LESSON 1: BRIEF HISTORY OF DANCE

A Brief History of Dance

The earliest findings have pinpointed the origins of ancient dances in 9000-year-old India
or 5300-year-old Egypt, but the records more common infusion of dance into a modern culture
can be found from Ancient Greece, Rome, and India. All these old dances evolved, eventually
morphing into a wide variety of Roman and European medieval dances, traditional Chinese
dances, Hindi and other traditional dances, respectively.

Primitive Dance

Dancing in primitive cultures all had as their subject matter the changes experienced by people
throughout their lives.

Two types of dance evolved as cultures developed:

● Social dances on occasions

—celebrated births, commemorated deaths, and marked special events
● magical or religious dance
— to ask gods to end a famine, to provide rain or to cure the sick.

The telling of story became a full scale dance. Favorite performers and talented dancers
who were known for their particular interpretative talents and who were believed to have made
the magic work more effectively were chosen as dance leaders. These were the “babaylans” or
“shamans” who danced in offering sacrifices and other ceremonies of exorcisms. The
“babaylan” became the magician and the medicine man. He was the first dance choreographer
or maker of dance.

Primitive dances have three divisions.

Religio-Magic. Dance rituals are performed with piety and earnestness and are considered
necessities.

1. Religion

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Dance among the “primitive” people was a form of worship. They danced to pacify the anger of
the gods, to bountiful harvest and favorable weather, and for protection against their enemies.

Examples of these dances are:

a. Ginum of the Bagobo tribe- is a lavish feast in honor of tribal gods.

b. Pagdiwata- performed in gratitude for a good harvest

c. Dugso- is a thanksgiving dance of the Manobo’s of Bukidnon, Performed after a bountiful

harvest, birth of a male child, or victory in war, and is danced without music. A fire is lit in the
belief that the smoke will carry the offering up to the gods.

d. TahingBaila- was a prayer for a bountiful fish catch.

2. Magic

a. Manerwap- is a Bontoc Igorot ritual to invoke the rain god to shower his blessings, lasting
from two or three days or until the rain falls.

b. Iyag – is held to drive vermin or infestation from crops, to drive out disease in general,and to
celebrate the end of a rice planting season.

c. Magjinn or Pagjinn from SitangkaiTawi-tawiis - an entrancing Badjaw Spirit dance

performed on the 14th moon to drive away an unfriendly “jinn” (spirit).

d. Magjuwata- is a Samal dance ritual to drive away spirits that cause illness. All performers,
except the dance leader, are female. Food offerings in coconut shells are placed on a tray with a
“tugtugan” (incense burner). Towards the end of the ritual, the leader symbolically “whips” the
“jinn” with a “bagaygay” (betel nut flower cluster). It is actually the patient who receives the
blows.

e. Magomboh - (Tawi-tawi) is performed on a Friday eve when the moon is full, either to:
foretell the future;drive away “busung” (ill luck); orinvoke the help of spirits in recovering
stolen property.

Tribal and Social

1. Tribal - Tribal dances are mostly rooted in rituals and hold great spiritual significance for the
tribe.

a. BengetBendean Victory Dance - is performed to celebrate their exploits in war.

b. Tchungas- is performed in triumph over the ghost of slain enemies.

c. Sa-ut- is a Manobo was dance representing an encounter between two tribes.

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d. Bangibang Burial Dance- is a death ritual. Originally it was performed only when the
deceased has been killed by foul means.

e. Himog or death dance- is a ceremonial dance performed only by men to ask the gods for help
in punishing the killer of their warrior.

f. Sagayan- is performed by a man recalling the exploits of King Bantugan, hero of the Maranaw
epic song called “Darangan”. The dancer, dressed in a battle gear (a wooden sword with a
handkerchief tied to the handle and a narrow wooden shield with bells and a wooden headgear)
enacts the exploits of Prince Bantugan

g. Sumbali – is a Manobo war dance where, in reply to a song by the war chief, the dancers
chant and sing in unison, all the while moving about with their spears and bows and arrows.

2.Social

I. Courtship

a. Turayan of the Maducayan Tribe of Bontoc - is a courtship dance where the male struts like
a rooster while the female follows passively.

b. Tuppaya- is a Kalinga courtship dance in which the male brandishes a piece of cloth (like a
matador) and the girl follows.

c. Igal Ha Agong- where the female dancer teases a male dancer who literally rolls, crawls,
kneels and follows her about, all the while expertly beating an “agung”.

d. Pangasig - where the male dancer skillfully plays a “tungtung” (small gong) while dancing
around and teases a female dancing partner who pretends not to notice his advances.

e. Pinanyo-an- is a dance to entertain newlyweds with the man and woman dancing with
handkerchiefs. The man chases the woman and moves like a rooster courting a hen. When the
woman places the handkerchief on the man’s shoulder, it signifies acceptance of his suit, and the
man then burst into a love song.

II. Wedding- The “babaylan” or priestess usually climaxed a wedding ceremony with a dance at
the end of which she throws a spear to kill a sacrificial animal.

a. Sambulayang or PangalayPangatin- is a Samal-Badjaw dance in the “Pangalay” style

performed by the bride. A flag or a bridal curtain shields the dancing tribe from the groom. As he
follows, he keeps touching the hilt of his “Kris” signifying his readiness to defend the bride. The
carrier of the bamboo pole to which the flag or the bridal curtain is tied also wears a “Kris” for
the same reason.

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b. Salip -of the Kalinga Tribe where the groom beats the gong while the bride, bearing oil pots

3. Play and Recreational

Dances were doe for sheer pleasure in physical movement or to show off the performer’s
athletic prowess and endurance. These they love to imitate in their dances. Examples of dances
of these nature are:

a. SayawTu Baud or pigeon dance- is an imitation of the flight of pigeons.

b. Ninanog- is an imitation of the movements of the hawk.

c. Kinutanor ant dance- showed a man dancing and gesticulating to another person who had
been attacked by ants.

d. Camote or Yam Dance- is imitated movements of a man attempting to steal “camote”.

e. Pinuhag- is imitated movements of a bee gathering honey.

f. Inamo-amo- is mimicked the movements of a monkey as it bounced and gambled about.

g. LangkaBaluang- is mimicked an ill-tempered monkey at once funny intimidating.

h. IgalKussah- depicts a wild boar trying to crack a coconut by lustily tossing it about.

PRIMITIVE DANCES AROUND THE WORLD

The primitive dance of the Filipino people draw their inspiration from the different
images around them and religious and social activities of the tribe which are communal purpose.
This was the scenario of primitive life and culture when Spaniards came to the Philippines.

Indian Classical Dance

An early manuscript describing dance is the Natya Shastra on which is based the modern
interpretation of classical Indian dance (e.g. Bharathanatyam).
During the reign of the last Mughals and Nawabs of Oudh dance fell down to the status of
'nautch', an unethical sensuous thing of courtesans.

Later, linking dance with immoral trafficking and prostitution, British rule prohibited
public performance of dance. Many disapproved it. In 1947, India won her freedom and for
dance an ambience where it could regain its past glory. Classical forms and regional distinctions
were re-discovered, ethnic specialties were honored and by synthesizing them with the individual
talents of the masters in the line and fresh innovations emerged dance with a new face but with
classicism of the past.

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 In Sri Lanka, the ancient Sinhalese chronicle Mahavamsa states that when King
Vijaya landed in Sri Lanka in 543 BCE he heard sounds of music and dancing from a wedding
ceremony. The origins of the dances of Sri Lanka are dated back to the aboriginal tribes, and to
the mythological times of aboriginal yingyang twins and "yakkas" (devils). The classical dances
of Sri Lanka (Kandyan dances) feature a highly developed system of tala (rhythm), provided by
cymbals called thalampataa.

Ancient China

There is a long recorded history of Chinese dances. Some of the dances mentioned in
ancient texts, such as dancing with sleeve movements are still performed today. Some of the
early dances were associated with shamanic rituals. Folk dances of the early period were also
developed into court dances. The important dances of the ancient period were the
ceremonial yayue dated to the Zhou dynasty of the first millennium BC. The art of dance in
China reached its peak during the Tang dynasty, a period when dancers from many parts of the
world also performed at the imperial court. However, Chinese opera became popular during the
Song and Yuan dynasty, and many dances were merged into Chinese opera. The art of dance in
women also declined from the Song dynasty onward as a result of the increasing popularity
of footbinding, a practice that ironically may have originated from dancing when a dancer
wrapped her feet so she may dance ballet-fashion. The best-known of the Chinese traditional
dances are the dragon dance and lion dance. Lion dance was described in the Tang dynasty in
form that resembles today's dance.

Ancient Egypt

The first great culture to infuse its entire society with the magic of dance was that of
Egypt. Far more than mere pastime, dancing became an integral part of Egyptian life. It evolved
from the most simple rituals used by hunters to find their prey (performing the dances was
believed to help in later hunts). A leader, called a priest-dancer, was responsible for seeing that
the dance were performed correctly so that the hunt would be successful.
Eventually, these dances were separated from their ritual and became an art of their own.
Dance was a crucial element in the festivals held for Isis and Osiris. Dance figured, too, in
private life. Movements of Egyptian dances were named after the motion they imitated. Many of
the poses and motions were highly acrobatic, though in certain instances Egyptian dance steps
look remarkably like steps in classical ballet.

Ancient Greece

Participation in dance and drama festivals was a religious exercise, not merely an
amusement.
Even in earlier times, dancing was popular among the Greek people. For instance, in
Homer’s epics, which date from the 11th to 10th century BC, dance in portrayed as a kind of
social pastime, not as an activity associated with religious observances. By the end of the 4 th
century BC, dancing has become a professional activity. Dances were performed by groups, and
the motion of the most dances was circular. In tragic dances, where mimed expression or

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wordless action was important, the dancers would not touch one another. Generally, in fact,
Greek dancers were not based on the relationship between men and women.
Greek dance can be divided into large and small motions, movements and gestures.
Movements were closely related to gymnastic exercises that resembled dance. Altogether there
were more than 200 Greek dances designed for every mood and purpose. There were comic
pieces, warlike works and dances for athletes, spectacles and religious worship. For purely social
purposes, there were dances for weddings, funerals, and seasonal celebrations connected with
harvest time. Yet these dances were not as important as those connected with the theater. By the
5th century BC, dancing had become recognized as an art.

Roman Empire

The Romans distorted the balance and harmony that characterized Greek dances, putting
the most emphasis on spectacle and mime. Dancing itself almost disappeared. As part of these
celebrations, comedy and tragedy were performed, including drama, music, and dance.
According to the writer Plutarch, dance included there elements: motion, posture, and indication,
the last a gesture that pointed out some object near the performer.

Though spectacles provided the Roman population with most of its dancing, social and
domestic dances were also performed to a limited extent. Dancers were also designed for
entertainment, with battle pieces the most common.

