SPECIAL PROGRAM IN THE ARTS (DANCE 7)

First Quarter
Dance Specialist: Vanessa Mae M. Maagad

The learner demonstrates understanding and appreciation of the basic concepts and
principles of dance, its forms, genres, and movement vocabulary, develop awareness of the
human body as a means of artistic expression and perform dance steps combinations in the
context of local and creative dances.

CONTENT STANDARD PERFORMANCE STANDARD

The learner… The learner…
 Demonstrates understanding of the basic  Exhibits on the different dance
concepts, characteristics and functions of forms/genres.
dance, movement vocabularies,
forms/genres and its relationships for the
enhancement of the individual aesthetic
potentials.

Learning Competencies

The learner…

1. Defines dance
 as an emotional expression
 as an artistic expression
2. Discusses the functions of dance.
3. Identifies the nature and characteristics of each dance form
4. Differentiates dance forms/genres.
5. Executes dance movements of some genres using the basic concepts, characteristics and
functions of the dance.

Introduction

The dance curriculum focuses on the holistic development of the students providing them
with exploration, selection, organization and evaluation experiences. These experiences include
appreciation of cultural and social heritage, exploration of values and ideas, movement skills
development and refinement, sensory integration, originality in movement, creative approach to
learning, performance, expression, critical and creative thinking, aesthetic cognition, and
development of self-esteem, respect for others, self-discipline and other life skills.

The learner demonstrated understanding and appreciation of the basic concepts and
principles of dance, its forms, genres, and movement vocabulary, develop awareness if the

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 SPECIAL PROGRAM IN THE ARTS (DANCE 7)
First Quarter
Dance Specialist: Vanessa Mae M. Maagad
human body as a means of artistic expression and perform dance steps combinations in the
context of local and creative dances.

What I Know
Before starting with this module, let us determine what you already know about dance.

Directions: Complete the word search puzzle by in circling the word on your answers below.
Words appear in any direction.

J Q L E X E R C I S E
D O A R T I S T I C V
A O N C T E L L A B K
N U O X D Z W Q E A R
C W I Z X A Q C A L E
E X T C D V N W L C
S Y O A P A W C Z R R
P Z M O D E R N E O E
O P E K W R U N G O A
R E L T J K Q Z W M T
T O F U L K D A P Z A
F N O I T A E R C E R

Directions: Identify and write the answer on the space provided before the number.

___________________1. An art form that generally refers to movement of the body, usually
rhythmic and to music, used as a form of expression, social
interaction or presented in a spiritual or performance setting.
___________________2. It is passed down from generation to generation. A dance developed
by people that reflect the life of the people of a certain country or
region.
___________________3. It is new, present, now, latest, existent, coexistent. These dance
forms which also developed in the West have their roots in ballet yet
they reject the restrictions that classical dancing imposes.
___________________4. It is also known as social dancing.
___________________5. It is the highest form of dance.
___________________6. It is a competitive Ballroom Dancing.
___________________7. Dance defines as an exposure of human body in its most naked form
whether one is raising their hand or performing in a ballet.

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First Quarter
Dance Specialist: Vanessa Mae M. Maagad
___________________8. Dance defines as an expressive tool that can give a person a new
emotional outlet to deal with feelings which at times are intense or
overwhelming.
,___________________9. It is the function of dance like zumba.
___________________10.It is the function of dance that is more relaxing and socializing.

WHAT IS IT

BASIC CONCEPT OF DANCE

Meaning/Definition of Dance

 An art form, characterized by the used of the human body as a vehicle of human
expression.
 A composition which implies arrangements of parts into a form. Movement set to music
where there emerge organization structure and pattern, movements with rhythmic
accompaniments.
 An art form that generally refers to movement of the body, usually rhythmic and to
music, used as a form of expression, social interaction or presented in a spiritual or
performance setting.
 It is a way of knowing and communicating. All societies used dance to communicate on
both personal and cultural level and to meet physical and spiritual need.

Dance as Emotional Expression

 Dance is an expressive tool that can give a person a new emotional outlet to deal with
feelings which at times are intense or overwhelming. It is important and healing to have
positive ways to deal with feelings and to move with energy out of the body, instead of
squelching or representing it.

Dance as an Artistic Expression

 Dance is an exposure of human body in its most naked form whether one is raising their
hand or performing in a ballet.

