty years can dance
with individuals in their first year of dancing; etc. In these partnerships, only the less
proficient partner is judged.
Team
Matches
At Dance Fest, collegiate teams compete in international and American styles,

vying for first-place honors and generous scholarship money to help encourage
their continued exploration of ballroom dance. Each team consists of three couples,
and each couple is assigned a specific dance in their chosen style. The team
matches are very loud and exuberant, so find some earplugs and get ready to
cheer for your favorite team!
Jack and
Jill
Jack and Jill events are designed to be fun for everyone! In these dances, couples are
paired up randomly and are often judged on enthusiasm as well as technique. Dancers
and spectators alike are encouraged to get involved in the Jack and Jill dances. You
never know who might take home first place!
Strictly
Dances
The Strictly category contains dances not included in the core four styles of American
rhythm and smooth and international Latin and standard. These dances include
Argentine tango, lindy hop, salsa, west coast swing, etc. These are judged based on
the character and technique of each dance, which can be very different from the
techniques customary in the core four dance styles.
3
Judgin
g
Judges are certified by various licensing agencies. They are also experienced
competitors and instructors.
Judging is both an objective and a subjective process. Couples are judged on their
technical skill, their interpretation of each dance, and their showmanship. In addition,
each adjudicator has his or her own personal standards. For this reason, several
adjudicators will judge each event to ensure fairness.
Depending on the number of entries, competitors may be required to compete in a

series of elimination rounds until six couples are recalled for the final round by the
judges. These six couples will be ranked first through sixth.
Competitor
Participation
Dancers compete in heats, which are a specific group of competitors competing in a

particular event at a specified time (or times, if there will be callbacks). Typically,
dancers will receive a program or heat list to let them know approximately what times
they’ll be expected to compete. Dancers should be prepared to compete at least half
an hour before their scheduled heats in case the competition is running ahead of
schedule.
When it is time for dancers to compete, they will form a line with their fellow competitors
in the designated on-deck area. When their heat is called, they’ll find a spot on the floor
and dance until the music stops. They’ll take a bow and exit the floor. If a heat has a
large number of competitors, it is likely there will be a callback process in which the
judges select a number of couples to return to the floor and dance again. This process
will continue until there are eight or fewer couples (the ideal number is six) remaining on
the floor, which will be the final round.
Audience
Participation
Many people attending their first ballroom event expect to find the audience sitting in
serene dignity, delicately applauding at the completion of each dance. Instead, the
spectators are yelling, jumping up and down, and generally carrying on the way they
would at any other spectator sport.
Ballroom dancers thrive on audience appreciation. Even if you don’t know the first thing
about ballroom, you still have an important role to play at an event. Audience
participation is not only allowed but is encouraged and welcomed.
Cheer, applaud, and call out the numbers of your favorite couples. Being an active
spectator ensures that you’ll have a great time!
AGE
LEVELS
United States DanceSport competitions are divided into the following age
levels:
• Pre-Teen I: 9 years and under
• Pre-Teen II: 10 and 11 years

• Junior I: 12 and 13 years
• Junior
II: 14 and 15
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• Youth: 16-18 years
• Adult A: 19-34 years

• Adult B: 35-49years
• Senior: 50 and older

JUDGE
S
Judges of competitive dancing are usually former professional

dancers.
They sit at the front of the dance floor and watch all competitors at once. The judges
have scorecards for each couple and award points based on skills, presentation, and
showmanship. The couple with the most points is declared the winner.
EVENT
S
The following is a list of events offered at a dance
competition:
International Style
Standard
• Waltz
• Tango
• Viennese Waltz
• Foxtrot
• Quickstep
Latin
American
• Cha Cha
• Samba
• Rumba
• Paso Doble
• Jive
American Style
Smooth
• Waltz
• Tango
• Foxtrot
• Viennese Waltz
American
Rhythm
• Cha Cha
• Rumba
• East Coast Swing
• Bolero
• Mambo
Miscellaneous Theater
Arts
• Cabaret
5
• Night Club
• West Coast Swing
• Salsa
• Hustle
• Night Club Two Step

International standard and American smooth share many technical principles, and
many couples compete in both styles. In standard, the couple remains in closed dance
position throughout each dance. In smooth, they dance in open positions (side by side,
shadow, etc.) as well as in closed position.
Although international Latin and American rhythm both include cha cha and rumba,
each dance style uses different technique and music tempos.
Dance
Styles
Some of the common dance styles used in ballroom dancing competitions will be
discussed here according to Bedinghaus’ articles (2016).
CHA-
CHA
The cha-cha is a popular, social Latin dance. Lively and flirtatious, the cha-cha is
full of passion and energy.
Cha-cha
characteristics
The cha-cha is a vibrant, flamboyant and playful dance. The light and bubbly
feel of the cha-cha gives it a unique sense of fun.
The cha-cha requires small steps and lots of hip motion (Cuban motion), as
it is danced in 4/4 time. The fourth beat is split into two, giving it the
characteristic rhythm of 2, 3, 4 and 1.
Therefore, five steps are danced to four beats. You may have heard it counted
like, "One, two, cha-cha-cha."
History of the cha-
cha
Also called the cha-cha-cha, this unmistakable dance originated in Cuba in

the 1940s. Composer and violinist Enrique Jorrín developed the dance as a
variant of the mambo and rumba. The name is onomatopoeic, derived from
the sound of dancers' shoes as they shuffle around the floor.
Cha-cha
action
To dance the cha-cha like a professional, dancers must master Cuban motion, a
common hip movement in Latin-style dancing. Cuban motion is a distinct way in
which the hips move up and down. The hip movements mainly come from
alternately bending and straightening the knees; as one knee bends (or
straightens), the same hip drops (or raises).
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The basic components of the cha-cha are triple steps and rock steps. Quick,
small steps must be maintained throughout the dance. The movement of the
hips results from the constant bending and straightening of the knees.
Dancers must synchronize each movement as they dance parallel to one

another.
Distinctive cha-cha
steps
Because the cha-cha is similar to the rumba and mambo, several steps coincide
with the steps of these dances. The main difference between the dances is that
the slower steps of the rumba and the mambo are replaced with a triple step in
the cha-cha.
The following are a few basic cha-cha
steps:
• The cha-cha chasse

• The fan
• The hockey stick
• Manita a Mano
• The New York
• The New York bus stop
• El Mojito
• Underarm spot turns

