Tarlac National High School- ANNEX

San Miguel, Tarlac City

THE
GIFT OF
BODY
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LANGUA
GE
Diane B. Herrera
X- Diamond
February 2016

THESIS STATEMENT

To provide a context for aesthetic and artistic experience and the opportunity to
develop personally and physically through participation in dance in an enjoyable
environment.

I. INTRODUCTION
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Dance is an integral aspect of a balanced physical education programme. It is

unique in that its primary concern is with the expressive quality of movement and with the
enjoyment and appreciation of aesthetic and artistic movement qualities.

Throughout our history dance has served many different purposes all of which
are evident today. Dance is perceived as a physical activity, popular entertainment, form of
religious worship, profession, an art form, social and recreational outlet. There are many
styles of dance, - ballet, tap, jazz, folk, contemporary, ballroom, etc. The idea that dance is
an activity suited to girls and inappropriate for boys should be challenged. Strategies are
needed to combat prejudice which is visible and pervasive. Positive attitudes to dance
should be demonstrated by male members of staff, particularly male Physical Education
staff. Content should be designed to challenge boys and girls. Lessons should be planned
to ensure that all students have opportunities to achieve. Teachers need to consider
whether dance should be taught to boys and girls in mixed or single sex classes.

Dance has a particular contribution to make to students with special educational

needs. It provides an alternative language and a route for learning about themselves, others
and the world about them. The suitability and modification of activities within dance
education should be considered carefully to ensure that effective learning takes place.

Why Dance? The dance syllabus makes a distinctive contribution to the education of all
students in that it provides the potential to integrate physical, emotional and intellectual
development. It enables the students to express themselves and to communicate with
others in a social and cultural context.

Dance can inform and illuminate other areas of the curriculum such as Music,
Drama, Visual Art, Film, Literature and can interact with natural and built environments.
Cross-curricular links can be made with subjects such as Geography, Mathematics,
English and other languages. Before the lesson begins, the students may be told: What
they are going to do?, Why they are going to do?, How this builds on what theyve done
before? The objectives of this study are to develop skilful, creative mastery of the body. To
enhance knowledge and understanding of dance as an aesthetic and artistic experience. To
enrich personal and social development while interacting with others in a variety of
structured contexts.

The educational significance of dance on the curriculum is determined by its

potential to involve the student in CREATING, PERFORMING, APPRECIATING
movement in aesthetic and artistic contexts.

This study is significant because through dance students learn how to use their
bodies skilfully and creatively, develop their creativity and imagination, use expressive
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movement as a means of communication, encourage an awareness of others and

sensitively towards them, analyse form and quality in movement, derive aesthetic
understanding through the creation of dance and the appreciation of dance works and etc.
And because of this, many people can learn about to the gift of body language.

II.

PRESENTATION

THE ORIGINS OF DANCE

The earliest history of human dance is a continuing mystery. From the evidence
of illustrated ceramic fragments, some archaeologists have speculated that dance
originated some 5,000 to 9,000 years ago in early agricultural cultures located in a swath
running from modern Pakistan to the Danube basin. Others, however, have expressed
caution regarding the reconstruction of social behaviour from such sources. Speculation
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aside, specific knowledge of prehistoric dances is lacking, and thus many experts have
extrapolated dance history from the preserved ritual dances of various preliterate societies.

Dance history is difficult to access because dance does not often leave behind
clearly identifiable physical arti facts that last over millennia, such as stone tools, hunting
implements or cave paintings. It is not possible to identify with exact precision when
dance became part of human culture. Dance has certainly been an important part
of ceremony, rituals, celebrations and entertainment since before the birth of the earliest
human civilizations. Archaeology delivers traces of dance from prehistoric times such as
the 9,000-year-old Bhimbetk rock shelters paintings in India and Egyptian tomb paintings
depicting dancing figures from c. 3300 BC. Another early use of dance may have been as
a precursor to ecstatic trance states in healing rituals. Dance is used for this purpose by
many cultures from the Brazilian

rainforest

to the Kalahari Desert. Medieval

European danses macabres were thought to have protected participants from disease;
however; the hysteria and duration of these dances sometimes led to death due to
exhaustion.

A BRIEF DANCE HISTORY

From the beginning of time, sacred movement, song and story have brought
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people together - at times of seasonal ceremony and celebration, as part of everyday life
and life passages, in daily renewal and meditation, etc. The Dances of Universal Peace
are part of this timeless tradition of Sacred Dance

The Dances were brought together in the late 1960's by Samuel L. Lewis also
known as Murshid Sam (1896-1971), a Sufi Murshid (teacher) and Rinzai Zen Master,
who also studied deeply in the mystical traditions of Hinduism, Judaism, and
Christianity. From his rich life experiences, Lewis in his early 70's began to envision and
create the Dances as a dynamic method to promote "Peace through the Arts". From the
early days and his original body of about 50 dances, the collection has grown since his
passing to more than 500 dances which celebrate the sacred heart of Hinduism,
Buddhism, Zoroastrianism, Sikhism, Judaism, Christianity, Islam, and the Aramaic,
Native American, Native African, Celtic, Goddess, Pagan and Universalist traditions. In
this creation, Lewis was deeply influenced by his contact and spiritual apprenticeship
with two people: Hazrat Inayat Khan, who first brought the message of universal
Sufism to the West in 1910, and Ruth St. Denis, a feminist pioneer in the modern dance
movement in America and Europe.

Hazrat Inayat Khan (1882-1927) brought the Sufi Message of Love, Harmony and
Beauty to Europe and the U.S. from India in the years 1910 1926 and his teachings have
blossomed in a number of Western Sufi lineages. He was born into a family of musicians and
through the guidance of the spiritual teachers of India with whom he was associated, he
became the musician of the soul, for his work was mostly performed in the higher spheres,
tuning people to their real pitch. Hazrat Inayat Khan called for the awakening of the individual
as the awakening of the consciousness of humanity to the divinity in every person, our
inheritance of the divine perfection. He offered beautifully spoken teachings on the unity of
religious ideals and the one source of all human religious expression. These teachings in
particular inspire the Dances of Universal Peace.

Where does music come from? Where does the dance come from? It all comes from that
natural and spiritual life that is within ...... music touches our innermost being and in that way
produces new life, a life that gives exaltation to the whole being, raising it to that perfection in
which lies the fullfillment of human life.

Ruth St. Denis (1878-1968) was a pioneer of contemporary dance in America.

She was a sensation in her early years performing individual dances like Radha and
Incense. Ruth St. Denis entered the inner realization of the figures of divinity that she
chose to perform - like Holy Mother Mary, Kwan Yin, the Buddha and others and from
that feeling danced a vision of perfection. By choosing figures from many different
cultures, Ruth St. Denis presented a wordless show of unity before thousands of
audiences all over the world throughout her life. Ruth St. Denis wrote of her vision of a
future dance for life and peace:

The dance of the future will no longer be concerned with meaningless dexterities
of the body.... Remembering that man is indeed the microcosm, the universe in
miniature, the Divine Dance of the future should be able to convey with its slightest
gestures some significance of the universe.... As we rise higher in the understanding of
ourselves, the national and racial dissonances will be forgotten in the universal rhythms
of Truth and Love. We shall sense our unity with all peoples who are moving to that
exalted rhythm.