Functions of Dance

1. Dance is a means of communication and expression of love and courtship.

a. Emotional Expression
b. Non-verbal communication
c. Artistic Expression
2. It is a form of worship and thanksgiving to the gods.
3. It is used as a form of entertainment.
4. It is used to intensify different moods like joy, fear, anger, hate and sorrow.

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First Quarter
Dance Specialist: Vanessa Mae M. Maagad
5. It is a form of exercise.
6. It is a form of recreation and means of socialization.
7. It is used to portray the different life activities of the people.

Characteristics of Dance

1. Use of the human body

2. Extends through time
3. Exist in space
4. Exist in force (weight)
5. Exist in flow
6. Accompanied by rhythm
7. Serves to communicate
8. Has movements style and form

DANCE FORMS/GENRE
BALLET
 It is the highest form of dance
 Characterized by grace and precision of movements
 Requires a lot of discipline (emotionally and physically)
 The art of dance requiring strength, resilience, elegance and grace all at once.
 a classical dance form demanding grace and precision and employing formalized steps
and gestures set in intricate flowing patterns to create expression through movement
 Ballet is a type of performance dance that originated in the Italian Renaissance courts of
the 15th century and later developed into a concert dance form in France and Russia.
 The word ballet comes from the French and was borrowed into English around 1630.
The French word in turn has its origin in Italian balletto, a diminutive of ballo (dance)
which comes from Latin ballo, ballare, meaning "to dance".

The Nutcracker -a two-act ballet that was originally choreographed by Marius Petipa and
Lev Ivanov with a music score by Pyotr Ilyich Tchaikovsky.

Dance styles
 Stylistic variations have emerged and evolved since the Italian Renaissance. Early,
classical variations are primarily associated with geographic origin.
 Examples of this are Russian ballet, French ballet, and Italian ballet. Later variations,
such as contemporary ballet and neoclassical ballet, incorporate both classical ballet
and non-traditional technique and movement. Perhaps the most widely known and
performed ballet style is late Romantic ballet (or Ballet blanc), a classical style that
focuses on female dancers and features pointe work, flowing and precise movements,
and often presents the female dancers in traditional, short white tutus.
1. Romantic ballet

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First Quarter
Dance Specialist: Vanessa Mae M. Maagad
 is defined by an era during the early to mid-19th century (the romantic era) in
which ballets featured themes that emphasized intense emotion as a source of
aesthetic experience.
 the plots of many romantic ballets revolved around spirit women — sylphs, wilis,
and ghosts — who enslaved the hearts and senses of mortal men. The 1827
ballet

La Sylphide is widely considered to be the first.

Coppélia is considered to be the last work of romantic ballet in 1870.
2. Classical ballet
 is based on traditional ballet technique and vocabulary.
 there are different styles of classical ballet that are related to their areas of origin,
such as French ballet, Italian ballet and Russian ballet. Several of the classical
ballet styles are associated with specific training methods, which are typically
named after their creators.
Cecchetti method is named after its creator, Italian dancer Enrico Cecchetti and the
Vaganova method is named after Russian ballerina Agrippina Vaganova.
3. Neoclassical ballet
 is a style that utilizes classical ballet technique and vocabulary, but deviates from
classical ballet in its use of the abstract.
 often is no clear plot, costumes or scenery. Music choice can be diverse and will
often include music that is also neo-classical (e.g. Stravinsky, Webern).
 opens up the use of space to multiple possibilities, as the elimination of the
necessity of formalities and storytelling allows far more possibilities for
architecture and design in choreography.
 Balanchine worked with modern dance choreographer Martha Graham,
expanding his exposure to modern techniques and ideas, and he brought
modern dancers into his company (New York City Ballet) such as Paul Taylor,
who in 1959 performed in Balanchine's Episodes.
 Balanchine is widely considered the face of Neo-Classical Ballet,
4. Contemporary ballet
 A contemporary ballet leap performed with modern, non-classical form
 Is a form of dance that opens up the doors to for any style to influence a work
made utilizing ballet technique. Contemporary Ballet can take on a wide variety
of aesthetics, incorporating pedestrian, modern, jazz, or ethnic forms, so long as
a the roots of classical ballet are apparent.
 Many contemporary ballet concepts come from the ideas and innovations of
20th-century modern dance, including floor work and turn-in of the legs. This
ballet style is often performed barefoot.
 Contemporary ballets may include mime and acting, and are usually set to music
(typically orchestral but occasionally vocal).
 George Balanchine, the founding director of the New York City Ballet, is
considered to have been a pioneer of contemporary ballet because of his
pioneering development of neoclassical ballet.