• The liquidizer
• The Alemana turn

• El Paseo
• The peek-a-boo
• The zigzag
Cha cha rhythm and
music
Because of the carefree nature of the cha-cha, its music should produce a
happy, party-like atmosphere, with a tempo of 110 to 130 beats per minute. The
cha-cha is often danced to authentic Cuban music but can be performed to all
music genres, including country, funk and hip-hop.
JIV
E
Jive is a lively, and uninhibited variation of the jitterbug. Many of its basic patterns
are similar to those of the East Coast swing. Jive is one of the five International Latin
dances, although it has an African-American origin.
Characteristics of jive
dancing
Jive and East Coast swing share many figures, as well as the same music
style and tempo. The basic look and feel of jive is that it is performed with lots
and lots of energy, with the legs portraying a pumping action.
Both the East Coast swing and basic jive consist of two triple steps and a rock
step. The jive differs in that the count begins with the rock step, which is counted
"1, 2." The two triple steps are counted "3 and 4" and "5 and 6." In competition, it
is danced at 176 beats per minute.
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History of
jive
Jive was first demonstrated by Cab Calloway in 1934. It caught on in the United
States in the 1940s and was influenced by the Boogie, Rock & Roll,
African/American Swing and Lindyhop. The name either comes from jive being
a form of glib talk or from African dance terms. Jive became a generic term for
swing in the United Kingdom.
In International Style ballroom dancing competition, jive is grouped with the
Latin dances but it is danced to Western music, with 42 bars per minute in 4/4
time.
Jive
action
Jive is a very happy, boppy, energetic dance, with plenty of knee-lifting, bending,
and rocking of the hips.
The fastest of the Latin dances, jive incorporates lots of kicks and flicks, even
twirling of the woman, and doesn't move around the dance floor like other
dances. Although jive dancers may appear to be moving their feet haphazardly
in every direction, the feet are actually well-controlled under the body with the
knees close together.
Distinctive jive dance

steps
The basic jive step (jive basic) is a 6-beat
pattern:
• Theman and woman face each other with arms in the closed position and
the man leads.
• Rock step (counts 1 and 2): Step one foot behind the other and lift the
front foot up. The man steps back with his left foot while the woman steps
backward with her right foot.
• Chasse to the left (counts 3 and 4) The man goes left, the woman goes
right.
• Chasse to the right (counts 5 and 6) The man goes right, the woman goes
left.
A few distinctive Jive

steps:
• American Spin
• Throwaway
• Comb
• Chicken Walks
• Arm Breaker
• Jig Walks
Jive music and
rhythm
Jive can be danced to swing music and jump blues in the tempo range of about
200 beats per minute. Depending on the style preferred, Jive can be danced to
a variety of upbeat music including Boogie-woogie, Swing and Rock and Roll.
The most
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Module
important thing for beginners is to get familiar with the rhythm of the music.
Listen to the drum line rather than the melody...the drum provides the beat.
MAMB
O
Originating from Cuba in the 1930s, mambo is enjoyed throughout the world at both the
social and competitive dance levels. The mambo is a favorite of ballroom audiences
because of its high energy level and infectious rhythms.
Reinvigorated in recent years by crossover pop singer Ricky Martin and by Lou Bega
with "Mambo No. 5," mambo dance is fascinating and diverse. Today, the dance is
making a comeback and is performed in ballroom competitions.
History of
mambo
The Mambo dance originated in Cuba as a mixture of Afro-Caribbean and Latin
American cultures. The word "mambo" denotes an African origin, particularly
from the Congo region. The mambo is believed to have been named after the
voodoo priests who thought they could send dancers into hypnotic states.
Initially condemned by churches and restricted by authorities in some countries,
with time the mambo gained popularity and became the favorite dance style
that it is today.
Mambo in New
York
In the 1950s, various publications in New York City proclaimed there was an
emerging "mambo revolution" in music and dance. Recording companies
began to use "mambo" to label their records and advertisements for mambo
dance lessons were in local newspapers.
New York City had made mambo a transnational popular cultural phenomenon.
By the mid-1950s mambo mania had reached a fevered pitch. In New York, the
mambo was played in a high-strung, sophisticated way that had the Palladium
Ballroom, the famous Broadway dance-hall, jumping.
The ballroom soon proclaimed itself the "temple of mambo," for the city's
best dancers.
Mambo
characteristics
The feel of the mambo is based mostly on forward and backward movements.
The basic components of the dance include rock steps and side steps, with
occasional points, kicks and flicks of the feet.
Important to mambo is the distinctive hip movement, hence the unofficial

meaning of the word "mambo" means to "shake it."
Mambo
action
Some say the mambo is a flirtatious, sensual dance, sometimes almost

raunchy. Mambo dancers appear quite passionate and seem to express that
passion with the movements of their hips. Exaggerated hip movements
combined with long, flowing movements and sharp, quick steps contribute to
the sensuous feel of the mambo.
Distinctive mambo
steps
The mambo uses a 4/4 beat and is similar in rhythm to the slower bolero. The
basic mambo combination is counted as "quick-quick-slow," with the foot moving
on the second beat. On the third beat, the weight shifts to the other foot,
returning to the original foot on the fourth beat. Dancers swing their hips through
each step, creating
9
a fluid motion and a sensuous atmosphere. A few distinctive mambo steps

include the following:
• La Cucaracha
• Manita a Mano
• New York
• New York Bus Stop

• El Molinito
• The Liquidizer
• El Mojito
• Los Giros Locos
Mambo music and
rhythm
In Mambo music, the rhythm is set by a variety of percussive instruments,

