FOLK DANCE
Luzon Island.
Folk dances are dances that are developed by
people that reflect the life of the people of a
certain country or region. The term implies the
traditions and characteristics of people, their
feelings and sentiments.
It is also referred sometimes as traditional
dance.
ETHNIC/ TRIBAL DANCE
A dance particularly found in a group of people
living together in a locality with a common
belief and customs.
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.
The terms "ethnic" and "traditional" are used
when it is required to emphasize the cultural
roots of the dance. In this sense, nearly all folk
dances are ethnic ones.
An ethnic group, or ethnicity, is a category of
people who identify with each other based on
similarities such as common ancestry,
language, society, culture or nation.
FACT
- Dances are usually held at folk dance
gatherings or social functions by people with
little or no professional training, often to
traditional music.
- Dances are not generally designed for public
performance or the stage, though they may be
arranged and set for stage performances.
- New dancers often learn informally by
observing others or receiving help from others.
- It is a second hand knowledge, it is not
directly known or experienced, obtained from
others or from books.
5 MAJOR CLASSIFICATION OF FOLK DANCE
1. Cordillera Dance
2. Spanish Influenced Dance
3. Muslim Dance
4. Tribal Dance
5. Rural Dance
1. CORDILLERA DANCE
Cordillera, is an extensive chain of mountains or
mountain ranges. - It was a name given by the
Spanish Conquistadors (conqueror) when they
first saw the mountain ranges.
Cordillera came from the Spanish word
“Cordilla” which means "rope", the Spanish
term refers to the jumbled rolls and dips of this
long-range traversing the northern part of
Today, if one is to generalize one of the six
ethnolinguistic tribes as an "Igorot" is
considered degrading.
The word "Igorot" is derived from the
Austronesian term for "mountain people"
(formed from the prefix i-, "dweller of" and
golot, "mountain range"). The Bontoc, Ifugao,
Benguet, Apayo, and the Kalinga tribes reign
over Luzon's mountain terrain.
They are pagan people, living simple lives to
appease their gods. Their rituals celebrate their
daily lives - a good harvest, health, peace, war,
and other symbols of living. Such traditions
have survived the changing scope of the
Philippines and the tribes continue to maintain
their cultures that are a part of the colorful
cultural fabric known as Philippine culture.
BANGA
Banga Tribe: Kalinga
"Banga" literally mean pots. The Banga or pot
dance is a contemporary performance of
Kalinga of the Mountain Province in the
Philippines. This dance illustrate the languid
(relaxed) grace of a tribe otherwise known as
fierce warriors. Heavy earthen pots, as many as
seven or eight at a time, are balanced on the
heads of maidens as they trudge (walk slowly)
to the beat of the "gangsa" and wind chimes
displaying their stamina and strength as they
go about their daily task of fetching water and
balancing the banga.
Gangsa is a type of metallophone which is used
mainly in Balinese Music
BENDAYAN
Bendayan Origin: Benguet Province, Northern
Luzon
Also popularly called Bendian, this circle dance
of the Benguet of Mountain Province is
restaged, keeping true to the dance's context
and meaning. Long known as a dance to
celebrate the arrival of successful headhunters,
the Bendayan has taken a new face. It is a part
of every Benguet festivity with the circles
slowly giving way to other formations and
interpretations.
LUMAGEN
Lumagen / Tachok Tribe: Kalinga Origin: Luzon
When the Kalinga gather to celebrate a happy
occasion like the birth of a first-born baby boy,
a wedding, or a bodong (peace pact), the
Kalinga Festival Dance (Tachok) is performed.
This is danced by the Kalinga maiden. The
dance imitates birds flying in the air. Music is
provided by gangsa, or gongs, which are usually
in a group of six or more.
MANMANOK
Manmanok Tribe: Bago
Three Bago Tribe roosters compete against
each other for the attention of Lady Lien. They
use blankets depicting colorful plumes to
attract her.
SALISID
Salidsid/Salisid Tribe: Kalinga
The Salisid/Salidsid is a Kalinga courtship
dance, performed by a male and female. The
dance starts when each of the dancers are
given a piece of cloth called ayob or allap.
Usually the most important people in the village
are the second to dance after the host has
signified that the occasion is formally open. The
background and meaning in this dance is
evident. The male simulates a rooster trying to
attract the attention of a hen while the female
imitates the movements of a hen being circled
by a rooster.
UYAOY
Uyaoy / Uyauy Tribe: Ifugao
The Ifugao people are said to be the "children of
the earth." The term Ifugao is derived from the
word ipugao which literally means "coming from
the earth." The Spaniards, however, changed it
to Ifugaw, a term presently used in referring not
only to these people but also to their province.
This Ifugao wedding festival dance is
accompanied by gongs and is performed by the
affluent to attain the second level of the
wealthy class. Wealthy people (Kadangyan) who
have performed this dance are entitled to the
use of gongs at their death
2. SPANISH INFLUENCED DANCES
Nearly 400 years of Spanish rule left an
irremovable mark on the Philippines. Spain
brought with them all aspects of their culture to
the Islands. This includes the Catholic faith,
clothing, and dance. The barong tagalog and
the terno are Philippine interpretations of
Spanish dress made to fit the humid climate of
the Philippines.
Aside from creating their own versions of
European fashion, Philippine aristocrats created
Filipino adaptations of European dance as well.
These include jotas, fandangos, mazurkas and
waltz that were danced by young socialites to
the stringed music of the rondalla.
The rondalla is an ensemble of stringed
instruments played with the plectrum or pick an
d generally known as plectrum instruments.
The word rondalla is from the Spanish word
“ronda” which means "serenade."
JOTA CAGAYAN
Jota Cagayana Origin: Cagayan Valley
The Jota brought by the Spaniards from
Southern Spain found its way into many places
in the islands. One such jota is named after the
valley it adapted. Though Filipinized in many
ways. Jota Cagayana still displays the fire and
fury of its European origin.
