LESSON 1 ❖ Grace and Coordination - It boosts your ability
LEARN AND DANCE to respond
DANCE - is a form of bodily expression that follows
rhythmic patterns and is accompanied by music.
HISTORY OF DANCE
Even before the emergence of written
language and modern history, when our first
cultures evolved through oral and performance
methods to pass along stories from one generation
to the next, dance has always been with us. Many
historians believe that social, celebratory, and ritual
dances were important in the formation of early
human civilizations.
The beginnings of ancient dances can be
traced back to 9000 years ago in India or 5300
years ago in Egypt, while records of more common
infusions of dance into modern civilization may be
found in Ancient Greece, China, and India. All of
these ancient dances evolved into a vast range of
Roman and European medieval dances, traditional
Chinese dances, Hindi dances, and other traditional
dances.
ELEMENTS OF DANCE
Body - is the dancer's mobile figure or shape,
which is felt and seen by others.
Action - any type of bodily movement can be used
in dance, such as gestures and facial expressions.
Space - is the area in which the performers perform
and move.
Time - at various beats, dancing motions can be
performed.
Energy - includes changes in movement flow as
well as the application of force, tension, and weight.
BENEFITS OF DANCE
❖ Fitness - Dancing is one of the many enjoyable
and diverse hobbies that can be done as a form of
expression, leisure, or exercise to improve fitness.
❖ Joy and Satisfaction - A person's physical
well-being improves when they participate in
dancing activities. As he/she completes the phasing
of the dance, one can feel satisfied.
to rhythmic patterns. Consistent
participation will strengthen one's neuromuscular
coordination and aid in the development of
precision grace.
❖ Self-Expression - It improves poise and
posture. With elegance and poise, one may
communicate socially, emotionally, and intellectually
through physical expression.
Non – Locomotor Movements
● are movements done by a part or several
parts of the body in a stationary place.
https://youtu.be/zOi8QjscPXw
❖ Bend or Flex – to move the body or part of the
body around a wide axis.
❖ Lift, Raise – to elevate a part of the body or the
whole body to the desired level.
❖ Stretch, Extend, Straighten - to lengthen a part
of the body.
❖ Swing – to move continuously from one point to
another.
❖ Turn, rotate – to change direction to move
around on axis.
❖ Twist – to move a body around a long axis.
Locomotor Movements
● are movements that bring the performer
from one place to another.
https://youtu.be/ICn7xLQIfrc
❖ Walk – a movement through space done by
shifting weight from one foot to another without
losing contact with the floor
❖ Run – a movement through space by
transferring weight from one foot to another with a
short period of non- support while the body and feet
are off the floor, the tempo is faster than walk.
❖ Hop – a spring on one foot and landing on the
ball of the same foot.
❖ Jump – a spring on one foot or both feet and
landing on both feet.
❖ Leap – a transfer of weight from one foot to
another.
 LESSON 2
FUNDAMENTAL SKILLS DANCING:
FUNDAMENTAL DANCE POSITIONS, DANCE
TERMINOLOGIES AND DANCE STEPS

KEY TO SYSTEM OF COUNTING The meter of a song is indicated by its time

❖ Counting is the most practical way to describe a
rhythmic pattern.
❖ Note is the unit in musical showing the duration
in which a tone or movement is taken.
❖ Rest is the character used to indicate silence or
pause (in the case of dancing) for a certain time.
❖ Note & Rest Values refer to the musical
notation which give the exact duration values of the
rhythmic patterns.
signature. The time signature consists of two
numbers, stacked one on top of the other. The top
number represents the number of beats per
measure, while the bottom number represents the
note value for each beat. Rhythms are notated
using notes and rests. Here are the basic notations
for each note, along with its equivalent rest (a rest
is silence, when no sound is played)

NOTES & REST VALUES

FUNDAMENTAL DANCE POSITIONS

First Position

Second Position
Counting And Equivalent Note
of Rhythmic Pattern

In order to read, identify and transcribe

rhythms, you need to become familiar with rhythm
notation and rhythm patterns. This mainly involves
indicating when a note happens and how long it
lasts, and recognizing when you hear a common
rhythm. Third Position
Rhythm occurs within the framework of meter,
which is simply a repetitive pattern of strong and
weak beats. Here are some common examples of
meter:
 ● Jump - to spring on one foot or both feet, landing
on both in any direction.
Fourth Position

● Saludo - to give courtesy or to bow.