including maracas and cowbells. Beginners may be confused by the variety of
mambo rhythms, but variety is what gives mambo its spice.
The tempo of mambo also varies between musicians, with a wide range of 32
beats per minute to a challenging 56 beats per minute. In the past, Mambo
bands would hold friendly competitions to see who could create the best
mambo rhythm.
PASO
DOBLE
The Paso Doble, or Pasodoble, is a lively dance modeled after the drama of the
Spanish bullfight. In Spanish, "Paso Doble" means "two-step" and refers to the
marching nature of the steps. This theatrical dance has an interesting background that
involves role-playing of sorts.
Paso Doble
characteristics
At its core, the Paso Doble is a dramatic Spanish dance. Traditionally, the man
is characterized as the matador (bullfighter) and the lady as his cape in the
drama of a Spanish bullfight.
The dancers may choose to enact the role of the torero, picador, banderillero,
bull, or Spanish dancer. They can also change roles throughout the dance.
Based on Flamenco dancing, the Paso Doble is both arrogant and passionate in
its portrayal. The Paso Doble is performed more as a competition dance than as
a social dance, and it is also taught and performed under the International Latin
genre, which includes, cha-cha-cha, samba, rumba, and jive.
Paso Doble
history
The Paso Doble originated in southern France and began gaining popularity in
the United States in the 1930s. Because the dance developed in France, the
steps of the Spanish Paso Doble actually have French names, which is
interesting considering its Spanish roots. In France, it was known as the " Paso
Redoble."
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The Paso Doble in
action
One of the most dramatic of all the Latin dances, the Paso Doble is also a
progressive dance.
In the Paso Doble, dancers take strong steps forward with the heels and
incorporate artistic hand movements. The forward steps, or walks, should be
strong and proud. The man should also incorporate apel, a move in which he
strongly stamps his foot, much like a matador strikes the ground in order to
capture the attention of the bull.
All moves of the Paso Doble should be sharp and quick, with the chest and head
held high to represent arrogance and dignity -- again, much like a traditional
bullfight.
Distinctive Paso Doble

steps
The dance consists of several dramatic poses that are coordinated with
highlights in the music. The body is held upright with the feet always directly
underneath it, and strong in posture and position. The following dance
movements are distinctive to the Paso Doble:
• Sur Place (on the spot)
• Separation
• Attack
• Huit
• OpenPromenade to Open Counter

Promenade
• Spanish Line
• Promenade Close
• Flamenco Taps
The rhythm and music of the Paso
Doble
Paso Doble music has strong Flamenco influences, so it will sound similar to
Flamenco music. The bold, inspiring music has a simple 1-2-1-2 march rhythm,
with very few rhythm changes. The tempo of Paso Doble music is usually a brisk
60 beats per minute. The Spanish Gypsy Dance has become the universal
anthem of the Paso Doble, though Sombreros y Mantilles, Suspiros de España,
Que Viva España, and Valencia are common Paso Doble songs.
RUMB
A
If you've ever watched ballroom dancers or seen "Dancing With the Stars," you have
probably seen the Rumba in action. This theatrical dance tells a story of love and
passion between a strong, male lover and a coy, teasing woman. Full of sensual
movements, the Rumba is considered by many to be the sexiest of the ballroom
dances. "Rumba" is a term that refers to a variety of dances or a "dance party." It is
one of the most popular ballroom dances and is seen around the world at nightclubs,
parties, weddings and dance competitions.
Rumba dance
characteristics
The Rumba is a very slow, serious, romantic dance that exudes flirtation
between the partners -- good chemistry makes the movements even more
impactful. The dance is fun to watch, as many of its basic dance figures of the
dance have a teasing theme in which the lady flirts with and then rejects her
male partner, often with apparent sexual aggression. The Rumba spotlights the
lady's rhythmic body
11
movements and hip actions resulting in intense -- almost steamy --

scenes of passion.
History of
rumba
The Rumba is often referred to as the "grandfather of the Latin dances."

Originating in Cuba, it first came to the United States in the early 1920s. The
Rumba is the slowest of the five competition Latin and American dances. Before
the mambo, salsa and pachanga became popular, Rumba was also known as
the style of music commonly heard in Cuba. Different styles of the Rumba have
emerged in North America, Spain, Africa, and other destinations.
Rumba
action
The distinctive hip movement, called Cuban Motion, is a very important element
of the Rumba. These hip movements and characteristic sways of the Rumba are
generated by the bending and straightening of the knees. The intensity of the
Rumba is increased by sharp eye contact that is maintained between the man
and the woman.
The stillness of the upper body, while adding dramatic intensity, also
emphasizes the strong, sensuous leg and foot movements.
The basic rhythm of the Rumba is quick-quick-slow with distinctive side-to-side
hip movements. Hip movements are exaggerated, but are not generated by the
hips -- they are simply a result of good foot, ankle, knee and leg action. When
these weight transfers are well-controlled, the hips take care of themselves.
Distinctive Rumba steps include the following:
• Fan
• Hockey Stick
• Alemana Turn
• Aida
• Open Hip Twist
• La Elenita
• Fencing Line
• Hip Rolls
• El Paseo
Rumba music and
rhythm
Rumba music is written with four beats to each measure, in 4/4 time. One full
step is completed in two measures of music. The music tempo is usually about
104 to 108 beats per minute. Rumba rhythms, while once influenced by African-
style music, have found their way into country, blues, rock, and other popular
music genres. The music is sometimes enhanced by homemade instruments
from the kitchen such as pots, pans and spoons for an authentic sound.
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VIENNESE
WALTZ
The Viennese Waltz is the classic, original Waltz often featured in old films. The
elegance and charm of the Viennese Waltz reminds us of glamorous balls in the
palaces of Europe. A waltzing couple rotates around the floor, revolving gracefully
around each other. The Viennese Waltz is a quick, rotating dance, much faster-paced
than the classic, slow Waltz. This simplified social version is a beautiful, non-strenuous
dance that dancers of all abilities can enjoy.
Viennese Waltz
characteristics
The Viennese Waltz is characterized by sweeping turns that move gracefully

around the floor.
This dance is known for its simple and elegant rotational

movement.
Viennese Waltz
history
The Waltz developed in Central Europe, originating from the Austrian folkdance
known as the "Landler." The dance arrived in Vienna during the 1800s, then
became popular throughout Europe and America. The music of Johann Strauss
helped to popularize the faster, elegant Viennese Waltz.
Viennese Waltz
action
The principal action of the Viennese Waltz is the sweeping turns that move
gracefully around the floor. The rise and fall action is abrupt and shallow, and the
steps are small and compact. Dancers exhibit graceful fluency, stamina and
timing as they rotate charmingly around the dance floor.
Viennese Waltz distinctive
steps
The simple moves of the Viennese Waltz are comprised of one gentle swing
action to each bar of music. The dance has a delightful, lilting feel. The following
steps are distinctive to the Viennese Waltz:
• Basic Natural Lilt Step
• Basic Reverse Lilt Step