In general, however, dancing was not highly thought of. As the Roman Empire expanded,
secular dance showed exotic influences. People from Africa to Britain fell under Roman rule, but
their strange, foreign movements and gestures were never truly integrated into a style of dance
that Romans could call their own. Like the artworks among their plunder, the dances were
merely novelties and curiosities.

While the Roman diminished dance itself, pantomime became an art form worthy of
respect in itself. Under the reign of Ceasar Augustus in about 22 BC, the pantomime dance-
drama became an independent form of artistic expression. According to the writings of the 2 nd
century Greek satirist Lucian of Samosata, Roman pantomime was a highly developed art form
that made lavish and creative use of dance. Though the Roman showed little use for the dance as
developed by the Greeks, they excelled in this new form of pantomime dance-drama.

Christian Era

Originally, dance movements were part of these pieces as well as music and a dramatic
dialogue. On cathedral porches, church squares, and marketplaces, miracle plays, mystery plays
and morality plays that taught the church’s lessons were enacted in a theatrical way. Dance was
also observed in two other sorts of activity. In dramatic ritual games with dance movement, the
passing of the seasons was celebrated as it had been by primitive tribes. In the works of
troubadours and other wandering minstrels, dance and song were used to express the full range
of human emotions.

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 Another important rite of the Middle Ages was known as the dance of death. A ritual
procession performed throughout Europe from the 14 th to the 16th century, it was a danced parade
led by a figure representing death. The dance of death reflected the rituals to acknowledge the
passing of the seasons of the year and of a human life on earth. Other dances in the Middle Age
did the same. During saints’ day, which echoed the rites dedicated to Dionysus, large groups of
women danced in churches. Similar to earlier pieces associated with battles, sword dances were
performed in Germany, Scotland, and elsewhere in Europe. Similar to the sword dance is the
Morris dance, which was performed at secular festivals from Scotland to Spain.

Development of Ballet

From the many religious and folk dances of the Middle Ages emerged the dance form
now known as ballet. William, a teacher of dance to the nobility, wrote a study of dance which
included one of the first example of recorded ballet choreography. These dance steps were not
designed for the stage or for professional dancers but for amateurs to perform at festive balls.

At the same time, William was active, dancing was on the move. First performed during
feasts and in ballrooms, dances finally found a home in theaters. Gradually the word balletti,
which originally referred to dances performed in ballrooms, was used for the dramatic works in
theaters. “Circe”, a work created in 1581, is said to be the first ballet. It set forth the dance steps
and rhythms that became the ballet postures and movements in the 17th and 18th centuries.

By the 18th century, the center of dance activity had moved from Italy, to France. For this
period, the best guide is Pierre Rameau’s book, “The Dancing Master” a guide to social dances
performed in France and throughout Europe. As with earlier treatises, The Dancing Master also
described stage presentations, for both social and stage dances shared the same steps.

In the decades preceding Rameau’s book, the public’s appetite for dancing had been
stimulated. The balance that Lully has established among drama, dance, and music had been
destroyed. Now, in the opera-ballets, dance was the main element, with music of next
importance, and drama far behind.

Dancing became highly personal and creative for both dancer and choreographer. Marie
Salle was a great favorite and brought new freedom to the dance through her expressive use of
costume and masterful use of gestures. The “Letter of Dance”, a book on artists, choreographers
and advances in the performing arts written by John-Gorges Rovenne proposed to reform dance
by getting rid of all movements and gestures not justified by the drama. It was the dancer
Salvatore Vigano who ultimately changed the course of this art.

The choreographer who developed and defined romantic ballet was Marius Petipa. He
arrived in St. Petersburg from Italy in 1847 and during his reign as ballet master, the Russian
school eclipsed all others in theatrical splendor and brilliant dancing. Mitchel Fokine, who
trained as a dancer, developed into a choreographer of great distinction. Works such as “Les
Sylphides” brought to the romantic ballet a new purity. A piece like “Sheherazade” brought a
colorful and exotic strain to the ballet stage.

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Ballet to Contemporary Dance
Since the Ballets Russes began revolutionizing ballet in the early 20th century, there have
been continued attempts to break the mold of classical ballet. Currently the artistic scope of
ballet technique (and its accompanying music, jumper, and multimedia) is more all-
encompassing than ever. The boundaries that classify a work of classical ballet are constantly
being stretched, muddied and blurred until perhaps all that remains today are traces of technique
idioms such as turnout.

It was during the explosion of new thinking and exploration in the early 20th century that
dance artists began to appreciate the qualities of the individual, the necessities of ritual and
religion, the primitive, the expressive and the emotional. In this atmosphere modern dance began
an explosion of growth. There was suddenly a new freedom in what was considered acceptable,
what was considered art, and what people wanted to create. All kinds of other things were
suddenly valued as much as, or beyond, the costumes and tricks of the ballet.

Most of the early-20th-century modern choreographers and dancers saw ballet in the most
negative light. Isadora Duncan thought it most ugly, nothing more than meaningless
gymnastics. Martha Graham saw it as European and Imperialistic, having nothing to do with the
modern American people. Merce Cunningham, while using some of the foundations of the ballet
technique in his teaching, approached choreography and performance from a totally radical
standpoint compared to the traditional balletic format.

The 20th century was indeed a period of breaking away from everything that ballet stood
for. It was a time of unprecedented creative growth, for dancers and choreographers. It was also
a time of shock, surprise and broadening of minds for the public, in terms of their definitions of
what dance was.

The Late 20th and early 21st centuries

After the explosion of modern dance in the early 20th century, the 1960s saw the growth
of postmodernism. Postmodernism veered towards simplicity, the beauty of small things, the
beauty of untrained body, and unsophisticated movement. The famous "No" manifesto rejecting
all costumes, stories and outer trappings in favour of raw and unpolished movement was perhaps
the extreme of this wave of thinking. Unfortunately lack of costumes, stories and outer trappings
do not make a good dance show, and it was not long before sets, décor and shock value re-
entered the vocabulary of modern choreographers.

By the 1980s dance had come full circle and modern dance (or, by this time,
"contemporary dance") was clearly still a highly technical and political vehicle for many
practitioners. Existing alongside classical ballet, the two art-forms were by now living peacefully
next door to one another with little of the rivalry and antipathy of previous eras. In a cleverly
designed comment on this ongoing rivalry the brilliant collaboration of Twyla Tharp (one of the
20th century's cutting edge Dance avant-gardist/contemporary) and Ballet dance was ultimately
achieved. The present time sees us still in the very competitive artistic atmosphere where
choreographers compete to produce the most shocking work, however, there are still glimpses of

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beauty to be had, and much incredible dancing in an age where dance technique has progressed
further in expertise, strength and flexibility than ever before in history.

At the same time, mass culture experienced expansion of street dance. In 1973, famous
group Jackson 5 performed on television a dance called Robot (choreographed
by postmodernartist Michael Jackson) a dance form cultivated in Richmond, CA. This event and
later Soul Train performances by black dancers (such as Don Cambell) ignited a street culture
revolution, in a sense. Bboying in New York, Locking in L.A., Poping in Fresno, CA, Boogaloo
in Oakland, CA, Robot in Richmond, CA, all had their own creative explosions happen around
the late 60's - 70's. Each with their own histories, practices, innovators and foundations.
For the emergence of 20th-century modern dance see also: Mary Wigman, GretPalucca, Harald
Kreutzberg, Yvonne Georgi, and Isadora Duncan.

Hip-hop dance started when Clive Campbell, aka Kool DJ Herc and the father of hip-hop,
came to New York from Jamaica in 1967. Toting the seeds of reggae from his homeland, he is
credited with being the first DJ to use two turntables and identical copies of the same record to
create his jams. But it was his extension of the breaks in these songs—the musical section where
the percussive beats were most aggressive—that allowed him to create and name a culture of
break boys and break girls who laid it down when the breaks came up. Briefly termed b-boys and
b-girls, these dancers founded breakdancing, which is now a cornerstone of hip-hop dance.

LESSON 2: DANCE MOVEMENTS

Dance Movements

Dance denotes motion. To dance, the dictionary defines dance as “to perform a rhythmic
and patterned successions of movements” and “to move nimbly and merrily.”

Dance is many things, “some people dance for joy” when filled with success; on a
summer night the fireflies “dance through the trees”. A desert whirlwind “dances across the
dusty mesa”, the birds “dance” we are told as do moonbeams, flowers, soap powder, grunions,
and atoms. An infant, after a healthy yell sets out on his “dance of life” and our thoughts “dance”
to consider it all.

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 However, dance has come to be associated primarily with unusual patterns of
movements. Although a variety of meanings have been instituted, it is commonly used to label
any action that is lively and exotic. It describes a kind of planned and rhythmic motion.

Just what is dance movement? When does it cease to being the movement of play, work,
or random act and become movement of dance? The movement itself does not change; it is only
selected and patterned to serve certain characteristic purposes. Sometimes, the difference
between dance and anther activity is obvious; sometimes it seems slight or even nonexistent.

In all human actions, what is done must occur in accordance with the mechanical
principles of movement, with wide variations in efficiency. Man moves his body by directing
neuromuscular energy to overcome gravity and the inertia of his body weight.

The movement of dance is much like the movement of any other human activity; the
principles and problems are the same. Like other experiences, dance exists simultaneously in
both time and space. Regardless of purpose then, the definition of “what effort … to go where…
when” gives the movement sequence, its form. The factors of time, space, and energy operate
whether they are used consciously or unconsciously.

Phases of Dance Program

Creative Rhythm

Creative rhythm is sometimes called fundamental rhythm or natural dance. The basic
locomotor movements can be combined to make movement patterns. These structured patterns,
when well organized develop into dance forms. Are sometimes called fundamental rhythms or
natural dances. A creative rhythm 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.

Folk Dance

Folk dance is a traditional dance that expresses the thoughts, ideas and feelings of a group
of people. 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.

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Recreational Dance

Recreational dance includes dance mixers, square dancing and round and couple dances.
Many dances have simple patterns based on combination of walking steps, the two step, polka
step, and the waltz step.

Social and Ballroom Dance

Social dancing includes all forms of dancing done primarily for recreation or pleasure.
The earliest social dances, of which we detailed information, are the folk and peasant dances. On
the other hand, ballroom dancing was originally applied to the dances commonly done in a
ballroom. 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 recreational dances are the usual
forms. Social and ballroom dancing are generally held in the evenings. The participants are
usually in formal attire.

Creative and Theatrical Dance

Creative dance is the highest form of dance for the purpose of entertainment, being an
end product of exploration and improvisation of movements as the dance or choreographer
expresses his feelings or emotions, ideas, and interpretation. This is a dance with definite form,
beginning and ending. The principles of art form are all observed in the composition of the
dance. Jazz, ballet and modern dance belong to this group.