Fifth Position

● Swing - raise foreleg lightly and to move forward,

backward, diagonally.

TIKLOS DANCE TIME SIGNATURE, COUNTING,

DANCE TERMINOLOGIES AND DANCE STEPS

Time Signature
● 2/4 Composed music A and B. ❖ Point - touch the floor lightly with the toes of
Counting one foot, weight of the body on the other
● One, Two foot.
● One, Two, ah,
● One, and Two, and or a measure.

DANCE TERMINOLOGIES

● Cut - to quickly displace one foot with the other,

thus completely taking off the weight of the body
from displaced foot. DANCE STEPS

● Hop - to spring from one-foot landing on the
same foot in place or in any direction.
● Change Step
- Step R(L) foot in fourth in front (ct.1), step L(R)
close to R(L) foot in third in rear or in first position
(ct. and), step R(L) foot quickly in fourth in front
(ct.2). This may be executed in any direction.
● Cut Step
- Raise R(L) foot in fourth in front in preparation.
Cut the L (R) backward with the R(L) foot thus
displacing the L (R) at the same time placing the
weight of the body on the R foot, raising L foot in
rear with straight knee (ct.1). Cut R (L) forward with
the L(R) foot (ct.2)
● Galop Step
A. Step R(L) foot in fourth in front (ct.1) and cut
the R (L) foot with the L(R), thus displacing
it and at the same time taking the weight of
the body with the L(R) foot (ct. ah). There
are two gallops to one measure. This is
executed with one foot leading and may be
done in any direction.
B. Step R (L) foot in second position (ct.1), cut
R (L) with the L foot (ct.ah). There are two
gallop steps to one measure. This may be
done in any direction, one foot leading.
● Heel and Toe Change step
A. Place the R (L) heel in front (ct.1), touch the
R(L) toe in rear (ct.2). Take one change step
forward, starting with the R(L) foot (ct. 1,
and, 2). This may be executed forward and
backward and in oblique directions.
● Touch Step
- Point R(L) foot in fourth in front (ct.1), step R (L)
close to L (R) in first position (ct. 2). This is
commonly done in front.
● Three-Step Turn
- Step L(R) foot in second position (ct.1), turn left
(right) about and step R (L) to second(ct.2), turn
Left (right) about and step L (R) to second to face
front (ct.3). Close R(L) foot to L (R) foot (ct.1),
pause (cts. 2,3).
LESSON 3
PHILIPPINE FOLK DANCE
TIKLOS
Meaning: Named after a group of peasants
Dance Culture: Christian Lowland
Place of Origin: Panay and Leyte
Ethno-linguistic: Waray (Visayan)
Classification: Recreational Dance
Background:
Tiklos refers to a group of peasants who
agree to work for each other one day each week to
clear the forest, prepare the soil for planting, or to
do any odd job on the farm, including the building of
a house, at noontime the people gather to eat lunch
together and to rest. During this rest period, Tiklos
music is played and the peasants then dance the
Tiklos.
Dance Properties:
Costume:
Female & Male: Dancers are
dresses in working costume
Music: 2/4 Time Signature
Composed Music A & B.
Count: One, Two
One, and, Two
One, and, Two, and to a measure.
Formation: Partners stand opposite each other
about six feet apart. When facing the audience,
Girls stands at their partner’s right side. One to any
number of pairs may take part in this dance.
(OPTIONAL FOR THIS Pandemic).
DANCE TERMS USED IN TIKLOS
● Hands on Waist/Skirt - Place both hands on the
waist
● Cut - To quickly displace one foot with the other,
thus completely taking off the
weight of the body from the displaced foot.
● Gallop - a forward slide movement, front foot
steps forward with a little spring
followed by the transfer of body weight to the back
foot.
● Hop - A spring (jump) from one foot landing on
the same foot in place or in any
direction.
● Swing - raise the foreleg lightly and move
forward, backward, diagonally.
● Three-Step Turn - take three steps while turning
