THE STO.

NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS

San Roque, Rosario, Batangas
School Year 2020-2021

PHYSICAL EDUCATION AND HEALTH 3

FIRST MID QUARTER
INTRODUCTION TO DANCE

LESSON 1
Brief History and Nature of Dance
The human being has an innate yearning for regular rhythmic movement. Whether this is in form of
athletics, activities of daily living, or dance, the human body is the primary instrument for each. Dance Uses the
body as an instrument of expression in time and space.
What is dance?
Dance differs from athletics or other daily activities because it focuses primarily on “an aesthetic or
even entertaining experience.”

Why do people dance?

They dance for four reasons:
 To please Gods
 To please others
 To please themselves or self-expression
 To build community w/in ethnic group or social interaction.

Where do dance came from?

Dance is can be seen among:
 all civilization of the world
 different periods

Dances are rooted from prehistoric past.

Dance is….
 Form of religious rituals and social expressions
 To reinforce tribal unity and strength
 Approach to court and mating
 worship, communication and therapeutic experience

Kraus and Gaufman(1981) said that…

“Man danced originally to supplicate the gods on all important occasions of life.”

 During prehistoric time dance was not fully recorded

 Pre-Christian Era: the real knowledge of dance came about within the great Mediterranean and Middle
Eastern Civilizations…
 Ancient Egypt; Full blown and recorded (can be seen in painting and hieroglyphs: religious
expressions)

Ancient Greeks…
Linked with other experience, such as
 Aid to military education among boys in Athens and Sparta
 Also for entertainment and display
 Greek philosophers such as Plato, Aristotle and Socrates strongly supported this art as an integration
of the body and soul.

 Plato stated the importance of dance in his elucidation on the LAWS.

Kinds of Music and Dance
o Noble (fine and honorable)
o Ignoble (imitating what is mean and ugly)

Ancient Rome…
 gave less importance on dancing
 stopped valuing such qualities in art as the nation grew wealthy and powerful.
 dance became brutal (slaves and captives from many nationalities; gruesome purposes)
 became integral part of corruption, resulting in condemnation of dance by the early Christians.

Catholic Church, fall of Rome, changed the history of dance…

 Sole custodian of learning, education and morals
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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

 First Christian emperors came and theatrical dance entertainment was prohibited
 Only performed in church and religious ceremonies.

Dark and Early Middle Ages…

 church condemned dance as an entertainment
 Singers, dancers, poets, actors, musicians, and jugglers continued to wander (perform)
 Village squares, eventually welcomed in castles and chateaus of feudal lords.
 marked the beginning of SOCIAL DANCING…
 PEASANTS: two basic types of dancing; round dance and couple dance
 nobility soon followed the peasants lead in dancing but more refined and courtly form.
 court dances emerged as a part of chivalric way of life.
 Noble-limited to gliding, curtseying, posing; floor wood or polished marble called ballroom
 Peasants- wider movements; grass or on beaten earth of the town

Early Renaissance…
 Dance was wholly accepted in courts as capitalist class produced patrons of learning and art in Europe
 Dance and art gained and impetus
 Entertainers became valuable appendage to the courts of Italy and France
 15th and 16th Century…
 vast dance movement occurred
 new dance courts performed by nobility; rise of the art of ballet in Italy and France.
 ballet, contemporary dances emerged and evolved in Europe.

Benefits of Dance and Creative Movements

Dancing
 one of the oldest and most popular forms of exercise
 Considered aerobic since they entail about an hour of continuous exercise

Polly de Mille- an exercise Physiologist at the Women’s Sports Medicine Center In New York: benefits through
dancing are similar to other of activities

1. Physical
 Develops cardiovascular and muscular endurance
 Improves coordination, balance, flexibility, and body composition
 Lowers risk of cardiovascular diseases
 Lowers body mass index
 Lowers resting heart rate
 Improves lipid metabolism
 Enables joint mobility
 Helps improve and maintain bone density, thus helps prevent osteoporosis
 Helps recover coordination and neuromuscular skills after injury

