MODULE 001

NATURE OF THE
DIFFERENT
DANCES
DANCE STYLES TIMELINE

• Dancing is the most vibrant and beautiful form of art. Besides this, it's a great way of social interaction
and provides a fun workout, which increases flexibility and cardiovascular health. It is an act of moving
rhythmically and expressively to an accompaniment. The word dancing came from an old German word
“damson” which means to “stretch”. Essentially, all dancing is made up of stretching and relaxing.
• Dance is always a bliss to watch in terms of costumes, elegant moves and music. Dance forms take
centuries to develop and reflect the customs of the society.
• Numerous dance styles have evolved over the years and each style has a history behind it. From medieval
to contemporary dance forms, every style has its own meaning and reason of origination. Dance is
regarded as the best stress reliever and also helps in keeping one's health and fitness in check. For
centuries, people around the globe have expressed themselves through dance, where the practice still
continues, today.
TIMELINE OF DANCE STYLES
Timelines Dance Style
400 BCE Indian Classical Dance
15th Century Ballet
1600-1750 Baroque Dance
Early 16th Century Capoeira
Late 18th Century Bolero, Flamenco
Mid 1800s Tap Dance
1890s Tango
TIMELINE OF DANCE STYLES
Timelines Dance Style
1892 Calypso
1895-1918 Animal Dance:
• Horse Trot
• Kangaroo Hop
• Turkey Trot
• Duck Waddle
• Chicken Scratch
• Grizzly Bear
Late 19th Century • Samba
• Argentine Tango
• Modern Dance
TIMELINE OF DANCE STYLES
Timelines Dance Style
Early 1930s Jive
1930s Moonwalk
1940s • Samba de Gafieira
• Mambo
• East Coast Swing:
• Boogie Woogie
• Rock and Roll
• Modern Jive
• Jive
• Collegiate shag
TIMELINE OF DANCE STYLES
Timelines Dance Style
1953 Cha-Cha
Early 1960s Detroit Ballroom
1960s • Swing Dance
• Locking
• Popping (Strobing, Waving, Tutting)
• Turfing
1967 Robot Dancing
TIMELINE OF DANCE STYLES
Timelines Dance Style
1970s • Salsa
• Chicago Stepping
• B-boying
• Crip Walk/Clown Walk
• Electric Boogaloo
• Hip Hop Dance
• Liquid and Digits
• Disco Dance (House Dance, Waacking, and
Hustle)
TIMELINE OF DANCE STYLES
Timelines Dance Style
Early 20th Century Jitterbug Dance
Mid 20th Century Contemporary Dance, Rumba
Early 2000s Krumping, Electro Dance
Mid 2000s Electro Dance
2003 Flash Mob
TIMELINE OF DANCE STYLES

• Each decade injects a completely different influence to these dance styles. In tandem with these, the
types of music one dances to, also undergoes a radical evolution. For instance, the dance styles of the
1920s and 1930s were more or less marked by simplicity and groovy moves like the Lindy Hop, Jive,
and Moonwalk. In the 1980s and 1990s the influence is derived from pop culture and street dancing.
• One can often see strong, exotic influences in some styles. For instance, most Brazilian styles
incorporate African rhythms and influences similar to America's improvisation of many Latin dances.
Indeed, it would not be untrue to state that the dance styles of each decade reflect the overall feel of
that time, which encompasses a collective influence of arts, economy, societal norms, and culture
peculiar to that decade. This fact is famously quoted by Kristy Nilsson as, "Dancing is the world's
favorite metaphor."
PHASES OF THE
DANCE
PROGRAM
1. CREATIVE RHYTHMS

• Creative rhythms are sometimes called fundamental rhythms or

natural dances. It is an end product of exploration and improvisation
of movements as children learn to move the parts of their body and
to use them as instruments of expression.
2. FOLK/ETHNIC DANCE

• It is a cultural art form handed down from generation to generations. It communicates the
customs, beliefs, rituals, and occupations of the people of a region or country. Folk dancing
belongs to the people. It emanates from them. Ethnic tribes have their specific tribal art forms
originated and danced by the people of the tribe.
• Examples of folk dances are the rural and country dances, jotas, mazurkas, pandanggos, among
others with foreign influence.
• Examples of ethnic dances are the dances of the mountain peoples of the Cordilleras, dances of
the ethnic groups in the Cagayan Valley Region and the ethnic dances in the Mindanao
Regions.
3. SOCIAL AND BALLROOM DANCE

• The setting of the social and ballroom dance is a social gathering

with the more formal atmosphere than the simple and informal
parties in which the Course Module recreational dances are the
usual forms. Social and ballroom dancing are generally held in the
evenings. The participants are usually in formal attire.
4. RECREATIONAL DANCE

• It includes dance mixers, square dance round and couple dances.