Until the turn of the century the Ibanag of
Cagayan Valley perform this fast tempo dance
which includes familiar European steps, the
mazurka, polka, gallop and waltz.
PANTOMINA
Originally a wedding dance from the province of
Albay, the dance is now popular at any social
gathering. It is also known as the “Dance of the
Doves”, it mimics the courtship between doves.
It is mainly performed by the elders of the
community.
ABARURAY
Abaruray is a contraction of the words Aba and
Ruray. Aba is an exclamation which is
equivalent to “Hey!” or “Hi!” in English. Ruray is
a nickname for Aurora.
JOTA MANILEÑA
Jota Manileña Origin: Manila
A dance that originated in the capital city
around the 19th century. Like the other Jotas in
Philippine folk dances, this is an adaptation of
the Castillian Jota, but the castanets are made
of bamboo and are only held, not fastened, to
the fingers. It is recognizably Iberian in flavor.
PAYPAY DE MANILA
The young ladies carry scented fans, or
"paypay" and flirt with young men with canes
and straw hats, once more giving evidence of
the Castilian influence.
3. MUSLIM DANCES
Aside from the colorful contributions of its
regional tribes, Mindanao is a home to the
largest cultural minority in the Philippines - the
Muslims. Brought by Javanese and Middle
Eastern traders, Islam is the religion of
approximately 20 percent of the Philippine
population.
They are known for their mysticism, royalty,
and beauty which are evident in their music
and dances. Accompanied by a gong and
kulintang, Filipino Muslim dance is marked by
intricate hand and arm movement along with
shimmering costumes. Kulintang
PANGALAY
Pangalay Tribe: Badjao Origin: Zamboanga del
Sur
A pangalay native to the Badjao, sometimes
known as the "Sea Gypsies." Pangalay is a
dance that emphasizes the agility of the upper
body. The rhythmic bounce of the shoulder with
simultaneous alternating waving of arms are
the basic movement of this dance. The
pangalay is commonly performed at weddings
and other social gatherings.
SINGKIL
Singkil Tribe:Maranao Origin: Lanao, Mindanao
Sinkil dance takes its name from the bells worn
on the ankles of the Muslim princess. Perhaps
one of the oldest of truly Filipino dances, the
Singkil recounts the epic legend of the
"Darangan" of the Maranao people of Mindanao.
This epic, written sometime in the 14th century,
tells the fateful story of Princess Gandingan,
who was caught in the middle of a forest during
an earthquake caused by the diwatas, or fairies
or nymph of the forest.
The rhythmic clapping of criss-crossed bamboo
poles represent the trees that were falling,
which she gracefully avoids. Her slave loyally
accompanies her throughout her ordeal. Finally,
she is saved by the prince. Dancers wearing
solemn faces and maintaining a dignified pose
being dancing at a slow pace which soon
progresses to a faster tempo skillfully
manipulate apir, or fans which represent the
winds that prove to be auspicious. The dancers
weave expertly through criss-crossed bamboos.
When performed by ladies of the royalty of
Lanao, the dancer is usually accompanied by a
waiting lady, who holds a beautifully decorated
umbrella over the Princess' head wherever she
goes. Royal princesses to this day in the Sulu
Archipelago are required to learn this most
difficult and noble dance.
Pangsak Tribe
Pangsak Tribe: Yakan Origin: Basilan
The Yakan are a Muslim ethnic group in the
highlands of Mindanao. They wear elaborately
woven costumes tightly on their bodies. Their
dances involve complicated hand and foot
movements. In this dance, a man unties a wrap
from his wife-to-be's waist to wrap around her
body and dance with. Both of their faces are
dotted with white paint, to hide their identity
from evil spirits.
Sagayan Tribe
Sagayan Tribe: Maguindanao Origin: Cotabato
Performed by very fierce warriors carrying a
shield elaborately painted with curlicues,
rounds, twirls and mirrors which are attached
with shell noisemakers. In their other hand,
they carry a double-bladed sword (kampilan) of
metal or wood. Sagayan dancers are dressed in
three tiered skirts, brightly colored topper and
headgear embellished with all the imaginable
colors of twine trimmings formed into flowers,
balls, sunbursts etc. Long, yellow playful tassels
almost hiding the face surround the headgear.
The dance involves leaping, turning, jumping,
kicking and the rolling movements of a warrior
ready to defend his master in battle.
Kamanyang fumes inhaled by the sagayan
moves him to perform in a magic-like trance.
On most occasions, this dance is performed
before any celebration or gathering to drive
away evil spirits (tunong) and to welcome good
fortunes or omen.
Kapa Malong Malong
Also called Sambi sa Malong, this Maranao
dance shows the many ways of wearing a
malong, a simple tubular yet highly functional
piece of cloth. The traditional women’s version
shows this cloth of countless colorful designs;
used mostly as a skirt, woven in many different
ways, depending on the purpose of the wearer.
Other ways the women wear malong is as a
shawl, a mantle, or a headpiece.
During more recent dance documentation, a
men’s version was derived. This version shows
in masculine rendition, how men use the
malong—displaying its use as a sash or
waistband, shorts or bahag, and a head-gear
that can be either functional while working in
the fields, or decorative as a turban.
4. TRIBAL DANCES
Mindanao, the Philippines' southernmost island,
is the country's cultural melting pot. It houses
influences from Spain, China, Indonesia, and
the Middle East. Although Mindanao carries a
strong flavor from other lands, there are people
who have lived there before it became a
breeding ground of foreign trade. Tribes such as
the T'boli, Bilaan, Manobo, Bagobo, and other
groups inhabit the vast regions of Mindanao.
