UNIT 1: Rhythm 13. Tempo. The speed of the music.

It can be constant or
Every individual has rhythm. It is found in all of nature and may show a gradual increase (acceleration) or
is natural for every individual. Rhythm is everywhere. Our decrease (deceleration).
lives are driven to an enormous degree by the internal and a. Fast – 1 count in a measure
external rhythms that are a fundamental part of life at b. Moderate – 2 counts in a measure
every level. Rhythm is most clearly seen through dance, c. Slow – 4 counts in a measure
the art of movement.
Time Signature
What is Rhythm? ∙ It is used to indicate the appropriate counting for a
∙ It is the arrangement of sounds as they move through particular rhythmic pattern.
time. ∙ It can be grouped into twos, threes, and fours.
∙ It is a measured motion of flow characterized basically
by regular recurrence of elements or features as beats, Rhythmic Pattern
sounds, and accents. This implies measurements of ∙ It is used in the arrangement of long and short beats in
time, space and energy. relation to the time signature given.
∙ It is what makes music move and flow. Rhythm is
made of sounds and silences. Sound and silences are Time Signature and Rhythmic Patterns
put together to form patterns of sounds, which are Time Signature Rhythmic Pattern
repeated to create rhythm. A rhythm has a steady 24 There should be two RP: 1,2
beat, but it may also have different kinds of beats. counts to a measure. 1 & 2; ah-ah2ah-ah
34 There should be three RP: 1,2,3
Elements of Rhythm counts to a measure. 1&2,3; 1,2&3; 1&2&3;
1ah-ah2,3; 1ah-ah2 ah-
1. Accent. It is applied to the first beat of a measure.
ah3; 1,2ah-ah,3ah-ah
Certain notes or beats in a rhythmic pattern receive
44 There should be four RP: 1,2,3,4
more force than others. counts to a measure. 1&2,3,4; 1,2&3,4;
2. Bar. It is a vertical line across a staff dividing it into 1,2,3,4&; 1&2&3&4;
equal measures of time. 1ah-ah2,3,4; 1ah-
3. Beat. The underlying rhythm of the music. Some ah2,3ah-ah4; 1ah-
musicians refer to the beat as the pulse of the music. ah2ah-ah3ah-ah4
*RP = Regular Pattern
The underlying beat determines the time signature of
a piece of music or movement.
4. Count. A pulse beat. A time limit.
5. Intensity. A variation of stress of movement. It can be
loud, soft, light, or heavy.
6. Measure. A group of pulse beats.
7. Meter. The manner in which the beats are put
together to form a measure of music. Common meters
used in rhythmic are 24, 34, 44, and 68.
8. Note. A printed symbol of a musical tone.
9. Note Pattern. A note or set of notes with or without
rest, used to a certain dance step.
10. Phrase. A natural grouping of measures. It consists of
eight underlying beats. Phrases of music are put
together into rhythmic patterns.
11. Pitch. The lowness or highness of a tone.
12. Step Pattern. The movement/s done for each of the
dance steps.
UNIT 2: Rhythm and Fundamental Movements
Without movement, there is no life. however fixed or
blocked we appear, there are still thousands of
movements going on inside us. Flowing and pulsating,
breathing, beating are only a far. When approaching
movements, our problems can be stiffening, straining,
pushing, collapsing, pulling up, and pushing down – block
energy and stop fluency.
It is hard to move fluently out of a fixed state. It requires a
huge amount of effort. We need to connect with an inner
flow which takes us easily into movement. The root of the
movement is the response to gravity, giving grounded
support. There are three centers of the body from where
you move: the gut, heart, and head.
Consider the intention of your movement. When the
intention is clear, then the inner thoughts and feelings are
conveyed in the movement; there will be clarity,
connection, and communication.
What is Movement?
∙ It is an impulse.
∙ It is a flow of energy, a space to feel the effect of
gravity, the body’s spring mechanism.
∙ It is a response to a stimulus requiring movement
away from or toward expansion or contraction.
∙ It is a movement of suspense.
∙ It is falling in space.
∙ It is responding to the contact of ground.