Many of these dances have simple patterns and combinations of
walking steps, polka step and the waltz step. The setting is usually
informal gatherings and parties, reunions etc.
5. CREATIVE DANCE

• It is the highest form of dance. It is the end-product of exploration and

improvisation of movements as the dancer or the choreographer
expresses his feelings or emotions, ideas, and interpretations. This is a
dance with a definite form, a beginning and an ending. The principles of
art form are all observed in the composition of the dance.
• Examples of creative dance are ballet, jazz, and modern or
contemporary dance.
DIFFERENT TYPES
OF DANCES AND
DANCING STYLES
ACROSS THE GLOBE
EVERY DANCE FORM HAS ITS OWN
UNIQUE IDENTITY. EACH DANCE IS
BEAUTIFUL IN ITS OWN WAY AND HAS A
DIFFERENT APPEAL TO IT. EVERY
COUNTRY HAS A DISTINCTIVE
APPROACH ABOUT ITS DANCE STYLE,
WITH ETHNICITIES WORLDWIDE
MERGING DANCE FORMS, AND EVEN
CREATING NEW ONES, TRANSFORMING
THE VERY IDEA OF DANCE.
 MODULE 002
ETHNIC DANCES
THE ETHNIC TRADITION IN
PHILIPPINE DANCE
• Ethnic dances are found among the ethnolinguistic groups scattered all over the
Philippine islands, who have not been substantially Westernized, either by
Spain or the United States.
• These dances, which are integral to the community’s way of life, are: the ritual
dances, which connect the material world to the spiritual; the lifecycle dances,
which celebrate an individual’s birth, baptism, courtship, wedding, and demise;
and the occupational dances, which transform defense and livelihood activities
to celebratory performances.
RITUAL DANCES

• Rituals sustain the spiritual and social life of the indigenous Filipinos. Closely attuned to nature, believing in the spirits that
keep their environment fruitful and their selves alive, the ethnic Filipinos enact these rites—always with instrumental music,
chanting, and often dancing.
• At the center of these rites is the shaman called baylan or babaylan in the south and mumbaki, mandadawak or manalisig,
mambunong or katalonan in the north.
• The shaman speaks in a mysterious language “intelligible” to the gods, offers the sacrifices, and dances in a trance.
• According to Robert Fox (1982:209-210), the babaylan among the Tagbanua of Palawan are;
– of noble standing,
– have an “aura of magico-religious potential”
– and are “stable individuals who often have a deep understanding of how the society works and of psychological problems of
individuals.”
• It is not unusual that they cannot dance except in the pagdiwata ceremonies, done during the bilug (full moon).
RITUAL DANCES

• Among the Tagbanua of Palawan, the pagdiwata is a ritual of thanksgiving for the rice harvest
and for general well-being. The babaylan dances the characteristics of the spirits who enter
them in a trance before an altar full of offerings (rice wine in jars, china bowls of rice, betel,
ginger, onion, pepper, candles), dressed and armed with an alindugan (hood), palaspas (fronds),
a kris or dagger, and accompanied by gong playing, the babaylan chants on a ceremonial
swing, drinks, and dances.
RITUAL DANCES

• Out in Bukidnon there are the hinaklaran (offering) festival and the
ritual of the three datu.
RITUAL DANCES

• When life is threatened by illness, the Tinguian celebrate the bawi.

• In the manerwap, the Bontoc bring baskets of chicks to the hills; their chirping
supposedly helps attract the spirits.
• For a similar cause, the Apayao stage a dawak. The female mandadawak
exchange verbal chants, take up large scarves and head axes, sprinkle the sick
with water.
RITUAL DANCES

• The Aeta of Zambales stage the anituan to drive away the evil spirits
that cause sickness.
RITUAL DANCES

• The Isneg of the northeast Cordillera are as colorful in their clothes and feasts, as they are
fierce in their headhunts.
• The whole community starts dancing in pairs, and then all together to gongs and other
percussion instruments, they spread out their arms with their ubiquitous blankets, slightly
turning left and right, lightly swooping around each other, keeping their feet busy with earthy
shuffling steps, sometimes skipping.
THE LIFE-CYCLE
DANCES
TINGUIAN

• The life of the young is devoutly and joyfully ushered in, nurtured, and promoted.
• A child’s life is so guarded among the Tinguian. In their gabbok, one of the subtribes of the
Tinguian ritually transfers the health of the elders to the child.
KALINGA

• Known to be brave and beautiful, feared for the headhunts and admired as the “peacocks of the
mountain,” the Kalinga keep a couple and their child under a blanket while a shaman chants
over them, periodically wiping the couple and their baby.
IFUGAO AND BUKIDNON

• Up north in the Cordilleras, the Ifugao boys may play with their flat tops or learn the dexterous
rhythm of their music and dances, like the dinnuyya.
• Their counterparts among the Bukidnon and Kabanglasan in Mindanao learn the gliding
inagong and hunting dance.
DANCE AS A FORM OF MARTIAL ART