Like their Northern Luzon counterparts, these
groups honor pagan gods for the fruits and
trials of daily life. What distinguishes them from
other tribes in the Philippines is their intricate
(very detailed) craftsmanship in metal, clothing,
and jewelry. These tribes pride themselves in
their concept of beauty and are known for
creating colorful sets of jewelry and clothing out
of dyed pineapple and banana fibers with are
showcased in their traditional dances.
MALAKAS AT MAGANDA
Malakas at Maganda (a national folklore)
Cradled amidst thick rain forest, shrouded with
the mists of legend and ancient traditions, one
folklore has it that a weary bird perched on a
large bamboo heard strange noises inside. It
pecked the bamboo, split open and from inside
came the first man and woman, Malakas the
strong, Maganda the beautiful, the parents of
all peoples of the island.
KADAL TAHAW TRIBE
Kadal Tahaw Tribe: T'boli Origin: Lake Sebu,
South Cotabato
A bird dance performed by the T'boli during
planting and harvesting which simulates the
flights and hops of the tahaw bird.
BINAYLAN TRIBE
Binaylan Tribe: Higaonon Origin: Agusan
The Bagobo tribe from the central uplands of
Mindanao originated this dance which imitates
the movement of a hen, her banog, or baby
chicks, and a hawk. The hawk is sacred, and it
is believed that the hawk has the power over
the wellbeing of the tribe. The hawk tries to
capture one of the chicks and is killed by the
hunters.
BAGOBO RICE CYCLE
This Bagobo tribal dance protrays the cycle of
planting and harvesting of rice.
DUGSO TRIBE
Dugso Tribe: Talaindig Origin: Bukidnon
A dance of thanksgiving.
5. RURAL DANCES
Laughter and gaiety commonly used to
describe the Filipino people takes root in the
Philippine country-side. Life in the Barrio is
simple, but Filipinos always manage to find time
to celebrate life's gifts.
The annual fiestas to celebrate the patron
saints of the barrios symbolize the mixture of
pagan and Catholic belief. Fiestas not only
honor the patron saint, but give homage to the
barrio's namesake for a good harvest, health,
and perseverance. These fiestas are marked
with celebrations of holy mass, music, dance
and song.
ITIK-ITIK
At one baptismal party in the Surigao del Norte
province, a young lady named Kanang (the
nickname for Cayetana), considered the best
dancer and singer of her time, was asked to
dance the Sibay. She became so enthusiastic
and spirited during the performance that she
began to improvise movements and steps
similar to the movements of itik, the duck, as it
walks with short, choppy steps and splashes
water on its back while calling to its mate. The
people liked the dance so much that they all
imitated her. There are six separate foot
sequences in the series of Itik-Itik steps.
BINASUAN ORIGIN
Binasuan Origin: Bayambang, Pangasinan
This colorful and lively dance from Bayambang
in the Pangasinan province shows off the
balancing skills of the dancers. The glasses that
the dancers gracefully, yet carefully, maneuver
are half-filled with rice wine gracefully who whirl
and roll on the floor.
MAGLALATIK
During the Spanish regime, the present barrios
of Loma and Zapote of Biñan, Laguna, were
separated. With coconut shells as implements
the people of these two barrios danced the
Maglalatik, or Magbabao, a war dance depicting
a fight between the Moros and the Christians
over the latik (residue left after the coconut
milk has been boiled). Maglalatik
The first two parts of the dance, the Palipasan
and the Baligtaran show the heated encounter
between the two groups. The last two parts, the
Paseo and the Sayaw Escaramusa show the
reconciliation between the two groups.
According to the legend the Moros came out
victorious, thus getting the coveted latik. The
Christians, not contented with the result of the
war, sent an envoy to the Moros to offer peace
and to baptize them.
The best Maglalatik dancers are found in
Zapote. In the daytime during the town fiesta of
Biñan, the Maglalatik dancers go from house to
house performing this dance for money or a
gift. In the evening they dance Maglalatik in the
religious procession as it moves along the
streets. They perform the dance as an offering
to the patron saint of the farmers, San Isidro de
Labrador.
PANDANGGO SA ILAW
Pandanggo sa ilaw Origin: Lubang Island,
Mindoro (Visayas)
This popular dance of grace and balance comes
from Lubang Island, Mindoro in the Visayas
region. The term pandanggo comes from the
Spanish word fandango, which is a dance
characterized by lively steps and clapping that
varies in rhythm in 3/4 time. This particular
pandanggo involves the presence of three
tinggoy, or oil lamps, balanced on the head and
the back of each hand.
After a good catch, fishermen of Lingayen
would celebrate by drinking wine and by
dancing, swinging and circling a lighted lamp.
Hence, the name "Oasiwas" which in the
Pangasinan dialect means "swinging." This
unique and colorful dance calls for skill in
balancing an oil lamp on the head while circling
in each hand a lighted lamp wrapped in a
porous cloth or fishnet. The waltz-style music is
similar to that of Pandanggo sa Ilaw.
SAKUTING
Sakuting Origin: Abra
A dance of the Ilokano Christians and
nonChristians from the province of Abra,
Sakuting was originally performed by boys only.
It portrays a mock fight using sticks to train for
combat. The stacatto-inflected music suggests
a strong Chinese influence. The dance is
customarily performed during Christmas at the
town plaza, or from the house-to-house. The
spectators give the dancers aguinaldos, or gifts
of money or refreshments especially prepared
for Christmas.
TINIKLING
This 'Visayan' dance was found in Leyte where
this dance originated. Dancers imitate the
tikling bird’s legendary grace and speed as they
skillfully play, chase each other, run over tree
branches, or dodge bamboo traps set by rice
farmers. Hence it is named after the bird,
tikling. this version of the dance is done
between a pair of bamboo poles.