Since the late 1960's, the Dances have spread throughout the world, touching
more than a half million people in North and South America, eastern and Western
Europe, the former Soviet Union, India, the Middle East, Africa, Pakistan, Australia, and
New Zealand. Further networking and citizen diplomacy through the Dances have

occurred in South Africa, Bosnia and the Middle East. New grassroots Dance circles are
continually springing up around the globe, with over two hundred dance circles meeting
weekly or monthly in the United States alone.

The Dances of Universal Peace have evolved and expanded in practical

application to meet the deep felt needs today for rediscovering reverence, creativity, and
a body-based connection to the natural world. Teachers share the Dances in schools,
therapy groups, prisons, hospice houses, drug rehabilitation centers, homes for the
developmentally disabled, retirement villages, holistic health centers, and ecumenical
worship celebrations.

The International Network for the Dances of Universal Peace, a non-profit

organization, was founded in 1982 to further the work begun by Samuel L. Lewis with the
Dances of Universal Peace and to help make the Dances available to all people. Based in
Seattle, it is the coordinating hub that links the many worldwide Dance circles.

DANCE AND MUSIC

It is unlikely that any human society (at any rate until the invention of puritanism)
has denied itself the excitement and pleasure of dancing. Like cave painting, the first purpose

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of dance is probably ritual - appeasing a nature spirit or accompanying a rite of passage. But
losing oneself in rhythmic movement with other people is an easy form of intoxication.
Pleasure can never have been far away. Rhythm, indispensable in dancing, is also a basic
element of music. It is natural to beat out the rhythm of the dance with sticks. It is natural to
accompany the movement of the dance with rhythmic chanting. Dance and music begin as
partners in the service and rituals.
DANCE AS RITUALS

In most ancient civilizations, dancing before the god is an important element in

temple ritual. In Egypt the priests and priestesses, accompanied by harps and pipes, perform
stately movements which mime significant events in the story of a god, or imitate cosmic
patterns such as the rhythm of night and day. At Egyptian funerals, women dance to express
the grief of the mourners. Sacred occasions in Greek shrines, such as the games at
Olympia from the 8th century BC, are inaugurated with dancing by the temple virgins.
The choros is originally just such a dance, performed in a circle in honour of a god. In the 6th
century it becomes the centrepiece of Greek theatre. In India the formalized hand
movements of the priestesses in Hindu temples are described in documents from as early as
the 1st century AD. Each precise gesture is of subtle significance. A form of classical dance
based upon them - known as Bharata Nhatyam - is still performed by highly skilled
practitioners

today.

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DANCE AS ECTASY

Any sufficiently uninhibited society knows that frantic dancing, in a mood

heightened by pounding rhythm and flowing alcohol, will set the pulse racing and induce a
mood of frenzied exhilaration. This is exemplified in the Dionysiac dances of ancient
Greece. Villagers, after harvesting the grapes, celebrate the occasion with a drunken orgy in
honour of Dionysus, god of wine (whose Roman name is Bacchus). Their stomping makes a
favourite scene on Greek vases; and dancing women of this kind, whose frenzy even sweeps
them into an act of murder, are immortalized in a tragedy, theBacchae, by Euripides. Short of
this unfortunate extreme, all social dances promise the same desirable mood of release and
excitement.

DANCE AS ENTERTAINMENT, DANCE AS DISPLAY

Egyptian paintings, from as early as about 1400 BC, depict another eternal appeal
of dancing. Scantily clad girls, accompanied by seated musicians, cavort enticingly on the
walls of tombs. They will delight the male occupant during his residence in the next world.
But dancing girls are for this world too. From princely banquet to back-street strip club, they
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require no explanation. Entertainment, and the closely related theme of display, underlies the
story of public dance. In the courts of Europe spectacles of this kind lead eventually to ballet.
Ballet in France: 16th - 17th century A favourite entertainment in Renaissance France and
Italy involves ladies and gentlemen of the court being wheeled into the banqueting hall on
scenic floats from which they descend to perform a dance. Such festivities are much
encouraged by Catherine de Mdicis after she marries into the French royal family.
In 1581 a significant step forward is taken by Catherine's director of court
festivals, Baltazar de Beaujoyeulx. For a wedding celebration he produces the Balet Comique
de la Reine, combining dance (which he describes as being just "geometric patterns of people
dancing together") with the narrative interest of a comedy. It is the first dramatic ballet. This
French and Italian love of dance continues in the next century. At the court of Savoy, in
Turin, there is a strong tradition of lavish amateur ballets for any festive occasion in the mid17th century.In France Louis XIII, son of Marie de Mdicis, loves to show off his talents in
this line - although, reports a contemporary, he "never performed anything but ridiculous
characters". The king's typical roles include a wandering musician, a Dutch captain, a
grotesque warrior, a farmer and a woman. His son Louis XIV enjoys similar pleasures, but
his roles have a little more classical gravitas - a Bacchante, a Titan, a Muse and (presumably
a favourite) Apollo dressed as the sun. The dancers in court ballets are the courtiers
themselves, and a large part of the pleasure comes from watching one's friends prance about
in spectacular costumes. The English diarist John Evelyn sees Louis XIV dancing in Paris in
1651; he marvels not so much at the dancing as at so many Sumptuously attired
aristocrats.

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But Louis XIV himself is genuinely interested in dancing, and in 1661 he decides
that his colleagues are not up to scratch. He brings together the best Parisian dancing masters
to form the Acadmie Royale de Danse, where his friends' skills may be honed. It is so
successful that he follows it in 1669 with a similar Acadmie Royale de Musique.
These two institutions are merged to form the Paris Opra (still in existence today). From
1672 professional dancers are trained. The institution settles down into what is recognizably
a ballet company. The first director, Pierre Beauchamp, choreographs many ballet sequences
with music by Lully and others - and he devises his own system for recording the steps. (He
is often credited with inventing the five classic positions for the feet, but more probably he is
merely the first to record them.) A spectacular ballet by Lully and Beauchamp is Le
Triomphe de l'Amour, first performed in 1681 with Beauchamp dancing Mars accompanied
by ladies and gentlemen of the court. Four months later the same ballet is performed again, in
a public theatre, with a significant innovation - professional female dancers.
The female ensemble is led by Mlle de Lafontaine, the world's first prima ballerina. She stars
in many other ballets over the next twelve years (earning the title reine de la danse, "queen of
the dance") before retiring into a convent. Lafontaine and her colleagues are constrained by
the heavy dresses which convention forces them to wear on stage, but the men suffer less
restriction (when dancing heroic roles their usual costume is akin to a Roman soldier's short
tunic, coming half way down the thigh). Virtuoso male dancing rapidly becomes one of the
great attractions of ballet. The first to demonstrate it is Jean Balon, who is with the Paris
Opra from 1691 to 1710. Famous for his lightness and agility, his name is possibly
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commemorated in the term "ballon" - still used today for the moment when a dancer can
seem to pause in mid-air during a jump.