either in the left or right direction.
● Close - to place foot nearer to other foot.
● Touch - to gently point the tip of the foot in any
direction
● Jump - Spring one foot or both feet, landing on
both in any direction
 DANCE STEP USED IN TIKLOS
● Change step: (1 to a measure): Step R fwd (ct
1), close L to R (ct &), step R again fwd.
● Heel—and—toe—change step (1
measure): Place R heel diagonally fwd to R, facing
and bending upper body slightly towards up turned
toe (ct 1); point R toe diagonally backward,
straightening body and facing fwd (ct 2); do a
change step (Cts 1, and, 2, and).
● Rock: Rock fwd onto R raising L ft sharply behind
the calf of R leg, knee bent and turned out slightly
(ct 1); rock backward L (ct 2).
● Three-step Turn: (Ct. 1,2,3 to a measure)
Execute three steps in place turning right or
left (cts. 1,2,3) Start with the right foot when turning
right and with left when turning left.
● Touch Step: (Ct. 1, 2)
Point R (L) in fourth in front (ct. 1), Step R
(L) close to L (R) in first position (ct. 2)
● Jump Cross: (Ct. 1, 2)
Jump to cross R in front of L (ct. 1) jump
cross Right in front of Left (ct. 1) jump to close
Right to Left (ct.2)
DANCE WRITTEN INSTRUCTION
I
Music A
Partners face front. Throughout this figure, Girl
holds her skirt, Boy place hands on waist.
(a) Starting with the right foot, take two heel and toe
change steps forward. . . . . . . . . . . . . . . . . . . . 4 M
(b) Execute change step sidward, R and L . . .. 2 M
(c) Starting with R foot, take four steps backward to
proper places . . . . 2 M
(d) Repeat all (a – c). . . . . . . . . . . . . . . . . . . .. . 8 M
II
Music B
Partners face front. The same hand position as in
figure I.
(a) Cut L Backward (ct. 1), cut R forward (ct. 2)
Repeat all (cts. 1, 2). . . . . . . . .. . . . . . . . . . . .. . 2 M
(b) Take three galop steps sideward right (cts. 1,
ah, 2, ah, 1, ah) step R foot sideward (ct. 2) . . . 2 M
(c) Repeat (a) , starting with R cut backward. . . 2 M
(d) Repeat (b) , going sideward left. . . . . . . ... . 2 M
(e) Repeat all (a – d). . . . . . . . . . . . . . . . . . . . .. 8 M
III
Music A
Partners face each other. Throughout this figure
clap hands in front of the chest in this manner: Clap
to 2 three times (cts. 1, and, 2), clap twice (cts. 1,2). Do
this for sixteen measures.
(a) Execute change step sideward, starting with R
foot (cts. 1, and, 2) hop on R and raise L knee in
front swinging L foot obliquely right backward
across R knee in front (ct. 1), hop on R and swing L
foot obliquely left forward (ct. 2) . . . . . . . . . . .. .2 M
(b) Repeat (a) starting with the L foot . . . . . . . ..2 M
(c) Execute a three-step turn right in place (cts. 1,
and, 2). Point L in front (ct. 1), point the same foot
close to R (ct. 2). . . . . 2 M
(d) Repeat (c), starting with L foot and turning left. .
..........2M
(e) Repeat all (a – d). . . . . . . . . . . .. . . . . . . . . . 8 M
IV
Music B
Partners face each other. The same position of
hands as in figure I.
(a) Take two touch steps in front (R, L). . . . . . . 2 M
(b) Jump to cross R in front of L (ct. 1), jump to
cross L in front of R (ct. 2), jump to cross R in front
of L (ct. 1), jump to close R to L (ct. 2). . . . . . . . 2 M
(c) Repeat (a) and (b), starting with L foot. . . . . 4 M
(d) Repeat all (a – c). . . . . . . . .. . . . . . . . . . . . . 8 M
Wellness and Fitness are being observed in the
following criteria:
Figure 1: Heel-toe-Change Step – Enhances Body
Coordination and Balance
Figure 2: Rocking Step – Developing
Cardiovascular fitness
Gallop Step – Helps to enhance Flexibility and
Agility
Figure 3: Hop step – Develops Cardiovascular
Fitness
Three-step Turn - Enhances Balance
Figure 4: Jump Cross Step - Helps to develop
Endurance
 LESSON 4
DANCE FITNESS
Example of Zumba Steps
Cumbia Step Level
• Starting with the R foot, move obliquely forward