OTHER FORMS OF FOLK DANCES
1. National Dances – are traditional dances
throughout the Philippines with common basic
movement or pattern with slight variations.
E.g. Cariñosa, Pandango, Balitaw, Kuratsa,
Rigodon, Surtido
2. Local or Regional Dances – are dances found
in certain localities or regions only.
E.g. Esperanza (Nakua, Camarines Sur),
Alcampor (Leyte), Maglalatik (San
Pablo,Laguna).
3. Occupational Dances – are dances that
depicts actions characterizing occupation
industries and phases of human labor.
E.g. Pabirik – depicts the different stages of gold
panning. Mananguete – depicts stages in
gathering tuba. Rice Festival – has several
number of dances such as; Pagtatanim/
Magtatanim, Paggapas/ Paggagapas, Paggiik,
Pahangin, Pagbabayo, Pagtatahip
4. Religious or Ceremonial Dances – are
performed in connection with religious vows,
practices and ceremonies. - A religious dance
maybe performed to drive away evil spirits and
for having recovered from sickness, favors
granted and vows fulfilled.
E.g. Sinulog Obando Dugso
5. Courtship Dances – are dances that display
courtship. E.g. Salidsid - simulates a rooster
trying to attract the attention of a hen while the
female imitates the movements of a hen being
circled by a rooster. - Hele hele bago Quiere
Rogelia, Lulay, maramion
6. Wedding Dances – are performed by
newlyweds, by friends and relatives of the bride
and groom or by the father of the bride and
mother of the groom.
E.g. Pandang-pandang Soryano Pantomina
7. Festival Dances – performed in connection in
celebrating a feast in a barrio due to good
harvest and good future.
E.g. Kuratsa La Jota Putong
8. War Dances – are intended to show an
imaginary combat or duel with the use of
fighting implements like bolo or spear.
E.g. Sagayan Maglalatik Inabaknon
9. Comic Dances – are dances with funny and
humorous movements mainly intended for
entertainment.
E.g. Makonggo – movements of a monkey
Kinoton – imitates the movements of a person
bitten by ants.
10. Game Dances – are dances that have some
play elements and are for recreational
purposes.
E.g. Pabo Lubi-lubi Sinenalan Gayong-gayong
11. Social Dances – are dances danced during
social gathering.
E.g. Rigodon Lanceros
MODERN AND CONTEMPORARY DANCE
MODERN DANCE
MODERN DANCE IS OFTEN CONSIDERED TO
HAVE EMERGED AS A REJECTION OF, OR
REBELLION AGAINST, CALSSICAL BALLET.
SOCIOECONOMIC AND CULTURAL FACTORS
ALSO CONTRIBUTED TO ITS DEVELOPMENT
IN THE LATE 19TH CENTURY, DANCE ARTISTS
SUCH AS ISADORA DUNCAN, MAUD ALLAN, AND
LOIE FULLER WERE PIONEERING NEW FORMS
AND PRACTICES IN WHAT IS NOW CALLED
AESTHETIC OR FREE DANCE FOR
PEERFORMANCE.
THESE DANCERS DISREGAEDED BALLETS
STRICT MOVEMENT VOCABULARY, THE
PARTICULAR, LIMITED SETS OF MOVEMENTS
THAT WERE CONSIDERED PROPER TO BALLET,
AND STOPPED WEARING CORSETS AND POINTE
SHOES IN SEARCH FOR GREATER FREEDON OF
MOVEMENT
AMERICAN MODERN DANCE CAN BE
DIVIDED INTO THREE PERIODS OR ERAS:
1. THE EARLY MODERN PERIOD / EARLY PERIOD
(C.1880-1923)
2. THE CENTRAL MODERN PERIOD / THE 1930'S
(C.1923-1946)
3. LATE MODERN PERIOD / POSTWAR
DEVELOPMENT (C.1946-1957)
MODERN DANCE HAS EVOLVED WITH EACH
SUBSEQUENT GENERATION OF PARTICIPATING
ARTISTS.
ARTISTIC CONTENT HAS MORPHED AND
SHIFTED FROM ONE CHOREOGRAPHER TO
ANOTHER, AS HAVE STYLES AND TECHNIQUES.
ARTISTS SUCH AS GRAHAM AND HORTON
DEVELOPED TECHNIQUES IN THE GENERAL
MODERN PERIOD THAT ARE STILL TAUGHT
WORLDWIDE, AND NUMEROUS OTHER TYPES
OF MODERN DANCE EXIST TODAY.
EARLY PERIOD (C. 1880 – 1923)
EURHYTHMICS
- A SYSTEM FOR TEACHING MUSICAL RHYTHMS
THROUGH BODY MOVEMENTS.
-THE ART OF HARMONIOUS BODILY MOVEMENT
ESPECIALLY THROUGH EXPRESSIVE TIMED
MOVEMENTS IN RESPONSE TO IMPROVISED
MUSIC.
EARLY PERIOD (C. 1880 – 1923)
1. ISADORA DUNCAN
2. RUTH ST. DENIS
3. MARY WIGMAN
THE 1930’S (C. 1923 – 1946)
- THE SECOND WAVE OF MODERN DANCERS
EMERGED.
- THEY TURNED TO BASIC MOVEMENT
EXPERIENCES AND TRANSFORMED THIS
NATURAL MOVEMENT INTO DANCE MOVEMENT.
THE 1930’S (C. 1923 – 1946)
1. MARTHA GRAHAM
2. DORIS HAMPHREY
3. HANYA HOLM
POSTWAR DEVELOPMENTS (C. 1946
1957)
-THE THIRD PERIOD BEGAN AFTER WWII ENDED
IN 1945 AND CONTINUES TODAY.
-THEIR WORKS COMBINED AND FUSED
TECHNIQUES DRAWN FROM SOCIAL DANCE,
BALLET, AND MODERN DANCE.
