DIFFERENT ERAS OF DANCE
Learning to dance was considered a necessary part of education
Primitive Cultures
The term ''primitive cultures'' was used by the first anthropologists to
describe non-European groups of people and their customs because they
believed, and not always correctly, that they were closely related to prehistoric
cultures. As the term has a somewhat biased and negative connotation,
especially when used in comparison to Western culture, contemporary
anthropologists use other words, like ''bands'' and 'tribes.
PRIMITIVE CULTURE DANCE ERA IN THE PHILIPPINES
The following are various indigenous dances of the major ethnic groupings of
the Philippines.
IGOROT There are six Igorot tribes in Luzon's mountain terrains, namely the
Bontoc, Ifugao, Benguet, Apayo, and the Kalinga tribes. These tribes have
retained much of their anito religions and their lives revolve around pleasing
their gods while maintaining harmony between spirits and man. The dances
they perform are often linked to rituals for a good harvest, health, prayers for
peace, and safety during times of war.
MORO The Moro people are the various usually unrelated Muslim Filipino
ethnic groups. Most of their dances are marked by intricate hand and arm
movements, accompanied by instruments such as the agong and kulintang.
LUMAD The non-Islamized natives of Mindanao are collectively known as the
Lumad people. Like the Tagakaulo, they still practice worshiping anitos
through dance.
ANCIENT EGYPT The ancient Egyptians were enthusiastic dancers who
incorporated dance into religious, social, and funerary practices. Dance
scenes were identified on monuments, temples, and tombs to study ancient
Egyptian dance. Dances were performed for a variety of reasons and used
various rhythms and vocalizations. Dancers wore unique clothing and
accessories and often performed in groups.
GREEK AND BACCHANALIAN DANCE Ancient Greeks believed that dance
was a form of civilizing activity, like wine-making and music. Dance
communicated wisdom and truth as effectively as words. Greece inherited a
strong dancing tradition from Crete, which was conquered by Greece around
1500 BC.
that favored learning an appreciation of beauty. Ancient Greeks made a sharp
distinction between the Apollonian dance and the Dionysian dance. The
former was ceremonial, while the latter was associated with passion, panic,
and desire. The synthesis of the Apollonian and the Dionysian is the art of
dance. The tension between these opposites played an instrumental role in
the shaping of the ancient Greek theatre and the birth of tragedy in the
evolution of the arts for civilization.
PRE-COLONIAL
Christianized Filipinos They danced to appease the gods, to curry favor
from powerful spirits, to celebrate a hunt or harvest, and to mimic the exotic
life forms around them. They danced their stories and their shamanic rituals,
their rites of passage, and their remembered legends and history.
Rural dances include such favorites as the:
 Tinikling, which mimics a bird
 Gaway-Gaway, which features the movements of children pulling the
stalks of the gaway roots during a bountiful harvest.
The pagan tribes, the Higaonon, Subanon, Bagogo, and others who have
inhabited the Philippines for thousands of years, preserved their customs and
symbolic dances. Partly through isolation, they kept their culture free from the
influence of the waves of immigrants who settled the archipelago over the
centuries. Today, tribal dances like:
 Dugso (a dance of gratitude for a good harvest or a male heir, danced
with ankle bells)
 Sohten(an all-male war dance)
 Lawin-Lawin(another male dance that mimics a swooping, soaring
eagle) is carefully documented and kept alive in performance by
Filipino folk dance troupes and cultural institutions, such as the
Parangal Dance Company.
Nobility During the seventeenth and eighteenth centuries, Baroque dance
was a popular style of dancing that was developed and promoted by Louis
XIV. He was an accomplished dancer and his courtiers were expected to
dance in his new style. The social importance of dancing was great, and it
could even carry political importance. In 1661, Louis founded the Académie
Royale de Danse, which was responsible for creating a system of notation to
help dancing masters learn new dances.
EARLY RENAISSANCE PERIOD During the 14th century, dance became
more sophisticated and socially significant; however, no choreographic
descriptions from this period have been preserved. We only know the names
of lost dances like balli, carola, and trotto from music tabulatures and
literature. In the 15th century, dances were well documented. Surviving
manuscripts describe aristocratic dances, which varied by region. The
Bassedanse was a popular dance among the Burgundian court and was
performed in "perfect" time. The Italian courts had the Bassadanza, which
was lighter and more intricate than the Burgundian Bassedanse, and the
Ballo, which was the epitome of Italian court dance and featured beautifully
designed choreographies for a set number of dancers.
COURTS OF EUROPE During the Renaissance,
there were two types of dances: country and court.