• Stationary Lilt Step
Viennese Waltz rhythm and
music
Viennese Waltz music belongs to the music genre that accompanied the fast
Waltzes of the the Romantic era in Vienna. The music is usually written in 6/8
time with a fast tempo of about 180 beats per minute. Almost always
instrumental, Viennese Waltz music is written for orchestras of various sizes.
Dancers today enjoy many different styles of Waltz music, many of which are
not Viennese. The Viennese Waltz can be danced to music that is
instrumental, vocal, classical, celtic, country, or popular Top
1
Physical Education and Health 3 Cheerdance and Cheerleading
Course
Module
Module 006 – Cheerdance and
Cheerleading
History of
Cheerleading
Cheerleading ranges from yelling to intense physical activity for sports team
motivation, audience entertainment or competition based upon organized routines.
The routines usually range anywhere from one to three minutes, which may contain
many components of tumbling, dance, jumps, cheers and stunting in order to direct
spectators of events to cheer for sports teams at games or to participate in
cheerleading competitions.
The yellers, dancers and athletes involved in cheerleading are called

cheerleaders.
Cheerleading originated in the United States, and remains predominantly American,

with an estimated 1.5 million participants in all-star cheerleading.
The presentation of cheerleading as a sport to a global audience was led by the 1997
start of broadcasts of cheerleading competition by ESPN International and the
worldwide release of the 2000 film Bring It On. Due in part to this recent exposure,
there are now an estimated 100,000 participants scattered around the rest of the
world in countries including Australia, Canada, China, Colombia, Finland, France,
Germany, Japan, the Netherlands, New Zealand and the United Kingdom.
History Organized cheerleading started as an all-male activity. As early as 1877,

Princeton University had a "Princeton Cheer", documented in the February 22, 1877,
March 12, 1880, and November 4, 1881, issues of the Daily Princetonian. This cheer
was yelled from the stands by students at games, as well as by the baseball and
football athletes themselves. The cheer, "Hurrah! Hurrah! Hurrah! Tiger! S-s-s-t! Boom!
A-h-h-h!" remains in use with slight modifications today and is now referred to as the
"Locomotive".
Princeton class of 1882 graduate Thomas Peebles moved to Minnesota in 1884, and
transplanted the idea of organized crowds cheering at football games to the
University of Minnesota.
The term "Cheer Leader" had been used as early as 1897, with Princeton's football
officials having named three students as Cheer Leaders: Thomas, Easton and Guerin
from Princeton's classes of 1898, 1898 and 1899, respectively, on October 26, 1897;
these students would cheer for the team also at football practices, and special cheering
sections were designated in the stands for the games themselves for both the home
and visiting teams.
It was not until 1898 that University of Minnesota student Johnny Campbell
directed a
crowd in cheering "Rah, Rah, Rah! Ski-u-mah, Hoo-Rah! Hoo-Rah! Varsity! Varsity!
Varsity, Minn-e-So-Tah!", making Campbell the very first cheerleader and November 2,
1898 the official birth date of organized cheerleading. Soon after, the University of
Minnesota organized a "yell leader" squad of six male students, who still use
Campbell's original cheer today. In 1903 the first cheerleading fraternity, Gamma
Sigma, was founded.
Women joined cheerleading prior to 1907 and began to dominate it during World War
II, when few men were involved in organized sports. Gymnastics, tumbling and
megaphones were incorporated into popular cheers, and are still used.
Statistics show that around 97% of all modern cheerleading participants overall are
female. At the collegiate level, cheerleading is co-ed with about 50% of participants
being male.
In 1948, Lawrence "Herkie" Herkimer, of Dallas, Texas, a former cheerleader at

Southern Methodist University, formed the National Cheerleaders Association (NCA) in
order to hold clinics for cheerleading. In 1949, The National Cheerleaders Association
held its first clinic in Huntsville, Texas, with 52 girls in attendance. Herkimer contributed
many firsts to the cheer: the founding of the Cheerleader & Danz Team cheerleading
uniform supply company, inventing the herkie (where one leg is bent towards the
ground and the other is out to the side as high as it will stretch in the toe-touch
position), and creating the "Spirit Stick".
By the 1960s, college cheerleaders began hosting workshops across the nation,
teaching fundamental cheer skills to high-school-age girls. In 1965, Fred Gastoff
invented the vinyl pom-pon, which was introduced into competitions by the International
Cheerleading Foundation (now the World Cheerleading Association or WCA).
Organized cheerleading competitions began to pop up with the first ranking of the "Top
Ten College Cheerleading Squads" and "Cheerleader All America" awards given out by
the International Cheerleading Foundation in 1967.
In 1978, America was introduced to competitive cheerleading by the first broadcast

of Collegiate Cheerleading Championships on CBS.
In the 1960s National Football League (NFL) teams began to organize their own
professional cheerleading teams. The Dallas Cowboys Cheerleaders soon gained the
spotlight with their revealing outfits and sophisticated dance moves, which debuted in
the 1972-1973 season, but were first seen widely in Super Bowl X (1976). This caused
the image of cheerleaders to permanently change, with many other NFL teams
emulating them.
The 1980s saw the beginning of modern cheerleading with more difficult stunt
sequences and gymnastics incorporated into routines. All-star teams started to pop up,
and with them the creation of the United States All-Star Federation (USASF).
ESPN first broadcast the National High School Cheerleading Competition

nationwide in 1983.
Cheerleading organizations such as the American Association of Cheerleading

Coaches and Advisors (AACCA), founded in 1987, started applying universal safety
standards to decrease the number of injuries and prevent dangerous stunts, pyramids
and tumbling passes from being included in the cheerleading routines.
3
In 2003, the National Council for Spirit Safety and Education (NCSSE) was formed to
offer safety training for youth, school, all star and college coaches. The NCAA
requires college cheer coaches to successfully complete a nationally recognized
safety-training program. The NCSSE or AACCA certification programs are both
recognized by the NCAA.
Even with its athletic and competitive development, cheerleading at the school level
has retained its ties to the spirit leading traditions started back in the 1890s.
Cheerleaders are quite often seen as ambassadors for their schools, and leaders
among the student body. At the college level, cheerleaders are often invited to help at
university fundraisers.
Cheerleading is very closely associated with American football and basketball. Sports
such as association football (soccer), ice hockey, volleyball, baseball and wrestling will
sometimes sponsor cheerleading squads. The ICC Twenty20 Cricket World Cup in
South Africa in 2007 was the first international cricket event to have cheerleaders. The
Florida Marlins were the first Major League Baseball team to have a cheerleading team.
Debuting in 2003, the "Marlin Mermaids" gained national exposure and have influenced
other MLB teams to develop their own cheer/dance squads.
Cheerleading
History
Cheerleading is an organized sports activity involving short routines that combine