Elements of Dance

Dance steps are create from a person’s basic movement-walk, run, jump, hop, skip, leap,
slide, turn and sway. Although dance movement may at times be confined only to the body, more
commonly it requires the use of various forms of locomotion in which the body weight is
transferred to the feet from one foo to the other. Combinations of these have become traditional
dance steps and have been used often, in a stylized manner, for folk and ethnic dance, social or
ballroom dances, ballet and modern expressive dance.
There are three basic natural movements: the locomotor, non-locomotor or axial
movement and the manipulative skills.

Locomotor movements are used to move the body from one place to another or to project the
body upwards as in jumping and hopping.

1. Walk. The weight is transferred from one foot to the other, alternately one foot always being
in contact with the ground. The foot action is a transfer of weight from the heel to the ball of one
foot during which time the other leg is pushing off, then swinging through to assume its position
in the sequence of action. The arms swing in opposition to the legs in a normal walk.

2. Run. The speed of the walk is increased and there is a brief period when neither foot is in
contact with the ground.

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3. Leap. By means of a strong push-off from one foot, the body is lifted off the ground
momentarily; the body weight then returns on the opposite foot. The leap differs from the run in
that more energy is needed and required a longer period of suspension in the air. The leap may
be done either for height or for distance.

4. Jump. The body springs into the air by means of any of the following:

A single-foot take off, landing on both feet.

A two-foot take off, landing on one foot.
A two-foot take off, landing on two feet.

5. Hop. By means of a strong push-off from one foot, the body is lifted off the ground
momentarily; the weight then returns to the same foot.

6. Skip. A combination of a step and a hop with the step done in a long-time value and the hop
the short-time value. In performing the skip, there is a feeling of elevation resulting from the
natural tendency to swing the free leg forward and upward.

7. Slide. The weight is transferred from one foot to the other by means of a step on one foot
followed by a quick drawing up of the other foot with an immediate transfer of weight to it, a
sideward movement.

8. Gallop. A leap step combination in which the foot executing the step is brought up to but not
beyond the foot that has completed the leap. The leap a forward movement, is done with slight
height, distance is not a factor.

Non-Locomotor movements. Often described as non-locomotor movement in that the body

moves in space rather than through space. The base remains stationary, and the movement occurs
around the axis of the body produced by the base. Axial movement is limited to those parts of the
body not involved in the support of the body. Flexion, extension, rotation, adduction, abduction
and circumlocution, depending on anatomical limitations can move these parts.

1. Flexion. Bending a stretch joint as in knee bending and arm bending.

2. Extension. Stretching a bent/flexed joints as extending the leg or arm from a bent position.

3. Rotation. To move a joint/part of the body into its long axis as in hip rotation and trunk
rotation.

4. Adduction. To draw a group of muscle/muscles towards the axis as in bending the trunk
forward from a standing position to as close as possible to the knee.

5. Abduction. To draw a group of muscle/muscles aside or away from the original position as
raising the arms from the sides or raising the leg up from the standing position.

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6. Circumduction. To move a joint/part of the body in a circular manner as in arm circling, leg
circling.

7. Pendular. Swinging/swaying arms forward, backward or sideward.

8. Percussive. Striking and hitting; pushing and pulling.

9. Vibratory. Shaking and beating.

10. Sustained. A slow, smooth flowing movement with a balance of movement throughout the
entire series.

11.Suspended. A sharp movement followed by a series of slow and prolonged movements until a
peak is reached.

Manipulative skills. Involved object handling that develops manipulative skills like ball skills.
Other objects promote other skills like better hand and eye and coordination.

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 LESSON 3: ELEMENTS OF DANCE MOVEMENTS

Energy in Dance Movement

As applied to dance, energy describes as exertion which initiates, controls and stops
movements. The quality of a dance movement is determined by the way energy is used.

Factors as intensity, accent and quality of movement can be recognized only in relative
terms. What for example, is strong? What is smooth and unaccented? Only when the dynamics
of movement are contrasted that we see any particular character of movement. Energy-change
arouses “feelings”, though at times the exact meaning associated with the change are impossible
to identify.

Energy: Intensity. When a dancer moves, he can exert more or less intensity, ranging from
almost imperceptible tension to a violet burst of energy. A tremendous display of force provides
an action full of vigor and drive. Strong movement implies greater size; less energy subordinates
excitement and affirmation, and often results in a “contained” expression.

Stamping of feet may imply a heavy person moving and light steps on toes may denote a tiny
person moving.

Energy: Accent. Accent occurs when some stress of either greater or lesser force is displayed.
Often it is a contrast to what has been happening, it is an “attention getting” device. Accent is a
tool for differentiating and identifying the pattern and rhythm of a particular motion. A regular
accent creates a balanced and secure feeling; irregular accents of varying intensity create a
disturbing, confusing effect.Accent can be a stronger movement, lack of movement, change of
direction, level or any of the many possibilities.

Energy: Quality. Dance movement quality is determined by the way energy is used.

Swinging movement. The force of energy is applied at the beginning of a movement as a small
impetus to an uncontrolled follow-through which results in a relaxed movement. After this, there
is a long pause and either gravity takes over to complete the swinging motion or another impetus
is needed. The swinging movement of the body can be compared to what happens when pushing
a child on a swing. The push serves as the impetus, the child and the swing reach the highest
point on their own, and then gravity returns the child and swing to the starting place. Another
burst of energy on the part of the person pushing the swing is now required in order to continue
the movement, otherwise, each successive arc will be smaller until the motion stops. Swinging is
a natural movement. In mood, it implies freedom and abandon. Example: arms swinging, legs
swinging.

14
Percussive movement. It has obvious start and stop pattern, with no continuity. It repeats jabs of
energy with marked accents. It easily provokes emotional overtones of excitement and
nervousness. Example: shaking of hands with a patterned stop and start.

Sustained movement. It appears to flow, with no obvious beginning or ending. It has unaccented
continuity, with nothing to break the smooth progression of directed energy. Example:
Continuous movement of bringing the arm from downward to upward direction without stopping
the movement as it passes through the sideward direction.

Vibratory movement. It consists of a continuum of percussive movements, a repetition of

individual start-and-stop patterns with little space and time between repetitions. There is a
hypnotic effect in such movement, as in a persistent jitter, results in quiver, shakes or pulsates.
The feeling generated is of fear, trepidation or excitement.

Collapsing movement. This occurs when there is a release of tension of the muscles and gravity
takes over. This relaxation may be achieved with one or many parts of the body. Of course, one
never completely collapse unless one is unconscious, but when many parts of the body are
relaxed and only those muscles which are necessary for control and safety are contracted, a
collapsed look can be achieved.

Suspension. This occurs at that point of resistance to gravity where, for an instant – at the height
of a leap or just before a fall – the dancer seems to be suspended in space. The emotional
excitement is generated by the sense of unreality inherent in such defiance of gravity. Probably,
no more dramatic or potentially powerful quality is to be found in movement. Seldom is any one
of these movement qualities found in a pure form in dance. Usually, there is a combination of
several qualities, each with each own dramatic overtone.

Dynamic, or variations in the force and intensity of movement, plays a great role in accenting
movements to be clearly viewed by beginners in dance movements.

Space

Movements exists in space; which to a dance means a potential of position and dimension.

Position. Includes a dancer’s level in regard to the floor surface and the direction in which he is
moving.

The four corners of the space used for dance movement be it a stage or a plane room, form a
frame of reference the position and action of the dancers. The position of the person watching
another person performing determines the relative forward, backward, sideward, and diagonal
directions. As the one moving moves forward, towards the one watching, his figure becomes

15
larger, more direct and obvious; as he moves backward, away from the one watching, he appears
smaller impersonal and usually less important. As he moves to the side, across the floor area, he
presents a changing view of his figure.

Dimension. This refers to the size of the dancer’s movement. Size is related to the dancer’s range
of movement both in space and on the floor surface.

It is important to remember that moving figures creates designs in space and beyond the visual
effect-relationships between movement and space evokes shades of meaning.

Design. This refers to the arrangement of the movements according to a pattern. In space, it is
created not only by the body moving, but also by the position of the dancers’ arms, legs, head,
shoulders, hips and other joined parts.

Time

Dance movement uses energy to fill space, but it must do no within time. The elements of time
include the factors of tempo and rhythm.

Tempo or speed of dance movement, is determined by the time span in which a given series of
movement is completed, the period in which the dancer’s body must accomplish a sequence of
actions. Fast movement is usually more active and exciting; slow movement reduces the
stimulation.

Rhythm requires a structuring of movement patterns. It is a series of beginnings, developments,

and endings leading to a rise, a bringing together and a clarity or precision of movement.

Focus of the eyes is important in dance movements. Balance is enhanced when the eyes are
focused on a stationary point and the communicative aspect of dance is given emphasis when
punctuated by focus. Focus given direction and meaning to movement, although it is not
necessary to focus the eyes in the line of direction. In fact, a greater impact is sometimes
achieved when the focus is not in the same direction as that when the body is moving.

Technique or the degree of body control and mastery of basic steps and positions, is very much
necessary for dance movements to clearly show the dancers purpose in moving along with
gestures, especially hand movements.

Exercise

Write your name by walking, running or using other locomotor skills on space; don’t forget to
jump to dot the I’s.

16
In groups of eight, form two lines. Making use of any locomotor movement, line 1 moves
forward, faces R and draw a double circle clockwise and move straight up to the starting point;
line 2 takes the opposite direction of line 1. What pattern/design was shown on space?

Try this for shapes.

Walk stiff-legged on tiptoes with arms stretched over head. What is your shape?
Run while keeping the body rounded and the knees slightly bent? Ask your classmate how you
look?

On levels: bring along to the class a favorite photograph or poster. Begin in the pose of the
people in the chosen picture. Then move in ways you think would be appropriate. Then go back
to the original pose.

On focus: while doing a slow or moderate walk; focus on a clock in your room. Without losing
contact with the clock, change from one locomotor movement to another locomotor movement.
Now, switch focus to a crack in the floor or wall, switch to somebody else’s back, and switch
focus to your big toe.

Understand the communicative possibilities of various movement qualities through these:

Vacation times is here; you are free from studying, examination, and all stresses of school life.
React to this freedom in swinging movement.

The letter carrier is coming up the hill carrying a load of letters, small packages and magazines.
Feel the sustained movement of the letter carrier as he slowly approaches with a heavy burden.
As you prepare to receive a letter, experience the vibratory movement given by the anxiety.

You receive a pile of letter form the letter carrier and you slowly open one letter to another for a
worthy news. Letter after letter, not a worthy news was received. The tension mouths from
anticipation to anger. Your movements increase in space, time and dynamics and become
percussive. Now, here’s a letter informing you, you won in a lottery and now a millionaire, you
have guessed it: Collapse!