• Among the Badjao, Tausug, and Sama, the silat, also known as kuntao, lima, pansak, belongs
to the general and martial langka, a gamesome dance. The Badjao learn this out at sea or on a
boat where they spend most of their lives.
DANCE FOR COURTSHIP AND
MARRAIGE
• Among the Kalinga, the gangsa dominates the rhythm of the salip where a roosterlike male swoops around a
maiden who as well spreads out her arms wide or keeps them on her hips. He may hold in hand a gift for her.
• A similar imitation of two mating fowls obtains in the manmanok of the Bago.
• They use blankets that are spread out with their hands or are kept around the hips.
• The men seem to scratch the ground, while the women keep shuffling steps close together and to the ground.
• Again, blankets enlarge the movements of the takik of the Ibaloy with hands held up and flicking with
percussive accents.
• The nearby Gaddang of Nueva Vizcaya dance out a similar rooster-and-hen courtship in bumbuak, without
the usual blankets but with active hands and shuffling, skipping steps.
DANCES FOR WAKES

• In most ethnic groups, mourning is communally observed with song and dance.
• The Tinguian will have three to four women representing their villages and relations to the dead conversing over the victim;
in the part called sangsang-it, they sing over their dead.
• The Abiyan will dance around the grave in the lidong. Young and old will do the same in the say-ang.
• In the monghimong, the Ifugao men turn up in mass at the burial of a murdered tribe member, bouncing up and down in
rhythm on one or two feet. Wearing white headdresses from betel-nut palm, crowned with red dongla leaves, some carry a
spear in hand or two. The rest carry the death sticks called bangibang which they beat in strict syncopation.
• These used to be stained with their enemies’ blood, now only with carabao or chicken blood. Their dead, seated and
addressed by the living, is fetched at noon so that when he acts in revenge it will also be as clear and bright.
• In the udol of the Tagakaolo, the women lure back their men from battle by dancing around and beating a musical log called
udol. This log is pounded, as belts and anklets with bells are shaken for the spirits to hear. The smoke of kamangyan
(incense) also leads the spirits to find their way back home. This call of the grieving women can last for days.
THE
OCCUPATIONAL
DANCES
OCCUPATIONAL DANCES

• Life in the ethnic communities is characterized by a variety of activities

relating to livelihood or defense. These activities are joyfully celebrated
in mime and dance. Most common to the varied ethnic cultures of the
Philippines is the transformation of the rice cycle into dance.
• Being hunters, many tribal peoples create actions appropriate to the object
of the hunt—a bird, a beehive, a frog, or fish.
• Fishing itself is very much around in this archipelago of islands and lakes.
FILIPINO ETHNIC
DANCES
CORDILLERA
DANCES
BANGA

• "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 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 to the beat of the "gangsa" or wind chimes displaying their
stamina and strength as they go about their daily task of fetching water and balancing
the banga.
BENDAYAN

• 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 part of every Benguet festivity with the circles slowly giving way to
other formations and interpretations.
TADCHOK

• When the Kalinga gather to celebrate a happy occasion like the birth of a first-born
baby boy, a wedding, or a budong (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

• Three Bago Tribe roosters compete against each other for the attention
of Lady Lien.
• They use blankets depicting colorful plumes to attract her.
UYAOY / UYAUY

• 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
MUSLIM
DANCES
PANGALAY

• 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.
BURUNG-TALO

• A form of self defense.

• The dance like movements show a fight between a hawk and a cat.
SINGKIL

• 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.
• 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.
PHILIPPINE
FOLKDANCES
G ROU P A C T IV IT Y
O N E R E P R E S E N TAT I V E E A C H G R O U P
W I L L D R AW S Y M B O L S R E P R E S E N T I N G
THE FOLKDANCE AND THE MEMBERS
WILL GUESS
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

• 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).
PANDANGGO SA ILAW

• 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.
SAKUTING

• A dance of the Ilokano Christians and non-Christians 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.
MODULE 004 –
BALLROOM
DANCING AS A
SOCIAL DANCE
WHAT IS BALLROOM DANCE?

• The term “ballroom dance” refers to the traditional partnered dance forms that are done by a
couple, often in the embrace of closed position (ballroom dance position).
• This is the overall umbrella term covering three forms which will be discussed below.
Ballroom dance is exclusively a couple dance.
• They’re mostly done with body contact, especially with the man’s arms supporting the waist of
his partner. However, they can be danced without body contact since the man’s hands and arms
should provide a frame rigidly fixed to his body that moves precisely as his body moves.
• In ballroom dancing, a skillful and technically correct execution of the dance is regarded as
more satisfying and enjoyable because it apparently feels more comfortable and coordinated.
FORMS OF BALLROOM DANCE