2. Mental/Emotional
 Helps keep the brain sharp
 Decreases incidence of dementia and Alzheimer’s disease
 Decrease depressive symptoms
 Increases sell-esteem and improves body image
 Aids in releasing emotional and physical tension

3. Social
 Gives sense of togetherness within a group
 Encourages positive social interaction and interpersonal relationship in a group
 Contributes to the individual’s potential for self-actualization in society

4.Cultural
 Promotes cultural values

LESSON 2
ELEMENTS OF DANCE

1. Space- this is the area that the performers occupy and where they move.
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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

Four different aspects called Spatial Elements

 Direction- dance travels in any direction
 Size- movements can be varied by doing larger or smaller actions
 Level- movements can be done in a high, medium or low level
 Focus- performers may change their focus by looking at different direction.

2. Timing- may be executed in varying tempo(speed): the tempo that underlying sound is known as BEAT OR
PULSE.
Sequence of movement or group of phrases is done in varying tempos they generate rhythmic patterns.

3. Energy/Dance Energy or Force- can initiate or stop action, minimizes the monotony of the movements in
the performance
Six Qualities
 Sustained- movements are done smoothly, continuously, and with flow and control. It does not have a
clear beginning and ending.
 Percussive- movements are explosive or sharp in contrast with sustained movements. They have
accented with thrust of energy. They have clear beginning and ending
 Vibratory- movements consist of trembling or shaking. A faster version of percussive movements that
produces jittery effects
 Swinging- movements are traced a curved line or an arc in space. The movements are relaxed and
giving in to gravity on the downward part of the motion, followed by an upward application of energy
 Suspended- movements are perched in space or hanging on air. Holding a raised leg in any direction in
an example of a suspended movement.
 Collapsing- movements are released in tension and gradually or abruptly giving into gravity, letting the
body descend to the floor. A slow collapsed can be described as melting or oozing action downward
direction

4. Bodily Shapes- body is molded in space on in configuration of body parts. Can be rounded, angular, or
combination. Can be wide to narrow and from high to low. They can be symmetrical and asymmetrical

Symmetrical- balanced shapes; movements are practically identical or similar on both sides
Asymmetrical- unbalanced shape; movements of two sides of the body do not match or completely different
from each other

5. Group Shapes- a group of dancers perform movements in different group shapes Arranged in ways that are
wide, narrow, rounded angular, symmetrical, asymmetrical and viewed ass total picture.

LESSON 3
DANCE APPRECIATION AND COMPOSITION

Did you know?

Recreational Dance
 social activity that people of all ages can participate.
 folk, cultural, historical and social dances form the past and present.
 cultural roots, historical areas and geographic areas w/c the dance originates

Dance Fitness
Increase cardiovascular endurance, strength, flexibility, fitness
A good dance lifts and transports the audience from their seats during the performance it has
beginning, middle, end/conclusion:
 Beginning- may come in shape, pose entrance
 Middle- development of exploration of main idea
 End/conclusion- clear; shape, pose, exit

A good dance therefore, must have a shape or form for its choreography to be effective

Form
 which ideas and elements are arranged or combined into a logical sequence that results to unity and
consistency
 content and idea can be expressed and communicated
 must be done from the beginning to end
 Each dance is composed of phrases (small units) that are smoothly connected

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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

 Choreographers and dancers use movement phrasing when working on dancing

Minton (1997)-suggest that movement must vary in length and shape, most of the dances these days
use equal length phrases: eight counts

Motif
 a good dance must contain motif, convey its meaning or intention
 single phrase that shows style and intention of dance is called motif
 may be repeated, varied and developed by manipulating movements. Example is itik-itik (itik concept)

CHARACTERISTIC OF A GOOD DANCE

1. UNITY- the interconnected phrase of the dance is coherent and flow smoothly together. The movement
fits together and each plays an important role that contributes to the entirety of a dance
2. CONTINUITY AND DEVELOPMENT- the phrase 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 the end.
3. VARIETY AND CONTRAST- making one or several variations that highlight the facet of motif. This
provides variety with in the development of a dance. It also add excitements and flavor in the dance.
4. TRANSITION- this is the link between movements, phrases, and section 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 a work (Minton, 2007). Some phrases need to be repeated in choreography so that
the audience can see those movements again and identify its significance. Usually, when a certain
phrase or a section of choreography is repeated, it is the main message of the dance.
6. CLIMAX- this is where the apex of energy in the dance is reached.
CHOREOGRAPHIC FORMS