Exploring motion through time and space: in two line formation;

Can you move your head in circles?

Balance on one leg, balance on two body parts; balance on three body parts

Curve and straighten your spine in all directions?

Moving to develop the ability to move different parts at the same time:

Can you move a part of your body forward while another part moves backward?

Can you move two parts forward and two parts backward?

17
Can you move one part R and another part L?

Can you move two parts R, three parts L and one part forward?

Can you move one part up and another part down?

Exploring body shapes to develop awareness of design and line in space.

With a partner, can you attach body parts and move through space: hip-to-hip; shoulder-to-
shoulder; elbow-to-elbow; explore other body parts.
Can you create an interesting body design by attaching different body parts with two or three
other students? Can you do the above movement with levels (high, low, medium)? Can you do
the above movement with different energy applied? Different tempo/rhythm?

Pass it on: with 6 to 8 students in a single circle formation, cross-sitting position and facing the
center of the circle.

The leader of the circle begins with a movement, suing any body part (hip, shoulder, elbow, etc.),
then taps the student to his R on the circle;

The body part touched initiates the next movement using a different body part, then, after doing
his movement, touches another student in a different body part.

The process continues until all have performed.

When all students had their chance for movement, they perform together.

Exploring the language of dance:

In a cross-sitting position; (body erect, knees flexed, feet under thighs, arms extended, fingertips
touching floor)

Raise arms to shoulder level

Make your arm very stiff, fingers extended; or make a fist.

Relax arm and hand.

Let your arm float to the floor.

Long lying/supine lying position. (Legs together, knees extended, arms at sides, palms down).

Close your eyes, keep them closed throughout.

Feel relaxed.

18
Tighten up toes, ankles, knees, thighs, abdomen, chest, fingers, wrists, elbows, shoulders, neck
and head.

Hold position as if you are encased in ice.

Relax body parts as mentioned (head, neck, shoulders, elbows, wrists, fingers, chest, abdomen,
thighs, knees, ankles, toes).

Ice is now melting in your toes, ankles, etc.

End with relaxed state, stay with closed eyes for a minute. At the ct of 1, open your eyes, (rest on
the floor with your eyes open), on the count of 2 sit-up.

19
 LESSON 4: FUNDAMENTAL POSITION OF FEET AND ARM

The movements of the arms and legs emanate from five basic positions which serve as
baseline in achieving a good balance and are formed while doing dance movements.

The first, third and fifth feet positions are closed positions, while the second and fourth
positions are open positions which can allow a person dancing to travel forward, sideward and
backward.
The first and fifth positions are closed positions, the second and third arm positions are open
positions, while fourth arm position is semi-open position.

Fundamental Positions of the Arms in Dancing

1. First Position. Arms are held in front (abdominal level) with fingertips almost touching
and with elbows rounded as if hugging a big ball.

2. Second Position. From first position, open the arms by bringing them to the sides (R arm
to R and L arm to L), keeping the elbows rounded. Maintain the level of arms used in
first position.

3. Third Position. From second position, bring one arm upward (keeping the elbows
rounded at a level that the eye can see without straining the neck), while the other arm
remains in second position.

4. Fourth Position. From third position, bring the arm at side in from (from where the first
position was) while the arm upward is held in place.

5. Fifth Position. Bring the arm in front upward to meet with the arm held upward, keeping
the elbows rounded and with fingertips almost touching.

20
 2

4
3

21
 Fundamental Positions of the Feet in Dancing

1. First Position. From feet parallel, open the toe apart at the sides keeping the heels
together, toes apart.

2. Second Position. From first position, bring one foot to the side approximately as wide as
two of your own foot (heels and toes apart).

3. Third Position. From second position, bring one foot in with heel almost touching the in-
step of the other foot (heel and in-step together).

4. Fourth Position. From the heel and in-step together position, bring the forward foot in
front in a walk-stride position, (heel and toe in line).

5. Fifth Position. From walk stride position, bring the forward foot close to the rear foot
with heel of front in line with the tow of the rear foot (heels and toes together in a line).

22
 Fundamental Positions of the Feet in Dancing

There are five fundamental or basic positions in dance that are commonly termed as 1st
position, 2nd position, 3rd position, 4th position, and 5th position of the feet and arms.

First Position

Feet: Heels close together, toes apart with an angle of about 45 degrees.
Arms: Both arms raised in a circle in front of chest with the finger tipsabout an inch apart

Second Position

Feet: Feet apart sideward of about a pace distance.

Arms: Both raised sideward with a graceful curve at shoulder level.

Third Position

Feet: Heel of one foot close to in-step of other foot.

Arms: One arm raised in front as in 2nd position; other arm raised upward.

Fourth Position
Feet: One foot in front of other foot of a pace distance.
Arms: One arm raised in front as in 1st position; other arm raised overhead.

Fifth Position

Feet: Heel of front foot close to big toe of rear foot.

Arms: Both arms raised overhead

23
24
 LESSON 5: ABBREVIATION AND FORMATION IN DANCING

Commonly used abbreviations in Dance Literature

CW - clockwise
CCW - counterclockwise
LOD - line of direction, counterclockwise on the dancing area
RLOD - line of direction, clockwise on the dancing area
L - left foot; left arm or hand; left shoulder; left side of direction
R - right foot; right arm or hand; right shoulder; right side of direction
G - girl, girls, girl’s girls’
B - boy, boys, boy’s, boys’
M - measure (of music)
ct/cts - count/counts
ft - foot or feet
hd - hand or hands
fwd - forward
swd - sideward
bwd - backward
upwd - upward
dnwd - downward
twd - toward
opp - opposite
pos - position
ptr - partner
cpl - couple/couples
ctr - center

25
wt - weight
diag - diagonally
fig - figure

Dance Notations

- distance

- move forward

- move backward

- move sideward right

- move sideward left

⮀ - move sideward right and left
- make movement in place
- clockwise direction
- counterclockwise direction
🡭 - diagonally forward right
🡼 - diagonally forward left
🡮 - diagonally backward right
🡯 - diagonally backward left
X - boy dancer
O - girl dancer

Rhythmic Training

Rhythm is simply defined as arrangement or order. In music, it is created by the grouping of

notes of different value into patterns which are repeated. In dance, it is expressed by the patterns

26
of the actual sounds of the feet on contact with the floor, the movements of the different parts of
the body as they describe space patterns in the air, and the floor patterns traced by the feet
moving through space.

Rhythmic activities require a person to respond physically, mentally and emotionally to music
and rhythm.

The most common time signature, beating and rhythmic counts are the following:
a. 2/4 time signature

Rhythmic count 1,2 1, ah, ah, 2

1 and 2 1, ah, ah, 2, ah, ah
1,2 and 1,2, ah, ah
1 and 2 and

a. 4/4 time signature

Rhythmic count 1, 2, 3, 4 1, and 2, 3 and 4

1 and 2, 3, 4 1, 2 and, 3 and 4
1, 2 and 3, 4 1, ah ah 2, 3, 4
1, 2, 3, and 4 1, ah ah 2, 3, ah ah 4
1 and 2, 3 and 4 1, ah ah 2, ah ah 3, ah ah 4

b. 3/4 time signature

Rhythmic count 1, 2, 3 1, ah ah 2, 3
1 and 2, 3 1, ah ah 2, ah ah 3

27
 1 and 2 and 3 1, 2 ah ah 3
1, 2, 3 and

Formation in Dancing
Dance movements are performed is space and, at the same time, create designs and
patterns which will add to the beauty of movement. Dancing in a group would usually involve
formations. Below are some of the common and easy-to-manipulate formations usually used in
folk dance and other rhythmic activities.

Legend:

Sample formations used in Folk Dance and other Rhythmic Activities

X1OX1OX1O

X2OX2OO2X

X3OX3OX3O

X4OX4OO4X
Column formation Column formation Column formation
Partners facing front Partners facing each other partners facing each other

X O O O O O

12
O X 1 2 3 4

X O X X X X

28
34Line formation partners facing each other
O X
Column formation partners 1 X O4
facing each other O 🡮 🡯X

X🡭 🡬O

X1O2 OX 3

XOXOO2XSquare formation partners

Single Line Formation Set of two pairs facing center
occupying
Partners side by side partners facing each other sides of square

1
O X

X O

2 3 X O X O X O X
O
O X
X O
3
Square formation Semi-circle formation
Partners facing center partners facing front
Occupying sides of square

29
 LESSON 6: SOCIAL DANCING

Social dances are usually done to introduce people with another during a formal social
gathering or to welcome guests to a social gathering. Many of the social dances like polka and
mazurka started as folk dances while some were deliberately designed for its social purpose,
such as waltz, regoudon and polonaise.

Social dancing is believed to have existed since the beginning of human society in some
forms. Its original forms may have been simply a group dance for pleasure or recreation. Most
group dances were originally ceremonial rites grouped around three basic aspects of human
existence: food supply, sexual impulse, and relationship with the spirit world.

While the origin of social dances may be traced to the primitive couples dancing a dance
form emerged in the 15th century in Europe. Varied vigorous style in innovative adaptation and
refinement of folk dances were developed by the dancing masters of that time. These new
dances, gay and lively in character, developed first as a social diversion among the aristocracy of
France and Italy, then expanded developmentally to every royal court in other continents to
become, in the later centuries, an activity even of the emerging middle class as well.

Various changes in social dances through the ages clearly demonstrated its interdependence
with the world. During the 14th century, when social dance and folk dance were virtually
indistinguishable, popular ring dances were performed in English upper-class homes as part of
the evening entertainment.

Throughout the Renaissance and the 16th century, social dances became more firmly
ensconced in the courts with partners constantly changing, filling the ballroom with emerged
square formulations like the cotillion and quadrille, the members/couples of which systematically
dressed up and formulized the lusty dances to suit their elaborate codes of manners. The waltz
with its dizzying speed was derived from the newer, more polished surface of the abandonment
of hop-nailed shoes. Enthusiasm for social dances also grew during the period.
Advancing technology and two world wars that restructured life in the 20 th century changed
social dances almost dramatically, quickly altering its values and practices. The syncopated
rhythms off American ragtime music inspired the foxtrot and shimmy. The flapper as well as the
Charleston were born. The jitterbug bursted from the swing improvisations in the 1930s.

30
Common Dance Terms

1. To Address Partner is to bow to partner. Facing partner, boys bow by bending slightly
from the waist as girls do curtsy.

Curtsy is to bend knees and body slightly with a bow of the head; the weight of
the body is on one foot. One foot crosses the other in rear.

2. An Amalgamation is a combination of two or more patterns or movements.

3. An Amateur Dancer is a person who is dancing as a hobby and who does not seek
financial gain from teaching or dancing.

4. A Ball change is a transfer of weight from the ball of one foot to the other foot.

5. A basic figure is a standardized step pattern, which together with other patterns constitute
the basic of a dance.

6. To Brush is to lightly touch the inside edge of the supporting foot with the inside edge of
the free foot between changes of weight.