dance, gymnastics, and stunt elements to cheer on teams, most commonly football.
Performers of these one to three-minute routines are called "cheerleaders".
Cheerleading originated in Britain and spread to the United States where it remains
most common, but has also become popular in other parts of the world, such as
Europe, Central America, Australia, New Zealand, Canada, and Asia.
Though founded on the notion that cheering before spectators in the stands would
boost school spirit and thereby improve team performance, cheerleading has become
an All-Star sport of its own. Cheer teams enter competitions every year, vying for large
prizes and trophies. Cheer teams can be found in middle and high schools, colleges,
youth leagues, and athletic associations. There is professional and All-Star
cheerleading. There are an estimated 3.5 million cheerleaders in the US alone, not
including dance team members, gymnasts, and other affiliated participants which would
raise that number to above 5 million. Cheerleaders outside the US total about 100,000.
Histor
y
Cheerleading dates to the 1860s, in Great Britain, and entered the US in the
1880s.
Although women currently dominate the field, cheerleading was begun by
men.
Princeton University, in 1884, got the idea that crowd chanting at football games
would boost school spirit so they came up with a catchy cheer.
Ray, Ray, Ray! Tiger, Tiger, Tiger! Sis, Sis,
Sis! Boom, Boom, Boom Aaaaah! Princeton,
Princeton, Princeton! Course Module
A decade later Princeton grad and pep club member Thomas Peebles introduced the
University of Minnesota to the idea of chanting to a crowd of spectators. On November
2, 1898, U-Minnesota student Johnny Campbell led an organized cheer at a football
game between Minnesota and Princeton University, so you might say he was the first
actual "cheer leader". Minnesota was having a tough season that year, and it was
thought that cheering the team on might improve morale and affect the team's
outcome. It may not have changed their luck any, but it created a lasting trend and a
sport in its own right.
Soon after, in 1903, the University of Minnesota organized the first cheer fraternity
called Gamma Sigma. They likely used a megaphone to project their voices; although
it wasn't until later that it became a popular accessory to cheerleading.
In the 1920s women became involved in cheerleading. And that's because there
weren't many intercollegiate sports available to them at the time. The lady yellers
sported ankle- length skirts and varsity sweaters. Minnesota continued to lead the sport
of cheer into widespread popularity. Female cheer squads began to include
gymnastics, dance and other showy stunts into routines, and in the 1930s cheers were
aided by the use of paper pompoms (the first vinyl pom-poms weren't manufactured
until 1965). By the1940s women were mainly leading the cheers, and routines took on
a voice their own.
In 1948 Lawrence Herkimer founded the National Cheerleaders Association (NCA)

which began to hold cheer workshops. The first one was held that year, with more
than 50 attendees. That number grew to 350 by the following year, and by the 1950s
most high schools had a squad.
By the 1960s just about every high school and college in the country had cheerleaders.
Professional cheerleading was introduced around this time under the National Football
League and its leader was the Dallas Cowboys debuting during the 1972-73 season.
They were first widely viewed at the 1976 Super Bowl X game, changing the face of
cheerleading as a profession.
Organized cheer competitions such as, "The Top Ten College Cheerleading
Squads", and "Cheerleader All America" became something intercollegiate squads
aspired to. Awards were distributed by the International Cheerleading Foundation,
now the World Cheerleading Association (WCA). In 1978 CBS broadcasted the first
cheerleading competition of this caliber.
And then another huge door for cheer was opened. The Title IX rule was passed in
1972 allowing females to complete in sports, and competitive cheerleading took off.
The rule states:
"No person in the United States shall, on the basis of sex, be excluded from
participation in, be denied the benefits of, or be subjected to discrimination under any
education program or activity receiving Federal financial assistance..."
Cheer uniforms sported a new look. Baggy sweaters were replaced by snazzy
spandex uniforms. Routines became showier, moves more complex. Cheer squads
did more than just encourage crowd participation; they were a sport all their own.
Cheerleading took a giant leap forward.
The Universal Cheerleaders Association was created in 1974 to provide educational
training for college and high school cheer squads. UCA summer camps were well-
attended. The first stunt taught was the spectacular "liberty" mount.
Modern cheerleading as we know it today began in the 1980s with flashy dance
routines and gymnastics stunts. By 1997 cheerleading was recognized as an
independent sport,
5
attracting national attention. It wasn't until 1999 that the sport of cheerleading was
met with official approval. And with the onset cable sports TV, ESPN, cheerleading
was on the map.
Cheerleading organizations had begun to regulate moves and emphasize safety. In
2003, a national council was formed to offer safety workshops to cheerleading squads
and their coaches, and today the National Collegiate Athletic Association mandates
that college cheer coaches complete official safety courses.
The sport of cheerleading has gone from one enthusiastic guy chanting to a crowd
of hopeful spectators to a prestigious athletic activity showcasing the talents of both
males and females alike.
Lawrence Herkimer, "Grandfather of