MODERN/CONTEMPORARY
 new, present, now, latest, existent, coexistent.

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First Quarter
Dance Specialist: Vanessa Mae M. Maagad
 A style of dance that combines elements of several dance genres including modern jazz,
lyrical and basic ballet.
 It stresses versatility and improvisation
 Can be performed to diff. styles music
 It is a broad genre of western concert dance, primarily arising out of both Germany and
the United States in the late 19th and early 20th centuries.
 Oversimplification of modern dance's history often leads to the erroneous explanation
that the artform emerged merely as a rejection of or rebellion against classical ballet.
 These dance forms which also developed in the West have their roots in ballet yet they
reject the restrictions that classical dancing imposes. These forms instead favor the
expression of inner feelings rather that the execution of clean-cut technique.

DANCE ARTISTS
The dance artists that pave the way for aesthetic dance or free dance in the theatrical
Isadora Duncan
concert dance setting. These dancers eschewed ballet's strict movement vocabulary,
Maud Allen
Loie Fuller
corsets, and pointe shoes, they searched for greater freedom of movement.

American modern dance can be divided (roughly) into three periods or eras:

Dates Era Examples of Artists Notes

New Dance, Free Dance, and Modern
Romanticism could be other names for this
Early Isadora Duncan, Loie Fuller,
1880- period. While artistic practice changed
Modern Ruth St. Denis, Ted Shawn,
1923 tremendously during this period, clearly distinct
Period Eleanor Anderson
modern dance techniques had not yet
emerged.
Many dance artists during this era searched for
Martha Graham, Doris
Central an American way of moving, and created an
1923- Humphrey, Katherine
Modern American artform. They also developed clearly
1946 Dunham, Charles Weidman,
Period defined and recognizable dance training
Lester Horton
systems.
José Limón, Pearl Primus,
Late Merce Cunningham, Talley This period brought clarity of abstractionism,
1946-
Modern Beatty, Erick Hawkins, Anna the rise of the avant-garde, and paved the way
1957
Period Sokolow, Anna Halprin, Paul for postmodernist dance.
Taylor

Emil Rath
 who wrote at length about this emerging art form at the time stated, "Music and rhythmic
bodily movement are twin sisters of art, as they have come into existence
simultaneously...today we see in the artistic work of Isadora Duncan, Maud Allen, and

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Dance Specialist: Vanessa Mae M. Maagad
others the use of a form of dancing which strives to portray in movements what the
music master expresses in his compositions—interpretative dancing."

Isadora Duncan in 1903 Martha Graham in 1948

Isadora Duncan
 was a predecessor of modern dance with her stress on the center or torso, bare feet,
loose hair, free-flowing costumes, and incorporation of humor into emotional
expression. She was inspired by classical Greek arts, folk dances, social dances,
nature, natural forces, and new American athleticism such as skipping, running,
jumping, leaping, and abrupt movements. She thought that ballet was ugly and
meaningless gymnastics. Although she returned to the United States at various points in
her life, her work was not very well received there. She returned to Europe and died in
Paris in 1927.
Loie Fuller
 (a burlesque skirt dancer) began experimenting with the effect that gas lighting had on
her silk costumes. Fuller developed a form of natural movement and improvisation
techniques that were used in conjunction with her revolutionary lighting equipment and
translucent silk costumes. She patented her apparatus and methods of stage lighting
that included the use of coloured gels and burning chemicals for luminescence, and
also patented her voluminous silk stage costumes.
Ruth St. Denis
 Influenced by the actress Sarah Bernhardt and Japanese dancer Sada Yacco,
developed her translations of Indian culture and mythology. Her performances quickly
became popular and she toured extensively while researching Oriental culture and arts.
Ted Shawn
 Originally Edwin Myers Shawn, was one of the first notable male pioneers of American
modern dance. Along with creating Denishawn with former wife Ruth St. Denis he is
also responsible for the creation of the well known all-male company Ted Shawn and
His Men Dancers.