Court dances required training and were performed
for entertainment, while anyone could attempt
country dances. Following formal entertainment at
court, everyone could join in on country dances,
which remained popular for over two centuries. Knowledge of court dances
has survived better than country dances, as they were collected in
manuscripts and printed books. These manuals feature a wide range of
dances, from slow and stately to fast and lively. Queen Elizabeth I enjoyed
galliards, and la spagnoletta was a court favorite.
DANCE involves rhythmic body movement to express ideas or emotions,
release energy, or enjoy movement. Skilled performers channel this impulse
into intensely expressive art, delighting spectators. The fundamental principle
of dance is that it utilizes the body's range of movement as an art form or
activity.
HEALTH BENEFITS OF DANCING
 Improved condition of your heart and lungs
 Increased muscular strength, endurance, and motor fitness.
 Increased aerobic fitness
 Weight management
 Stronger bones and reduced risk of osteoporosis
 Better coordination, agility, and flexibility
 Increased physical confidence
 Improved mental functioning
 Improved general and psychological wellbeing
 Greater self-confidence and self-esteem
 Better social skill
DIFFERENT ELEMENTS OF DANCE
BODY Bodily shapes This refers to how the entire body is molded in space
on the configuration of body parts. The body can be rounded, angular, or a
combination of two. Other body shapes can be from wide to narrow and from
high to low. They can be symmetrical and asymmetrical.
a. Symmetrical- balanced shape; movements are practically identical or
similar on both sides.
b. Asymmetrical- unbalanced shape, movements of two sides of the body do
not match or are completely different from each other.
GROUP SHAPES: In this element, a group of dancers perform movements in
different group shapes. They are arranged in ways that are wide. narrow,
rounded, angular, symmetrical, or asymmetrical and are viewed together as a
total picture or arrangement within.
ACTION comprises a variety of movements including choreographed steps,
facial expressions, partner lifts, gestures, and everyday movements like
walking. It involves both movement and pauses, which can be categorized
and described based on their qualities. Dancers may use traditional dances or
revise movements they have learned. Improvisation is also common.
Movement through space is called locomotor movement while axial
movement occurs in one spot. Despite different names for steps across dance
styles, they can still be described based on their essential characteristics.
SPACE This is the area the performers occupy and where they move. It can
be divided into four different aspects, also known as spatial elements.
a. Direction- dance movement can travel in any direction. The performers
can go forward, side, backward, diagonal, circular, and so on. They may also
face any direction while executing a single movement or several phrases.
b. Size- movements can be varied by doing larger or smaller actions.
c. Level- movements can be done in a high, medium, or low level.
d. Focus- performers may change their focus by looking at different
directions.
TIME is characterized by the keyword When? Human movement is rhythmic
and alternating between activity and rest. Rhythmic patterns can be metered
or free rhythm. Western music mostly uses repeating patterns, whereas
concepts of time and meter vary worldwide. Dance movements may have
different timing relationships, such as simultaneous or sequential timing, brief
to long duration, fast to slow speed or predictable or unpredictable intervals.
Time may also be organized in other ways including:
 Clock time: The dance is based on units of seconds, minutes, and/or
hours. For example, a certain section of a dance may be assigned a
time such as 30 seconds into which all the choreographed movements
must fit. A performance in a public setting may be set up to repeat
continuously between 12:00 Noon and 1:00 PM.
 Sensed time: Dancers pick up on each other's timing such as
gradually increasing from a walking tempo to a running tempo by
cueing off each other rather than a music score. Another example
happens when dancers hold a group shape and then spontaneously
move out of it based on the group's organic impulse.
 Event-sequence: An internal or external event signals a change such
as repeating a traveling phrase over and over until everyone arrives at
a corner of the stage. You also see this at sports events when a
touchdown triggers a dance cheer.
ENERGY The movements here are propelled by energy or force. A force can
either initiate or stop an action. Dance uses different energies and a varied
use of these minimizes the monotony of the movements in a performance.
There are six qualities of dance energies presented below.
1. Sustained- movements are done smoothly, and continuously, and
with flow and control they do not have a clear beginning and
ending.
2. Percussive- movements are explosive or sharp in contrast with
sustained movement. They are accented with the thrust of energy.
They have a clear beginning and ending.
3. Vibratory- movements consist of trembling or shaking. A faster
version or percussive movements that produce a jittery effect.
(Minton, 2007)
What is Street Dance? It refers to dance styles that have evolved outside of
dance studios. It is performed in streets, dance parties, parks, school yards,
or any available space. It is often improvisational and social in nature,
encouraging interaction and contact with spectators and other dancers.