and backward with swinging of arms.
• Repeat to the opposite foot. Arms remain
swinging.
Cumbia Step Level 2
• Starting with the R foot, move obliquely forward
and backward while swinging your arms.
• Lower your trunk slightly as you move forward.
• Repeat to the opposite foot. Arms remain
swinging.
Cumbia Step Level 3
• Starting with the R foot forward, Lift your L foot
obliquely and slightly bent your trunk.
• Swing your arms.
• Repeat to the opposite side
Samba Wisk Level 1
• Starting with the R foot, Move your R foot
sideward.
• Follow with your L foot and place it at the back of
the R foot.
• Repeat alternately.
Samba Wisk Level 2
• Starting with R foot, Move your R foot sideward.
• Follow by your L foot backward.
• Forward your L foot obliquely.
• Lift and cross your arms as you step your foot
backward.
• Repeat 4 times per side.
Samba Wisk Level 3
• Starting with the R foot, Move your R foot
sideward.
• Follow by your L foot backward.
• Forward your L foot obliquely.
• This time we add the arms; as you return your left
leg, lift your arm upwards to form an X, and
whenever you move backward with your left leg,
your arm returns to its original place on the sides.
Alternate between step
Raegaeton Level 1
• Make 2 side steps to the right – 2 counts.
• Make 2 side steps to the left – 2 counts
• Body will move like a wave in motion.
Raegaeton Level 2
Step 1: Make 2 side steps to the right, this time we
will use arm movements when you move to the
right side do a pushing arm movement away from
your body two times (Shoulder level) – 2 counts
Step 2: Make 2 side steps to the left , this time we
will use arm movements when you move to the left
side do a pushing arm movement away from your
body two times (Shoulder level) – 2 counts
Raegaeton Level 3
Step 1: Make 2 side steps to the right, this time we
will use arm movements when you move to the
right side do a pushing arm movement away from
your body two times (Above the head level) – 2
counts
Step 2: Make 2 side steps to the left , this time we
will use arm movements when you move to the left
side do a pushing arm movement away from your
body two times (Above the head level) – 2 counts
Salsa Basic Level 1
Step 1: Looking forward, take a step with your left
leg, entirely transferring your weight forward, and
raise your heel with your right leg; return to the
previous posture following this step. – 2 counts
Step 2: Using your right leg, step backward and
totally transfer your weight to your right leg; return
to the previous posture following this step.- 2
counts
Salsa Basic Level 2
Step 1: Looking forward, take a step with your left
leg, entirely transferring your weight forward, and
raise your heel with your right leg; return to the
previous posture following this step . We execute
the arm movement this time, and as we go forward,
we generate an arm movement that circulates in
the direction of the leg action. – 2 counts
Step 2: Using your right leg, step backward and
totally transfer your weight to your right leg; return
to the previous posture following this step.- 2
counts
Salsa Basic Level 3
Step 1: Looking forward, take a step with your left
leg, entirely transferring your weight forward, and
raise your heel with your right leg; return to the
previous posture following this step. – 2 counts
Step 2: Lunge backward with your right leg and lift
your arms sideways, completely transferring your
weight on your right leg that is completing the lunge
step; return to the previous posture after this step.-
2 counts
❖ Around the end of the 19th century, several
dancers began to break the ballet mold. Some of
the individuals included Martha Graham, Merce
Cunningham, and Isadora Duncan developed
unique styles of movement based on theories on
their own. They all wanted to show to 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.
Martha Graham (1894 - 1991)