AS A METHOD OF HEALING

Goes back to the mythological times of aboriginal yingyang twins and "yakkas"
(devils).
According to a Sinhalese legend, Kandyan dances originated 2500 years ago, from a magic
ritual that broke the spell on a bewitched king. Many contemporary dance forms can be
traced back to historical, traditional, ceremonial, and ethnic dances.

One of the earliest structured uses of dances may have been in the performance and
in the telling of myths. It was also sometimes used to show feelings for one of the opposite
gender. It is also linked to the origin of "love making." Before the production of written
languages, dance was one of the methods of passing these stories down from generation to
generation.

In European culture, one of the earliest records of dancing is by Homer, whose

"Iliad"; describes chorea ( khoreia). The early Greeks made the art of dancing into a
system, expressive of all the different passions. For example, the dance of the Furies, so
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represented, would create complete terror among those who witnessed them. The Greek
philosopher, Aristotle, ranked dancing with poetry, and said that certain dancers, with rhythm
applied to gesture, could express manners, passions, and actions. The most eminent Greek
sculptors studied the attitude of the dancers for their art of imitating the passion

A BRIEF DANCE HISTORY OF BALLROOM, BREAK DANCE, COUNTRY, FAD,

FLAMENCO, HIPHOP, JAZZ AND LATIN DANCE, SALSA, SWING, TANGO AND
WESTERN.

Argentine Tano
The antique Argentine Tango was influenced by the Tango Habanera, which
bears no resemblance to the Argentine Tango we know today.

Argentine Tango History

Milonga and Argentine Tango history by Mike Higgins. When talking about the
history of the Tango, the reader should consider that although their were many influences

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in the creation and life of the Tango, it is very important not to assume that it was some
form of linear development.

Break dance
Though some experts trace the lineage of the break dance back to the
Brazilian Frevo, a Russian folk-dance-influenced form of martial-arts dance/march, it
seems more likely that breakin', while it did originate in Brazil approximately 500 years
ago, was invented by African slaves rather than native Brazilians or their Portuguese
rulers.
Cha Cha
Cha Cha is an offshoot of the Mambo.

Clogging
Clog dancing or clogging, as it is sometimes known, takes its origins from
square dancing. This is not where or how clogging began however.

Disco

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Most Disco dances have strong roots in Swing, Samba, Cha Cha, Mambo,
Merengue, Fox Trot and Tango.

Flamenco and the Spanish Gypsy

History of Flamenco Dance & Music.

Foxtrot
The Foxtrot originated in the summer of 1914 by Vaudeville actor Harry Fox.\

Hip Hop
The first mention of hip hop dance dates back to the 70s when some new moves
were introduced to the dance world to accompany the funky sounds of hip hop music that
was also being discovered.

Hip Hop
The styles that developed in the later years are known as the New School. The
older ones involve break dances and funk styles.
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Hula and Tahitian Dance

Today, there are many different variations of the original hula dance but all have
the roots grounded to some extent or another in the original hula dance created centuries
ago.

Hustle
The Hustle started here, in the Big Apple.

Irish Dancing
There are many different styles of Irish dancing but for those who are only
familiar with Riverdance and others, there is no question that this style of Irish step
dancing is mesmerizing.

Jazz
Only one kind of music suited this generation - jazz, the vehicle for dancing the
fox-trot, shimmy, rag, Charleston, black bottom, and various other steps of the period.

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Mambo
The Mambo dance originated in Cuba where there were substantial settlements
of Haitians.

Merengue
Merengue has existed since the early years of the Dominican Republic (in Haiti,
a similar dance is called the Meringue or Mereng).

Peabody
Legend has it that the Peabody was created by a portly police or fire chief Captain Peabody.

Polka
Bohemian historians believe that the polka was invented by a peasant girl (Anna
Slezak, in Labska Tynice in 1834) one Sunday for her amusement.

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Rumba
There are two sources of the dances: one Spanish and the other African.
Although the main growth was in Cuba, there were similar dance developments which
took place in other Caribbean islands and in Latin America generally.

Salsa
Salsa is a distillation of many Latin and Afro-Caribbean dances. Each played a
large part in its evolution.

Samba
The Samba originated in Brazil. It was and is danced as a festival dance during
the street festivals and celebrations.

Swing
The history of swing dates back to the 1920's, where the black community, while
dancing to contemporary Jazz music, discovered the Charleston and the Lindy Hop.

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Tango
Originating in Spain or Morocco, the Tango was introduced to the New World by
the Spanish settlers, eventually coming back to Spain with Black and Creole influences.

Twist
The song "The Twist" was written by Hank Ballard in 1959.

Viennese Waltz
The first record of a dance to 3/4 rhythm is a peasant dance of the Provence
area
of France in 1559, as a piece of folk music called the Volta.

Waltz
Waltz: a dance born in the suburbs of Vienna and in the alpine region of Austria.

Western

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Modern western dance is part of this global language and its roots run wide and
deep. They can be traced to the taverns of Ireland and to the ballrooms of Europe, to the
Czarist palaces of Russia and further back still to the fluid tribal rituals of Africa.

DIFFERENT TYPES OF DANCE

Dance is a type of art that generally involves movement of the body, often
rhythmic and to music. It is performed in many cultures as a form of emotional expression,
social interaction, or exercise, in a spiritual or performance setting, and is sometimes used to
express ideas or tell a story. Dancing is entertaining. Its passion for some people as well as
profession for some. Whether you can or you cant but you dance! everybody does.

With hundreds of types to choose from, it's certainly hard to decide what dance
you'd love to try, learn or master. Whatever reasons you have for dancing, all of you will end
up with the same dilemma: what type of dance should you go for?

Dancing has got so many branches that to name them all will probably convert this
article into a novel. To save time then, we'll dispense with lengthy explanations about the
classical moves like the waltz and the quadrille, completely jump past the primitive forms
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like ritual and tribal dances and focus straight away on the popular types. This is not, after
all, an essay on the history of dance.

Here are some of the most popular dance categories and types:

BALLROOM DANCES

These dances started appearing first in Italy, during the early years of
Renaissance. Popularity of this kind of entertainment quickly swept over the Europe,
United States and the World. Although many other simpler and more easily preformed
types of dances caused the ballroom dances to lose some of their influence, modern
worldwide dancing audience started resurrecting these immortal dances in ever increasing
pace.

Waltz
This graceful and slow two person dance was first introduced in mid-19th
century and was greatly popularized by the music of the famous composer Johann Strauss.
Today this dance represents gold standard and the most famous dance of the ballrooms
around the world.
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Viennese Waltz
Original form of waltz, first performed at the Italian courts is today remembered
as Viennese Waltz. It differs from the much more famous "English Slow Waltz" by having
much faster 180 beats per minute and was the first who introduced "closed hold" between
performers.