Hip-hop is a cultural movement best known for its impact on music in the
form of the musical genre of the same name. It originated in the Bronx, part of
New York City during the 1970s. It was popularized by African Americans and
was influenced by Latin Americans. The culture of Hip-hop is composed of
pillars like D-Jing, rapping, breakdancing, and graffiti art.
Streetdance is a distinctly Pinoy term, which is very closely related to hip-
hop, but rather, defined by cultural nuances and influences that, as Jungee
and others of this breed have seen, have made street dance a variation of
hip-hop dance that is identifiably Pinoy to the rest of the world.
Key Elements:
•Groove •Character •Originality •Intention •Creativity
•Social interaction
Characteristics Street dance is different from other dance forms as it
emphasizes individuality and creativity. Dancers interpret moves freely and
can even invent their own to create a personal style. Improvisation is key,
though choreography is also incorporated. Street dance is based on a unique
style or feel expressed through the dance and tied to a specific genre of
music. As new moves evolve, the dance is constantly developing and may
give rise to a completely new dance form if the feeling changes.
STREET AND HIP-HOP DANCE STYLEB-Boying also known as breaking or
breakdancing is the first hip-hop dancing that originated from Black and
Puerto Rican youths in New York City during the early 1970’s. The
practitioner is the term given to b-boy or b-girl who do breakdancing. B-boying
and breaking is the original term for breakdance.
Popping was popularized by Samuel Boogaloo Sam Solomon together with
his crew, the Electric Boogaloos. It is based on the technique of quickly
contracting and relaxing muscles to cause a jerk in a dancer’s body.
Popping forces parts of your body outwards, similar to an explosion within
parts of your body. Popping contracts muscles, but is followed by relaxation
that gives it the jerking appearance of popping.
Locking also known as Campbellocking, is a style of dance created by Don
Campbellock Campbell in Los Angeles, California around 1969. The Lockers,
Campbell's crew, popularized the dance which is characterized by distinctive
stops and holding positions for longer periods. The primary move used in
locking is the lock, similar to a freeze or sudden pause.
Knumping is a form of dancing that originated from the African-American
community of South-Central Los Angeles, California, and is a relatively new
form of the “Urban Black dance movement. It is free, expressive, and highly
energetic. Most people paint their faces in different designs. Knumping is a
dance style similar to the release of anger. It is reported that gang riots in the
United States decreased because of this knumping style.
Tutting is a creative way of making geometric shapes forming right angles
using your body parts. The style was originally practiced by young funk
dancers. It is derived from the positions people were drawn in during the days
of the Ancient Egyptians. Tutting is a greatly respected move of King Tut aka
Mark Benson who made this style popular.
Shuffling The Melbourne Shuffle, also known as Rocking "The Shuffle," is a
type of rave and club dance that originated in Melbourne, Australia in the late
1980s. It involves fast heel-and-toe movements that are suitable for various
types of electronic music, with some variants incorporating arm movements.
Those who perform this style are referred to as Rockers due to their
association with rock music in the 1990s.
Waacking It is an African-American form of street dance that originated in the
1970s as a disco era of underground clubs in Los Angeles and New York
City. Waacking has a stylized posing with a fast-synchronized arm movement
following the beat of the music. It is a very popular element of hip-hop
nowadays.
Folk dance is a type of dance that reflects the life of people in a certain
country or region. Ethnic and traditional dances are often considered to be
folk dances, although ritual dances are not. Even if some dances cross ethnic
and ballroom boundaries, their cultural roots are often emphasized.
The Itik-Itik is a formal folk dance from the Philippines that imitates the
movements of a duck, such as wading, flying, and splashing water. It
originated in the province of Surigao and has been popular in towns like
Carrascal, Cantilan, Lanuza, and Carmen. The dance is described as humans
mimicking the motions of a duck, allowing for improvisation with the basic
steps.
Cheerleading began in Great Britain in the 1860s and made its way to the
US in the 1880s. Originally started by men, cheerleading became dominated
by women in the 1920s. The University of Minnesota organized the first cheer
fraternity in 1903, likely using megaphones to project their voices. Women's
cheerleading squads began including gymnastics, dance, and stunts in their
routines in the 1930s. By the 1940s, women were mainly leading the cheers
and routines had evolved into their own unique style.
Elements of Cheer Dance:
 Yells/ Chants are usually done by the performers with pride and
confidence. This element helps to encourage the supportive spectators
to cheer along and bring a prideful message to the competitors. The
basic technique in yelling and chanting is the use of a diaphragm
instead of the throat. It is done also while doing the other elements of
cheerdancing.