Interpretative Dance
 It is a type of modern dance. A style of theatrical dancing that is not restricted as
classical ballet; movements are expressive of feelings. It began around 1900 with
Isadora Duncan. It seeks to translate human emotions, conditions, situations or
fantasies into movement and dramatic expression, or else adapts traditional ethnic
movements into more modern expressions.

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First Quarter
Dance Specialist: Vanessa Mae M. Maagad

Martha Graham
 Is often regarded as the founding mother of modern 20th-century concert dances.
Graham is an American modern dancer and choreographer. Her style, the Graham
technique, reshaped American dance and is still taught worldwide.
 She became a student at the Denishawn school in 1916 and then moved to New York
City in 1923, where she performed in musical comedies, music halls, and worked on her
own choreography.
 Graham developed her own dance technique, Graham technique, that hinged on
concepts of contraction and release.
 In Graham's teachings, she wanted her students to "Feel". To "Feel", means having a
heightened sense of awareness of being grounded to the floor while, at the same time,
feeling the energy throughout your entire body, extending it to the audience. Her
principal contributions to dance are the focus of the ‘center’ of the body (as contrast to
ballet's emphasis on limbs), coordination between breathing and movement, and a
dancer’s relationship with the floor.
 Graham was the first dancer to perform at the White House, travel abroad as a cultural
ambassador.

Graham technique
 Developed by Martha Graham. The goal of the technique is to achieve a skill level
comparable to classical ballet by means of modern dance.
 The basis of the technique is the basic movements of the body, contraction and
extension. They are two of her signature movements: the contraction and strike pose
respectively.

Lester Horton
 A pioneer of American modern dance, was born in 1906 in Indiana. He achieved fame
as a dancer, choreographer, and especially as a teacher. He is well known for
meticulous attention to all technical aspects of production, including sets, lightning,
music, music and so on. Lester Horton—choosing to work in California (3000 miles away
from New York, the center of modern dance), Horton developed his own approach that
incorporated diverse elements including Native American dances and modern jazz.
Horton's dance technique (Lester Horton Technique) emphasises a whole-body
approach including flexibility, strength, coordination, and body awareness to allow
freedom of expression.

In Europe, they developed theories of human movement and expression, and methods
of instruction that led to the development of European modern and Expressionist dance.
 Mary Wigman
 Francois Delsarte
 Émile Jaques-Dalcroze
 Rudolf von Laban

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Dance Specialist: Vanessa Mae M. Maagad
Treva Bedinghaus – “Modern dancers use dancing to express their innermost emotions, often
to get closer to their inner-selves. Before attempting to choreograph a routine, the
modern dancer decides which emotions to try to convey to the audience. Many modern
dancers choose a subject near and dear to their hearts, such as a lost love or a personal
failure. The dancer will choose music that relates to the story they wish to tell, or choose
to use no music at all, and then choose a costume to reflect their chosen emotions."

Contemporary dance
 is a dance performance genre that developed during the mid-twentieth century and
popular in the U.S. and Europe.
 originally informed by and borrowing from classical, modern, and jazz styles, it has
since come to incorporate elements from many styles of dance.
 contemporary dance their technique tends to utilize both the strong and controlled
legwork of ballet and modern dance's stress on the torso, and also
 employs contract-release, floor work, fall and recovery, and improvisation
characteristic of modern dance.
 Unpredictable changes in rhythm, speed, and direction are often used, as well.

Merce Cunningham is considered to be the first choreographer to "develop an independent

attitude towards modern dance" and defy the ideas that were established by it.

Cunningham's key ideas

Cunningham's key ideas include:

 Contemporary dance does refuse the classical ballet's leg technique in favor of modern
dance's stress on the torso
 Contemporary dance is not necessarily narrative form of art
 Choreography that appears disordered, but nevertheless relies on technique
 Unpredictable changes in rhythm, speed, and direction
 Multiple and simultaneous actions
 Suspension of perspective and symmetry in ballet scenic frame perspective such as
front, center, and hierarchies
 Creative freedom
 "Independence between dance and music"
 Dance to be danced, not analyzed
 Innovative lighting, sets, and costumes in collaboration with Andy Warhol, Robert
Rauschenberg, and Jasper Johns

Choreographer's role
 The choreographer who makes the creative decisions. He/she chooses whether the
piece is an abstract or a narrative one.
 The choreography is determined based on its relation to the music or sounds that is
danced to.
 The role of music in contemporary dance is different from in other genres because it can
serve as a backdrop to the piece.