• There are three forms of ballroom dancing: the social ballroom, competitive ballroom and exhibition
ballroom. The most essential difference between the three forms is its audience.
• Each form of dance is performed before different types of audience for their enjoyment. Social ballroom is
performed mainly for the partner, competitive ballroom is mainly for judges, exhibition ballroom is for a
public audience.
• The following are the audience’s expectations for each form of ballroom dancing:
1. In social ballroom, the partners would like to interact with the other spontaneously, for fun, doing steps that are also
enjoyable for them.
2. In competitive ballroom, judges expect to see the accurate, precise and correct steps and styles from the dancers
done with great flair.
3. In exhibition ballroom, the audiences expect to be entertained by beautiful and impressive moves by the dancers.
SOCIAL BALLROOM

• Furthermore, the attitude of social ballroom dancers is commonly sociable, friendly or kind, and
flexibly adaptive to accommodate the styles that are different from your own.
• In competitive ballroom dancing, the attitude of dancers must be correct and expansive, recognizing
the importance of sticking to the official syllabus of each style.
• In exhibition ballroom, the performance attitude varies widely, depending on the dance form.
• In social ballroom dancing, mistakes are accepted as inevitable. When the move that follows the lead
is different from what is intended, it is understood as a valid alternative interpretation of the lead.
• Most dancers of social ballroom obtain enjoyment from performing if things work out 80% of the
time. The remaining 20% is when most learning happens.
COMPETITIVE BALLROOM

• On the other hand, in competitive ballroom dancing, mistakes of the dancers count as
deductions from their points as it is aligned against making mistakes.
• If the follow is different from what the lead has intended, it is called a mistake and may
possibly lead to elimination.
• Unlike in social ballroom dancing, competitive ballroom dancing always aims for the 100%.
EXHIBITION BALLROOM

• For exhibition ballroom dancing, there are two types of common performances: one is the
professional performance while the other is for amateur performances.
• For professional performances, the audiences expect perfection so dance companies rehearse
extensively to avoid mistakes while performing onstage.
• For amateur performances, audiences mostly watch for the enjoyment of the dancers so
mistakes are generally accepted and tolerated.
SOCIAL BALLROOM DANCING

• Social ballroom dancing originated in the first century of closed-couple dancing. It is said that it was in the 19th
century when ballroom dance meant dancing in a “ballroom,” its literal meaning.
• One of the most prominent mindsets in ballroom dancing during this century, both in Europe and America, is
selfless generosity wherein the focus of the dance is the pleasure of dancing with a partner and assembled company.
• Another prominent ballroom attitude was the flexible mindset that allows the dancer to adapt to his/her partner.
• People derive enjoyment and satisfaction from social ballroom dancing. This encourage s people to socialize with
others especially during social events. Social ballroom dancing must also match the mood of the occasion.
• It is considered more fun to do social ballroom dances but they are “less showy and spectacular than some other
dances.” As this is not a performing art, people tend to enjoy doing it more.
• Social ballroom dancing can also help the participants to overcome their shyness. However, for the dance to work, it
is better to know at least the basics of ballroom dancing to participate.
EXAMPLES OF
SOCIAL BALLROOM
DANCES
FOXTROT

• The foxtrot started in America in 1914 in an ill-defined form. Do not confuse this with the
competition foxtrot, or the slow foxtrot, because slow foxtrot is not really suitable for social
dancing. This is a dance that can be performed with an almost any piece of music with 4 beats.
WALTZ

• Waltz is known for its rise and fall action, mostly including a step, slide and step in ¾ time.
According to Bedinghaus, “Dancers should move their shoulders smoothly, parallel with the
floor instead of up and down, and they must strive to lengthen each step.
• On the first beat of the music, a step is taken forward on the heel, then onto the ball of the foot
with a gradual rise to the toes, continuing on to the second and third beats of the music.
• At the end of the third beat, the heel is lowered to the floor to the starting position.”
TANGO

• Tango is danced to a repetitive style of music. The count of the music is either 16 or 32 beats.
• While dancing the tango, the lady is held in the crook of the man’s arm. She holds her head
back and rests her right hand on the man's lower hip.
• The man must allow the lady to rest in this position while leading her around the floor in a
curving pattern.
 MODERN AND
CONTEMPORARY
DANCE
MODERN DANCE