7. A Chasse is composed of three changes of weight with a close on the second and may be
performed sideward or forward.

8. A Choreography is a creation or compilation of steps, patterns and movements, which

make up the dance or a dance routine.

9. To Close is to move the free foot next to supporting foot with one change of weight.

10. A Commando is a forward or backward rock and close.

11. A Combination is a group of consecutive patterns and choreography. It is similar to

amalgamation but it sometimes involves a slightly more advanced set of patterns.

12. A Continuity Movement is the continuous passing of the test from one step to the next.

13. The Contrary body movement is the action of turning the opposite hip and shoulder
toward the direction of the moving leg. It is used to begin all turning movements.

31
14. A Conversation is a position when partners stand side by side, right hand of the
gentleman holds the lady’s waist; L arm of the lady placed at the gentleman’s outside arm
at the side.

15. A Corte in tango, is a stop and change of direction either forward or backward.

16. A Cuban motion is a discreet but expressive hip movement achieved by bending and
straightening the knees with carefully timed weight transfer.

17. Dance Sports is the official name given to competitive Ballroom Dancing.

18. To Draw is to slowly move the free foot to supporting foot without change of weight.

19. A Drop is a theatrical movement in which the follower’s body remains in contact with
the floor.

20. A Fan is a half turn done on the ball of one foot while the free foot is kept directly
behind the foot on which the turn is made.

21. A Figure is a standardized step pattern that, together with the other patterns, constitute
the dance.

22. The Floor Chart is the ability of the leader to maneuver around the dance floor in a
skilled and controlled manner as to avoid colliding with the other dancers.

23. Following is the ability of the follower to react correctly to the signals given by the leader
through physical and visual connections.

24. A Formation Team is a group of three or more dancers who perform ballroom style
routines.

25. A Hip Motion is a very general term to mean any type of hip movement used in Latin
Dancing.

26. A Leading is effective communication of intended actions by the leader through the use
of leader’s own body movements and through one or more physical or visual connections
to the follower.

27. A Line of Dancing is a type of non-partner dancing where everyone starts in the line and
learns a set of patterns that repeats over and over again through the music.

32
 28. A Lift is a theatrical type of movement in which the follower’s body weight is completely
supported by the leader held aloft.

29. Natural Turn is any dance pattern that turns to the right.

30. A Progressive Dance is a dance in which couples move along the line of direction around
the dance floor, as opposed to a spot dance.

31. A Pivot is a turning movement during which the free foot is kept either in front or
directly behind the foot on which the turn is made.

32. A Rock is composed of two changes of weight, each in opposite direction.

33. A Shuffle is a quick step followed by two or more steps by placing the weight of the
body on one foot, then shifting the weight to the other.

34. A Spin is a turn done in place using both feet, usually done as a couple.

35. Step is frequently used to mean the same as figure or pattern.

36. Variation is a varied or more advanced pattern than the corresponding basic figure,
which still contains the same main elements.

The Holds and Positions in Ballroom Dancing

1. Challenge Position. Partners face each other about a step apart without touching.

2. Close Ballroom or Close Position. Partners facing each other in close ballroom dancing
position, R arm of the gentleman placed on lady’s waist, L arm of the lady on shoulder of
the gentleman while R hand of the lady holds the gentleman’s L hand about shoulder
level.

3. Cuddle Position or Skating Position. Woman is at man’s left or right side, both facing
the same direction; one arm of man is across woman’ back.

4. Escort Position. Partners stand side-by-side, L hand of the lady hooked to the R of the
gentleman.

5. Facing Position. Partners facing each other, R and L hands joined, comfortably above
waist level.

33
 6. Open Ballroom or Open Position. Like ballroom position but partners holding each other
are facing the audience.

7. Open Break Position. Partners face each other, one two-steps apart with man holding
woman’s right hand in his left.

8. Right Parallel. Same as in reverse open post position but partners facing each other.

9. Side-by-Side. Partners stand side-by-side, lady at the right side of the gentleman when
facing the audience; L hand of the lady holding R hand of gentleman and outside hands at
the side.

10. Promenade Position. R hand of the gentleman holds the R hand of the lady while L hand
of the gentleman holds the L hand of the lady.

11. Varsovienne. Partners stand side-by-side with gentleman standing to the R and slightly in
front of the lady. He reaches R arm over the R shoulder of the lady and takes above his L
shoulder.

12. Wrap Post. Partners are in close position, standing side-by-side, lady in cross arm
position, gentleman hold lady’s R hand with his L hand, while his right holds the lady’s L
hand.

13. Swing Out Post or Swing One Hand Right or Left Hand. Assume position like the
preceding. Inside arm in 2 nd position and join hands (fingertips up and grip thumbs) at
shoulder level.

14. ReverseVarsovienne. Same as Varsovienne, but the lady is in front of the gentleman.

15. Star Post. Partners are in opposite directions, their right hands holding each other; lady
facing away from the audience; while gentleman faces the audience.

16. Reverse Open Post. Partners are in close position, R hand of the gentleman is on the
waist of the lady, while his L hand is on the R hand of the lady. The L hand of the lady is
on the L shoulder of the gentleman and the head of the gentleman facing R and the lady
facing L.

Social Dancing Guidelines

1. Practice correct dancing position even without partner.

34
 2. Maintain a good standing position. Bring out the best in your look.
3. Keep your weight over the balls of your feet to make you feel quicker and lighter, and
place your weight even on the soles of your shoes. No weight on the heel.
4. Maintain the habit of keeping feet close together unless you are taking a definite step.
Feet apart are not a pretty sight.
5. For a graceful dancing, always turn your toes out, not in.
6. When dancing with a partner, adapt a comfortable position for both of you; not too close
and no too far.
7. Don’t lean forward or backward. Just assume a natural comfortable dancing companion.
8. When facing the audience, the lady is at the right side of the male.

Abbreviations Used

❖ s - a slow step

❖ Q - a quick step

❖ R - right

❖ L - left

❖ RF - right foot

❖ LF -left foot

❖ RS-right shoulder

❖ LS-left shoulder

❖ Diag.-diagonally

❖ LOD-the line of dance. Direction when dancing is anti-clockwise.

❖ CBM-contrary body movement

❖ CBMP-contrary body movement position

35
 ❖ PP -promenade position. A position in which the partner open out fanwise to form a V

shape, the lady’s side remaining in contact with, or close to, the man’s right side.

❖ CPP -counter promenade position. The man’s left side and the lady’s right side are in

contact with or close to, each other, and the opposite sides of the bodies turned out to
form a V shape.

❖ FAP - fall away position. This is the promenade position in which the couple travels

backwards.

❖ Natural turn -Right handed turn

❖ Reverse turn -left handed turn

❖ OP -outside partner

❖ PO -partner outside

❖ H -heel

Steps
Dance is a series of steps, and every step corresponds to a change of weight. Steps maybe
forward, backward, sideward, diagonally forward, or diagonally backward.

Turns
1. Right turn – a clockwise turn.

2. Left turn – a counterclockwise turn.

3. Full turn – 360 degree turn. The dancer begins and ends the turn facing the same
direction.

4. Half turn – 180 degree turn. The dancer finishes in the opposite direction from where he
began.

5. Quarter turn – 90 degree turn through a right angle.

36
 6. Eight turn – a 45 degree turn.

7. Arch turn – a full turn for the man and full turn right for woman. The man raises her
right hand directly over her head and leads her into the turn right with gentle pressure.
Arch turn is done in place by alternately turning the inside foot in place and stepping
around it in a circle with the outside foot.

8. Loop turn – a full turn left for the woman or a full turn right for the man. To lead a
woman, the man raises the woman’s right arm directly over her head. It is also done in
place with one foot serving as an axis.

9. Solo Turn – a full turn made without contact between the partners. To a solo turn, the
man lowers the clasped hands to waist level with palms down and then releases the
woman’s hand with a flick. It may be done individually or together. Again, one foot is
turned in place to avoid “travel’ and arms are kept at shoulder level with palm down.

CHA-CHA

There are various theories as to the etymological origin of cha-cha. It could have been
derived from the Spanish cha-cha meaning nursemaid, or charchar meaning “to chew coca
leaves”, or from char meaning “tea”, or most likely from the fast and cheerful Cuban dance the
“Guaracha”. It has also been suggested that the name Cha-cha is derived onomatopoeically from
the sound of the feet in the chasse, which is included in many of the steps.

This dance has been popular in Europe from before the turn of the century. In fact, it is
listed in the program of the Finishing Assembly in 1898 of Dancie Neill at Coupar Angus in
Scotland.

In 1954, the dance was described as a Mambo with a guiro rhythm. A guiro is a musical
instrument consisting of a dried gourd rubbed by a serrated stick.

The Mambo originated in Haiti, and was introduced to the West in 1948 by Pardo. The
word Mambo is the name of a Voodoo priestess in the religion brought by the Negroes from
Africa. Thus, the Cha-cha has its origins in the religious ritual dances of West Africa. There are
three forms of Mambo: single, double, and triple. The triple has five (5) steps in a bar, and this is
the version that evolved into the Char-Cha.

Originally known as the Cha-Cha-Cha, Cha-Cha is an offshoot of the Mambo. In the slow
Mambo tempo, there was a distinct sound in the music that people began dancing to, calling the

37
step the Triple Mambo. Eventually, it evolved into a separate dance, known today as the Cha-
Cha.

The dance consists of three quick steps (triple steps of cha-cha-cha) and two slower steps
on the beat.

The Cha-Cha-Cha is still the most popular of all the Latin-American dances. The melodic
notes are invariably played short or staccato. The music is usually in 4/4 time, sometimes 2/4,
and ideal tempo is 32 bars per minute, although the Cha-Cha-Cha is often played quicker than
this.

The Cha-Cha-Cha is a Cuban dance, based on the rumba, and the Cuban dancers take the
forward or leading step off the second beat of the bar of music.

The correct way to start the dance is to stand with feet slightly apart and the weight on the
LF as man: step side on RF on the first beat of music, then forward L into the Basic Movement
counting Step, Step, Cha, Cha, Cha. All the figures can then be counted in this way.
The Hold is the same as for the Samba for description on Open Hold and Fan Position.
Footwork is the same as in Rumba, steps being taken on the ball of the foot immediately
lowering to the flat floor. Heels leads are not used.

The Beat Values are:

COUNT STEP STEP CHA CHA CHA

OR 2 3 4 & 1

OR Slow Slow Quick Quick Slow

Beat Values: 1 1 ½ ½ 1

Some dancers in the ballroom in England step forward LF into the first step of basic
Movement, using the first beat of the bar of music and counting 1,2, Cha-Cha-Cha, and this
method is quite good for the beginner. However, the 2,3,4 & 1 count explained above is the only
accepted count in any of the medal test, examinations of competitions organized by the leading
societies of teachers of dancing.