Tango
Originally created in the Argentinean region of Rio de la Plata, this dance is
today known by many of its variations (Argentine tango, Uruguayan tango, Finish Tango
and two types of Ballroom tangos - standard and American) and the fascinating sensual
and energetic style.

Cha-Cha-Cha
This incredibly rhythmic dance created in Latin America managed to meld
together both the slow and very energetic movements, making it an instant hit among the
dancers around the world.

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Rumba
Popularity of this Cuban dance came from its focus on sensual hip movements of
dance partners. Since its creation in 1930s many types of Rumba were created, most
notably Cuban Rumba (with the style of the African slaves which created it), Catalan
Rumba (with Spanish flavor), Flamenco Rumba and African Rumba.

Samba
Samba is a famous dance and musical genre that originated form the coast of
Africa and land of Brazil. Today infectious rhythm of Samba is regarded as the national
dance of Brazil, and its famous Brazilian Carnival gathers millions Samba dance fans
every year.
Mambo
This Cuban dance that accompanies the music of the same name was introduced
in 1930s, and quickly managed to gain popularity with the exploits of famous musicians
and dancers such as Perez Prado, Benny Mor, Tongolele, Adalberto Martnez, Rosa
Carmina and Lilia Prado.

Quickstep

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The quickstep is a light-hearted member of the standard ballroom dances. The

movement of the dance is fast and powerfully flowing and sprinkled with syncopations.
The upbeat melodies that quickstep is danced to make it suitable for both formal and
informal events. Quickstep was developed in the twenties in New York and was first
danced by Caribbean and African dancers. Its origins are in combination of slow foxtrot
combined with the Charleston, a dance which was one of the precursors to what today is
called swing dancing.

Jive
The jive is a dance style that originated in the United States from AfricanAmericans in the early 1930s. It was originally presented to the public in 1934 by Cab
Calloway. It is a lively and uninhibited variation of the Jitterbug, a form of Swing dance.
Bolero -Bolero
Is a genre of slow-tempo Latin music and its associated dance. There are
Spanish and Cuban forms which are both significant and which have separate origins.

AFRICAN-AMERICAN AND TRADITIONAL JAZZ DANCES

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Charleston
This extremely popular dance type was popularized by famous tune called "The
Charleston" by composer and pianist James P. Johnson. Charleston craze soon took over
the enthusiastic dancers of Prohibition era of United States.

Swing
This dance is today synonym for the jazz and swing music of the 1920s1930s.Because of the many styles of Jazz music, Swing also comes in many flavors Lindy Hop, Jitterbug, Boogie Woogie, West Coast Swing and Rock and Roll.

Tap Dance
This extremely popular form of dance was first introduced during 1920s
Prohibition era in United States. Originally created by the African slaves, tap dancing
came into the mainstream with the performances of Nicholas brothers. Few short years
later, tap dancing conquered Hollywood and then entire world.

Moonwalk

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This extremely famous dance move that emuates the illusion of walking
backwards was first performed by pop icon Michael Jackson in March of 1983, and ever
since then it gained planetary fame. No single dance move ever created managed to
receive this amount of popularity and recognition.

Boogie-woogie
This quick and energetic style of dance became widely popular during 1930s
and 1940s.

WORLDWIDE DANCES/LATIN DANCES

Salsa
This Latin dance is today one of the most popular dances in Latin America,
North America, Europe and Australia. It's very sensual form, energetic movement and
innovative choreography that was influenced by Mambo, Changuyi and Rumba made it
very popular all around the world.

Flamenco
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This famous Spanish dance originated from the region of Andalusia, and it
gained its name only in 18th century. Its magical, passionate and energetic fusion of
singing (cante), guitar playing (toque), dance and handclaps (palmas) made it famous in
entire world and became one of the accepted heritages of entire humanity.

Argentine tango
Among many types of tango dance, Argentinian dance strives to preserve
original form of tango that was first created in the region of Rio de la Plata.

Lambada
This famous dance that originated from Para, Brayil became internationally
popular during 1980s. It managed to successfully fuse aspects of Forro, salsa, merengue,
maxixe and the carimb into unforgettable dance style.

Polka
Appearance of polka in mid-19th century created one of the largest "dance
crazes" that our world ever seen. It managed to influence countless other dances, became

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national dance of many European countries and is extremely popular in entire Western
hemisphere.

East Coast Swing

East Coast Swing (ECS) is a form of social partner dance. It belongs to the
group of swing dances. It is danced under fast swing music, including rock and roll and
boogie-woogie.

Capoeira
Capoeira (/kpur/; Portuguese pronunciation: [kapuej]) is a Brazilian
martial art that combines elements of dance, acrobatics and music, and is usually referred
to as a game. It was developed in Brazil mainly by West African descendants with native
Brazilian influences, probably beginning in the 16th century.
Country/ Western Dances
Also called Country and Western dance, encompasses many dance forms or
styles, which are typically danced to country-western music, and which are stylistically
associated with American country and/or western traditions.

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Folk Dance
Folk dances are dances developed by groups of people that reflect the
traditional life of the people of a certain country or region.

Belly dance
Belly dance is a Western-coined name for a type of Middle Eastern dance.
Originally a "solo, improvised dance involving torso articulation," belly dance takes many
different forms depending on the country and region, both in costume and dance style, and
new styles have evolved in the West as its popularity has spread globally.

PROFESSIONAL PERFORMANCE DANCE

Professional dancing was first introduced in the early years of Italian Renaissance
when music, dance, arts and poetry started to rise in popularity after the millennia of
medieval stagnation. Refined by the efforts of the France and Russia, ballet became the
premier technical concert dance. Hailed as one of the most revered and most complicated
dance of all time, ballet continued its rise to worldwide domination. In the modern times,
many other professional dances came to be, such as Contemporary dance, Modern Dance,

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Concert dance, but none of them managed to surpass the complexity, physical strain, and
heritage of ballet.

Ballet
This is a performance dance and it originated in Italy during the fifteenth century.
The dance developed in France and Russia and evolved from performance dance to
concert dance. It is a very complicated form of dancing and is taught in different ballet
schools all over the world. The dance is usually choreographed with vocal or orchestral
music. It involves pointe work, flow and very precise acrobatic movements. The ballet
went from romantic, to expressionist and neoclassical ballet. The word originally
translates into to dance.

Contemporary dance
Contemporary dance is a dance performance genre that developed during the
mid twentieth century and has since grown to become one of the dominant genres for
formally trained dancers throughout the world, with particularly strong popularity in the
U.S. and Europe.

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Concert Dance
Concert dance (also known as performance dance or theatre dance in the
United Kingdom) is dance performed for an audience. It is frequently performed in a
theatre setting, though this is not a requirement, and it is usually choreographed and
performed to set music.