LESSON 5
CONTEMPORARY DANCE

What is Contemporary Dance? She introduced and greatly popularized the

❖ A style of expressive dance that combines contemporary dance to the worldwide. During her
elements of several dance genres including seven decade long career, her modern dance and
modern, jazz, lyrical and Classical ballet. choreographies gathered the fame that is today
compared to the life works of legendary art
❖ Contemporary dancers strives to connect the geniuses such as Picasso, Stravinski and Frank
mind and the body through fluid dance movements. Lloyd Wright.
Merce Cunningham
❖ Around the 1980s, the word "contemporary
dance" referred to the movement of new dancers
who did not want to follow strict classical ballet
and lyrical dance forms, but instead wanted to
explore the area of revolutionary unconventional
movements that were gathered from all dance
styles of the world.
❖ Contemporary dances therefore do not use He refined the work that his colleague Martha

fixed moves and instead try to develop totally new Graham formed, and expanded with this his own

forms and dynamics, such as quick oppositional improvements, choreographies and avant-garde

moves, shifting alignments, expressions of raw dance techniques. During his long career he was

emotions, systematic breathing, dancing moves regarded as one of the greatest creative forces in

preformed in non-standing positions (for example American dance, education dozens of worldwide

lying on the floor), and in general trying to find the famous dancers

absolute limits of our human form and physique.

Isadora Duncan (1878–1927)

Historical Background
❖ During the 19th century, theatrical dance
performances were synonymous with Ballet. Ballet
is a formal technique that develop from court dance
during the Italian renaissance and became popular
as a result of the support of Catherine de’ Medici
She's an American dancer whose teaching and The effect of interpretive dance can be seen in
performances helped to free ballet from its many Broadway musicals as well as in other media.
conservative restrictions and presaged the While it was—and most often, still is—thought of as
development of modern expressive dance. She a performing art, interpretive dance does not have
was among the first to raise interpretive dance to to be performed with music.
the status of creative art.
❖ Lyrical dance is a dance style that embodies
Dance Techniques various aspects of ballet, jazz, acrobatics, and
❖ Contemporary Ballet modern dance. According to Jennifer Fisher, lyrical
❖ Dance Improvisation dance is “strongly associated with clearly displayed
❖ Interpretative Dance emotional moods, fast-moving choreographic
❖ Lyrical Dance strategies, emphasis on virtuosic display, illustration
of song lyrics, and, in group form, exact unison.”
❖ Contemporary ballet is a genre of dance that The style is usually danced at a faster pace than
incorporates elements of classical ballet and ballet but not as fast as jazz. Lyrical dance is a
modern dance. It employs classical ballet technique category typically found in dance competitions.
and in many cases classical pointe technique as
well, but allows greater range of movement of the Cunningham’s Key Ideas
upper body and is not constrained to the rigorously Key Ideas
defined body lines and forms found in traditional, ❖ Contemporary dance does refuse the classical
classical ballet. ballet's leg technique in favor of modern dance's
Many of its attributes come from the ideas and stress on the torso
innovations of 20th-century modern dance, ❖ Contemporary dance is not necessarily narrative
including floor work and turn-in of the legs. The form of art
style also contains many movements emphasizing ❖ Choreography that appears disordered, but
the bodies flexibility. nevertheless relies on technique
❖ Unpredictable changes in rhythm, speed, and
❖ Dance improvisation is the process of direction
spontaneously creating movement. Development of ❖Multiple and simultaneous actions
movement material is facilitated through a variety of ❖Suspension of perspective and symmetry in
creative explorations including body mapping ballet scenic frame perspective such as front,
through levels, shape and dynamics schema. center, and hierarchies
Improvisation is a free, seemingly unstructured, ❖Creative freedom
less technically strict and impulsive form that draws ❖Independence between dance and music
inspiration from everyday dance practices and ❖Dance to be danced, not analyzed
influences. ❖Innovative lighting, sets, and costumes in
It is a movement technique that is capable of collaboration
evoking dramatic and thought-provoking content
just as well as more codified western dance
techniques such as ballet and non-western
movement forms.

❖ Interpretive dance is a family of modern dance

styles that began around 1900 with Isadora
Duncan. It used classical concert music but marked
a departure from traditional concert dance. 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.