1. Basic Movements

Begin and end in Normal Hold; a gradual turn of L is made on each step.

MAN COUNT

1. Forward LF releasing R Forward Step

38
 heel

2. Replace weight on RF Step

Half
3. Side LF Cha
Basic
4. Move RF towards LF Movement Cha

5. Side LF, small step Cha

MAN COUNT

6. Back RF releasing L heel Step

7. Replace weight on LF Forward Step

Half
8. Side RF Cha
Basic
9. Move LF towards RF Movement Cha

10. Side RF, small step Cha

LADY COUNT

1. Back RF releasing L heel Step

2. Replace weight on LF Forward Step

Half
3. Side RF Cha
Basic
4. Move LF towards RF Movement Cha

5. Side RF, small step Cha

LADY COUNT

6. Forward LF releasing R
Step
heel
Forward
7. Replace weight on RF Step
Half
8. Side LF Basic Cha
Movement
9. Move RF towards LF Cha

10. Side LF, small step Cha

2. The Fan

39
Begin in Normal Hold; end in Fan Position.

MAN COUNT

1. Forward LF releasing R heel Step

2. Replace weight on RF Forward Step

Half
3. Side LF Cha
Basic
4. Move RF towards LF Movement Cha

5. Side LF, small step Cha

6. Back RF releasing L heel Step

7. Replace weight on LF, leading lady

with R hand to move back and to man’s Step
left side, then releasing R hand

8. Side RF Extend L arm Cha

sideways, to finish
9. Move LF towards RF Cha
with lady on L side
10. Side RF, small step of man Cha

LADY COUNT

1. Back RF releasing L heel Step

2. Replace weight on LF Forward Step

Half
3. Side RF Cha
Basic
4. Move LF towards RF Movement Cha

5. Side RF, small step Cha

6. Back RF releasing L heel Step

7. Replace weight on LF, leading lady

with R hand to move back and to man’s Step
left side, then releasing R hand

8. Side RF Extend L arm Cha

9. Move LF towards RF sideways, to finish Cha

with lady on L side
10. Side RF, small step of man Cha

40
3. Alemana

Begin in Fan Position; end in Normal Hold.

MAN COUNT

1. Forward LF, releasing R heel Step

2. Replace weight on RF, leading lady to

Step
move forward

3. Side RF Raising L arm, Cha

commencing to turn
4. Move RF towards LF lady to her right Cha

5. Side LF, small step Cha

6. Back RF releasing L heel Step

7. Replace weight on LF Turning lady to her Step

R under left arm,
8. Side RF Cha
then resume
9. Move LF towards RF Normal Hold Cha

10. Side RF, small step Cha

LADY COUNT

1. Close RF back to LF Step

2. Forward LF Step

3. Forward RF Cha
Raising R arm and
4. Move RF towards LF turning 1/8 R Cha
towards man
5. Side LF, small step Cha

6. Forward LF, Diagonal to Man’s L Turning 1 1/8 turns Step

releasing the weight on RF to R under man’s L

41
 7. Transfer weight to RF Step

8. Side RF arm to face him. Cha

Resume normal
9. Move RF back towards LF hold. Cha

10. Side LF, small step Cha

4. Hand to Hand

Begin with lady’s hand on man’s R hand, normally both facing LOD on right side of
man.

MAN COUNT

1. Back LF against LOD releasing R heel ¼ turn to L Step

2. Replace weight on RF Step

3. Side LF Turning approximately ¼ Cha

turn R to face against
4. Move RF towards LF LOD, releasing hold with Cha
R hand and taking lady’s R
5. Side LF, small step hand in man’s L. Cha

6. Back RF releasing L heel

¼ turn to R Step
(lady on L side of man)

7. Replace weight on LF Step

Turning approximately ¼
8. Side RF turn L to face against Cha
LOD, releasing hold with
9. Move LF towards RF L hand and taking lady’s L Cha
hand in man’s R.
10. Side RF, small step Cha

LADY COUNT

1. Back RF against LOD releasing L heel ¼ turn R Step

2. Replace weight on LF Turning approximately ½ Step

3. Side RF Turning L to face Cha

against LOD
4. Move LF towards RF Cha

42
 5. Side RF, small step Cha

6. Back LF releasing R heel Step

7. Replace weight on RF Step

¼ turning to L turning
8. Side LF approximately ¼ turn Cha
R to face against LOD
9. Move RF towards LF Cha

10. Side LF, small step Cha

5. Hockey Stick

Begin with Fan Position, end in Open Hold.

MAN COUNT

1. Forward LF, releasing R heel (L arm

Step
sideways to allow lady to close RF–LF)

2. Replace weight on RF, leading lady to

Step
move forward

3. Side LF Cha
Raising L arm
4. Move RF towards LF Cha

5. Side LF, small step Cha

6. Back Diag. RF, commencing to turn

Step
lady to L under L arm

7. Replace weight on LF Step

8. Side RF 1/8 turn between steps Cha

7-10, turning lady
9. Move LF towards RF underneath L arm Cha

10. Side RF towards lady, lowering L arm Cha

LADY COUNT

1. Close RF back to LF Step

2. Forward LF Step

43
 3. Forward RF Cha

4. Move LF towards RF Raising R arm Cha

5. Forward RF, small step Cha

6. Forward LF commencing to turn L

1/8 turn L Step
under man’s L arm

7. Back and slightly to side RF Step

Continuing to turn
8. Back LF another ½ turn L to Cha

9. Move RF towards LF finishing facing man, Cha

lowering arm at end
10. Back LF, small step Cha

6. Spot Turns

Begin and end facing lady, about two feet away and not holding.

MAN COUNT

1. Forward LF, releasing R heel Step

2. Back RF, releasing L heel Step

3. Side LF Cha

4. Move RF to LF Cha

5. Side RF Cha

6. Cross RF to LR, releasing L heel Approximately ¼ turn L Step

7. Transfer the weight to LF Approximately ¼ turn L Step

8. Cross RF to LF Approximately ½ turn L Cha

9. Move LF to RF Cha

10. Side LF Cha

Repeat lady’s steps 6-10 for the man to do a Spot Turn to R, this can be followed by a New York or
a Basic Movement Back.

LADY COUNT

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 1. Back RF, releasing L heel Step

2. Forward RF, releasing L heel Step

3. Side RF Cha

4. Move LF to RF Cha

5. Side LF Cha

6. Cross LF to RR, releasing R heel Approximately ¼ turn L Step

7. Transfer the weight to RF Approximately ¼ turn L Step

8. Cross LF to RF Approximately ½ turn L Cha

9. Move RF to LF Cha

10. Side RF Cha

Repeat man’s steps 6-10 for the lady to do a Spot Turn to L, this can be followed by a New York or
a Basic Movement Forward

7. New York

Begin in a Normal Hold and end in an Open Hold. Do a Forward Half Basic step 1-5 of
the Basic Movement. Followed by:

MAN COUNT

6. Cross RF to LF, releasing L heel, release of the lady’s

Step
R hand and extending the L arm (shoulder level).

7. Transferring of weight to LF while commencing a ¼

Step
turn to R

8. Cross RF to LF (regaining a Double Hand Hold) Cha

9. Move LF to RF Cha

10. Side RF Cha

New York can also be done to the R by doing the lady’s steps 6-10.

Do a backward Half Basic step 1-5 of the Basic Movement followed by:

45
 LADY COUNT

6. Cross LF to RF, releasing R heel, release of the lady’s

Step
L hand and extending the R arm (shoulder level).

7. Transferring of weight to RF while commencing a ¼

Step
turn to L

8. Cross LF to RF (regaining a Double Hand Hold) Cha

9. Move RF to LF Cha

10. Side LF Cha

New York can also be done to the L by doing the man’s steps 6-10.

8. Three Cha-Chas

Three Cha-Cha-Cha chasses may be danced consecutively, forward or backward. They

will be counted 4 and 1, 2 and 3, 4 and 1. This figure may be danced with the pair facing
each other; the man will do the Forward Three Cha-Cha-Chas and the Lady the Backward
Three Cha-Cha-Cha or vice-versa.

9. Forward Three Cha-Chas

1. Back RF, releasing the L heel Step (2)

2. Transfer weight to LF, releasing R heel Step (3)

3. Forward RF, in front of LF Cha(4)

4. Move LF to RF (lock step), full weight on the RF and

Cha (&)
releasing the L heel

5. Forward RF Cha (1)

6. Forward LF, in front of RF Cha (2)

7. Move RF to LF (lock step), full weight on the LF and

Cha (&)
releasing the R heel

8. Forward LF Cha (3)

9. Forward RF, in front of LF Cha (4)

46
 10. Move LF to RF (lock step), full weight on the RF and
Cha (&)
releasing the L heel

11. Forward RF Cha (1)

12. Forward LF, in front of RF Cha (2)

13. Transfer weight to RF, releasing L heel Step (3)

10. Backward Three Cha-Chas

1. Forward LF, releasing the R heel Step (2)

2. Transfer weight to RF, releasing L heel Step (3)

3. Back LF, behind RF Cha(4)

4. Move RF to LF (lock step) Cha (&)

5. Back LF Cha (1)

6. Back RF, behind LF Cha (2)

7. Move LF to RF (lock step) Cha (&)

8. Back RF Cha (3)

9. Back LF, behind RF Cha (4)

10. Move RF to LF (lock step) Cha (&)

11. Back LF Cha (1)

12. Back RF, releasing the L heel Cha (2)

13. Transfer weight to LF, releasing R heel Step (3)

SWING

It is a social dance for couples, popular in the United States in the 1940’s and 1950’s. An
outgrowth of the swing, the jitterbug is marked by quick, strenuous movements, sometimes
accompanied by acrobatics in its present form; it may be lively, a smooth dance, or it may be
slow sophisticated style. More currently, its informal positions and demand for the man to be a

47
good leader have all made swing appealing. Steps and variations vary in routine and style; in
every section is rhythm, which makes it possible to find a common step to many variations.

Basic Position

Gentleman’s Part

1. Tap L foot forward.

2. Bring back L foot close to R foot with a slight step on the R foot.
3. Step L foot forward again as the steps continue while doing balance “pull against
pull” away from partners at shoulders.

Lady’s Part

1. Step R foot forward.

2. Bring back R foot backward again as the steps while doing balance “pull against
pull” away from partners at shoulders.