Modern Dance
Modern dance is a broad genre of western concert or theatrical dance (as
opposed to participation dance), primarily arising out of Germany and the United States in
the late 19th and early 20th centuries.The oversimplification of modern dance's history
often leads to the erroneous explanation that the art form emerged merely as a rejection of,
or rebellion against classical ballet. An in-depth analysis of the context of the emergence
of modern dance reveals that as early as the 1880s, a range of socioeconomic changes in
both the United States and Europe was initiating tremendous shifts in the dance world.

Tap Dance
Tap dance is a form of dance characterized by a tapping sound that is created
from metal plates that are attached to both the ball and heel of the dancers shoe. Special
shoes are made for dancing the tap. These metal plates, when tapped against a hard
34

surface, create a percussive sound and as such the dancers are considered to be musicians.
Tap dance has roots in African American dancing such as the Juba Dance, English
Lancashire Clog dancing, and probably most notably Irish stepdancing. It is believed to
have begun in the mid-1800s during the rise of minstrel shows.

MODERN DANCES

Advancements in music technology brought the birth of many new types of

dances. Introduction of electronic and rock music brought the era of House, Punk, Rave
and Disco dance. Faraway country of India did not cared much for those styles, and in
accordance to the deeply seeded religious beliefs, they incorporated dance of their gods to
everyday life and was and profitable Bollywood movie scene.

House dance
House dance is a social dance primarily danced to house music that has roots in
the clubs of Chicago and of New York. The main elements of House dance include
"Footwork", "Jacking", and "Lofting". House dance is often improvised and emphasizes
fast and complex foot-oriented steps combined with fluid movements in the torso, as well
as floor work.

35

Punk dance
Dance-punk (also known as disco-punk or punk funk) is a music genre that
emerged in the late 1970s, and is closely associated with the post-punk and new
wave movements.

Rave dance
A rave (from the verb: to rave) is a large dance party featuring performances by
DJs

and

occasionally

live

performers

playing

electronic

music,

particularly

electronic dance music (EDM).

Disco dance
Disco is a genre of dance music containing elements of funk, soul, pop,
and salsa that was most popular in the mid to late 1970s, though it has had brief
resurgences. Its initial audiences were club-goers from the gay, African American, Italian
American, Latino, and psychedelic communities in Philadelphia and then later New York
City during the late 1960s and early 1970s. Disco also was a reaction against both the
domination

of rock

music and

the

stigmatization

of

dance

music

by

36

the counterculture during this period .Women embraced disco as well, and the music
eventually expanded to several other marginalized communities of the time.

Bollywood dance
Bollywood dance is the dance-form used in the Indian films. It is a mixture of
numerous styles.

These styles include belly-dancing, kathak, Indian folk, Western

popular, and "modern", jazz, and even Western erotic dancing. In this web page, we will
look at Bollywood dance and place it within the commercial and artistic framework of the
South Asian film world.
HIP-HOP AND FUNK DANCE

Dancing style of Hip-Hop evolved from the music style that was first introduced
during 1970s. Powered by the great popularity, exposure in media, movies and television
programs, hip-hop dances found a great foothold in United States, France, United
Kingdom and South Korea. A very similar style called Funk was also created during
1970s, and is today regarded as one of the most influential pieces of Hip-hop dance styles.

Break dance (Breaking)

37

Break Dance or B-boying or B-girling is a form of street dancing style

popularize by Michale Jackson. The dance consists of four primary elements: toprock,
downrock, power moves and freezes/suicides. This style of dance is very acrobatic and has
elements of gymnastics in it, this style of dance calls for strength, skill, balance and
technique amongst other things. A practitioner of this dance is called a b-boy, b-girl, or
breaker. These terms are preferred by the majority of the pioneers and most notable
practitioners.

Bounce
Bounce is characterized by call-and-response-style party and Mardi Gras Indian chants
and dance call-outs that are frequently hypersexual. These chants and call-outs are
typically sung over the "Triggerman beat" which is sampled from the songs "Drag Rap" by
the Showboys, "Brown Beat" by Cameron Paul, and also Derek B's "Rock The Beat".The
sound of bounce has primarily been shaped by the recycling and imitation of the "Drag
Rap" sample: its opening chromatic tics, the intermittent shouting of the word "break," the
use of whistling as an instrumental element (as occurs in the bridge), the vocoded "drag
rap" vocals and its brief and repetitive melody and quick beat (which were produced with
use of synthesizers and drum machines and are easily sampled or reproduced using likesounding elements). Typical of bounce music is the "shouting out" of or acknowledgment
of geographical areas, neighborhoods and housing projects, particularly of the State of
Louisiana and, to a lesser extent, Texas.

38

Electric boogaloo
Electric boogaloo (sometimes mistakenly referred to as electric boogie) is
a funk-style of hip hop dance closely related to popping. It became the signature style of
the dance group started in the 1970s, the Electric Boogaloos. Along with electric boogaloo
they also popularized popping and many of its related styles.

Street Jazz
Jazz dance is shared by a large range of dance styles. Before the 1950s, jazz
dance relating to dance styles that originated from African American vernacular dance.
Jazz dance was an integral part of jazz until the end of the swing era in the late 1940s. In
the 1950s, a new genre of jazz dance modern jazz dance emerged, with roots in
Caribbean traditional dance. Every individual style of jazz dance has roots traceable to one
of these two distinct origins. Jazz was a big hit in the early '50s and it is still a well-loved
style of dance all over the world.

Jookin'
Gangsta Walking (often referred to as: G-Walk , Buckin, Tickin, Jookin,
or Choppin) is a street dance that originated in Memphis, Tennessee alongside "Buck"
music during the 1990s. The Gangsta Walk is commonly performed to crunk music due to
39

the particular 'bounce' in the beat and the movement the dancers make to keep with it.
Though Gangsta Walking has been around for many years, much of the dance is still
exclusive to the city and surrounding areas.

Locking
Locking (originally Campbellocking) is a style of funk dance, which is today
also associated with hip hop. The name is based on the concept of locking movements,
which basically means freezing from a fast movement and "locking" in a certain position,
holding that position for a short while and then continuing in the same speed as before. It
relies on fast and distinct arm and hand movements combined with more relaxed hips and
legs. The movements are generally large and exaggerated, and often very rhythmic and
tightly synced with the music. Locking is quite performance oriented, often interacting
with the audience by smiling or giving them a high five, and some moves are quite
comical in nature. A dancer who performs locking is called a locker. Lockers commonly
use a distinctive dress style, such as colorful clothing with stripes and suspenders.

Popping
Popping is a street dance and one of the original funk styles that came
from California during the 1960s1970s. It is based on the technique of quickly

40

contracting and relaxing muscles to cause a jerk in the dancer's body, referred to as
a pop or a hit. This is done continuously to the rhythm of a song in combination with
various movements and poses.

BENEFITS OF DANCE

Dance and health has been subject of a number of research studies that
show dance to be a healthy exercise. However, there are a number of health risks that
require attention. PHYSICAL HEALTH AND FITNESS.