Cheerleading"
Lawrence "Herkie" Herkimer is a legend and innovator in the field of cheerleading. He
founded the National Cheerleaders Association at Southern Methodist University,
holding cheerleading camps since 1948. His first camp drew 52 girls and one boy. His
camps have since grown to more than twenty thousand attendees. He founded the
Cheerleading Supply Company in 1953, patenting the first pompoms, or pom-pons.
Herkimer chose to call them "Pom-pon" when he learned that the word "pom-pom" in
other languages contained vulgar meanings. His pom-pon with the hidden handle was
patented in 1971. Herkimer created the "Herkie" cheerleading jump by accident when
he intended to perform a split jump. Herkimer founded a national cheerleading
magazine called Megaphone while at SMU. In Herkimer's words, he's taken the world
of cheerleading "from the raccoon coat and pennant to greater heights".
Cheerleading’s roots are closely tied to American football’s. The first intercollegiate
game was played in 1869, between Princeton University and Rutgers University in
New Jersey, and by the 1880s, Princeton had formed an all-male pep club. A
graduate of Princeton, Thomas Peebles, took the Princeton cheers to the University of
Minnesota, where football and fight songs were becoming very popular. In 1898, U of
M was on a losing streak, and a medical student named Johnny Campbell assembled
a group to energize the team and the crowd. Johnny picked up a megaphone and
rallied the team to victory with the first organized cheer: “Rah, Rah, Rah! Ski-U-Mah!
Hoo-Rah! Hoo-Rah! Varsity! Varsity! Minn-e- so-tah!
Cheerleading grew from there. It wasn’t until 1923 that women were allowed to cheer
for the first time, at the University of Minnesota. During this decade, cheerleaders
added tumbling and acrobatics to their routines, and a University of Oregon cheerleader
used flashcards for the first time. Although women were joining teams in the ‘20s, it
wasn’t until the ‘40s that they joined in large numbers, since so many college-aged men
went off to fight in World War II.
In 1948, Southern Methodist University cheerleader Lawrence “Herkie” Herkimer held the first
summer cheerleading clinic at Sam Houston State Teacher’s College (now State University),
and went on to develop his signature “Herkie” jump, the spirit stick and the pom pon, all
cheerleading staples to this day. In 1961, he incorporated the National Cheerleaders
Association (NCA). Course Module
By the 1960s, cheerleading could be found in virtually every high school and grade
school across the country, and pee wee and youth leagues had developed as well. In
1974, Jeff Webb (who had been general manager of NCA) founded Universal
Cheerleaders Association (UCA), which taught higher level skills. The ‘80s decade
brought the launch of many more event companies, as well as AACCA (American
Association of Cheerleading Coaches and Administrators), in 1987, the first
association devoted to teaching safety to coaches and advisors. UCA has grown into
Varsity Spirit Corp., today, encompassing 17 cheerleading event, apparel and service
companies.
All Star cheerleading started in the late ‘80s, and grew rapidly through the ‘90s. All Star
cheerleading focused on athletic training and competition performances, as opposed
to school-based cheerleading, which still encompassed leadership and spirit qualities.
Today, many companies offer both scholastic and All Star categories, and some
companies focus primarily on All Star cheerleading.
The original purpose of cheerleading is still relevant in today’s world, even with
the increasing popularity of competition.
Cheerleaders are the promoters of their schools and communities. They are a key
marketing tool to the athletics programs that they support, and they create the
community patriotism we call “school spirit.” Most importantly, they are tomorrow’s
leaders who through the development of athletic skills, leadership, and teamwork will
be vital members of the community in the future. Be a cheerleader and become a
leader.
Judging During a competition routine, a squad performs carefully choreographed

stunting, tumbling, jumping and dancing to their own custom music. Teams create
their routines to an eight-count system and apply that to the music so that the team
members execute the elements with precise timing and synchronization.
Judges at the competition watch closely for illegal moves from the group or any
individual member. Here, an illegal move is something that is not allowed in that
division due to difficulty and/or safety restrictions. They look out for deductions, or
things that go wrong, such as a dropped stunt. They also look for touch downs in
tumbling for deductions. More generally, judges look at the difficulty and execution of
jumps, stunts and tumbling, synchronization, creativity, the sharpness of the motions,
showmanship, and overall routine execution.
Professional Professional cheerleaders and dancers cheer for sports such as football,
basketball, baseball, wrestling, or hockey. There are only a small handful of
professional cheerleading leagues around the world; some professional leagues
include the NBA Cheerleading League, the NFL Cheerleading League, the CFL
Cheerleading League, the MLS Cheerleading League, the MLB Cheerleading League,
and the NHL Ice Dancers. Although professional cheerleading leagues exist in multiple
countries, there are no Olympic Teams.
In addition to cheering at games and competing, professional cheerleaders also, as

teams, can often do a lot of philanthropy and charity work, modeling, motivational
speaking, television performances, and advertising.
7
Cheerleading can be a dangerous sport. There is much contact in this sport as

there is lifting and tumbling.
Dangers of Cheerleading The risks of cheerleading were highlighted when Kristi

Yamaoka, a cheerleader for Southern Illinois University, suffered a fractured vertebra
when she hit her head after falling from a human pyramid.[53] She also suffered from a
concussion, and a bruised lung. The fall occurred when Yamaoka lost her balance
during a basketball game between Southern Illinois University and Bradley University at
the Savvis Center in St. Louis on March 5, 2006. The fall gained "national attention",
because Yamaoka continued to perform from a stretcher as she was moved away from
the game. Yamaoka has since made a full recovery.
The accident caused the Missouri Valley Conference to ban its member schools from
allowing cheerleaders to be "launched or tossed and from taking part in formations
higher than two levels" for one week during a women's basketball conference
tournament, and also resulted in a recommendation by the NCAA that conferences
and tournaments do not allow pyramids two and one half levels high or higher, and a
stunt known as basket tosses, during the rest of the men's and women's basketball
season. On July 11, 2006, the bans were made permanent by the AACCA rules
committee:
The committee unanimously voted for sweeping revisions to cheerleading safety rules,
the most major of which restricts specific upper-level skills during basketball games.
Basket tosses, 2 high pyramids, one-arm stunts, stunts that involve twisting or flipping,
and twisting tumbling skills may only be performed during halftime and post-game on a
matted surface and are prohibited during game play or time-outs.
Of the United States' 2.9 million female high school athletes, only 3% are cheerleaders,
yet cheerleading accounts for nearly 65% of all catastrophic injuries in girls' high school
athletics.[56] The NCAA does not recognize cheerleading as a collegiate sport; there
are no solid numbers on college cheerleading, yet when it comes to injuries, 67% of
female athlete injuries at the college level are due to cheerleading mishaps. Another
study found that between 1982 and 2007, there were 103 fatal, disabling or serious
injuries recorded among female high school athletes, with the vast majority occurring in
cheerleading.
In the early 2000s, cheerleading was considered one of the most dangerous school
activities. The main source of injuries comes from stunting, also known as pyramids.
These stunts are performed at games and pep rallies, as well as competitions.
Sometimes competition routines are focused solely around the use of difficult and risky
stunts. These stunts usually include a flyer (the person on top), along with one or two
bases (the people on the bottom) and, one or two spotters in the front and back on the
bottom. The most common cheerleading related injuries are: sprained ankles, sprained
wrists, back injuries, head injuries (sometimes concussions), broken arms, elbow
injuries, knee injuries, broken noses, and broken collarbones. Sometimes, however,
injuries can be as serious as whiplash, broken necks, broken vertebrae, and death.
Course
Module
The journal Pediatrics has reportedly said that the number of cheerleaders suffering
from broken bones, concussions, and sprains has increased by over 100 percent
between the years of 1990 and 2002, and that in 2001 there were 25,000 hospital visits
reported for cheerleading injuries dealing with the shoulder, ankle, head, and neck.
Meanwhile, in the USA, cheerleading accounted for 65.1% of all major physical injuries
to high school females, and to 66.7% of major injuries to college students due to
physical activity from 1982 to 2007, with 22,900 minors being admitted to hospital with
cheerleading-related injuries in 2002.
In October 2009, the American Association of Cheerleading Coaches and Advisors