PIONEERS OF MODERN DANCE
MODERN DANCE
1. MARTHA GRAHAM (MAY 11, 1894 -
APRIL 1, 1991)
- FOUNDING MOTHER OF CONTEMPORARY AND
MODERN DANCE.
- THE FIRST DANCER EVER INVITED TO
PERFORM AT THE WHITE HOUSE AND RECEIVED
A MEDAL OF FREEDOM. - SEVEN DECADES
DANCER AND CHOREOGRAPHER.
2.MERCIER PHILIP “MERCE” CUNNINGHAM
(APRIL 16, 1919 – JULY 26,2009)
- DEVELOPED “CHOREOGRAPHY BY CHANCE,” A
TECHNIQUE IN WHICH SELECTED ISOLATED
MOVEMENTS ARE ASSIGNED SEQUENCE BY
SUCH RANDOM METHOD AS TOSSING A COIN.
- AMERICAN DANCER AND CHOREOGRAPHER,
FOREFRONT OF THE MODERN DANCE FOR
MORETHAN 50 YEARS.
MODERN DANCE
3. LESTER HORTON (JANUARY 23, 1906 –
NOVEMBER 2, 1953)
“ WHO ARE YOU? IF YOU’RE YOU, DON’T TRY TO
DANCE LIKE HIM OR HER. DANCE LIKE
YOURSELF. YOUR OWN PERSONAL
INDIVIDUALITY IS YOUR MOST PRICELESS
ASSET.”
-ESTABLISHED THE FIRST RACIALLY INTEGRATED
DANCE COMPANY.
PIONEERS OF CONTEMPORARY DANCE
CONTEMPORARY DANCE
THE EARLIEST DANCERS WERE REBELS WHO
TOOK INSPIRATION FROM EUROPEAN DANCERS
BUT DEVELOPED A UNIQUE DANCE IN THEIR
OWN.
1. ISADORA DUNCAN
2. RUTH ST. DENIS
3. JOSE LIMON
CONTEMPORARY DANCE AROUND 1980’S,
THE WORD “CONTEMPORARY DANCE”WAS
REFERREDTO THE MOVEMENT OF THE NEW
DANCERS WHO DID NOT WANT TO FOLLOW
STRICT CLASSICAL BALLET AND LYRICAL DANCE
FORMS. INSTEAD WANTED TO EXPLORE THE
– AREA OF REVOLUTIONARY UNCONVENTIONAL
MOVEMENTS.
1. MARTHA GRAHAM
2. MERCE CUNNINGHAM
3. LESTER HORTON
THE 3 MENTIONED DANCERS WANTED TO
SHOW THE WORLD THAT CONTEMPORARY
DANCERS SHOULD EMBRACE FREEDOM,
IGNORE OLD DANCE CONVENTIONS AND
EXPLORE THE LIMITS OF THE HUMAN BODY AND
VISUAL EXPRESSION OF FEELINGS.
1. ISADORA DUNCAN (MAY 26, 1877 –
SEPTEMBER 14, 1927)
- DEVELOPED AN APPROACH TO DANCE THAT
EMPHASIZED ON NATURALISTIC MOVEMENT.
- REJECTED CLASSICAL DANCE TRAINING
ENTIRELY AND CENTERED HER EXPRESSIVE
CHOREOGRAPHY EMOTION, SCULPTURE,
POETRY, CLASSICAL MUSIC AND FREEDOM OF
MOVEMENTS.
2. RUTH ST. DENIS (JANUARY 20, 1879 –
JULY 21,1968)
-FIRST LADY OF AMERICAN DANCE
- INCORPORATED NATIVE AMERICAN
DANCE,ORIENTAL RELIGIONS AND MYSTICISM
INTO HER STYLE OF DANCE. “ I SEE DANCE
BEING USED AS COMMUNICATION BETWEEN
BODY AND SOUL, TO EXPRESS WHAT IT IS TOO
DEEP TO FIND FOR WORDS.”
3. JOSE ARCADIO LIMON (JANUARY 12,
1908 – DECEMBER 2,1972)
- A MEXICAN-BORN DANCER AND
CHOREOGRAPHER RECOGNIZED AS AN
IMPORTANT FIGURE IN THE AMERICAN MODERN
DANCE MOVEMENT OF THE 1930’S- 1960’S.
- HE CREATED THE LIMON TECHNIQUES THAT
EMPHASIZE THE NATURAL RHYTHMS OF FALL
AND RECOVERY.
4. ALICE REYES (PHILIPPINES)
1. THE MOTHER OF CONTEMPORARY DANCE IN
THE PHILIPPINES.
2. FOUNDER OF “BALLET PHILIPPINES” THE
COUNTRY’S PREMIERE COMPANY IN BALLET
AND CONTEMPORARY DANCE.
3. PROCLAIMED NATIONAL ARTIST
PRESIDENT AQUINO III ON JUNE 20, 2014.
4. HER LEGACY IS TO DEVELOP AND PROMOTE
DANCE ARTS NATIONWIDE, AND EVEN
PIONEERED CONTEMPORARY DANCE IN THE
PHILIPPINES.
CONTEMPORARY DANCE MODERN DANCE
IT IS A SPECIFIC DANCE THAT IS FREE IN FORM
USES ELEMENTS LIKE CONTACT-RELEASE,
FLOOR WORK, FALL AND RECOVERY AND
IMPROVISATION.
DANCE THAT DOESN’T FOLLOW THE RULES OF
CLASSICAL BALLET AND JAZZ.
THIS TYPE OF DANCE WAS FOLLOWED BY THE
POSTMODERN DANCE MOVEMENT AIMED TO
BREAK AWAY FROM COMPOSITIONAL
CONSTRAINTS OF MODERN.