Dancing can be a way to stay fit for people of all ages, shapes and sizes. It has a
wide range of physical and mental benefits including: improved condition of
your heart and lungs, increased muscular strength, endurance and motor fitness, increased
aerobic fitness, improved muscle tone and strength, weight management, stronger bones
and reduced risk of osteoporosis, better coordination, agility and flexibility, improved
balance

and

spatial

improved mental functioning,

awareness,
improved

increased
general

physical

confidence,

and psychological well

being,

greater self-confidence and self-esteem, and better social skills. Most forms of dance may
be considered an aerobic exercise and as such reduce the risk of cardiovascular disease,
41

help weight control, stress reduction, and bring about other benefits commonly associated
with physical fitness. In addition, studies have demonstrated a considerable correlation
between dancing and psychological well-being. A large amount of governmental, health,
and educational information is available extolling the benefits of dance for health. Dance
pads have proven useful in tackling obesity in young people and are welcomed in many
schools for that reason. A report by Professor Tim Watson and Dr Andrew Garrett of
the University of Hertfordshire compared members of the Royal Ballet with a squad of
British national and international swimmers. The dancers scored higher than the swimmers
in seven out of ten areas of fitness. An Italian study in 2006 has shown that dance is a very
good exercise for heart patients compared to other aerobic exercises like cycling. This may
be partly because the patients enjoyed it much more.

A study at the Washington University in St. Louis School of Medicine in 2007

showed Argentine

tango was

better

at

improving

the

mobility

of Parkinson's

disease sufferers than an exercise class (a later study showed similar benefits from T'ai
chi). Because of the level of interest a permanent tango class was set up after the study
ended. A study by Dr Paul Dougall at Strathclyde University in 2010 concentrating on
older women found that Scottish country dancers were more agile, have stronger legs and
can walk more briskly than people of the same age who took part in exercises such as
swimming, walking, golf and keep-fit classes.

42

Another gain of dancing is for those who have high cholesterol, plus drugs and
adequate food, dancing can draw. As an aerobic exercise abridged levels of total blood
cholesterol, especially LDL cholesterol, acknowledged as bad and helps boost levels of
HDL or good cholesterol. Dancing in general increases, muscle strength and flexibility,
which in turn, improves overall range of motion. Dance also increases core strength which
can improve balance, coordination, and posture (which reduces back pain).

COMMUNICATING THROUGH DANCE

Dance, as a theatrical art form, is a powerful form of communication. It may be

created to communicate a broad idea or a specific spark or stimulus from a particular
culture, place or time. Choreographers drive the creative process, experimenting and
developing movement and sequences. These may be inspired by the idea, or new ideas
might be discovered during the process.

43

BENEFIT OF DANCE : IMPORTANT BENEFITS OF DANCE EDUCATION FOR

PRESCHOOLERS

Benefit Of Dance : Dance education enhances physical, emotional, and social skills

Preschoolers benefit from age appropriate instruction that enhances their

physical, emotional, and social skills. When it comes to having fun and learning to dance,
the most engaging classes will include basic elements of creative movement, tap and
ballet, vocabulary, and musicality. If you're looking to encourage self-expression,
creativity, and imagination a creative movement based dance class is a good fit for your
child. Young children experience the love of learning through dance and music. There is a
feeling of accomplishment for your child when they learn a new step, stretch their body,
and

work

together

with

their

class.

Benefit Of Dance : Dance education brings art and music to life for young dancers

Dance is story telling through movement. A class that engages the child in
age appropriate activities incorporating drama, music, creative movement along with the
excitement of basic dance steps gives young dancers skills for self-expression through art.
Over time, children build their skills and deepen their understanding of rhythm and song

44

and how it relates to the visual art of dance. Regardless of skill or experience, dance gives
children a freedom to move in a way that reflects their uniqueness. As a group, dancers
can create a piece for an audience thus deepening their appreciation for dance as a
performing

art.

Benefit Of Dance : Dance education instills the love of learning and growing

Young dancers gain a respect for the art and heritage of dance as a performing art
when they are given an opportunity to actively participate in class. There are joys and
growth occurs when dance education is delivered in a disciplined, yet positive
environment that encourages the development and full self-expression of each dancer,
regardless of age or experience. Over time, young dancers will discover that there will
always be new steps to learn that build on one another. They are inspired to try new things
once they master skills along the way. These benefits enhance learning at home, in school,
and in other activities.

Children as young as two years old can enjoy the benefits of dance education. The key to
keeping it fun is to find a program that has creative movement at the core. Seek teachers
and schools that understand the unique needs of early childhood. Ask questions to
determine whether they are a good fit for you and your child based on curriculum and
45

instruction methods. Try some classes to see if your child is happy and learning new
things along the way. Exposure to dance and performance gives young children another
way to express their emotions through story-telling plus reap the benefits of moving their
bodies through a physical art form.

MENTAL HEALTH

The mental health of your brain can vary much lead right up to benefiting your
dancing by impacting the style or the way you move. It impacts your brain by a lot of
different reasons. For an example, "According to these results, despite problems such as
stress and other potential challenges in being an adolescent girl, dance can result in high
adherence and a positive experience for the participants," says lead study author Anna
Duberg, of Sweden's Center for Health Care Sciences, in a press release. "[This] might
contribute to sustained new healthy habits." Swedish researchers, writing in the JAMA
Pediatrics, studied 112 teenage girls who were struggling with problems including neck
and back pain, stress, anxiety, and depression. Half of the girls attended weekly dance
classes, while the other half didn't. The girls who took the dance classes improved their
mental health and reported a boost in moodpositive effects that lasted up to eight
months after the classes ended.

46

A recent study done in Perth Western Australia by Debbie Duignan (WA

Alzheimers Association) explored the use of Wu Tao Dance as a therapy for people with
dementia. It was shown that Wu Tao dance helped to reduce symptoms of agitation in
people with dementia. Many cultures agree that there is a mind and body connection, and
many cultures use dance to heal this often damaged connection. During the African
diaspora individuals used dance therapy to treat the trauma that resided from their
situations. Dance therapy is suggested for patients today as treatment for emotional and
therapeutic support, as dance allows individuals connect to their innermost emotions and
minds.

RISK OF DANCE

There are various health risks of professional dance, as it can be very demanding.
As well as sports injuries, repetitive strain injury, and chronic workplace stress. Dancers
risk injury within the course of their career, many retiring from active performance in their
mid to late 30s. Since dance is a performance art with emphasis on aesthetics, dancers are
also at a higher risk of body image problems and eating disorders such as anorexia
nervosa or bulimia. Dancing, especially ballet, are very strenuous on the body. Research
shows that dancers in elite pre-professional companies have 1.38 injuries per 1000 hours
of dancing, with dancers averaging about 30.3 hours per week. The most common injury
47

was to the lower extremities, with ankle being the most common. The injuries on average
took about 7 days to heal with foot injuries taking the longest at 14 days and thigh injuries
being the lowest at 2 days.

