Emanuelle Christian Maranan

STEM G – 12
Physical Education and Health Volume II

What is Recreational Dance?

Recreational Dance is a social activity in which people of all ages can participate. Recreational
dances come from all over the world and include fold, cultural, and historical dances and social
dances from the past and the present.

According to Lys Stevens and Dianne Milligan (2016) Recreational dance is a type of dance in any
forms that is done primarily for its social, educational or health benefits; it includes social dance
and amateur dance instruction and performance.

What is Dance Fitness?

Dance Fitness, on the other hand, is a fun way to increase cardiovascular endurance, strength,
and flexibility. Various dance genres support dance fitness. Dance-related fitness training
systems, such as Zumba fitness and Cardio dance, have boomed recently. A lot of people enjoy
using dance as fitness activity.

According to Anupama Dutta (2017) Dance Fitness is a dance from which will have the cred of
both dance plus fitness like weight loss, strengthening of muscle etc.…

What is Form, Phrase, and Motif?

According to Lockhart (1982) Form is the instrument by which ideas and elements are arranged
or combined into a logical sequence which results in unity and consistency, and by means of
which the content or idea can be expressed and communicated.

According to Blom and Chaplin (1988) Phrase is the smallest unit form in the whole dance. When
you combine one movement with several others, they form a unit. When units re pieced together
they make up a section in the choreography and the sections together form a whole dance.

Motif is a single movement or as short phrase of movement that embodies the style and intention
of the dance. A good dance contains a theme or a motif to be able to convey its meaning or
intention to the audience. A dance without meaning makes it harder for the audience to
understand; thus, making it superficial and easy to forget.
What are the Characteristics of a Good Dance?

Every performance has some certain traits or characteristics that should be followed in order to
keep the appropriateness and formality of the dance. These characteristics include unity,
continuity and development, variety and contrast, transition, repetition and climax.

1) Unity – The interconnected phrases of the dance are coherent and flow smoothly
together. The movements fit together and each place an important role that
contributes to the entirety of a dance.

2) Continuity and Development – The phrases of the dance that are organized
progressively, making each movement phrase move naturally into the next.
There is a continuous development of the movement phrase and the audience is
swept along to the end

3) Variety and Contrast – Making one or several variations that highlight the facet of the
motif. This provides variety within the development of a dance. It introduces new
material, which is noticeably different from anything so far seen in the dance

4) Transition – This is the link between movements, phrases, and sections of the dance. It
makes the logical progression of the dance flow smoothly. Also, it is vital because
it keeps the unity and continuity of the dance.

5) Repetition – It emphasizes movements and phrases that are important to the dance and
gives a feeling of closure to work. Some phrases need to be repeated in
choreography so that the audience can see those movements again and identify
its significance.

6) Climax – This is where the apex of energy in the dance is reached. It is similar with climax
in a story where a series of events culminates. The climax may be a fast and
enraged blast of energy and action.

What are the Various Choreographic Forms in Dance?

Selecting the structure which best expresses the dance idea is fundamental. Dance and music
closely resemble in so many ways. It is not surprising that they follow similar forms.

1) Sequential Forms – These forms contain themes/motif which progress in a specific

order. They are arranged accordingly.
 A) AB (two-part) Form – The simplest of the sequential forms and is similar with verse
and a chorus of a song. It is a binary form with two contrasting sections consisting
of a beginning section (A) followed by a second section (B).

B) ABA (three-part) Form – Composed of introductory theme (A), a contrasting theme

(B), and a restatement of the original theme (A). (A) is the unifying theme and
the center of interest., then (B) gives contrast. The original (A) returns either
as an exact repetition or in an easily recognizable variation or development.

C) Rondo Form (ABACA) – In this form, the unifying theme (A) returns after each
contrasting theme. (A) appears after every contrasting section at least three
times, but it can itself be varied.

D) Theme and Variations Form – The motif is a series of movements to which variations
are added throughout the development of the entire choreography the
motif/theme can be a single phrase or several movement phrases placed together
in a sequence.

2) Contrapuntal Forms – Here, several themes are woven together in choreography to form
a complex structure. The main theme is seen against itself or against one or more
other themes.

A) Ground Bass – Single thee starts the dance and is repeated all the way through the
dance while other contrasting themes are simultaneously performed with it.

B) Round or Canon – Consists of two or more movement phrases or theme in which the
main movement phrases is imitated exactly and completely by the successive
movements but done in staggered manner.

C) Fugue or Accumulation – A choreographic form that is constructed by adding on

different movement or dance phrases in every repetition of the main movement
theme.