MODERN DANCE
IT IS A COLLABORATIVE STYLE THAT INCLUDES
JAZZ, BALLET AND HIP-HOP ELEMENTS.
DANCE THAT IS RECENTLYCHOREOGRAPH,
BOUNDARY BREAKING DANCE.
IT CAN BE USED TO DESCRIBE ANY DANCING
THAT IS NEW, DIFFERENT, OR UNTRADITIONAL.
ELEMENTS AND STYLE OF DANCES
ELEMENTS OF DANCE
1.MOVEMENT
2.TIME
3.SPACE
4.ENERGY
ELEMENTS OF DANCE MOVEMENT
- LOCOMOTOR – WALK,RUN, LEAP, JUMP, SKIP,
SLIDE AND GALLOP (DASH)
- NON-LOCOMOTOR – BEND, TWIST, STRETCH,
SWING, LEADING/FOLLOWING
ELEMENTS OF DANCE TIME
-FAST/MEDIUM/SLOW WITH MUSIC OR WITHOUT
MUSIC
ELEMENTS OF DANCE SPACE
- LEVELS : LOW, MEDIUM, HIGH DIRECTION:
FORWARD, BACKWARD, SIDEWAYS, DIAGONAL
AND TURNING.
-FOCUS: STRAIGHT OR CURVED, OPEN OR
CLOSE
ELEMENTS OF DANCE ENERGY
-STRONG OR LIGHT
DANCE STYLES
1.NARRATIVE
BY
2.CHANCE
3.CONTACT IMPROVISATION
4.IMPROVISATION
5.POST-MODERN
NARRATIVE
– THIS STYLE EXPRESSES A MESSAGE OR A
STORY THROUGH MOVEMENTS.
CHANCE
- IT IS BASED ON RANDOM SELECTION OF
MOVEMENTS.
- THE DANCERS LEARN MANY COMBINATIONS
OF MOVEMENTS BUT DO NOT KNOW WHAT
ORDER THEY WILL BE PERFORMING UNTIL
RIGHT BEFORE THE PERFORMANCE.
CONTACT IMPROVISATION
-IT IS DONE AS A DUET OR IN A GROUP, THE
MOVEMENTS ARE IMPROVISED AS EACH
DANCERS FOLLOW EACH OTHER’S MOVEMENT
AND REACTS TO THEM.
- DANCERS MOVE IN AND OUT OF PHYSICAL
CONTACT WHILE ROLLING, SPIRALING,
SUPPORTING AND FALLING.
IMPROVISATION –
-A PROCESS OF PRODUCING SPONTANEOUS
MOVEMENTS STEMMING FROM A SPECIFIC
STIMULUS, SUCH AS SOUNDS AND COLORS.
POST-MODERN
-IT EXPERIMENTS WITH NEW CONCEPTS AND
FORMS AND SOMETIMES REFERRED AS
EXPERIMENTAL OF MINIMALIST DANCE
DANCE HISTORY, EFFECTS AND BENEFITS
WHAT EFFECTS DOES DANCING HAVE ON
THE HUMAN BODY?
AEROBIC EXERCISE
DANCING OFFERS CARDIOVASCULAR
CONDITIONING THAT MAY LOWER YOUR RISK OF
CORONARY HEART DISEASE, HIGH BLOOD
PRESSURE AND BEING OVERWEIGHT.
CALORIES BURNED
DEPENDING ON THE TYPE OF DANCE YOU
CHOOSE, THE NUMBER OF CALORIES BURNED
WILL VARY.
BONE DENSITY
BECAUSE DANCING IS WEIGHT-BEARING, IT CAN
HELP IMPROVE BONE DENSITY AND DECREASE
THE LIKELIHOOD OF OSTEOPOROSIS.
PSYCHOLOGICALLY
DANCING OFFERS AN OPPORTUNITY TO BE
WITH OTHERS, AND TO WORK OFF STRESS AND
FATIGUE. THE MUSIC THAT ACCOMPANIES
DANCING CAN HEIGHTEN ENERGY AND MOOD,
AND PROVIDE AN ENJOYABLE TIME.
OTHER EFFECTS
1. IMPROVED CONDITION OF YOUR HEART AND
LUNGS.
2. INCREASED MUSCULAR STRENGTH,
ENDURANCE AND MOTOR FITNESS.
3. WEIGHT MANAGEMENT
4. BETTER COORDINATION, AGILITY
FLEXIBILITY.
5. IMPROVED BALANCE AND SPATIAL
AWARENESS.
6. BETTER SOCIAL SKILLS OTHER EFFECTS
7. GREATER SELF-CONFIDENCE AND SELF-
ESTEEM.
8. INCREASED PHYSICAL CONFIDENCE AND
IMPROVED MENTAL FUNCTIONING.
CAN ANYBODY DANCE?
ANYBODY CAN DANCE, NO MATTER HOW
YOUNG OR OLD THEY ARE, OR HOW PHYSICALLY
FIT THEY ARE. PEOPLE IN WHEELCHAIRS CAN
MOVE AND SPIN IN TIME TO THE MUSIC, WHILE
THOSE WHO ARE IMMOBILE CAN MOVE THEIR
HANDS OR HEADS. DEAF PEOPLE CAN FEEL THE
VIBRATIONS OF MUSIC AND RESPOND.
WHY DO PEOPLE DANCE?
PEOPLE HAVE A NATURAL URGE TO MOVE IN
TIME TO MUSIC. THEY DANCE TO CELEBRATE AN
EVENT, OR FOR ENTERTAINMENT AND
RELAXATION. DANCE IS AN IMPORTANT PART OF
MANY RELIGIONS. AROUND THE WORLD, MANY
FOLK DANCES MARK THE STAGES OF LIFE, SUCH
AS BIRTH AND DEATH.