INJURIES

Many dance movements, and particularly ballet techniques, such as the turnout of
the hips and rising on the toes (en pointe), test the limits of the range of movement of the
human body. Dance movements can place stress on the body when not performed
correctly; even if perfect form is used, over-repetition can cause repetitive strain injury.
Examined in the Journal of Dance Medicine and Science, dancers often put off
consultation from doctors or physical therapists in the effort to stay employed by a dance
company or to stay in rehearsals. When in fact those dancers that "work through" their
pain more often than not end up worsening their symptoms and prolonging their recovery.
Eighty percent of professional dancers will be injured in some way during their careers; 50
percent of dancers from large ballet companies and 40 percent from small companies will
miss performances due to injury. The practice of "plieing" (bending one's knees deeply)
after landing each jump may seem innocuous, but failing to do so may result in shin
splints or knee injuries.
48

Overwork and poor occupational health and safety conditions, a (non-sprung)

hard floor, a cold studio or theater, or dancing without sufficient warm up also increase
risk of injury. To minimize injury, dance training emphasizes strength building and
forming appropriate habits. Choreographers and dance instructors will often put certain
demands on their students and dancers without taking into consideration that each dancer
is faced with different anatomical limitations. Dancers will strive to achieve the ideal
aesthetic in their respective dance technique by over compensating for their limitations
and thus presenting themselves with a higher risk for injury. Also damage may result from
having a student perform movements for which they are not prepared, care must be taken
that the student is not "pushed" inappropriately.

A dancer put en pointe at an age where his or her bones have not
completely ossified may develop permanent damage; even past the point of ossification,
ankle injuries can result if a dancer goes en pointe without sufficient strength. According
to a study conducted by Rachele Quested and Anna Brodrick, the lower extremities are the
vulnerable to injury. The most common injury is to the ankle, then leg, foot, knee, hip and
finally the thigh. Dancers are trained from a very young age to avoid injury by using plie,
turn out, and other means to protect their bodies.

49

Avoiding injury

Even for social dance the use of a sprung floor is highly recommended. Because
a dance injury can ruin a career professional dancers are increasingly refusing to dance on
anything else. In ballet good plieing (bending the knees) on landing helps protect
against knee injuries and shin splints. Many types of dance, especially folk dances, have
hops in the steps where the impact of landing can be reduced by slightly bending the
knee. Warming up and cooling down exercises are recommended before and after
exercises to avoid strain, muscle pains, and possible injury. Conditioning is a good way to
prevent dance injuries.

Treatment of injuries

RICE (Rest, Ice, Compression, Elevation) is generally regarded as a good first aid
therapy for most dance injuries before the ambulance comes, or even for what may be
thought of as minor injuries. Pain and inflammation can be reduced using a non-steroidal
anti-inflammatory drug (NSAID) in a gel applied to the affected area (not on broken skin),
note however that masking a pain to continue dancing is dangerous as it can easily make
an injury very much worse.
50

STRESS

Professional dancers may experience chronic workplace stress with an uncertain

work situation. The average income for a ballet dancer is low, and competition for jobs is
very high. In addition to the stress that may be caused by this, dancers also may
experience the psychological distress from technical and physical "perfectionism". As with
other activities (such as horse jockeying) where weight is a factor, dancers are at a higher
risk for developing eating disorders such as anorexia and bulimia. Many young dancers,
believing that the ideal dancer must be thin, may begin controlling their diets, sometimes
obsessively. Such dancers may be unaware of or may choose to ignore the fact that
an emaciated dancer will not have the strength required for ballet. It is also highly relevant
that inadequate nutrition in adolescent females has been linked to development of
scoliosis, due to decreased oestrogen production and subsequent reduced bone density. A
dancer with poor nutrition is at a higher risk for injuries and long-term health problems. A
malnourished dancers performance will be altered and weaken as his or her body starts to
break down muscle and bone in order to fuel itself. This puts the dancer at risk for injury
and slows the healing of chronic injuries. In a survey of 300 professional dancers, 40%
were tobacco smokers in contrast with the Center for Disease Control average of 24% of
American women and 29% of American men aged 1834.

51

SCIENTIFIC STUDY OF DANCE

Dance science is the scientific study of dance and dancers, as well as the
practical application of scientific principles to dance. Its aims are the enhancement of
performance, the reduction of injury, and the improvement of well-being and health.
Dance requires a high degree of interpersonal and motor skills, and yet seems built into
humans. It has therefore increasingly become the subject of neurological studies. The July
2008 edition of Scientific American contains a summary of recent studies and further
questions.

RELATED OCCUPATIONS

Dance therapy or dance movement therapy is a form of expressive therapy,

the psychotherapeutic use

of

movement

(and dance)

for

treating

emotional, cognitive, social, behavioral and physical conditions. Many professionals

52

specialize in dancer's health such as in providing complementary or remedial training or

improving mental discipline.

Dance is not just a dance. It may help people for their living. Some people can
use their talent in dancing to earn money and to have a successful career. Here are some
questions and answers to a dance teacher.

What do you do for a living?

I am a professional dancer/choreographer and teacher. I also run my own
corporation titled 3D Dance Network, INC. which produces and creates opportunities for
dancers.

How would you describe what you do?

My main profession is traveling and teaching dance to all ages. I work with
private workshops along with conventions like Co. Dance and Dance Olympus. I also
produce and host a summer tour of tap intensives called Tap into the Network. Other side

53

projects include mixing music, writing for dance publications, and having my own tap
company, Tap Sounds Underground.

What does your work entail?

Teaching all ages in usually tap, musical theater, jazz and hip hop. Also, with
running my own corporation, I also need to manage finances and organize details for
traveling and shows.

Whats a typical work week like?

I teach 2-3 days during the week locally in LA and then travel around 40
weekends a year, with another 15-20 weeks, teaching and choreographing. This includes
preparation and coordinating music.

How did you get started?

54

My mom taught dance when I was young and she put me in class to keep me
occupied. I was a very hyper kid and tap dancing was the one art form that I gravitated
towards that challenged me and taught me focus.

What do you like about what you do?

Just to say out loud I dance for a living is awesome. Also, with teaching and
creating projects, it is amazing to see people achieve what they want and enjoy the sense
of movement. I would not be at peace with my life if dance did not exist in it. To create
this for others is the most satisfying.

What do you dislike?

I would say the constant traveling can be grueling. And sometimes when I end
up teaching discipline and rules instead of dance. I feel that this is the responsibility of the
parents/guardians, so it can be frustrating as a few students make it difficult for the full
class. With that said, my motto is: A good teacher teaches what they want. A great
teacher teaches what is necessary.

55

How do you make money/or how are you compensated?

I get paid independently from studios, conventions, etc I also sell my own
instructional DVDs along with music. Lastly, with working professionally, you can make
residuals on movies, TV shows and commercials. This is where every time it is played or
sold, you make a small amount. Adds up after many jobs.

How much money do Choreographers make?

This can range from $400-$20,000 for the day. Depends on your resume, and
type of job. A lot of times, you are compensated not just for the time on set or in the
studio, but for all the preparation time and direction of concept.