3) Episodic Form – Episodic Forms are not musical forms; instead, they are found in
literature. They tell a story though connected and progressive sections called
episodes. Narrative form is an episodic form that tells a story or conveys an
idea and the sequence of the story determines the structure of the dance.
 4) Other Compositional Forms

A) Natural Structures – Mostly come from natural structures such as the seasons, life
cycles, and everyday life experiences. All these present rich materials for organic
dance structure.

B) Collage – According to McGreevy-Nichols et-al. (2005) this consists of a series of

movement phrases that are often unrelated but have been brought together to
create a single dance with a beginning, a middle, and an end.

C) Tableau – Different movement phrases are performed by different dancers

simultaneously in the same space. The dancers may execute a tableau at a
different location on the stage and connect transitional movements of each scene
to produce a progression of moving snapshots

What is Folk Dance?

Folk Dances are the indigenous dances of any specific “Folk” or the common people They are
traditional customary or recreational dance forms of a given country which have evolved
naturally and were handed down across generations.

According to Lopez (2006) Philippine Folk Dance is a traditional mode of expression that employs
bodily movements of redundant patterns linked to definitive features of rhythmic beats or music.

Different Types of Philippine Folk Dance?

There are several ways to classify Philippine folk dances. According to Francisca Reyes-Aquino,
folk dances may be classified by geographical extent of origin, nature, speed of movement,
formation and distinguishing feature.

The three major regional classifications of Philippine folk dances are tribal dances from the
Cordilleras, dances from lowland Christians, and Muslim dances.

1) Tribal Dances from the Cordilleras - Include Non-Christian dances from the Cordilleras.

2) Lowland Christian Dances - dances coming from places with Western influences such as
that of the Tagalogs, Ilokanos, Pampangueños, Pangasinense, Bisayans, and
Bicolonas.
 3) Muslim Dances – Dances from the people of the Southern Islands of the Philippines such
as in Mindanao and Sulu. These dances are influenced by Arabic and Indo-Malayan
cultures.

Tribal Dances from Cordilleras Lowland Christian Dances Muslim Dances

Philippine folk dances, regardless of their classifications, may also be categorized as:

1) Life-cycled Dances – Dances that serve as ritual as one pass to a different stage in life
such as from birth to childhood to adulthood; from singlehood to marriage; and
from life to death: Courtship Dances, Wedding Dances, and Funeral Dances

2) Festival Dances – Dances that are either religious or secular and are connected with the
celebration of recurring events of special significance.

3) Occupation Dances – Dances that depict the means of livelihood of the Filipino people.
Palay festival, a national dance in rice-growing regions, is an example of an
occupational dance.

4) Ritual and Ceremonial Dances – Dances performed as part of the rituals and ceremonies
of a certain tribe or group of people.

5) Game Dances – Derivations from local folk games. One example of these dances is the
Pukol Dance from Aklan and Capiz in the Panay region.

6) Joke and Trickster Dances – Includes jokes or tricks played by a dancer on another or a
group of dancers who is one of them. The intention is to render that individual to
a physical or mental indignity or discomfort.
 7) Mimetic or Drama Dances – Dances that mimic animals, inanimate objects, or other
people. The dances get into roles other than themselves and become actors
totally an immersed in the story the dances tell.

8) War Dances – Dances that express feud and enmity wherein two male dancers engage
in physical combat with Spartan-like intensity.

9) Social Amenities Dances – Dances that express social graces, hospitality, and offerings of
gifts to friends.

Life-Cycle Dances Festival Dances Occupational Dances

Ritual and Ceremonial Dances Game Dances Joke and Trickster Dances

Mimetic or Drama Dances War Dances Social Amenities Dances

What is Ballet?

Ballet was taken from the Italian word ballare, meaning to dance, and ballo, referring to dances
performed in a ballroom. The first ballet performers were men. The ballet costumes before were
Grecian: sandals, diaphanous skirt, low-necked body, hair in form of wreath.

According to Haskell (1965) Ballet is a combination of the arts of dancing, poetry, music, and
painting. The essential quality of the ballet dancer is grace that is phrasing, fluidity, harmony, the
making of words into a poetic whole.

According to Burian (1963) Ballet is the art of gesture and mime interprets, by specific means of
expression, the thematic and emotional content of the scenario on which it is based, bringing the
poet’s ideas to life, presenting the story with all its conflicts, plots and solutions (p.30).

Difference between Classical and Contemporary Ballet

According to Velardi (2012) Classical Ballet is known for its exactness of technique that highlights
pointed toes and turnouts high extensions and gracefulness. It also uses traditional mime that
utilizes gestures for conversation instead of words. These gestures are as precise as ballet steps
and gave to e learned and performed accurately.

On the other hand, according to Castle (1998) Contemporary or Modern Ballet mainly uses ballet
steps and more natural movement to convey meaning. It incorporates elements of both classical
ballet and modern dance that allows a greater range of movement that does not support the
strict bodylines that are traditional in any of the classical ballet techniques.