• According to historians, modern dance has two main birthplaces: Europe

(Germany specifically) and the United States of America.
• Although it evolves as a concert dance form, it has no direct roots in any ballet
companies, schools or artists.
• Modern dance emerges as a consequence of its time, alone and outside any
academic institution.
FRANÇOIS DELSARTE (1811 - 1871,
FRANCE).
• He is considered as a precursor by modern dance history because he invents a theory about the
relationship between human movement and feelings.
• His researches lead him to conclude that to each emotion or mental image corresponds a
movement, or at least an attempt of it.
• That idea boosts one of the main ideological components of modern dance at its origins:
“feelings and their intensity are the cause of movement and its quality”.
• In other words, the source of dance lies inside the dancer, and not outside, in codified gestures,
like classical dance would propose.
DELSARTE’S RENOWNED
CONTRIBUTIONS
• Elaboration of a new code of gestures, completely independent from the classical dance
tradition.
• Study and codification of a logic system about the relationships between the different parts of
the body, different types of movement and different human feelings.
• Creation of a system for the study, analysis and teaching of movement.
• Invention of the fundamental notion of the gesture’s expressiveness.
• Introduction of the importance of the upper body (trunk, arms, face) as the main vehicle of
expression of the soul.
ÉMILE JAQUES-DALCROZE (1865 -
1950, AUSTRIA - SWITZERLAND).
• Dalcroze is a pianist and conductor, important for modern dance history because he invents a
new approach to movement called “Rhythmics” or “Eurhythmics”.
• Its main contribution is the work over the relationship between music and movement.
• According to him, body expresses a degree of ‘musicality’ that can be studied and taught.
• He doesn’t plan to apply his discoveries to dancers, but to musicians.
• Though, his teaching method has such a great success throughout Europe that it reaches some
of the most important modern dance figures of the time.
DALCROZE’S RENOWNED
CONTRIBUTIONS
• Introduction of a notion of relationship between movement and rhythm.
• Creation of an original educational method through movement.
• Some of his essential principles: body blockages are caused by rhythmic blockages; relaxation
is indispensable to achieve a right movement; breathing is crucial to obtain relaxation and is the
fundamental rhythmic movement.
RUDOLPH LABAN (1879 – 1958,
HUNGARY - U.K.).
• Among the figures that produce the ideological and conceptual basis of modern dance, Rudolph Laban is
considered by modern dance history as on of the most productive of them.
• As a choreographer, dancer, teacher and researcher, he achieves to spread his name and ideas widely: first through
Europe, then to the United States and nowadays around the whole world.
• Laban publishes several articles and renowned books that are still important references for dance theory and
history.
• He also invents labanotation (or kynetography Laban), which is the most complete and effective system for
analyzing and writing movement, created till the time.
• His thought includes the idea that human movement is the seat of life and that it expresses the social state of
being. Therefore, dance would be a need of communitarian experience.
• He believes that educating individuals and groups by the means of movement can correct society.
MARY WIGMAN (1886 – 1973
GERMANY):
• From a choreographic and aesthetical production perspective, Mary Wigman is, after Laban,
the first relevant, European, modern dance figure reported by modern dance history.
• Wigman develops her own understanding of dance and traduces it in a significant amount of
choreographic pieces.
• She opposes radically to classical dance values and methods, in a search for a dance that would
accomplish an expressive function of the dancer’s soul.
• Concerned about a close relationship between spirituality and movement, she defends the idea
of invisible forces that would give life to dance.
LOÏE FULLER (1862 – 1928, UNITED
STATES OF AMERICA)
• Loïe Fuller is not actually regarded by modern dance history as a dancer or a choreographer.
This is because her main concern is not dance, or movement itself, as it is for the whole rest of
following modern dancers.
• Though, she is the author of hundreds of scenic art pieces in which she displays innovative
experiments mixing lightning, scenic elements (big tissues) and dance.
• Other than being the very first modern dancer in chronological terms (she is already successful
at a time when Rudolph Laban is just studying), she is acknowledged by modern dance history
because of her great contribution in new possibilities of scenic illusion, thanks to the use of the
development of electricity.
ISADORA DUNCAN (1878 - 1927,
U.S.A. - FRANCE)
• Modern dance history describes Isadora as an emblematic figure of freedom.
• This is not only because she refuses to follow academic dance education but because she has
the courage to break dance traditions and social codes with her aesthetical propositions.
• She constructs her thought by studying other artistic languages or ideological fields (like
poetry, sculpture, music and philosophy).
• For Isadora, dance is the expression of her personal life. She has an inclination for nature, what
makes her create dances around related subjects like the waves, clouds, the wind and trees.
RUTH SAINT DENIS (1877 - 1968,
U.S.A.)
• Ruth Saint Denis performs and is renowned mainly in the United States.
• She grows within an ideological ambience of oriental religions, which will be reflected later in
her choreographic productions.
• She has her own philosophical and mystical discourse too.
• The female dancer is for her like a priestess, which contrasts with the prejudice of the time of
the dancer as a woman of little virtue. Dance is for Saint-Denis a mean for reunification with
the divine.
TED SHAWN (1891- 1972, U.S.A.)