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Dance Specialist: Vanessa Mae M. Maagad
 The choreographer has control over the costumes and their aesthetic value for the
overall composition of the performance and also in regards to how they influence
dancers’ movements.

FOLK DANCE
 It is past down from generation to generation
 Depicts the culture of the people
 Smooth flowing movements
 Steps, music and costumes are given (literature based)

Folk dances are dances that share some or all of the following attributes:
 Dances performed at social functions by people with little or no professional training,
often to traditionally based music.
 Simple basic rhythm dominates the folk dance and establishes the pattern of movement.
 An unknown choreographer creates a folk dance.
 It performs in action in the life of folk.
 Dances not generally designed for public performance or the stage, though they may
later be arranged and set for stage performances.
 Execution dominated by an inherited tradition rather than innovation (though folk
traditions change over time)
 New dancers often learn informally by observing others and/or receiving help from
others.
 The term "folk dance" is sometimes applied to dances of historical importance in
European culture and history; typically originating before the 20th century. For other
cultures the terms "ethnic dance" or "traditional dance" are sometimes used, although
the latter terms may encompass ceremonial dances.
 Not all ethnic dances are folk dances; for example, ritual dances or dances of ritual
origin are not considered to be folk dances. Ritual dances are usually called "Religious
dances" because of their purpose.

EXAMPLE OF FOLK DANCE

Pandango sa Ilaw , Carinosa, Tinikling, Tiklos, Japanese Parasol Dance and etc.

BALLROOM/SOCIAL DANCE

Definitions and history

 The term 'ballroom dancing' it originates from the Latin word ballare which means 'to
dance' (a ball-room being a large room specially designed for such dances).

 In times past, ballroom dancing was social dancing for the privileged, leaving folk
dancing for the lower classes.

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 SPECIAL PROGRAM IN THE ARTS (DANCE 7)
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Dance Specialist: Vanessa Mae M. Maagad
 It is a set of partner dances, which are enjoyed both socially and competitively around
the world.
 It may refer, at its widest definition, to almost any type of partner dancing as recreation.
However, with the emergence of dancesport in modern times, the term has become
narrower in scope, and traditionally refers to the five International Standard and five
International Latin style dances.

DANCESPORT
 Competitive Ballroom Dancing
 It is regulated by the World Dance Council (WDC), to less advanced dancers at various
proficiency levels.
 Most competitions are divided into professional and amateur
 The International Olympic Committee now recognizes competitive ballroom dance.
 World DanceSport Federation (WDSF), as the sole representative body for dancesport
in the Olympic Games.
 In competition ballroom, dancers are judged by diverse criteria such as poise, the hold or
frame, posture, musicality and expression, timing, body alignment and shape, floor craft,
foot and leg action, and presentation.
 SCRUTINEER – are score keepers will tally the total number recalls accumulated by
each couple through each round until the finals.
 SKATING SYSTEM - is used to place each couple by ordinals, typically 1–6, though the
number of couples in the final may vary. Sometimes, up to 7 couples may be present on
the floor during the finals.

Two Discipline of Dancesport

LATIN
Samba: 50–52 bars per minute, 2/4 time
Cha-cha-cha: 30–32 bars per minute, 4/4 time
Rumba: 25–27 bars per minute, 4/4 time
Paso Doble: 60–62 bars per minute, 2/4 time
Jive: 42–44 bars per minute, 4/4 time

STANDARD
Waltz: 28–30 bars per minute, 3/4 time also known as Slow Waltz or English Waltz depending
on locality
Tango: 31–33 bars per minute, 4/4 time
Viennese Waltz: 58–60 bars per minute, 3/4 time In some countries (for example, Austria)
Viennese is known as the Waltz, while Waltz is recognized as Slow Waltz.
Foxtrot: 28–30 bars per minute, 4/4 time
Quickstep: 50–52 bars per minute, 4/4 time

POPULAR DANCE

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 SPECIAL PROGRAM IN THE ARTS (DANCE 7)
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Dance Specialist: Vanessa Mae M. Maagad
 Dancing performed in public or in private solely for the enjoyment of the participants is
known as popular dance.
 It was practiced as early as 3,000 years ago at both community and family levels.
 Dancers arranged themselves in circles, or sometimes lines, which gradually developed
into chain dances.
 Mainstream popular dance in the 1950s adopted Latin rhythms—including the rumba,
samba, and cha-cha. In general from about 1960, starting with the twist, popular dance
among the young involved little or no touching between the partners.
 By the late 1970s and early ’80s, discotheques had taken the place of the old-fashioned
ballroom. Echoes of many styles could be seen in disco dances.
 Popular dancing had become essentially improvisatory and eclectic.