Elements of Movements (in dance)
1. Body (the Instrument). This category defines what the
body can perform.
a. Shapes (the body makes)
Examples: long-short, wide-narrow, straight-
twisted, curled-stretched, symmetrical-
asymmetrical
b. Balance or Weight Bearing. Balance demands the
different parts of the body. It supports the weight
or receives the weight.
c. Transfer of Body Weight. Many skills demand
moving the body weight from one body part to
another, such as walking, leaping, rolling and so
on.
d. Flight. This category differs from transfer of body
weight. It is an explosive movement and involves
lifting the body weight from the floor or apparatus
for an extended period of time. The amount of
time off the floor distinguishes flight from transfer
of weight.
Examples: running, jumping, etc.
2. Fundamental Movements (the Material). These are
the motions that are used as the foundation for any
movement activity such as sports, dance and perhaps
in everyday life.
a. Locomotor Movement is used to move the body
from one place to another in any direction with
the feet as the moving base of support.
∙ Walking. Each foot moves alternately, with
one always in contact with the ground or floor.
The weight of the body is transferred from
the heel to the ball of the foot and then the
toes for push off.
∙ Running. It is moving rapidly so that for a
brief moment, both feet are off the ground or
floor. It varies from trotting (slow run) to
sprinting (a fast run for speed). It should be
done with a slight body lean forward.
∙ Leaping. It is an elongated step designed to
cover distance or move over a low obstacle. It
is a spring from one foot, landing on the other.
∙ Jumping. Taking off with one or both feet and
landing on both feet. It can be done in place
or as a locomotor activity to cover ground.
∙ Hopping. Propelling the body up and down on
the same foot. The body lean, the other foot,
and the arms serve to balance the movement
∙ Sliding. Done on the balls or soles of the feet
with the weight shifted from the leading foot
to the trailing foot. It is a one-count
movement, with the leading foot moving to
the side and the other foot following quickly
∙ Skipping. A series of step-hops done with
alternate feet. It is done on the balls of the
feet.
∙ Galloping. A step-and-cut combination. One
foot leads and the other is brought towards it.
There is more upward motion of the body.
b. Non-locomotor Movement is a movement that a
person performs while remaining stationary.
∙ Bending – incline the body downward from
the vertical
∙ Bounce – to cause to rebound
 ∙ Cringe – to shrink; crouch
∙ Flick – a light sharp jerky stroke
∙ Gesturing – a form of non-verbal
communication in which visible bodily actions
communicate particular messages
∙ Grind – to move with difficulty or friction
∙ Jerk – a short quick, sharp sudden movement
∙ Pull – to exert force as to draw
∙ Push – to thrust forward, downward or
outward
∙ Rising – ascending, sloping upward
∙ Rotating – to move in a circle around an axis
or center
∙ Slap – to strike sharply with the open hand
∙ Stomp – to pound or crush with, to beat with
the bottom of the feet
∙ Stroke – to hit or strike someone
∙ Sway – to swing gently from side to side
∙ Swing – to move back and forth or from side
to side while suspended or on axis
∙ Thrust – to push suddenly or violently in the
specified direction
∙ Twirl – to turn or cause to turn rapidly
∙ Twist – to form into a bent, curling; to cause
to rotate
c. Locomotion that does not require the feet
∙ Crawl – transfer about three or more
supports with the body in a basically parallel
orientation to the floor
∙ Roll – transfer by rotation of support about a
non-vertical
d. Manipulative Movements use a combination of
locomotor and non-locomotor movements. It is
always done with an object being controlled or
manipulated.
Examples: throwing, dribbling, kicking, juggling,
wand and hoop handling
3. Space (the Canvas). It is where the body can move.
The spatial qualities of movement related to moving in
different directions and at different levels are the
focus.
a. Shape is the strongest visual component in dance.
Symmetry/Asymmetry apply to motion and body
positioning.
∙ Symmetrical Positions are the body shapes
that are a mirror image on each side of the
center line of the body.
∙ Asymmetrical Positions are the body shapes
that are different on each side of the center
line of the body.
b. Level defines the relationship of the body to the
floor or apparatus, whether low or high, or in
between.