1. SEQUENTIAL FORMS- Contain themes/motif which progress in a specific order

2. CONTRAPUNTAL FORMS- several themes are woven together in choreography to form a complex
structure. The main theme is seen against one or more other themes. There are four contrapuntal
forms of dance:
a) Ground bas- single theme 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- consist 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 strange 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.
d) Suite- every section of the dance uses different tempos and qualities
3. EPISODIC FORM- episodic form is not musical form; instead, they are found in literature. They tell
story through connected and progressive sections called episodes.
4. OTHER COMPOSITIONAL FORMS-
a) Natural structures- mostly come from natural structures such as the season, life cycles, and
everyday life experiences.
b) Collage- consists of a series of movement phrases that often unrelated but have been brought
together to create a single dance with a beginning, middle and an end.
c) Tableau- different movement phrases are performed by different dancers simultaneously in the
same space.
d) Chance- the movement phrases are performed in random order and spatial placing
EVALUATING A GOOD DANCE

The success of any dance performance may depend on who the evaluators are. The evaluators’ role are
categorized as:

1. Choreographers- they will evaluate a part of an ongoing process of developing personal style which is
both spontaneous and organized.
2. Dancers- they will evaluate according to the specific demands that the performance places on them.
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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

3. Audience- they will evaluate according to the particular context of the dance
STAGES ON ASSESSING A DANCE

1. Description- involves close observation of all the elements, characteristic and components of a dance
as described in the previous section of this module.
2. Interpretation- involves an appreciation of the ideas, content, images, and style contained within the
dance
3. Evaluation- takes into consideration how effectively the features and context of the dance have been
utilized in the actual performance of the dancers to portray the content and the quality of the dance.

GUIDE QUESTION IN ANALYZING AND EVALUATING A DANCE PERFORMANCE

 What was the title of the dance?

 Who was the choreographer?
 When was it performed?
 What was the genre/style of the dance?
 What was the accompaniment?
 Who were the dancers/company?
 Were there specific demands placed on dancers in performance? If yes, what were this?
 What are the movements and forms of dance?
 What does the set look like?
 What were the costumes/ profs used during the performance?
 How was the lighting of the show?
 Who was the designer of the show?
 What were the context and/ or significance of the dance?
 How will you evaluate the overall dance performance?

LESSON 4
WORLD OF DANCE
Dance comes in different forms. All dance style is not alike and they are distinctive.
DANCE AS AN ART
“Dance is an art which deals with the motions of the human body” –James K. Feibleman, a great
philosopher.
Dance is an art of rhythmic bodily movement that projects ordered sequence of moving visual patterns
of line, solid shape, and color (Thomas Munro in Kraus and Gaufman, 1981). Some of these dances that are
considered an art are folk dance, ballet, and contemporary dance.

PHILIPPINE 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 generation. Most of these dances are related in origin to religious belief, stemming from
emotions, superstitious, festivals, ceremonies of birth, courtship, marriage, death, war, and countless themes
common to all people around the world.
Lopez (2006) defined Philippine Folk dance as a “traditional mode of expression that employs bodily
movements of redundant patterns linked to definitive features of rhythmic beats of music.” She further stated
that Philippine folk dance, to be called such, should have the following characteristics:
1. It is traditional
2. It has an expressive behavior
3. Simple, basic rhythm dominates the folk dance and establishes the pattern of movement.
4. It is created by unknown choreographer or by communal efforts.
5. It is performed a function in the life of the (folk) people.
Oftentimes, the term folk dance is being confused or used interchangeably with ethnic and national
dance.

DIFFERENCE BTEWEEN FOLK, NATIONAL AND ETHNIC DANCES.

Folk dance are traditional dances found in a certain country while national dances are also traditional
dances but have national scope. Ethic dances or ethnological dances are those performed in primitive tribes
and have retained their close kinship with religious ritual and community costume.