• After the dissolution of the Denishawn School and company, Ted Shawn continues his
choreographic career independently.
• With the first company composed by men only in modern dance history, he makes tours around
the United States (visiting universities specially) and attracts a lot of young people from a high
intellectual level.
DORIS HUMPHREY (1895 - 1958,
U.S.A.)
• Doris Humphrey joins the Denishawn in 1917, being already a dance teacher in her native
province.
• She works for Saint Denis as a teacher and dancer, participating in the company tours around
America and Asia till 1926.
• Their artistic productions are known in modern dance history as being contrastingly sober
beside the commercial and spectacular wastes of Saint Denis.
CONTEMPORARY
DANCE
CONTEMPORARY DANCE

• We could say that both ballet and modern dance are ancestors of contemporary dance.
• Ballet creates the general concert dance frame work and technical knowledge used or refused
by contemporary dance.
• So, there’s a contemporary dance history before the 1950s: that one of ballet and modern
dance, which somehow serves society to make emerge contemporary dance.
• Also, it continues to increase and change everyday.
MERCE CUNNINGHAM (1919 – 2009,
USA)
• Merce Cunningham is a student of Martha Graham.
• After being a main dancer in her company for several years, he starts an independent career as
a choreographer in 1942.
• Contemporary dance history considers him as the first choreographer that proclaims himself
against the established conceptions of modern dance, and develops an independent attitude
towards the artistic work.
THE ‘POSTMODERN’ DANCE

• According to contemporary dance history, the ambience of social and cultural changing is
noticeable in arts by a tendency for experimentation and radicalism.
• From this time on, choreographers stop creating ‘schools’ or ‘styles’ like their modern masters
did. Influences between each other are less direct and more fragmented.
SOME OF THE POSTMODERN DANCE
FEATURES
• “Anything goes” (time of subjectivism), which means that everything proposed is valid.
• Questioning of ‘modern’ dance principles and history (in the early times), and recovering of its heritages and acquisitions (later).
• Search for the degree zero of movement: exploration of daily life movement as a sufficient aesthetical experience and denial of the
importance of technical virtuosity.
• Substitution of aesthetic judgment by observation and analysis (notions of good and bad loose importance).
• Intention of approaching dance (arts) to life and big audiences (dance in the streets, performers that are not dancers…).
• Search of a lack of expression by the dancer.
• Identification of social and ideological marks in the body and its movement.
• Refusal of the pretention of creating a vocabulary, repertory or style.
• Questioning of the value of the notion of ‘author’ of an art piece.
• Performance: doing something more than representing it. Dancers, actors, musicians and visual artists have the same status within it.
Frontiers between artistic genres become undefined.
• Importance of improvisation. - Exploration of repetition as a compositional method.
• Artists (dancers) react against the consumer society, the wars held by the U.S.A., the art market and the elitism of its conventional
places.
DIFFERENCE BETWEEN MODERN AND
CONTEMPORARY DANCE
• Modern dance reflects a style that is devoid of the restrictions of classic ballet, removed of structured routines, and
focused on free-interpretations derived from inner emotions.
• Contemporary dance is a specific concert dance genre that is all about unchoreographed movements as influenced
by compositional philosophy.
• Modern dance is older than contemporary dance.
• Modern dance, however, gives more accent to moods and emotions to come up with routines that are distinctly of
its own.
• Contemporary dance, on the other hand, transcend boundaries by developing relatively new styles of movement,
emphasis on motion that have not been practiced universally.
• Modern dance routines are all for the deliberate use of gravity, while contemporary dance retains elements of
lightness and fluidity.
COMPETITIVE
BALLROOM
DANCING
WHAT IS COMPETITIVE DANCING?

• The differences between social ballroom dancing, competitive ballroom dancing and exhibition
ballroom dancing has been enumerated in the previous module. Bedinghaus (2016) provided
the following information on competitive dancing:
• Competitive dancing is a style of dance in which dance competition is the main focus.
• Couples perform several different dances in front of judges whom evaluate and score each
routine.
• In recent years, this style of dance has come to be viewed as a sport, demanding high levels of
strength, stamina and flexibility.
DANCESPORT

• DanceSport is the official name for competitive ballroom dancing.

• DanceSport is a stylized form of ballroom dancing in which the main emphasis is on
performance and appearance.
• In a DanceSport competition, couples dance together on the same floor while being judged on
their speed, elegance, body action, and dramatic movements.
• Ballroom dancing is a competitive sport with specific rules, structures, and judging criteria.
• A typical ballroom competition consists of events in various dance styles, age groups, and skill
levels.
SKILL LEVELS

• In a dance competition, dancers show off and compare their skills with other dancers of the same level.
• The competitors are required to perform at least one dance from a particular division.
• As competitors move up in skill level, they are required to perform mor e dances in the category level.
• In ballroom parlance, the term proficiency level is used to describe the expertise with which a given
couple performs—a combination of their training, competition experience, and natural talent.
• Depending on the skill level, dancers will compete in single-dance events (one dance at a time) or
multi-dance events (several dances in a row).
• As the skill level increases, so do the number of dances available to the dancers.
NEWCOMER

• Dance Fest includes a newcomer level, consisting of single-dance

events, which provides dancers new to competing with a level in
which they can primarily dance with other newcomers.
SYLLABUS LEVELS