∙ Low level consists of non-locomotor or
locomotor movement on, along and/or close
to the floor. Movements include crawling,
sitting, kneeling, rolling, lying.
∙ Medium level consists of non-locomotor or
locomotor movement where there is contact
with the floor by either feet or hands. The
medium level is generally the most used in
dance. Dancers will combine level with shape,
direction and pathway, to achieve intent in
the movement.
∙ High level occurs where the body shape is
vertically long or where the body leaves the
floor. These movements include vertical
balances on rise, jumps and leaps. It may
reinforce the idea or strength or power.
c. Relationship to self, other bodies/objects in
space and the space at large.
∙ Personal Space (Kin Esphere) is the area
around the individual body. Personal space
around the dancer will expand or contract as
the shapes change.
∙ Active Space occurs when the space itself
come alive, when it has meaning, or takes on
symbolic suggestions of its own. It is created
by shape of the body, direction, and focus.
d. Path/Floor is the pathway that the dancer takes
when moving through space. It is also an indicator
of where the dancer has been.
The floor pattern can be any combination of:
∙ Straight in all directions
∙ Circular
∙ Waxy
∙ Zigzag
∙ Spiral
∙ Figure eights
e. Direction is the position and movement of the
body or body parts in relation to space, audience
and other performers.
∙ Forward
∙ Backward
∙ Right
∙ Left
∙ Down
∙ Up
∙ Diagonal
∙ Sideways
f. Planes are somewhat specific pathways.
∙ Frontal Plane is an imaginary line running
from side to side. The body is divided into
front and back.
Examples:
 Moving the arms or legs from the
anatomical position directly to second.
 Tilting the body sideways.
 A lateral bend of the spine.
∙ Sagittal Plane is an imaginary line which is
drawn lengthwise through the body running
from front to back. The body is divided into
right and left halves.
Examples:
 Swinging or circling the arms and/or legs
forward and backward from the shoulder
or hip joint.
 Bending and straightening the knee or
elbow from the anatomical position.
 Spinal roll – rolling the body forward,
bending each vertebrate from the head to
the hip, and then unrolling the spine.
∙ Transverse Plane is a line drawn to the body,
dividing the body into top and bottom.
Examples:
 Turns.
 Moving the arms from first position to
second position.
 Carrying the leg from an arabesque
position to second.
g. Dynamics has two main components:
∙ Release of energy – dependent on the
amount of force used to make movements
occur. Varying the speed of energy
throughout the movement will cause the
dancer to either speed up or slow down.
Example: sudden, slow, strong, sag, forceful,
sustained, collapse, swing, jerky
∙ Weight or Force
Weight – gives movement a sense of lightness
or heaviness
Force – the intensity of the release of energy;
a continuum from gentle to strong
4. Time (the Organization). Time may also be organized
in other ways including clock time, sensed time, and
event-sequence. Dancers may take sight cues from
each other to start the next phrase or use a shared
awareness of sensed time to end a dance.
a. Duration – the length of time from beginning to
an end.
b. Tempo/Speed (what is fast or slow?) – may be
described in musical terms like adagio, moderato
and allegro or in phrases like slow motion,
medium or moderate speed, and fast or high
speed.
Examples:
 Adagio – slow sustained movements
 Allegro – quick, light jumps
c. Rhythm – the events (sound, movement, etc.)
that occur within duration
∙ Metric duration – subdivided into regular,
even beats
∙ Non-metric duration – subdivided into
irregular beats (breath, bio-rhythm, waves,
wind)
d. Accent Emphasis. The accent is an emphasis.
Accents in a piece of music can occur anywhere in
the bar. Most accents occur at the beginning of
the bar. Having the accent on a beat that is other
than the first makes the music interesting. Accent
is a strong movement, gesture or sound.
5. Form (the Structure). It is the plan, design or
procedure for the theme and arrangement of a piece
of music.
a. Theme or Variation is a form in which an initial
them is established and then is followed by
variations. The variations are inversions from the
basic theme, without altering its essential
character.
b. Canon/Fugue/Rondo
∙ Canon – a choreographic device or structure
in which movements introduced by one
dancer are repeated exactly by subsequent
dancers in turn.