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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

Examples of different types of ethnic dances:

Did you know? A. Ritual dances- dance that depict ritual

The first national artist for dance and the mother
of Philippine Folk dance is FRANCISCA REYES-
AQUINO
DIFFERENT TYPES OF PHILIPPINE FOLK DANCES:
The three major regional classifications of Philippine folk dances are:
ceremonies. Ex. Dugso (Bukidnon) and
Pagdidiwata (Palawan)
B. Life-Cycle dances- dances relating to the
cycle of human life such as birthing,
courtship, wedding, and funeral. Ex.
Binasuan (Pangasinan) and Daling-daling
(muslim courtship dance from sulu)
C. Occupational dances- dances that exhibit
work and occupation of the dancers. Ex.
Mag-asik (Cotabato) and Mananagat (Cebu)

1. TRIBAL DANCES FROM THE CORDILLERAS- Include non-Christian dances from the Cordilleras
2. LOW LAND CHRISTIAN DANCES- Dances coming from places with western influences such as that
of the Tagalos, Ilokanos, Pampanguenos, Bisayans, ang Bicolanos. These dances are influenced by
Hispanic and European culture.
3. MUSLIM DANCES- Dances from the people of the southern islands of the Philippine such as Mindano
and Sulu. These dances are influenced by Arabic and Indo-Malayan culture.
Philippine folk dances, regardless of their classifications, may also be categorized as:

1. Life Cycle Dances- dances that serve as ritual as one passes to a different stage in life such as from
birth to childhood to adulthood; from singlehood to marriage; and from life to death. Below are the
different dances that portray life cycle.
A. Courtship dances
B. Wedding dances
C. 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. Occupational Dances- dances that are depict the means of livelihood of the Filipinos people. Palay
Festival, a national dance in rice-growing regions, is an example of an occupational dance wherein
dancers portray different steps in rice growing-from planting to harvesting to threshing, flailing,
pounding, airing, and winnowing (Aquino,1979)
4. Ritual and Ceremonial Dances- Dances perform 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. Pukol means “to sktrike or bum to each other”
6. Joke and Tricksters Dance- include 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”. Example of these is the Pandanggo s Sambalilo dance from the tagalog regions wherein
a girl teases her male partner by playing wityh his hat then pushes him when he is about to succeed in
getting back and putting his hat from the floor.
7. Mimetic or Drama Dances- Dances that mimic animals, inanimate objects, or other people. The
dancers get into roles other than themselves and become actors totally immersed in the story the
dancers tell. The Itik-itik dance from surigao is an example of mimic dance as it imitates the movement
of a duck.
8. War Dances- Dances that express feud and enmity wherein two male dancers engage in physical
combat with Spartan-like intensity. Maglaltik is an example of a war dance as this depicts a battle
between Muslims of Southern Philippines and the Christian Filipinos of the low lands over latik.
9. Social Amenities Dances- Dances that express social graces, hospitality, and offerings of gifts to
friend. All social ballroom dances and most of the “Filipinized” Western dances that show camaraderie
merriment belong to this group. Example are Minuete Yano, Alay, and Habanera Botolena dances.

LESSON 5
BALLET
It is taken from the Italian word ballare, meaning to dance and Ballo refering to dances
performed in a ballroom.
According to Haskell (1965) ballet is a combination of the arts of dancing, poetry, music, and
painting.
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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

Burian (1963) stated that ballet is an artistic, programmatic, scenic dance accompanied by
music.