 Motions
 Jumps
 Stunts
  Tumble
Basic Hand-Body Movements:
1. BEGINNING STANCE- Feet together, hands down by the side in
blades.
2. CHEER STANCE-Feet more than shoulder-width apart, hands down
by the side in the blade
3. CLASP- Hands clasped, at the chin, elbows in
4. CLAP-Hands in blades, at the chin, elbows in
5. HIGH V-Arms extended up forming a “V”, relax the shoulders
6. LOW V-Arms extended down forming a “V”
7. GOALPOST (or TOUCHDOWN)- Arms extended straight and parallel
to each other, fist facing in
8. LOW TOUCHDOWN- Arms extended straight down and parallel to
each other, fist facing in
9. 3/4 T (or BOW AND ARROW)- One arm extended to the side with the
other arm bent at the elbow in a half “T” motion
10. OVERHEAD CONE- Arms are straight, above the head in a clasp, and
slightly in front of the face
11. DAGGERS (or TABLETOP)-Arms bent at the elbow, fists in front of
shoulders
12. LOW CONE- Arms extended straight down, in a clasp, and slightly in
front of the body
13. PUNCH- One arm extended straight up, one arm on the hip, in a fist
14. L MOTION- One arm extended to the side with the other arm extended
in a punch motion, (Left L shown)
15. DIAGONAL- One arm extended in a high “V” and the other arm
extended in a low “V”
16. T MOTION-Both arms extended straight out to the side and parallel to
the ground, relax the shoulders
17. HALF T- Both arms parallel to the ground and bent at the elbows, fists
into shoulders
18. SIDE LUNGE- Lead leg bent with the knee over the ankle, back leg
straight, feet perpendicular to each other.
19. FRONT LUNGE-Lead leg bent with the knee over the ankle, back leg
straight, feet perpendicular to each other
Basic Types of Jumps:
1. Spread Eagle – simply swing and jump with arms doing high “V”
figure and legs apart. Knees facing forward but not toward the sky.
This jump is used as a progression to learn more advanced jumps.
2. Tuck Jump – Legs in front while knees tucked to the chest. Closed
fist and arms spreading forming a “T” or “V” figure.
3. Toe Touch – one of the most common jumps used in cheerleading.
Legs are straddled, straight, and parallel to the ground forming a
“V” figure. Knees face the sky, toes pointed, arms form “T” position,
closed fist, and must not touch the toes despite the name.
4. Pike- Legs are straight, together, and parallel to the ground. Toes
are pointed, arms are straight reaching the front while hands are in
closed fists.
5. Hurdle- One leg is straight facing forward (front hurdle) or facing
outward (side hurdle) with arms forming a “T” figure. The other leg
is bent, knees facing the ground (front hurdle) or facing forward
(side hurdle)
 Most stunts are done by flyers (usually female) with bases (male lifters)  Staggered
and spotters. It is essential to know the proper execution of the stunts
to secure the safety of both flyers and lifters.

 Bases These are the athletes (usually male cheer dancers) that hold,
DANCE- RELATED INJURIES
lift, and toss a flyer up into the air during stunts. Bases must be strong
1.Poor body alignment and technique
and alert at all times. They make sure that the flyer will land safely and
2. Excessive training duration and intensity
securely. There is no gender requirement for a base. 3. Hard dance floor
 Flyers are the athletes being held, lifted, and tossed up to perform 4. Poor shoe design
certain stunts in height or in the air. Female cheer dancers are usually 5. Muscle imbalance
assigned to be the flyers. They are usually, but not always, the  Acute and Chronic Injury result from excessive mechanical force, while
smallest person in the group. They are flexible and balance-efficient chronic injuries are caused by repetitive trauma. Pain and symptoms are
immediate for acute injuries, and gradual for chronic injuries, which worsen with
while being lifted up. Before performing air stunts, flyers must learn first
activity or training.
the proper techniques.
Including tumbling skills in your cheer dance routine is an excellent way to
add extreme, thrill and excitement. Safety and security must be observed at
all times to avoid injury especially tumble skill involving gravity-defying and
intense ground impact.
Types of tumbling skills:

1. Standing – completing tumble in a stationary position.

2. Running – completing a tumble from a running start.
3. Cartwheel – A type of tumble in which the body moves sideways
imitating a wheel.
4 BASIC FORMATIONS Formations play a vital role in cheer dance since
most of the cheer dance competitions are viewed from the top by the
spectators. Formations may vary depending on the dances and stunts
choreographed. It is important to have creative formations that will create
excellent visual effects to enhance the dance routine. Synchronization
must be always observed in making formations in the cheer dance.
 Bowling Pin
 Diamond
 Diagonal