Other Dance Styles

JAZZ
 It is distinctive for its improvisation and its techniques that isolate body parts.
 It is basically another deviation of classical ballet, although it hasn't always been this way
originally developing from strong African American roots with references to early
Caribbean dance.
 Today a great jazz dancer requires technique, flexibility and strength to showcase
dynamic movement, fluidity as well as percussive sharpness with their bodies.
LYRICAL
 Lyrical is a quality of dance. It is expressive and fluid. Poses showing off dancers
flexibility and strength are held as long as possible, jumps are high and explosive and
turns are fluid and melt into the next.
 Movement in lyrical dance is used to show intense emotions and music and lyric choice
helps to determine the emotional tone and choice of choreography of a lyrical dance.
 Lyrical dance is generally an addition to the ballet or jazz dancers arsenal. Technique
and amalgamation of both disciplines needs to be mastered so that the dancer can
concentrate on emotionally performing the steps rather than on their execution.
 Lyrical dance is fluid and dynamic, it should follow and match the tone of the song and
lyrics being danced to and is emotionally expressive.

HIP HOP
 Hip Hop as a dance type is a popular form of movement that has evolved since the 70's
from it's origins of break dancing. It was when musical rhythms slowed down that hip hop
and it's cruisy head nodding beats developed.
 Hip hop dance continues to grow through the popularity of hip hop music and the style of
dance seen in hip hop music videos, in night clubs and in street dance.
 Hip Hop is a genre of its own and other styles such as popping, locking and krumping
which are sometimes interwoven into the style developed independently, although are
generally danced to the same hip hop, rap or funk music.

ETHNIC DANCES
 We qualify dances indigenous to a specific culture as ethnic refers to a group of
people sharing a national or cultural tradition.
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Dance Specialist: Vanessa Mae M. Maagad
 It also connotes a non-Western society so that this term distinguishes from the
previous list. Therefore, dances indicative of a culture can be safely embraced by
the term ethnic.

CHOREOGRAPHER
 The artist that shapes a dance piece.
 From the Greek Khoreia – meaning dancing in khoros or unison, and graphos - writing

ACTIVITY 1: PICTURE QUIZ

Match the Picture on the given names below. Write the number according to its pictures.

1 2 3 4 5

6 7 8 9 10

Number Dance Names

Jazz Dance
Contemporary Dance
Folk Dance
Latin Dance
Hip hop
Ethnic Dance
Popular Dance
13 Ballet
Waltz Dance
Tinikling Dance
 SPECIAL PROGRAM IN THE ARTS (DANCE 7)
First Quarter
Dance Specialist: Vanessa Mae M. Maagad

ACTIVITY 2: Dance your emojis!

How To:
 Choose at least 3 emoji expression.
 Flash your emoji and dance a 50 seconds base on your emoji.
 Play music as per the theme.
 Be creative! Compile your dance video and send it @ my fb account Vi Chan
ACTIVITY 3: Compare and Contrast
Choose two dance genres. Compare and contrast the different dance genre/style.

Movements
Genre Facts
Draw or write

ACTIVITY 4: The way you move!

Imagine that you are creating a dance based on your life. Write down 5 things that you’ve done
or what happened to you in this past week. Then read through the list of Dance Genres and
decide what style of dance would work best to tell the story of events in your life.
Example
Your events Dance style
Arguing with my brother Hip Hop
Studying for my big test Jazz

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Dance Specialist: Vanessa Mae M. Maagad

Your Events: Dance Style:

1.___________________________________________________________________________
2.___________________________________________________________________________
3.___________________________________________________________________________
4.___________________________________________________________________________
5.___________________________________________________________________________

If you were to put this whole dance to music, what song or style of music would you use?
___________________________________________________________________________
If you were to title this dance, what would the title be?
_______________________________________________________________________
If you or someone else was to perform your dance, how would you want your audience to feel
while watching it? and Why?
____________________________________________________________________________
____________________________________________________________________________
___________________________________________________________________________

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Dance Specialist: Vanessa Mae M. Maagad

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