Basic Dance Positions in Ballet

According to Reynolds (1979) The ballet technique is based on the five positions of the feet. The
feet in each position are always parallel with each other with an outward rotation of the legs
called turn out. This provides freedom of movement in any direction and making the execution
of the most difficult movements look effortless and graceful.

Images citated from: https://ballethub.com/ballet-lesson/five-basic-positions-ballet/

What is Modern Dance?

According to Horwitz in Reynolds (1979) Modern Dance is a term used to describe Contemporary
Dance a style of dancing where dancers are free to express their feelings through movements
without adhering to any rules in dance particularly that of ballet. It is a rebellion against the
confining nature of classical ballet.

According to Bedinghaus (2016) Unlike ballet, dancers of modern dance use their own
interpretations instead of structured steps. They thrust aside the classical ballet stance of an
upright, erect body, and instead often opt for deliberate falls to the floor.

Characteristics of Modern Dance

1) Technique – According to Horwitz in Reynolds (1979) There are several techniques from
various modern dance choreographer, but the main goal of each technique is “to
develop an instrument, which is the human body, that is capable of expressing any
and all aspects of human behavior”.

2) Improvisation – This refers to the spontaneous movement performed by dancers in

response to suggestions by the choreographer. Various images, ideas, feelings or
other stimulating events may be motivations for improvisations. Modern dance
allows considerable freedom to the dancer.

3) Choreography – According to Minton (1984) Modern dance allows choreographic

freedom. The form in this dance mostly represents the personal an emotional
experience of its creators. The intent and style of the dance choreography are not
limited to certain areas or subject matters, giving the choreographers freedom to
choose their own.

What are the Basic Modern Dance Skills?

According to Hays (1981) Modern dance movements are based on basic locomotor and non-
locomotor skills. It is the application and the incorporation of the meaning of the movement that
turns the simple movements to dance movements.

1) Dance Walk – An even rhythm pattern in which an alternate transfer of weight occurs
from one foot to the other. Walks help maintain body weight read for immediate
action.
2) Run – An even rhythm pattern in which there is an alternate transference of weight from
one foot to the other. It is faster than a walk and requires more energy.

3) Triplet – Basic modern dance experience performed in an even ¾ meter with each step
requiring a complete change of weight.

4) Waltz – Even rhythm with counts 1 2 3/ 1 2 3/. Begin as in the walk, turned out fifth
position.

5) Gallop – This is two steps performed in uneven rhythm 1 & 2/ 1 & 2/, long-short, long-
short. One foot always maintains the lead.

6) Chassé/Slide – Uneven rhythm with counts 1 & 2/ 1 & 2/with one foot maintaining the
lead. It is smoother in quality than the gallop, the slide retains other of its features.

7) Jumps
(A) Basic (Sauté) – Uneven rhythm 1 & 2/ 1 & 2/. Starting with first position turned out in
a demi-plié preparation, jump straight into the air. Land in demi-plié. Repeat
several times.

(B) Échappé – Jump from first position in demi-plié springing with legs on a slight diagonal
outward from hip joints. Land with feet in second position. Spring int the air, legs
extended and finish with feet in first position demi-plié.

(C) Sissone – Spring to right side from fifth position demi-plié with right foot forward.
Allow left leg to extend to knee height through second position and tilt shoulders
and head slightly right. Finish in demi-plié fifth position with left foot in front, torso
erect.

8) Leap – In the gap between take-off and landing, the body is suspended in the air with
both feet off the floor for a short flight of freedom.
(A) Jeté – (See ballet terms)

(B) Prance – Like the run, the weight changes alternate the feet in an even rhythm
with counts 1 2/ 1 2/. As weight is taken on L leg in demi-plié, the R knee is lifted
sharply, and R foot strongly extended. Both knees should extend ankles together
at the highest point of elevation. The body elevates slightly between each step.

9) Falling – Falling action can be aesthetically breathtaking when performed quickly and with
control. It can be done in any direction.
(A) Simple side fall
i. Stand erect, feet diagonally turned out and arms hanging naturally. Bring rib
cage and right side of head to right until body losses balance stumbling to
R side.

ii. Side falls – From a side sitting position, arms, and legs pointed in same
direction, bend body to L, dropping L arms across body and placing hard
on floor. Slide L hand sideward as legs extend in opposite direction. Weight
of the body is taken first on L hip and then as the body extends, on the L
side. At the end of the fall, the Larm is extended, head resting on shoulder,
and R arm is parallel with extended legs.

iii. Side split fall – Stand in first position, shift weight slightly onto L letting R
slide to the side. Simultaneously slide forward reaching for floor with
hands without collapsing. Control descent by maintaining pelvic and
abdominal lift and a well-arched spine. As hands touch the floor, elbows
bend to catch the weight of the torso. The body should resist the floor to
maintain smooth quality and control.