∙ Fugue – in music, polyphonic involving a
specified number of voices in which a motive
(subject) is exposed in each voice, in an initial
tonic/dominant relationship, then, developed
by contrapuntal means. It is also called
monothematic. One subject composition or
having only one theme.
Examples:
 Sarabanda – a baroque dance
 Dance movements – allemande, courante,
sarabande, bourree, gigue
∙ Rondo – a choreographic structure, in which
contrasting sections alternate with recurring
section. It uses a musical chorus or refrains.
c. Suite. A group of dances or a set of instrumental
pieces drawn from a longer opera, ballet or similar
work. It is a French word which means “a
sequence” of things.
Example: allemande, courante, sarabande, gigue
d. Narrative. It is a story you write or tell someone.
A narrative can be a work or poetry, song, theater
or dance. It mean to include the “whole story”.
e. ABA. ABA form begins with an opening theme,
leading into contrasting theme that complements
the first, and concluding with a return to the
opening theme. There is a cyclic feel, a sense of
continuity, order and inevitability.
f. Aleatoric “Chance” Composition. From the Latin
word Alea, meaning “Dice” is music in which some
element of the composition is left to change,
and/or some primary element of a composed
works realization is left to the determination of its
performers.
g. Various Devices
Examples:
 Electronic devices – Hammond organ, electric
guitar
 Loop music – samplers, synthesizers,
sequencers
 Club dance music – technology base with the
DJ playing an important role in mixing and
presenting tracks
Movements, Rhythm and Pantomimic Dramatization
Pantomime (mime)
∙ It is the telling of a story without words by means of
bodily movements, gestures and facial expressions.
∙ It is designed to entertain and to communicate.
∙ It is the oldest dance to date and actually may be the
original dance form of all dances.
∙ It originated out of mime from Greece and landed in
Persians, Hebrews and Egyptians
 Telestes – first known mime in 467 BC
 Maneros – first origin of dancing; it was a slow
rhythmical song accompanied by distinct
movements and phases of a regular dance mime
 Masked Dancers (Pantomimi) – use body
movements and gestures
Three Forms of Mime:
1. Rhythmic. When the mime is done to the rhythm of
music accompaniment. (Bind)
Example: The Robot in 1980s is done by street dancers
to disco music.
2. Non-rhythmic. When the mime is not constrained or
bounded to the rhythm of the music accompaniment.
Example: Moon Walk by Michael Jackson’s
choreography.
3. Non-musical. Where no music is used at all the mime.
Example: Wave at a football game.
Dance Formations and Positions used in Choreography Dance Formation used in Choreography
∙ Formation. Any dance in which a number of couple ∙ Column Formation
form a certain arrangement, such as two facing line or ∙ Line Formation
a circle, and perform a series or figures within or base ∙ Single Circle Formation
on that arrangement. ∙ Double Circle Facing Partner
∙ Dance Position. The connection between you and ∙ Cross Formation
your partner before you can move as one, lightly and ∙ Reverse L Formation
smoothly around the floor. ∙ X Formation
∙ V Formation
Dance Position and Connection between Partner ∙ Double Diagonal Formation
a. Open (side-by-side). Lady is at the right side of the ∙ Alternate/Window Formation
man both facing the same direction. ∙ T Formation
b. Closed-standard dance position. Facing each other,
slightly offset to the left, lower bodies together, upper
bodies apart, both looking left. The man’s right hand is
just below her left shoulder blade and her left hand is
on his upper right arm. His left hand is out to his left
and about shoulder level holding her right hand.
c. Back-to-back. Partners facing away from each other.
d. Escort. An open position in which the woman’s left
arm is passed through the crook of the man’s right
arm. Her forearm rests on his forearm.
e. Facing. Any position in which the man and woman are
directly in front of each other, front to front.
f. Half open. Both facing the same direction, woman on
man’s right side, bodies turned half toward each other,
man’s right palm on woman’s back and woman’s left
hand at or near man’s right shoulder. Free arms may
be extended to side. In left half open, she is on his left
side.
g. Varsovienne. Partners face the same direction, the
man behind the lady and to her left, he holds her left
hand in his left slightly in front and above her shoulder.