DANCE SPRINGS FROM A HUMAN DESIRE FOR
PERSONAL EXPRESSION AND SOCIAL
CONNECTION.
WHEN DID DANCING CAME ABOUT?
ARCHEOLOGISTS FOUND EVIDENCES OF EARLY
DANCE IN A 9,000 YEAR OLD PAINTINGS IN
INDIA AT ROCK SHELTERS OF BHIMBETKA, AND
EGYPTIAN TOMB PAINTINGS DEPICTING
DANCING FIGURES, DATED C. 3300 BC.
HISTORY
THE HISTORY OF DANCE IS DIFFICULT TO
ACCESS BECAUSE DANCE DOES NOT OFTEN
LEAVE BEHIND CLEARLY IDENTIFIABLE PHYSICAL
ARTIFACTS THAT LAST OVER MILLENNIA, SUCH
AS STONE TOOLS, HUNTING IMPLEMENTS OR
CAVE PAINTINGS. HISTORY IT IS NOT POSSIBLE
TO IDENTIFY WITH EXACT PRECISION WHEN
DANCE BECAME PART OF HUMAN CULTURE.
WHAT IS THE OLDEST DANCE FORM?
HISTORIANS CONSIDER THE DANCE FORM THAT
IS TODAY KNOWN AS BELLY DANCE/DANCING AS
THE OLDEST FORM OF DANCE. IT ORIGINATED
6,000 YEARS AGO AND WAS PRACTICED BY
MANY ANCIENT CULTURES.
BELLY DANCING
EVEN THOUGH THE MODERN BELLY DANCE HAS
MANY NEGATIVE CONNOTATIONS AND IS
CONSIDERED TO BE SEDUCTIVE, IT HAD A
TOTALLY DIFFERENT PURPOSE IN ANCIENT
TIMES. BELLY DANCING ORIGINALLY, IT WAS
AND
PERFORMED ONLY BY WOMEN, FOR WOMEN,
SOMETIMES AS A PART OF GODDESS WORSHIP
AND SOMETIMES TO CELEBRATE WOMANHOOD.
ITS PRACTICAL PURPOSE WAS TO EXERCISE THE
ABDOMINAL MUSCLES OF WOMEN SO THAT
THEY COULD GO THROUGH PREGNANCY AND
CHILD BIRTH SUCCESSFULLY.
CLASSICAL DANCE
CLASSICAL DANCE IS HISTORIC AND TAKES
MANY YEARS TO LEARN.
- WESTERN CLASSICAL DANCE IS CALLED
BALLET, IT COMBINES DANCE WITH MIME OR
SILENT ACTING.
- KING LOUIS XIV INVENTED BALLET IN 1459
AND USED IT IN ITALY FOR A ROYAL WEDDING.
- CHOREOGRAPHY IS USED TO CREATE
CLASSICAL DANCE. CHOREOGRAPHY IS THE
ARRANGEMENT OF DANCE STEPS AND
MOVEMENTS INTO AN ORGANIZED SEQUENCE.
THIS MEANS THAT EVERY DANCER KNOWS
EXACTLY WHAT STEPS TO PERFORM
THROUGHOUT THE PERFORMANCE. DANCE IS
USUALLY CHOREOGRAPHED TO MUSIC.
IMPROVISATION
UNLIKE CLASSICAL DANCE, IMPROVISED DANCE
HAS NO FORMAL STEPS, ALTHOUGH IT CAN BE
CHOREOGRAPHED. IMPROVISATION IS THE
BASIS OF CONTEMPORARY OR MODERN DANCE.
IN IT, DANCERS EXPRESS THEIR FEELINGS IN
THEIR MOVEMENTS TO CREATE A HIGHLY
PERSONAL, NATURAL PERFORMANCE.
CONTEMPORARY DANCE
CONTEMPORARY DANCE BEGAN AT THE START
OF THE 20TH CENTURY WHEN U.S. DANCER
ISADORA DUNCAN (1878–1927) BROKE AWAY
FROM BALLET AND DEVELOPED HER OWN,
MORE NATURAL STYLE.
CONTEMPORARY DANCE HAS MANY DIFFERENT
STYLES, SOME OF THEM CLOSELY LINKED TO
MUSIC, SUCH AS JAZZ, ROCK AND ROLL, AND
HIPHOP. CONTEMPORARY DANCE
TYPES OF DANCES
BALLET
– MOSTLY PERFORMED TO CLASSICAL MUSIC,
THIS DANCE STYLE FOCUSES ON STRENGTH,
TECHNIQUE AND FLEXIBILITY.
BALLROOM DANCING
– THIS INVOLVES A NUMBER OF PARTNER-
DANCING STYLES SUCH AS THE WALTZ, SWING,
FOXTROT, RUMBA AND TANGO.
HIP-HOP
– PERFORMED MOSTLY TO HIP-HOP MUSIC, THIS
URBAN DANCE STYLE CAN INVOLVE BREAKING,
POPPING, LOCKING AND FREESTYLING.
SQUARE DANCING
– A TYPE OF FOLK DANCING WHERE FOUR
COUPLES DANCE IN A SQUARE PATTERN,
MOVING AROUND EACH OTHER AND CHANGING
PARTNERS.
POLE DANCING
– HAS BECOME INCREASINGLY POPULAR AS A
FORM OF EXERCISE. IT INVOLVES SENSUAL
DANCING WITH A VERTICAL POLE, AND
REQUIRES MUSCLE ENDURANCE,
COORDINATION, AND UPPER- AND LOWERBODY
STRENGTH.
JAZZ
– A HIGH-ENERGY DANCE STYLE INVOLVING
KICKS, LEAPS AND TURNS TO THE BEAT OF THE
MUSIC.