(AACCA), a subsidiary of Varsity Brands, released a study that analyzed the data from
Emergency Room visits of all high school athletes. The study asserted that contrary to
many perceptions, cheerleading injuries are in line with female sports.
Cheerleading (for both girls and boys) was one of the sports studied in the Pediatric
Injury Prevention, Education and Research Program of the Colorado School of Public
Health in 2009/10-2012/13. Data on cheerleading injuries is included in the report for
2012-13.
Types of
Cheerleading
The recent surge in the popularity of cheerleading makes it hard to fit all cheerleaders
into one simple category. The sport has changed and branched out in order to
accommodate the millions of participants worldwide. Many people outside of the sport
assume that all cheerleaders are school-affiliated, but that is not the case. The sport
now ranges from competitive cheerleading to the newest addition, street cheerleading.
Whether you are just starting the sport or looking to try something new, check out the
info on the different types of cheerleading below.
School-
Sponsored
A school-sponsored cheerleading team is directly affiliated with a school, either public

or private, and all of the members on the team must attend that school. The main
purpose of this type of team is to promote school spirit and motivate fans during
sporting events. Over 80% of high schools in the United States have cheerleading
squads, and many junior high schools are starting programs as well. Although some
school-sponsored cheerleading teams do compete, their main task is to cheer at games
and pep rallies. These squads are a direct representation of the school, a responsibility
reflected in their uniform and team name.
There are a few downsides to being a part of a school-sponsored cheerleading team.

Some schools recognize cheerleading as a sport and, therefore, give the team funding.
Unfortunately, there is still a large number of schools that consider cheerleading a club,
and because of this, many teams do not get proper funding or recognition.
College/Universit
y
College level cheerleading is technically school-sponsored, but it is very different from
cheering at the junior high and high school levels. Not all colleges have cheer teams,
but the ones that do only accept the cream of the crop. College cheerleaders attend
games, as well as other school related functions, like fundraisers and community
events.
In addition to cheering at games, most collegiate level cheer squads also compete.
Like any other sport, they want to bring home a title in the name of the school. At this
level, the competition is fierce because every cheerleader has been hand selected.
9
Many colleges have not one, but two cheerleading teams: a competitive squad and a
non- competitive squad; or both a coed and all-girl squad. Because there are so
many responsibilities for college level cheerleaders, it can take more than one team
to properly represent the school at games and competitions.
Yout
h
At the youth level, cheerleaders learn the basics of the sport, as well as sportsmanship
and team skills.
Youth cheerleading has grown in popularity due to the surge in participation at the
junior high and high school levels. Most youth cheerleading teams are affiliated with
youth football leagues and sometimes youth basketball leagues. They are contained
at the regional level, and although some teams compete, it is not the focus of the
league. Scholastics and education are very important at the youth league level and all
participants must keep a certain GPA to remain in the organization.
All-
Star
All-Star cheerleading is the sport’s fastest growing group because it incorporates

males, females, and athletes of all ages and skill levels. This type of cheerleading is
for those who want to bypass sideline cheering and focus strictly on competition. It
appeals to people who love competing, but who don’t necessarily love being in front
of their classmates.
All-Star cheerleading is more competitive and elite than school-sponsored
cheerleading and also requires a big time commitment. Training starts months
before competition season, and you might end up competing year round if you earn
your way to nationals.
Professiona
l
Professional cheerleaders cheer for a professional sports team (perhaps the Dallas
Cowboys Cheerleaders rings a bell). Professional cheerleading is very competitive and
making one of these teams is no easy task. Although professional teams don’t compete,
they are always striving to be the best in their league and/or division.
Some professional cheerleading squads do actually stunt and tumble, but a majority
of them do not. Most professional teams have morphed into dance teams, but
because they cheer on the sidelines they are still referred to as cheerleaders.
At this level, cheerleaders are expected to do a whole lot more than just cheer: They
also make appearances, do philanthropic and charity work, modeling and advertising.
They are in front of thousands of fans as well as millions of television viewers, so they
must be the best of the best.
Street
Cheer
Street cheer is the newest addition to the cheerleading family and it combines hip hop
and contemporary dance moves with chants and cheers. Although traditional
cheerleading does incorporate elements of dance, street cheer takes it to a whole new
level.
This type of cheerleading is big in Europe, particularly in the United Kingdom. An

official street cheer team was created in 2008 as a branch of the UKCA and the first-
ever Street Cheer Nationals took place in October of 2009.
Course
Module
Health Benefits of
Cheerleading
Just like those bright pompoms on the field, the benefits of cheerleading are easy to
spot. If your kids want to join a cheerleading squad, they’re on their way to good health
and a good mood. This aerobic activity is great for hearts, bones, and muscles. Plus,
exercising with others is motivating, and has proven, lasting psychological benefits.
It Builds Strong
Bones
While many people argue that jumping hurts your knees and joints, science begs to
differ. “Jumping increases bone density, so you can actually prevent osteoarthritis by
jumping,” says Rachel DeBusk, CPT at Unstill Life. According to a study in the Journal
of Athletic Training, only 6 percent of cheerleaders were injured over a one-year
period. To reduce risk of injuries, which are most often sprains and strains in the lower
extremities, make sure you get some base strength around your joints, incorporate
stretching, flexibility, and regular exercise (outside of cheerleading practice).
Happiness Is Basically a
Requirement
Cheerleaders are encouraged to smile even when the game isn't going their way, and
that might make them happier in general. “We smile because we are happy but
smiling also makes us happy,” says the University of Cardiff’s Dr. Michael Lewis. He
conducted a study that showed that people who couldn’t frown because of Botox
injections reported feeling less sad than the control group. So keep smiling — it could
cheer you up.
Cheerleaders Might Get a Better Workout Than the Whole