His right arm passes behind her shoulder, and his right
hand holds her right, again to the side and above her
shoulder.
h. Cuddle. A close embrace, man’s arms around her waist
or lower back and woman’s arms on his shoulder, neck,
or face.
i. Promenade. The crossed-arm position in which
dancers stand side by side, facing the same direction,
with the right hand held by partner’s right and the left
by partner’s left.
j. Back cross-side-by-side. Man to woman’s left, right
hands joined behind woman’s back and left hands
joined behind man’s back.
k. Hand shake. A facing position. Right hands or left
hands joined at a waist level.
UNIT 3: Introduction to Dance
Dance, like language, is found in all human societies. dance
has power. The universality of dance is easily explained.
The human body itself is its vehicle. All societies
acknowledge its power and harness it according to their
fundamental values, aesthetic, and mores.
People have danced their way through history. In every
ancient culture that has left records in word or pictures,
dance is an expression of religious worship. It is used to
express national and cultural identity, with a focus on
clashes between societies.
Dance is an expression of cultural mores with a focus on
gender-specific behaviour. Dance is a classic art. Dance is a
medium of cultural fusion. Dance is the creation of
individual artist. Dance is the indicator of who we are
today or where we are going with the focus on electric
media. Dance today is not simply cross-cultural but pan-
cultural and planetary.
Dances are borrowed, degraded, adapted and transformed
at rates unparralled in the past, with consequences that
cannot be predicted. Dance changes with everybody that
dances. It changes with the time, the country, even the
weather. It does not have one history but many.
What is Dance?
∙ It is to move rhythmically to music, typically following
a set sequence of steps.
∙ It is a series of movements that match the speed and
rhythms of a piece of music.
∙ It is an act of stepping or moving through a series of
movements usually in time to music.
∙ It is to move one’s feet or body, or both, rhythmically
in a pattern of steps, especially to the accompaniment
of music.
∙ It is to move your body in a way that goes with the
rhythm and style of music that is being played; to
move with and guide (someone) as music plays to
dance with someone.
∙ It is a performance art form consisting of purposefully
selected sequences of human movement. This
movement has aesthetic and symbolic value, and is
acknowledged as dance by performers and observers
within a particular culture. dance can be categorized
and described by its choreography, by its historical
period or place of origin.
Britney Spears. “Dancing is one of the best self-
expressions that involves art.”
Jamie King. “Dance is an intense fitness program, not just
something nice to watch.”
Dr. Milagros M. Aguinaldo, 2002. Ballroom Dancing a
New Lifestyle. “Dancing is one of the most effective
medium of self-expression. One can effectively express his
thoughts, ideas, feelings and even pent-up emotions
through dancing. One can convey important messages of
love, fear, joy and even grief through dance.”
Benefits of Dancing:
1. Fitness. Dancing is one of the versatile and satisfying
recreation or a form of exercise to develop fitness.
a. Improved condition of the heart and lungs.
b. Increase muscular strength, endurance and motor
fitness.
c. Increased aerobic fitness.
d. Improved muscle tone and strength.
e. Proper weight management.
f. Development of stronger bones and reduced risk
of osteoporosis.
2. Joy and satisfaction. The physical well-being of a
person who participates is improved.
a. Better social skills.
b. Increased physical confidence.
3. Grace and coordination. It improves response to
rhythmic patterns. Constant participation in dance
activities will improve one’s neuromuscular
coordination and help one’s acquisition of grace.
a. Improved mental functioning.
b. Improved balance and spatial awareness.
4. Self-expression. It develops poise and good posture.
a. Greater self-confidence and self-esteem.
5. Relieves stress.
Tips for dancing:
∙ Do warm-up stretches before you begin a dance
session.
∙ Drink plenty of water before, during and after dancing.
∙ Wear an appropriate attire.
∙ Check with your dance instructor whether you are
holding the correct form or not.
∙ Perform regular leg, strengthening exercises.
∙ Move as fluidly and gracefully as you can.
∙ Cool down after a dance session, including stretching.
Types of Dance and Its Definitions:
1. Fad Dance. It is also called dance crazes which are
characterized by a short burst of popularity. It is
spurred by modern communication like printed media,
radio, movies, television, and internet.