TAP DANCING
– FOCUSES ON TIMING AND BEATS. THE NAME
ORIGINATES FROM THE TAPPING SOUNDS MADE
WHEN THE SMALL METAL PLATES ON THE
DANCER’S SHOES TOUCH THE GROUND
Cheerleading
- It is an organized sports activity
involving short routines that combine
dance, gymnastics and stunt
elements to cheer on teams most
commonly football.
Historical Foundation
 Cheerleading was begun by men,
although women currently dominate
the field.
 Cheerleaders - performers of this
one to three-minute routine
 In 1884, Princeton University got the
idea that crowd chanting at football
games would boost school spirit so
they come up with a catchy cheer.
Rah rah rah!
Tiger, tiger, tiger
Sis, sis, sis,
Boom, boom, boom,
Aaahhhhhhhhh!
Princeton! Princeton! Princeton!
 Thomas Peebles, Class of 1882,
who was familiar with these cheers,
moved to Minnesota in 1884 and
transplanted the idea of organized
crowd cheering at football games to
the University of Minnesota.
 November 2, 1898: University of
Minnesota student Johnny Campbell
led an organized cheer at a football
game between Minnesota and
Princeton University.
 Johnny Campbell- Considered as the
FIRST CHEERLEADER
 1903: University of Minnesota
organized the first cheer fraternity
called GAMMA SIGMA.
 1920’s: Women became involved in
cheerleading and included
gymnastics, dance and other showy
stunts into routines.
 1948: Lawrence “Herkie” Herkimer
(Grandfather of Cheerleading), held
the first cheerleading clinic at Sam
Houston State Teacher’s College.
 1961: Lawrence “Herkie” Herkimer,
founded the National Cheerleaders
Association (NCA) which began to
hold cheer workshops.
 Herkimer called Pom-poms as “Pom-
pon” when he learned that pom-poms
has a vulgar meaning in Hawaii.
  1930’s: Paper pom-poms were used.
(crepe or tissue paper)/ rainy and
snowy weather
 1965: First vinyl pom-poms were
manufactured (Plastic Vinyl)
 1971: Herkimer’s pompon with
hidden handle was popularized
Cheerleading teams are restricted to
specific stunt rules based on the guidelines
of certain associations and organizations;
therefore, some stunts may be permitted in
certain divisions but illegal in others due to
the different stunt regulations.
Team Composition
 A flyer, 2 bases (usually, side and
main base), and a backspot.
Sometimes there may be a frontspot
as well.
 Every person in the group is
important. The stunt will not be
performed or practiced if one person
is missing.
1. Flyer
- This is the person that is lifted into
the air during a stunt, the flyer can
also be referred to as the "top".
- The flyers are usually (but not always)
the smallest people on a cheerleading
squad. Before beginning to stunt a
flyer must learn the correct posture.
2. Bases and Spotters
- Bases are very strong and are usually
assigned together based on height to
create level platform for the flyer to
perform an action.
- There are no gender requirements for
a base, both males and females can
be bases. A base must be in direct
contact of the floor where a stunting
skill is being performed.
3. Main Base
- The main base is the "powerhouse" of
one legged stunts because she/he
holds a majority of the weight but
keeps their arms somewhat towards
the center of the stunt to share the
rest of the weight with the secondary
base.
4. Secondary Base
- The term second base only applies
when doing a one-legged stunt, this
position can also be considered a
"side base."
- The second bases catches the flyer's
foot during a prep or a "sponge." The
secondary bases help lift the flyer up
into the air and support the flyer's
foot. The hand position for the side
base can vary depending on
preference.
5. Back Spot
- The back spot is also called a "third".
They call each stunt.
- They help to position the flyer in the
bases' hands upon entry.
- They support most of the weight of
the flyer. They do so by using their
hands to support the flyer's buttocks
and ankles, and then push her up
from her butt into the air.
6. Front Spot
- This is the person standing in front of
the stunt facing the back base
preventing the flyer from falling
forward.
- Front spots are typically the smaller
people of the squad, who are not
flexible enough to be a flyer, and are
also not at the right height and
strength to side or back. Front spots
increase the stability of a stunt to
make it perfect.
Components of Cheerdance
1. Cheering
- One of the most important parts of
the routine.
- Most Crucial
- During a cheer, each cheerleader
needs to speak and breathe as one to
be able to hold the tone throughout
the cheer.
- During a cheerleading portion, the
team can do a combination of many
different skills, which involves:
Motion group formations, jumps, standing
tumbling, tumbling and jump combination
and stunts.
2. Dancing
- Adds an attitude to the routine
- Dancing component is important
because it does not only excite the
team but it excites the crowd
3. Stunts- Stunts are activities in the
form of play that test one’s self on
flexibility, agility, balance,
coordination, strength and
endurance.
Types of Stunts
 Individual Stunts – these are stunts
performed by only one person.
 Dual Stunts – are stunts performed
by 2 or by pair.
  Group Stunts – are stunts performed
by 3 or more persons
 Combative Stunts – are stunts
where two performers or more, fight
each other’s strength, balance, agility
and endurance.
4. Tumbling
- is a skill in gymnastics that requires
sufficient strength of the arms and
flexibility of almost all parts of the
body.
- Mastery of the fundamental stunts
and skills will help the performer
execute the tumbling skills with ease
and grace.
5. Pyramid
- Pyramid building is making pyramid
structures out of positions in the floor
skills and tumbling skills.
- This can be done with 3, 4, 5, 6, 7 up
to 10 persons forming a pyramid.
How to Build a Pyramid
A pyramid, can be dissected into several
parts:
1. The transition or set up: This is
when all the cheerleaders get into
place.
2. The load: This refers to the manner
in which you get the flyer to the top.
3. The "hit": Hitting a pyramid is when
you strike your final pose so that your
audience can see the pyramid.
4. The dismount: The flyer dismounts
when she jumps off the pyramid and
lands safely on the ground.