• Newcomer
• Bronze
• Advanced Bronze
• Silver
• Gold
OPEN LEVELS

• Novice
• Pre-Championship
• Championship
MIXED PROFICIENCY

• Mixed-proficiency events give dancers a unique opportunity to

compete with someone at a different level of dancing.
• Brand-new dancers can dance with people who have been dancing
awhile; people who have been dancing for over twenty years can
dance with individuals in their first year of dancing; etc.
• In these partnerships, only the less proficient partner is judged.
TEAM MATCHES

• At Dance Fest, collegiate teams compete in international and American

styles, vying for first-place honors and generous scholarship money to
help encourage their continued exploration of ballroom dance.
• Each team consists of three couples, and each couple is assigned a
specific dance in their chosen style.
• The team matches are very loud and exuberant, so find some earplugs
and get ready to cheer for your favorite team!
JACK AND JILL

• Jack and Jill events are designed to be fun for everyone!

• In these dances, couples are paired up randomly and are often
judged on enthusiasm as well as technique.
• Dancers and spectators alike are encouraged to get involved in the
Jack and Jill dances.
• You never know who might take home first place!
STRICTLY DANCES

• The Strictly category contains dances not included in the core four styles
of American rhythm and smooth and international Latin and standard.
• These dances include Argentine tango, lindy hop, salsa, west coast
swing, etc.
• These are judged based on the character and technique of each dance,
which can be very different from the techniques customary in the core
four dance styles.
JUDGING

• Judging is both an objective and a subjective process.

• Couples are judged on their technical skill, their interpretation of
each dance, and their showmanship. In addition, each adjudicator
has his or her own personal standards.
• For this reason, several adjudicators will judge each event to ensure
fairness.
COMPETITOR PARTICIPATION

• Dancers compete in heats, which are a specific group of competitors competing

in a particular event at a specified time (or times, if there will be callbacks).
• Typically, dancers will receive a program or heat list to let them know
approximately what times they’ll be expected to compete.
• Dancers should be prepared to compete at least half an hour before their
scheduled heats in case the competition is running ahead of schedule
AUDIENCE PARTICIPATION

• Ballroom dancers thrive on audience appreciation. Even if you don’t

know the first thing about ballroom, you still have an important role
to play at an event.
• Audience participation is not only allowed but is encouraged and
welcomed.
AGE LEVELS

• Pre-Teen I: 9 years and under

• Pre-Teen II: 10 and 11 years
• Junior I: 12 and 13 years
• Junior II: 14 and 15 years
• Youth: 16-18 years
• Adult A: 19-34 years
• Adult B: 35-49years
• Senior: 50 and older
EVENTS
INTERNATIONAL STYLE STANDARD

• Waltz
• Tango
• Viennese Waltz
• Foxtrot
• Quickstep
LATIN AMERICAN

• Cha Cha
• Samba
• Rumba
• Paso Doble
• Jive
AMERICAN STYLE SMOOTH

• Waltz
• Tango
• Foxtrot
• Viennese Waltz
AMERICAN RHYTHM

• Cha Cha
• Rumba
• East Coast Swing
• Bolero
• Mambo
 CHEERDANCE
AND
CHEERLEADING
HISTORY OF CHEERLEADING

• Organized cheerleading started as an all-male activity.

• The term "Cheer Leader" had been used as early as 1897, with Princeton's football officials
having named three students as Cheer Leaders: Thomas, Easton and Guerin from Princeton's
classes of 1898, 1898 and 1899, respectively, on October 26, 1897; these students would cheer
for the team also at football practices, and special cheering sections were designated in the
stands for the games themselves for both the home and visiting teams.
HISTORY OF CHEERLEADING

• Women joined cheerleading prior to 1907 and began to dominate it during World War II, when few men were
involved in organized sports. Gymnastics, tumbling and megaphones were incorporated into popular cheers, and are
still used.
• Statistics show that around 97% of all modern cheerleading participants overall are female. At the collegiate level,
cheerleading is co-ed with about 50% of participants being male.
• In 1948, Lawrence "Herkie" Herkimer, of Dallas, Texas, a former cheerleader at Southern Methodist University,
formed the National Cheerleaders Association (NCA) in order to hold clinics for cheerleading.
• In 1949, The National Cheerleaders Association held its first clinic in Huntsville, Texas, with 52 girls in attendance.
• Herkimer contributed many firsts to the cheer: the founding of the Cheerleader & Danz Team cheerleading uniform
supply company, inventing the herkie (where one leg is bent towards the ground and the other is out to the side as
high as it will stretch in the toe-touch position), and creating the "Spirit Stick".
HISTORY OF CHEERLEADING

• By the 1960s, college cheerleaders began hosting workshops across the nation, teaching
fundamental cheer skills to high-school-age girls.
• In 1965, Fred Gastoff invented the vinyl pom-pon, which was introduced into competitions by
the International Cheerleading Foundation (now the World Cheerleading Association or WCA).
• Organized cheerleading competitions began to pop up with the first ranking of the "Top Ten
College Cheerleading Squads" and "Cheerleader All America" awards given out by the
International Cheerleading Foundation in 1967.
HISTORY OF CHEERLEADING