Examples:
 Renaissance period – minuet, allemande,
schottische mazurka, waltz
 1910-1920s – jitterbug, Charleston, meringue,
samba, mambo
 1940s – jazz
 1960s – bossa nova craze
 1970s – mashed potato, twist, watusi
 1980s – walk like an Egyptian
 1990s – Macarena
2. Novelty Dance. A silly fun dance with a certain theme.
This dance is fun for the audience and the performers.
This includes quirky and unusual steps, or having
unusual names.
Examples: (1909) The GRIZZLY BEAR, (1958) The
Ostrich, The Fly, (1930-1940s) The Peabody, The Stroll,
The Freddie
3. Traditional Dance. A dance that evolved naturally
from earlier forms, a traditional dance of a given
country native to a specific people. It is more
frequently used when the emphasis is on the cultural
roots of the dance. A traditional dance will therefore
have arisen from a people’s cultural traditions.
Examples:
 Jarabe Tapatio (Mexican hat dance) – was named
the national dance of Mexico in 1924
 The Maglalatik (Philippines) – danced in the
religious procession during the fiesta of Binan as
an offering to San Isidro De Labrador, the Patron
Saint of Farmers
 Russian Cossacks (Russia) – performed during the
annual Mancky festival
 Bedouins Dance (Yemen) – danced during the
Sana’a Summer Festival
 Irish Step Dance (Ireland)
 Horn Dance (England)
 Whirling Dervishes or Sufiwhirling (Turkey)
 Legong (Bali, Indonesia)
 Dunhuang Dance (China) – a dance influenced by
Buddhism and the images of Buddha; originated
from the province of Gansu
 Joget (Malaysia) – mostly performed during
weddings, social and official functions
 Odori (Japan) – originated in the Edo period; it
grew out of kabuki drama and is more oriented
toward male sentiments
 Mai – traditionally performed in Japanese rooms
instead of on the stage. This was developed in the
17th century Tokugawa period. It is heavily
influenced by the elegance and sophistication.
 Kuchipudi (India) – the most popular traditional
dance form in south India performed with a violin,
flute and the tambura instruments
 Hula (Hawaii) – a dance form accompanied by
chant (Oli) or song (Mele). It was developed in the
Hawaiian island by the Polynesians who originally
settled there. The hula dramatizes or portrays the
words of the Oli or Mele in a visual dance form.
4. Traditional Dance
a. Folk Dance. A cultural art form handed down from
generation to generation. It communicates the
customs, beliefs, rituals and occupation of a
region or country. Folk dancing belongs to and
emanates from the people.
Examples:
 Pandanggo sa Ilaw (Philippines) – derived
from the Spanish word “fandango,” this
dance is designated to show off the grace,
balance, and dexterity of the performers.
 La Jota (Spain) – a Spanish folk dance
originating in Aragon in the north of Spain.
 Tarantella (Italy) – a dance for women only. A
couple dance telling a story of love in a mime.
 Clogging (USA) – originated from square
dance in Asheville, North Carolina’s mountain
dance and folk festival (1928), organized by
Bascom Lamar Lunsford in the Appalachian
region.
 Milonga (Argentina) – the root of this dance
go deep into the Argentinean folklore. It is a
dance which could be said to be a variation of
the Tango. Today, it is everywhere in the
country from clubs to streets.
 Gumboot Dance (South Africa) – the dance
performed by dancers wearing Wellingtons (a
type of boot). This dance was originated from
the black miners and was their form of
 entertainment. This is a highly energetic type
of dance.
 Halay (Turkey) – a folkdance coming from
Turkey’s eastern, southern and central
Anatolia regions. It is extremely popular and
engaging dance of the country which is
accompanied by equally rich music and
instruments.
 Baladi (Egypt) – a form of belly dancing.
Baladi is typically a style that evolved from the
tribal areas of the country. It has a certain
mystical and romantic allure. This is very
popular in Egypt.
 Garba (India) – a Gujarati folkdance which is
performed predominantly during the festival
of Navaratri.
 Casino (Cuba) – part of the Cuban’s tradition
and social life. Casino is the Cuban style salsa
which has actually achieved great popularity
in many pockets of the world. The grooves,
the steps and the music make this an
entertaining dance.