Team
A high school football game is in play for 48 minutes. Add timeouts and halftime, and
the game could easily go for an hour and a half. Cheerleaders are active throughout
that time. “From core strength for stunting to powering every muscle in your body for
tumbling, cheerleaders are the strongest athletes around,” claims Danielle Wechsler,
founder of cheerFIT Training. She estimates that each cheer practice burns 600
calories.
It Beats Singing Alone in the
Shower
You don’t have to pass a singing audition to become a cheerleader. Still, singing fight
songs with your cheer team can have emotional and brain benefits, and you don’t even
have to be good at it. That’s right, a study conducted at the University of Sheffield
indicates that even if you’re a bad singer, you can benefit emotionally, socially, and
cognitively from singing with a group.
Cheerleaders Are Leaders and Team
Players
Cheerleading produces active, engaged citizens. According to a survey conducted by
Varsity Brands, a company that runs cheerleading camps and makes uniforms,
cheerleaders were more likely to hold a leadership position in their school or
community. Cheerleaders work together as a team across racial, social, and economic
boundaries.
Using Your Voice Is

Encouraged
We spend half of our lives telling our kids to use their “inside voices,” but the deep
breathing that supports a cheerleader’s yells is very good for you. Diaphragmatic
breathing (that is, inhaling and exhaling deeply) has a number of medical benefits
including reducing the negative effects of stress. So let those kids holler. When you
send them off to the big city for college, they may be able to handle the transition and
the demands of college more easily.
11
Cheerdancing in the
Philippines
Cheerleading in the Philippines officially emerged in 1993 when the Cheerleading
Philippines Federation (CPF) was officially founded. The CPF is the “is the national
confederation of Cheerleading organizations. It is the national governing body of
Cheerleading and Cheer Dance in the country. Its primary activities are organized
through standing Commissions that are each responsible for some aspect of the
sport's development in the country. The CPF is mandated to sponsor and sanction
cheerleading & cheer dance competitions and a variety of national and international
cheerleading competitions, including the Cheerleading World Championships, the Asia
Cup, the IFC World Cup.”
However, it may be possible that cheerleading in the Philippines may have started
way before 1993. There may have been minor accounts of cheerleading in the
Philippines although no official accounts have been published regarding the subject
matter.
Cheerleading in the Philippines has three major competitions. These three competitions
are the University Athletic Association of the Philippines (UAAP) Cheerdance
Competition, National Collegiate Athletic Association (NCAA) Cheerleading Competition
and the National Cheerleading Championships (NCC).
The UAAP Cheerdance Competition, founded in 1994, is an annual one-day event of
the University Athletic Association of the Philippines for cheerleading, usually held at
the Araneta Coliseum. The participating schools of this competition are Adamson
University (AdU), Ateneo de Manila University (ADMU), De La Salle University
(DLSU), Far Eastern University (FEU), National University (NU), University of the East
(UE) and University of the Philippines (UP).
The NCAA Cheerleading Competition, previously known as NCAA Cheerdance
Competition is an annual one-day event of the National Collegiate Athletic Association
for cheerleading, which was recently founded in 2004. The event was sanctioned by
Cheerleading Philippines Federation (CPF) and thus adopted the official scoring criteria
used in international cheerleading. The participating schools of this competition
areArellano University (AU), Colegio de San Juan de Letran (CSJL), De La Salle -
College of Saint Benilde (DLS-CSB), Emilio Aguinaldo College (EAC), Jose Rizal
University (JRU), Mapua Institute of Technology (MIT), San Beda College (SBC), San
Sebastian College - Recoletos (SSC-R) and University of Perpetual Help System Dalta
(UPHSD).
The National Cheerleading Chamionship (NCC) was recently founded in 2006. The
competition first started small, with 10 teams and divisions: high school and college.
By 2008, 29 teams participated in the NCC, which featured squads from around the
country; thus making NCC the first and only true National Cheerleading Organization
in the Philippines. Just like the NCAA, the NCC uses the official scoring criteria used
in international cheerleading.

Physical Education and Health 3 Nature of The Different Dances

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Physical Education and Health 3 Nature of The Different Dances

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1

Physical Education and Health 3 Nature of the Different Dances

Dance is always a bliss to watch in terms of costumes, elegant moves and

Timeline Dance Style

400 BCE Indian Classical Dance

15th Century Ballet

1600-1750 Baroque Dance

Early 16th Century Capoeira

1795-1918 Vintage Dance

1795-1925 Classical Persian Dance

1790-1825 Regency Dance

Late 18th Century Bolero, Flamenco

Mid 1800s Tap Dance

1876 Cake Walk

1895-1918 Animal Dance:

19th Century English Country Dance

Late 19th Century • Samba

1900s • Acrobatic Dance

1910s • Texas Tommy

1911 Texas Swingout

1927 Lindy Hop

Early 1930s Jive

1940s • Samba de Gafieira

1945 Bebop/Bop Dance

1948 Line Dance

1950s • Skanking Dance

Early 1960s Detroit Ballroom

1960s • Swing Dance

1960-1970 Liturgical Dance

1967 Robot Dancing

1972 Contact Improvisation

Late 1980s Melbourne Shuffle, Leroc

1987 Cabbage Patch Dance

1990s Memphis Jookin’, Zumba

Early 20th Century Jitterbug Dance

Mid 20th Century Contemporary Dance, Rumba

Early 2000s Krumping, Electro Dance

2003 Flash Mob

2008 Single Ladies Dance

2012 Gangnam Styles

Each decade injects a completely different influence to these dance styles. In

Phases of the Dance

Creative rhythms are sometimes called fundamental rhythms or natural

3. Social and Ballroom

It is the highest form of dance. It is the end-product of exploration and

Examples of creative dance are ballet, jazz, and modern or contemporary

Different Types of Dances and Dancing Styles Across the

Figure 3. Foxtrot Figure 4. Cha-Cha-Cha

Figure 5. Paso Doble Figure 6. Jive

Figure 9. Ballet Figure 10. Breakdance

Figure 11. Hip Hop Figure 12. Tap

• François Delsarte (1811 - 1871, France).

He is considered as a precursor by modern dance history because he

These are some of Delsarte’s renowned

- Creation of a system for the study, analysis and teaching of

- Invention of the fundamental notion of the gesture’s

• Émile Jaques-Dalcroze (1865 - 1950, Austria -

These are some of Dalcroze’s renowned

- Introduction of a notion of relationship between movement and

- Some of his essential principles: body blockages are caused by

• Rudolph Laban (1879 – 1958, Hungary -

He also invents labanotation (or kynetography Laban), which is the most

• Mary Wigman (1886 – 1973 Germany):