Variations

1. In facing position: basic steps in quarter turns (cts 1-4)

2. In swing out position; basic position: partners exchange places (cts 1-4)
3. Basic step in promenade position (cts 1-4)
4. Basic step in Varsovienne, to the R and L (cts 1-4)
5. Basic step in wrap position (cts 1-4)

Sample Swing Dance Combinations

1. Partners in Couple Position

a. 8 Basic steps in place 8 cts
b. 8 Basic steps in quarter turn 8 cts

2. In facing position
a. 2 basic steps then exchange places 4x 4 cts
b. 2 basic steps in wrap position to the
gentleman and turn to release the lady 2 cts
c. Repeat a 4 cts
d. Repeat all 8 cts

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 BOOGIE

It is a jazz piano style characterized by sustained rolling eight beat to the bar off in the
hand, a fast rhythmically intense version of blues guitar played as dance music in honky-tonks or
as entertainment given by apartment tenants. The style did not reach wide popularity until the
mid-1930’s when it was promoted by the jazz record producer John Hammond, after hearing a
recording of Honky Tonk Train Blues. He sought out its composer, Mead Lux Lewis, who was
working in Chicago car wash. Lewis made many records for Hammond as pie Smith and
Ammonds did. They formed a boogie-woogie trio and played in Carnegie Hall at the height of
the boogie-woogie craze of the late 1930’s.
Basics Steps

Gentleman’s Part

1. Tap L toe in place, no weight; step L foot to L side turning slightly R (slow).
2. Tap L toe foot next to L, no weight; step R foot to R side (slow).
3. Step L foot backward (quick).
4. Step R foot forward (quick).

Lady’s Part

1. Tap, step, as in ma’s part, but start with R foot (ct 2), and L foot (ct 2).
2. Step R back on (ct 3).
3. Step L foot forward (ct 4).

Variations

1. Step L foot in place (ct 1); kick R foot forward (ct 2); kick L foot forward (ct 3); bend
knees toward L and R. step R foot back (ct 1); step L foot (ct 2). Jump with both feet
obliquely forward L (ct 3); and then jump obliquely forward r (CT 4); bend R foot in rear
touching with R hand (ct 5); and repeat with the L (ct 6) then turn to the R around in
place (ct 7-8).
2. The same as variation 1 but jump 2x. Do the same step before every variation.

Sample Boogie Dance Combination

1. Partners in facing position (Basic Boogie steps, turn until partners reach their original
places.) 4 cts
a. Partners in Swing Out Position
(4 Basic Boogie Steps; Exchange places) 4 cts
49
 i. Partners in Close Position
2 Basic Boogie steps with half turn 2 cts
2 Basic Boogie steps with full turn 2 cts
4 Basic Boogie Steps 4 cts
b. Partners in Facing Position
(2 Basic Boogie Steps) 2 cts
In basic cross-position,
4 steps forward step point R and L 4 cts

SAMBA

Samba, an old Brazilian style of dance with many variations, is African in origin. It has
been performed as a street dance at carnival, the pre-Lenten celebration, for almost 100 years.
Many versions of the Samba (from Baion to Marcha) are danced at the local carnival in Rio. The
ballroom Samba or Carioca Samba is derived from the rural "Rocking Samba" and has been
known for many years. (The Carioca is a small river that runs through Rio de Janiero - hence the
name Carioca refers to the people of Rio.) Today Samba is still very popular in Rio. During
carnival time there are "schools of Samba" involving thousands of elaborately-costumed dancers
presenting a national theme based on music typical of Brazil and Rio in particular.

Before 1914 it was known under a Brazilian name "Maxixe". As early as 1923 an
international meeting of professors of dancing took note of the rise of the Samba's popularity,
particularly in France. A French dance book published by Paul Boucher in 1928 included Samba
instructions. The dance was introduced to United States movie audiences in 1933 when Fred
Astaire and Dolores Del Rio danced the Carioca in Flying Down to Rio and several years later,
Carmen Miranda danced the Samba in That Night in Rio. A Samba exhibition was given at the
November 1938 meeting of the New York Society of Teachers of Dancing. General interest in
the Samba was stimulated at the 1939 World's Fair in New York, where Samba music was
played at the Brazilian Pavilion. A few years later the Brazilian composer Ary Barroso wrote the
classic Samba, "Brasil," which quickly became a hit, and in 1944 he went to Hollywood to write
the score for the musical Brazil.

Samba has a very specific rhythm, highlighted to its best by characteristic Brazilian
musical instruments: originally called tamborim, chocalho, reco-reco and cabaca. Much of
Samba music came from daily life in Rio, the first famous example being "PeloTelefone"
composed by Donga. To achieve the true character of the Samba a dancer must give it a happy,
flirtatious and exuberant interpretation. Many figures, used in the Samba today, require a pelvic
tilt (Samba tic) action. This action is difficult to accomplish, but without it the dance loses much
of its effect. Principal characteristics of the Samba are the rapid steps taken on a quarter of a beat
and the pronounced rocking motion and sway of the dancing couple.

The Samba (also known as the Brazilian Waltz) is now a moderately popular ballroom
dance, limited pretty much to experienced ballroom dancers because of its speed.

50
 The Two Basic Samba Dance Steps

To dance the samba you only need two actual steps, and they are mirrors of each other.
Actually, the word "step" is a little misleading, as most expert dancers will point out that it's
more of a weight shift (or, to use a choreographic term, a "ball change") from foot to foot.
Traditionally, men will start with a Forward Basic, which the woman mirrors with a Backward
Basic. Each will then reverse direction for the next two measures and repeat, going back and
forth.Both partners face each other to start.

Forward Basic (Leader)

1. On the first beat of the music, slide the left foot forward very slightly and put the body's full
weight on it.
2. Sliding the right foot forward, let the body shift subtly onto the ball of the left foot. The
right heel shouldn't touch the floor.
3. After the left leg lifts as the weight shifts, place it back on the floor, flat and ready to go into
the complementary back basic.

Back Basic (Follower)

1. On the first beat of the music, slide the right foot back very slightly and put the body's full
weight on it.
2. Sliding the left foot back, let the weight shift subtly onto the ball of the left foot. This move
is also subtle, with the left heel never even making it to the floor.
3. After the right leg rises because of the ball change, let it come back fully to the floor, with
the full weight coming back.

Turn the Samba Square

Like the rhythm of the basic samba steps, it goes long quick, short quick, and then slow.
The leader starts the samba square forward and does the second half backward. The follower
starts the samba square backward and does the second half forward.
Once again, both partners should be facing each other.

Forward Samba Square (Leader)

1. Bend the left knee as you step forward with your left foot.
2. Straighten your right knee as you step to the right with the right foot.
3. Bend both knees as you bring the left foot to the right foot.
4. Straighten your knees.

Backward Samba Square (Follower)

51
 1. Bend the right knee as you step backward with your right foot.
2. Straighten your left knee as you step to the left with your left foot.
3. Bend both knees as you bring your right foot to the left foot.
4. Straighten both knees.

Three steps to each basic move leads to what may at first be confusion in counting since
the music is in 2/4 time. Some teachers use a "quick-quick-slow" method to teach, but this can be
perplexing as the last step is not so much a "slow" movement as a preparatory placement for the
upcoming shift in weight and direction. For that reason, many people will instead use "and" set
between beats of measure, counted "one and two, three and four, five and six, seven and eight."

Samba Side Step

Both partners face each other for the start of the side step.

Samba Side Step (Leader)

1. Bend the left knee as you step to the left with the left foot.
2. Bring the right foot behind and across the left foot, then straighten.
3. Bend the left knee as you step in place with your left foot. Keep the right foot in place in
back.
4. Straighten.
5. Bend the right knee as you step to the right with the right foot.
6. Bring the left foot behind and across the right foot, then straighten.
7. Bend the right knee as you step in place with your right foot. Keep the left foot in its place.
8. Straighten.

Samba Side Step (Follower)

1. Bend the right knee as you step to the right with your right foot.
2. Bring the left foot behind and across the right foot, then straighten.
3. Bend the right knee as you step in place with the right foot. Leave your left foot in place in
back.
4. Straighten.
5. Bend the left knee as you step to the left with the left foot.
6. Bring the right foot behind and across the left foot, then straighten.
7. Bend the left knee as you step in place with your left foot. Keep the right foot in place in
back.
8. Straighten.

LINE DANCE

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 Line dance is a disco dance, which is highly recommended as a form of aerobic fitness
exercise to develop cardiovascular fitness. Any disco music to a 2/4 time signature can be played
for this type of dance.

Everyone loves line dances the Bus Berkeley routines of the disco generation. A whole
room full of dance is line up in rows all facing the same direction doing the same set patterns of
steps, kicks, and turns, at the same time in the same style. The effect is stunning! Dancers share a
feeling of camaraderie and spiritual oneness as they all do the same high energy routine. To an
innocent bystander, the same looks like a massive wave of frenzied lemmings headed out to the
sea. Tale me to your leader! But in this kind of dancing there are no leaders, no followers, and no
partners; everyone simply knows the routine (or learns it along the sidelines). All it takes is a
small band of line “hustlers” to start in one corner of the floor, and like wildfire, everyone breaks
into chorus line disco fever.

The routine of most (though not at all) line dances begin by taking three walking steps
backward, starting on the right foot, and end by making a one quarter turn to the left on the L
foot. Then the routine starts all over facing the new (one quarter way around) direction.

There’s no stopping between the time you complete the set routine (making a quarter
turn) and the time it starts again facing the new direction. The beat goes on, and so does a line
dance. Eventually, you drop from exhaustion or the disco closes, Busy Berkeley would have
been proud.

Variations

A. Backward-Forward Line walk

Count Description
1 step backward on R
2 step backward on L
3 step back on R
4 touch L foot next to R reverse forward
5 step forward on L
6 step forward on R
7 step forward on L
8 touch R next to L
Repeat counts 1 – 8 then go directly to part B.
B. Double slide step (8 counts to R and L side)
Count Description
1 Slide sideward on R
2 Cross-step L on R sideward
3 Slide R sideward
53
 4 Slide-close L to R
5 Slide sideward on L to R
6 Cross step R over L swd
7 Slide L sideward
8 Slide close R to L
Start part C

C. Jump Clicks
Count Description
1 Little jump forward on both feet
2 Hold
3 Little jump backward on both feet
4 Hold
5 Repeat count 1
6 Repeat count 3
7 Clicks heels together
8 Repeat heels click
9 Repeat heels click and move on Part D

D. Line Turn Double Top variation

When you and fellow dancers complete the right turn and end up ¼ way
around your L the whole dance starts all over from Section A, (facing this new
direction). Essentially you’ll be facing a new wall each time you begin the routine
from A. Altogether now
LESSON 7: INTRODUCTION TO HIPHOP, MODERN DANCE AND
CONTEMPORARY DANCES

HIPHOP
“Classically trained dancers developed these studio styles in order to create choreography
from the hip-hop dances that were performed on the street. Because of this development, hiphop
dance is practiced in both dance studios and outdoor spaces.
Hiphop dancing is thought to have officially begun in New York City during the late
1960s and early 70s. During this time, individuals without professional dance training but with a
natural instinct for movement brought dancing to the streets. A dance form meant to be popular
in the original sense of the word, meaning that it as for the people and not for the academy, hip
hop moves were inspired by complex rhythms and the down-to-earth movement style of African

54
dancing. Music and movement came together to form a new art. While vestiges of modern, tap,
swing, and African dancing can all is found in hip hop, this dance style is really in a class of its
own when it comes to improvisation and an edge of competition.
The word “hip” was used as African American Vernacular English (AAVE) as early as
1904. The colloquial language meant “informed” or “current” and was likely derived from the
earlier form hep.
Hip hop dance refers to street dance styles primarily performed to hip-hop music or that
have evolved as part of hip-hop culture. It includes a wide range of styles primarily breaking,
locking, and popping which were created in the 1970s and made popular by dance crews in the
United States.
In its earliest form, it began as elaborations on James Brown’s “Good Foot” dance which
came out in 1972. Breaking at this period was not primarily floor-oriented as seen today; it
started out as top rock which dancers perform while standing up. An influence on top rock was
up rock which was created in Brooklyn, New York. Up rock looks similar to top rock, but it is
more aggressive and looks like a fight. It is also performed with partners, but in top rock – and in
breaking in general – each person takes turn dancing.