 Samba (Brazil) – a fun dance and is highly
appreciated all around the world. There are
different variations of samba based on
regions but the basic steps are similar
b. Ethnic and Tribal Dance. Any dance form which
can be identified as originating with an ethnic
culture and expressing the movement aesthetics
of that culture. It would cover all ethnic cultures,
whether European, American, African, Polynesian,
Asian, and Middle Eastern.
Examples:
 Dugso (Bukidnon) – a ritual dance
 Talip (Ifugao) – a courtship dance
5. National Dance. It is a traditional folk art which is
popularly danced in most parts of a specific country
and the common dance steps is widely used by the
common people in that particular place or country.
Examples:
 Carinosa (Philippines)
 Landler (Austria)
 Vallenato and Cumbia (Colombia)
 Canican (France)
 Meringue (Haiti)
 Czardas (Hungary)
 Kathak (India)
 Flamenco (Spain)
 English Country Dance (England)
 Scottish Island Dance (Scotland)
6. Social Dance. A dance designed to bring people
together for group enjoyment and participation and is
usually accompanied by popular music.
a. Ballroom Dance – a set of partner dances which
are enjoyed both socially and competitively
around the world because of its performance and
entertainment aspects
Examples:
 Charleston (1920s)
 Waltz (1960) – ballroom dancing has been a
passion in Vienna for over two hundred years.
At the annual Viennese opera ball, the opera
house fills with come 6,000 party goers at the
1960 ball, waltzers take the floor.
 Samba (1935) – the samba schools were
recognized as official carnival organization
whatever the beat, the music and dance of
Brazilian carnival blend African and European
elements in a powerful cultural synthesis that
virtually defines Brazilian identity.
 Salsa, tango, samba, paso doble, rumba,
swing, foxtrot, jive, cha-cha, quick step
b. Recreational Dance. It includes dance mixers,
square dancing and couple dances.
c. Popular Dance. A highly recognized as a dance
form in television and other dance centers like
houses and social gatherings. Fresh dance styles
came from the streets and clubs of the US,
inspired by disco, funk, and hip-hop music.
Examples:
 Michael Jackson – from funk to musical:
“Moon Walk” (1988) – uses technique of
gliding
 Madonna – Vogue: Vogueing (1990) – an
international dance craze “Hung Up” (2005);
krumping became globally popular.
 Psy (2012) – “Gangnam Style”
 Brandon Beal (2014) – “Twerk it like Miley”
 Silento (2015) – “Whip/Naenae”
7. Traditional Dance. It is a dance performed on stage to
entertain spectators.
a. Ballet. A dance of supreme standards learned
from an academe. It is a highly theatre art today
which began in Italy, was developed in France and
was perfected in Russia. Beautiful ballet is thrilling
to watch and takes extraordinary dedication to
learn.
∙ Classical Ballet. Dances with standardized
rules and restrictions. Classical ballets with
their elegant corps of dancers transport the
audience to magical worlds. Ballet developed
from a simple court entertainment to amuse
kings into a thrilling spectacle for everyone to
enjoy.

b. Modern Dance. The highest form of dance for the

purpose of entertainment. It is the end product of
movement exploration and improvisation as a
dancer or choreographer expresses his/her
feelings, ideas and interpretation.

c. Contemporary Dance (not traditional) – a

contemporary interpretation of steps and designs
of folk melodies and rhythm.

d. Jazz. A combination of ballet and modern dance.

It is a classification shared by a broad range of
dance styles. Before the 1950s, Jazz dance
referred to dance styles that originated from
African American vernacular dance.

e. Creative Dance. It is a form of dance that provides

the dancers for personal expressions. This is to
communicate through movement and the dancer
draws on their own inner resources to create and
express through their own unique movement. It
aims to continually expand and extend movement
range by drawing inspiration from a range of
external stimuli including music, props, emotions,
etc.

f. Character Dance. It aims to interpret a specific

folk tradition of a particular country. The
movements used to be less stylized than in
classical ballet, allowing greater individual
expression and diversity.