(B) Simple forward fall – From standing erect, feet parallel and arms hanging naturally,
step forward R and bring face and chest forward. As weight progresses
forward, allow L leg to rise in a small arabesque (see ballet definition).
Continue until the body falls forward off balance almost stumbling.

(C) Overcurves (Glissade) – Stand erect, arms curved downward, and feet turned out.
Inhale and reach out to R side sensing a lift at the moment of weight
transfer through second position (ct 1). Shift weight to working leg and
close other foot in front to a relaxed fifth position allowing knees to bend.
Exhale (ct 2). Repeat sideward action in same direction closing foot in back
on count 2 to produce a grapevine effect.

(D) Tombé – This indicates any time the body falls forward, backward or sideward off
the supporting leg onto the working leg in a demi-plié.

(E) Front falls

i. Simple – From a high kneeling position, contract body forward and downward
placing hands on floor below shoulders. Slide hands forward, extending
hips and arching upper spine until body is fully extended in prone position.
 ii. Swedish Fall – From first position, step forward on one foot, lifting other leg
towards the back. Arch upper spine and swing arms forward with palms
toward the floor. Fall forward to catch weight on hands, back leg still
extended in the air. Lower body to floor by bending the elbows then sliding
hands forward as legs straightens.

iii. Front Sliding Fall – Begin in a slow run as a preparation. Lunge forward on R
allowing torso and arms to reach out towards the floor. Upon contact with
floor, pull backwards with hands while maintain a strongly arched back,
extended legs and feet, and pulled up abdominals.

(F) Back Falls – From erect standing position, cross R foot in back lowering to R knee.
Sit on floor extending L foot forward and reaching hands sideward. Curl
spine down while extending R leg and using hands to help support and
control torso.
(G) Spiral Falls – From erect standing position and legs turned out, cross L foot behind
and twist shoulders to right while contracting into R hip. Deepen this spiral
action to right lowering to floor balanced on the L hip. Control descent.
Avoid moving the feet intentionally as they only react to changes in torso
position.

10) Rolls
(A) Log Rolls – from a supine lying position, with arms extended overhead and feet
and ankles extended, revolve entire body to end in prone lying position.
Repeat as many times as desired.

(B) Forward Roll – Starting with a kneeling position, sitting on heels, body curled
forward, head turned to one side and elbows in at center of body. Make a
complete body roll in the direction opposite to turned position of head, to
end in starting position.

(C) Backward Roll – Begin supine lying, arms at the sides of the body. Contract
abdomen and hinge legs up and backward. Aim knees slightly to the R
shoulder and turn head to left. End on knees or on feet in a squat.

11) Turns – This involves establishing an axis within the body, through the body’s point of
contact with floor. It is vital to learn how to spot in order to execute the turns
efficiently and smoothly.
(A) Three Step Turn - Begin with weight on left foot, right leg extended to side. Step
on right doing % right turn. Step left continuing right turn to end facing
forward, recovery step to right side. Focus in direction of the turn.

(B) Cross Over Turn (Soutenu/Turn) - weight on Left, Right arm extended to second
position. Step right foot, crossing left over. This can be done with or
without a slight springing action to the step, weight on both feet, pivot
Right to face forward.

(C) Chainé - keeping the feet close together on % toe, step on Right doing % turn. Step
left foot completing the turn. Perform a series in a straight line. It is
important to spot on chainés because of the speed and desired accuracy.

(D) Grapevine - exaggerate the twists so that both hips and shoulders turn from side-
to-side on each step. Step Right, cross over left and twist to face right. Step
side right, cross back left to face side left.

(E) Coupé Turn - related to the chainé with the same footwork only on each step with
the working leg is placed slightly above the front of the supporting ankle.
Also, springing instead of stepping onto the supporting leg. Each step
makes ½ turn, therefore two coupés result to a whole turn. Make sure to
spot in the line of direction of the turn. Do in series.

(F) Pas De bourrée Turn - begin with weight on right foot, left foot behind. Stepping
underneath the body, step on left making 1/3 turn to left. Step right
continuing turn to left. Finish turn in a coup on left foot

(G) Pique Turn - start with weight on Right, left foot extended forward. Reach to left
diagonal with fully extended leg and foot. Shift weight over to left leg and
turn left to face forward shifting weight back to original position. Working
leg is held with knee flexed and ankle resting against back of Left calf, thigh
turned out. Turn progresses in a straight line.

(H) Pirouette - the preparation always begins with the supporting leg turned out in
demi-plié. Beginners and intermediate students would begin the turn with
the working foot also on the floor, start in a small forward lunge, weight
on forward leg Whip the back leg around to the pirouette position and turn
in the same direction as the supporting leg