Brief History of Ballet

• It was in the 15th century during the Renaissance period when ballet began in Italy.
• It started as a performance in the royal court while where the male servants would execute the
movement related to the course they are serving during a court dinner.
• Ballet originated in the Italian Renaissance courts of the 15th century.
• Noblemen and women were treated to lavish events, especially wedding celebrations, where dancing
and music created an elaborate spectacle.
• Dancing masters taught the steps to the nobility, and the court participated in the performances.
• In the 16th century, Catherine de Medici — an Italian noblewoman, wife of King Henry II of France and
a great patron of the arts — began to fund ballet in the French court.
• Her elaborate festivals encouraged the growth of ballet de cour, a program that included  dance, decor,
costume, song, music and poetry.
• In the 16th century, Catherine de Medici — an Italian noblewoman, wife of King Henry II of France and
a great patron of the arts — began to fund ballet in the French court.
• Her elaborate festivals encouraged the growth of ballet de cour, a program that included  dance, decor,
costume, song, music and poetry.
• A century later, King Louis XIV helped to popularize and standardize the art form. A passionate dancer,
he performed many roles himself, including that of the Sun King in Ballet de la nuit. His love of ballet
fostered its elevation from a past time for amateurs to an endeavor requiring professional training.
• By 1661, a dance academy had opened in Paris, and in 1681 ballet moved from the courts to the stage.
• The French operaLe Triomphe de l’Amour incorporated ballet elements, creating a long-standing
opera-ballet tradition in France.
• By the mid-1700s French ballet master Jean Georges Noverre rebelled against the artifice of opera-
ballet, believing that ballet could stand on its own as an art form.
• His notions — that ballet should contain expressive, dramatic movement that should reveal the
relationships between characters — introduced the ballet d’action, a dramatic style of ballet that
conveys a narrative.
• Noverre’s work is considered the precursor to the narrative ballets of the 19th century.
• In the early part of the 20th century, Russian choreographers Sergei Diaghilev and Michel Fokine
began to experiment with movement and costume, moving beyond the confines of classical ballet form
and story.
• Diaghilev collaborated with composer Igor Stravinsky on the ballet The Rite of Spring, a work so
different —with its dissonant music, its story of human sacrifice and its unfamiliar movements — that it
caused the audience to riot.
• George Balanchine considered by many to be the greatest innovator of the contemporary “plotless”
ballet. With no definite story line, its purpose is to use movement to express the music and to illuminate
human emotion and endeavor. Today, ballet is multi-faceted. Classical forms, traditional stories and
contemporary choreographic innovations intertwine to produce the character of modern ballet.

Ballet in the Philippines

• American colonization paved the way for the introduction of classical ballet in the Philippines.
• In 1927, Luva adameit came to the Philippines and started a ballet school.
• Ballet performances come in different forms. Some tell a story, others develop a theme, and few are
few are simply dancing for its own sake called abstract ballet.
• The ballet company in the Philippines is the Cultural Center of the Philippines Dance Company ( now
Ballet Philippines) and Dance Theater Philippines.
• Ballet Philippines founded in 1969 by Alice Reyes with the support of Eddie Alejar.
• Ballet Philippines is widely recognized today as a cornerstone of the Filipino cultural identity.

Classical vs. Contemporary Ballet

• A classical ballet has certain rules that must be followed but a contemporary ballet has none.
• In a contemporary ballet there might not be music, costumes, scenery, story or footwear.
• A classical ballet has five specific ingredients that must be included.
1. It must tell a story – often a fairytale involving a boy/girl plot with a problem to be resolved by the
end.
2. It must have costumes and scenery.
3. It must have music and the music must go with the story.
4. It must have a “folk” or “character” dance.
5. The female dancers must wear pointe shoes and tutus.

Composition of the Ballet Class

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John Kevin L. Espiritu
Subject Teacher
 THE STO. NIÑO FORMATION AND SCIENCE SCHOOL-NIGHT CLASS
San Roque, Rosario, Batangas
School Year 2020-2021

1. Warm-Up – limbring and stretching exercise that warm and gently stretch the muscles before trying the
difficult moves.
2. Barre exercises – the students hold on a barre to help maintain balance and correct placement of the
body.
3. Center Work Exercises – after the barre exercise the students move to the center of the room to do
more stretching and relaxing exercises to loosen the back and the muscle in other parts of the body
which have worked hard in the previous exercises. (Dufort, 1985)
4. 4. Corner Drills – consist of sequence of steps combining big jumps, leap turns which cover large areas
and put the demands on the body’s strength, endurance and control.

LESSON 6
MODERN DANCE

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John Kevin L. Espiritu
Subject Teacher