In 1973, DJ Kool Herc invented the break beat. A break beat is a rhythmic, musical
interlude of a song that has been looped over and over again to extend that instrumental solo.
Kool Herc did this to provide a means for dancers who attended his parties to demonstrate their
skills. B-boy and b-girls stands for “break-boy” and “break-girl”; b-boys and b-girls dance to the
break of a record.
Further influenced by martial arts and gymnastics, breaking went from being a purely
upright dance style – toprock only – to becoming more floor-oriented. At the same time breaking
was developing in New York, other styles were being created in California. The funk styles
refers to several street dance styles created in California in the 1970s such as roboting, bopping,
hitting, locking, bustin’, popping, electric boogaloo, strutting, sac-ing, and dime-stopping.
Out of all these dances, boogaloo is one of the oldest. It started out as a 1960s fad dance
and was the subject of several songs released bring that time such as “Do the Boogaloo” and
“My Baby Likes to Boogaloo”. From being a fad, it developed into a dance style called electric
boogaloo and music genre called Latin Boogaloo.
The most popular and widely practiced of the funk styles are locking and popping. The
television show Soul Train played a large role in giving these styles commercial exposure. Both
The Lockers and The Electric Boogaloo – dance crews responsible for the spread of locking and
popping – performed on this show.
It is historically inaccurate to say that the funk style were always considered hip hop. The
funk styles were adopted into hip hop in large part due to the media.

55
 Once hip hop activist and DJ, Afrika Bambaataa, used the word “hip hop” in a magazine
interview in 1982, “hip hop dance” became an umbrella term encompassing all of these styles.
Due to the amount of attention locking and popping were receiving, the media brought these
styles under the “breakdance” label causing confusion about their origin. They were created on
the west coast independent from breaking and were originally danced to funk music rather than
hip hop music.
As breaking, locking, and popping gained popularity in the 1980s, hiphop social dancing
(party dancing) was starting to develop.
Novelty and fad dances such as the Roger Rabbit, the Cabbage Patch, and the Worm
appeared in the 1980s followed by the Humpty dance and the Running Man in the 1990s. The
music of the day was the driving force in the development of these dances. For example, the
1980s rap group Gucci Crew II has a song called “The Cabbage Patch” that the dance of the
same name was based on 2000s era social dances include the Cha Cha slide, the Cat Daddy, and
the Dougie. The previously mentioned dances are a sample of the many that have appeared since
hip hop developed into a distinct dance style.
Like hip hop music, hip hop social dancing continues to change as new songs are released
and new dances are created to accompany them.

Main Styles
A. Breaking/B-boying
Breaking was created in the South Bronx, New York City during the early 1970s. It is the
first hip-hop dance style.
At the time of its creation, it was the only hip hop dance style because Afrika Bambaataa
classified it as one of the five pillars of hip hop culture along with MCing (rapping), DJing
(turntablism), graffiti writing, and knowledge.
Though African Americans created breaking, Puerto Ricans maintained its growth and
development when it was considered a fad in the late 1970s.
Breaking includes four foundational dances: toprock, footwork-oriented steps performed
while standing up; downrock performed with both hands and feet on the floor; freezes, stylish
poses done on your hands; and power moves, complex and impressive acrobatic moves.
Transitions from toprock to downrock are called “drops”.
Traditionally, breakers dance within a cypher or an Apache Line. A cypher is a circular
shaped dance space formed by spectators that breakers use to perform or battle in. cyphers work
well for one-on-one b-boy battles; however, Apache Lines are more appropriate when the battle
is between two crews – teams of street dancers. In contrast to the circular shape of a cypher,
competing crews can face each other in this line formation, challenge each other, and execute
their burns (a move intended to humiliate the opponent, i.e. crotch grabbing).

56
 B. Locking
Locking originally called Campbellocking, was creted in 1969 in Los Angeles, Californoa by
Don “Campbellock” Campbell and popularized by his crew The Lockers. At the 2009 World Hip
Hop Dance Championships, Basil became the first female recipient of the Living Legend Award
in honor of her role in giving locking commercial exposure.
Locking looks similar to popping, and the two are frequently confused by the casual
observer. In locking, dancers hold their position longer. The lock is the primary move used in
locking. It is “similar to a freeze or a sudden pause”.
A locker’s dancing is characterized by frequently locking in place and after a brief freeze
moving again. According to Dance Spirit Magazine, a dancer cannot perform both locking and
popping simultaneously; thus, it is incorrect to call locking “pop-locking”. Locking and popping
are two distinct funk styles with their own histories, their own set of dance moves, their own
pioneers, and their own competition categories. Locking is more playful and character-driven,
whereas popping is more illusory.

C. Popping
Popping was created in Fresno, California in the 1970s and popularized by Samuel
“Boogaloo Sam” Solomon and his crew the Electric Boogaloos. It is based on the technique of
quickly contracting and relaxing muscles to cause a jerk in a dancer’s body, referred to as a pop
or a hit.
Popping is also used as an umbrella term to refer to a wide range of closely related
illusionary dance styles such as strobing, liquid, animation, twisto-flex and waving. Dancers
often integrate these styles with standard popping to create varied performance.

14 Steps of an Old School Hip Hop Dances

1. The Humpty Dance. 6. The Steve Martin

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2. The Robocop 7. The Roger Rabbit

3. The Running Man 8. The Reebok

4. The Troop 9. The Cabbage Patch

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 MODERN AND CONTEMPORARY DANCE

Around 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 areas of revolutionary unconventional movements that were gathered from all dance
styles of the world.
Contemporary dances do not used fixed moves and instead try to develop totally new
forms and dynamics, such as quick oppositional moves, shifting alignments, expressions of raw
emotions, systematic breathing, dancing moves preformed in non-standing positions (for
example lying on the floor), and in general trying to find the absolute limits of human form and
physique.
The origins of this popular dance movement can be traced to several influential dance
masters such as Isadora Duncan, Martha Graham, and Merce Cunningham. 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. Also,
one of the precursors to the contemporary dance can be found in the millennia’s old techniques
of Zen Buddhism and Indian Health yoga, which incorporates various dancing philosophies that
closely follow the principles of contemporary dance.
Contemporary dance is officially the name given to a series of dance styles including
modern dance. Highly interpretive in its choreography, contemporary dance often includes an
innate focus on alignment, oppositional movement, raw emotions and systematic breathing.
While many dance genres, including jazz and lyrical, focus on flexibility and the mastery
of various structured steps, the technique in contemporary dance is focused much more upon
unconventional choreographic moves that were devised in the first 60 years of the 20 th century by
various masters of the craft. The techniques were unconventional because they move away from
the lyrical movements of ballet and other classical dance forms. In additions, they took
influences from non-western dance cultures, such as the down-to-earth bent knees of African
style dancing. Using these elements and more, the earliest contemporary dancers were
revolutionary in breaking away from classical, traditional dance forms.
Dancer who introduced and greatly popularized the contemporary dance to the worldwide
audience was Martha Graham (1984-1991). During her seven decade long career, her modern
dance and choreographies gathered the fame that is today compared to the life works of
legendary art geniuses such as Picasso, Stravinski and Frank Lloyd Wright.
Merce Cunnigham refined the work that his colleague Martha Graham formed, and
expanded with this his own improvements, choreographies and avant-garde dance techniques.
During his long career he was regarded as one of the greatest creative forces in American dance,

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education dozens of worldwide famous dancers and thousands professional dancers who
preserved his style until today.

Modern Dance Benefits

If concern over lack of coordination is keeping you away from dance classes, trying some
Modern dance moves in a very good, safe place to start.
Modern dance moves are all designed to encourage freedom of movement and personal
interpretation while weaving in many varied and demanding steps and positions.
As there are many dances that you’ll do under the umbrella of Contemporary dance that
are free flowing and aren’t a series of choreographed steps for you to remember, you’ll have
freedom to move the way you feel like moving.

How to Dance to Modern and Contemporary Music

Even though you may like to dance, you may not be very good at it. All it takes is a little
time and practice. The main question is: Are you doing this to impress others, or is your heart in
this? Only when you know the answer for sure, will you be great.

1. Understand that when you dance lyrical, your movements show the words of the song.
This means that if the words were: “she fall like the petal drifting from its rose”, you
would gracefully sink to the floor and pretend to be the petal. Fluent is where you pour
your heart and feelings out with your movements. Let’s say if you danced fluent to the
rose petal line, you would probably feel sad because “she is drifting”, so you would show
that with a sad, but graceful, drift away from the center.
2. Try to come up with lots of different feelings and moves. It would get very boring to
watch someone do the same movement over, and over, and over again.
3. Find a stage, an open place, such as a basement, or even outside in your front lawn. The
best place are the ones with large lengthy mirror on the wall.
4. Pick your song with deep meaning and flowing music, otherwise it gets a little harder to
stay fluent with your movements.
5. Listen to the song. You should listen to it maybe 2-3 time to get the feel of the words,
instruments, and the tempo.
6. Do your body a favor; before you dance, make sure you stretch. This is a key part in
getting better. You don’t want to pull a muscle and not be able to practice, so be sure to
stretch your arms, legs, neck, and maybe do some push-ups.

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7. Let your body flow. This sometimes is a hard concept for some people to understand.
When you dance fluently, like the water in a stream, you let your body pretend you are
trapped under the ocean. Your limbs are floating, your heart lies on a cloud, and your
eyes are closed. You outstretched your fingers and open your mind to more fluent
movement. You touch the sky every reach and skim the ocean’s sandy floor while the sun
rays dance around you. This is how it feels to dance fluent. You move your arms and legs
and head so they flow gracefully together.

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