• In 1978, America was introduced to competitive cheerleading by the first broadcast of

Collegiate Cheerleading Championships on CBS.
• In the 1960s National Football League (NFL) teams began to organize their own professional
cheerleading teams.
• The Dallas Cowboys Cheerleaders soon gained the spotlight with their revealing outfits and
sophisticated dance moves, which debuted in the 1972-1973 season, but were first seen widely
in Super Bowl X (1976). This caused the image of cheerleaders to permanently change, with
many other NFL teams emulating them.
HISTORY OF CHEERLEADING

• The 1980s saw the beginning of modern cheerleading with more difficult stunt sequences and
gymnastics incorporated into routines. All-star teams started to pop up, and with them the
creation of the United States All-Star Federation (USASF).
• ESPN first broadcast the National High School Cheerleading Competition nationwide in 1983.
• In 2003, the National Council for Spirit Safety and Education (NCSSE) was formed to offer
safety training for youth, school, all star and college coaches.
• The NCAA requires college cheer coaches to successfully complete a nationally recognized
safety-training program. The NCSSE or AACCA certification programs are both recognized by
the NCAA.
HISTORY OF CHEERLEADING

• Cheerleading is very closely associated with American football and basketball.

• Sports such as association football (soccer), ice hockey, volleyball, baseball and
wrestling will sometimes sponsor cheerleading squads.
• The Florida Marlins were the first Major League Baseball team to have a
cheerleading team. Debuting in 2003, the "Marlin Mermaids" gained national
exposure and have influenced other MLB teams to develop their own
cheer/dance squads.
PURPOSE OF CHEERLEADING

• The original purpose of cheerleading is still relevant in today’s

world, even with the increasing popularity of competition.
• Cheerleaders are the promoters of their schools and communities.
• They are a key marketing tool to the athletics programs that they
support, and they create the community patriotism we call “school
spirit.”.
JUDGING

• During a competition routine, a squad performs carefully choreographed stunting, tumbling, jumping and dancing
to their own custom music.
• Teams create their routines to an eight-count system and apply that to the music so that the team members execute
the elements with precise timing and synchronization.
• Judges at the competition watch closely for illegal moves from the group or any individual member.
• Here, an illegal move is something that is not allowed in that division due to difficulty and/or safety restrictions.
• They look out for deductions, or things that go wrong, such as a dropped stunt.
• They also look for touch downs in tumbling for deductions.
• More generally, judges look at the difficulty and execution of jumps, stunts and tumbling, synchronization,
creativity, the sharpness of the motions, showmanship, and overall routine execution.
DANGERS OF CHEERLEADING

• The risks of cheerleading were highlighted when Kristi Yamaoka, a cheerleader for
Southern Illinois University, suffered a fractured vertebra when she hit her head after
falling from a human pyramid. She also suffered from a concussion, and a bruised lung.
• The fall occurred when Yamaoka lost her balance during a basketball game between
Southern Illinois University and Bradley University at the Savvis Center in St. Louis on
March 5, 2006.
• The fall gained "national attention", because Yamaoka continued to perform from a
stretcher as she was moved away from the game. Yamaoka has since made a full
recovery.
TYPES OF CHEERLEADING

• School-Sponsored - A school-sponsored cheerleading team is directly affiliated with a school,

either public or private, and all of the members on the team must attend that school.
• College/University - College level cheerleading is technically school-sponsored, but it is very
different from cheering at the junior high and high school levels.
• Youth - At the youth level, cheerleaders learn the basics of the sport, as well as sportsmanship
and team skills.
• All-Star - All-Star cheerleading is the sport’s fastest growing group because it incorporates
males, females, and athletes of all ages and skill levels.
• Professional - Professional cheerleaders cheer for a professional sports team
HEALTH BENEFITS OF CHEERLEADING

• It Builds Strong Bones

• Happiness Is Basically a Requirement
• Cheerleaders Might Get a Better Workout Than the Whole Team
• It Beats Singing Alone in the Shower
• Cheerleaders Are Leaders and Team Players
• Using Your Voice Is Encouraged
CHEERDANCING IN THE PHILIPPINES

• Cheerleading in the Philippines officially emerged in 1993 when the Cheerleading Philippines
Federation (CPF) was officially founded.
• However, it may be possible that cheerleading in the Philippines may have started way before
1993. There may have been minor accounts of cheerleading in the Philippines although no
official accounts have been published regarding the subject matter.
• Cheerleading in the Philippines has three major competitions. These three competitions are the
University Athletic Association of the Philippines (UAAP) Cheerdance Competition, National
Collegiate Athletic Association (NCAA) Cheerleading Competition and the National
Cheerleading Championships (NCC).