How much money did/do you make starting out as a Choreographer?

56

You usually can get paid $1000 for the day with film or TV or stage show. If you
are choreographing in a studio for recital or competition group, you could start anywhere
from $350-$500 for the routine, depending on the size of the routine. Sometimes, if you
visit or see the students numerous times, you might get paid your hourly rate, which can
add up more over time.

What education, schooling, or skills are needed to do this?

You can go to college to get a degree in dance, but it is not necessary. A lot of
known choreographers, grew up around dance at dance studios, worked professionally for
a bit then developed into choreographers. Skill set varies with what style of dance. In the
big scheme of things, the more you study and learn of all styles of dance, allow you to
create your own style which helps you stand out.

What is most challenging about what you do?

I would say the traveling again.

57

What is most rewarding?

Experiencing the people and opportunities throughout my career.

What advice would you offer someone considering this career?

Be patient and never forget that passion you have for dance. So many dancers
have certain expectations, and when they dont occur, then frustration sets in and the
passion can get lost. Also, always have another vocation to help with the financial side of
things. You can make a lot of money dancing, but it takes time, so set your self up so that
you can be patient and not have to stop dancing because of finance problems.

How much time off do you get/take?

Maybe 3-4 weeks total a year. Its very time consuming, but worth it.

What is a common misconception people have about what you do?

58

That because we are dancing, its not a real job. Teaching dance alone, helps so
many kids and adults with self expression, confidence and personality. And thats not
even tapping into the physical benefits of being fit, flexible and healthy.

What are your goals/dreams for the future?

Not to sound cliche, but just continuing doing what Im doing and creating more
opportunities for the community of dance.

What else would you like people to know about your job/career?
Be prepared and remember that a professional dancer/choreographer is not just a
job but a life style!

DEVELOPMENT OF DANCE THROUGH THE CENTURIES

59

Long ago .Carole, the root dance from which all court dances developed. It was
a chain dance and perhaps dates back to the Minoan civilization in Crete, c. 1400--1200
B.C. There were two forms: linear and circular.Farandole, a linear chain dance
characteristic of Mediterranean countries, which gave us figures -- dancers joined hands
and walked or skipped, tracing a pattern or "figure."Branle, a circular or arc chain dance
characteristic of more northern countries, which gave us rhythms and steps -- quicks and
slows, jumps and hops, and the eight-beat phrase: slow, slow, quick, quick, slow.

Early Middle Ages. Estampie, the first couple dance, arising out of the idea
of courtly love. One couple broke from the chain and, still side-by-side, danced a few
figures while the rest of the group looked on. Too, where the Carole had no focus, but
milled amorphously, the Estampie had a front, a focus on the head of the hall (king, lord,
duke . . .). This development gave rise to a dichotomy between folk dancing and court
dancing.German Saltarello or Allemande, another partnered processional dance.

15th Century. Late Middle Ages France. French Basse Danse, a processional
dance, a number of couples, one behind the other, progressing around the circumference of
the hall, in 3/4 time, with elaborate, rigidly stylized steps and arm and head movements.
Characterized by opposite footwork and actions for the woman. Tordion, a jumping dance
that led to the Galliard.

60

Early Renaissance Italy. Italian Bassa Danza, a slow and stately court dance.
Here, we see the beginnings of rise and fall (called Aiere) on marble floors, rather than flat
walking out of doors or on the rushes covering a castle floor. There was also the use of
contra-body position (called Maniera, ("mannerism") and paulement in ballet).Ballo, a
dance consisting of both slower rhythms and quicker, more peasant-like rhythms.

16th Century. High Renaissance France & England; Queen Elizabeth I,

Shakespeare. Pavane, a slow, simple, controlled processional or couple dance. Measures,
a slow figure or formation dance Galliard, an athletic dance mainly for the man with the
woman in relatively quiet admiration. It was the first symmetrical dance -- it led with each
foot equally. For an example, listen to the 19th century aria 'La donna e mobile' from
Verdi's Rigoletto. Volta, an athletic couple dance that involved regular lifts of the woman
(scandalous -- one might glimpse her knees or more -- but Queen Elizabeth enjoyed it).
Almain, meaning "German" dance, a peasant-like processional dance featuring an escort
hand hold and consisting of three steps and a hop, repeated, and various simple figures.
Coranto, a chain dance with regular one-foot hops and two-feet jumps.
17th Century. Louis XIV (1638--1715) France and Stuart England. Slow
Courante, derived from the Coranto but a couple dance rather than chain, formal rather
than casual, slow and stately, smooth and composed, and "with great negligence." From
now on, court dances must never look as though we are making an effort -- no jumps, no
61

lifts. One or one-and-a-quarter inch heels and an upper-class habit of walking with turnedout toes became common. All this was a transition from an Italian Renaissance style to the
French Baroque.

18th Century. Western Europe, French Court, French Revolution (1789-1799), Georgian England, 1714--1830, Henry Fielding and Jane Austen. Minuet, a
rigid, stylized, couple, processional, geometric pattern dance; the last dance in which we
use same footwork rather than opposite. The five classical foot positions are formalized
(first through fifth position). Where rise and fall had involved "rise above normal and then
sink to normal," in now involved "sink below normal, rise above, and then return to
normal." The idea of not contra-body but contra-arm work became stylized. If the left foot
were forward, then the right arm would be raised or otherwise prominent. Passepied,
literally "pass the feet," a fast minuet. Gavotte, a medium to fast ballet. At the end, the lead
man would kiss his partner and then all the women in the group, and the lead woman
would so honor the men. Bourree, an easy-going square dance to 3/4 and 2/4 music.
Cotillon, a lively square dance for four couples, one on each side of a square. In the
nineteenth century, it acquired game-like components (e.g., musical chairs) with winners,
losers, and prizes. Gigue = Jig, a lively dance for one, two, or more people featuring fast
stamping footwork and a quiet torso. Hornpipe, an energetic dance that features stylized
sailors' skills, such as climbing, rigging, and hauling anchor.

62

19th Century. Regency England, 1795--1837, Industrial Revolution,

Victorian Era, 1837--1901, Napoleonic Wars, 1803--1815. Waltz, "the greatest change
in dance form and dancing manners that has happened in our history." The first appearance
of closed position in polite society -- not hand in hand but arm around waist; not side by
side but face to face; not focused on the king, dance leader, or on fellow dancers but
focused on each other. The rapid rotation was dizzying, exhausting, and led to a loss of
control. Where earlier 3/4 music had a strong first and second beat, waltz music had a
strong 1-beat, a weak 2, and a medium 3. It was hypnotic (think Strauss).Boston, a slower
version of the waltz with feet parallel and heels touching the floor. (In 1924, ISTD decreed
that our feet should remain parallel -- no more "turnout." A rule that had lasted over 300
years was "repealed.") Galop, fast, lively, closed position, a forerunner to the polka.
Mazurka, Polish couple dance. Habanera, Cuban couple dance. Schottische, another
couple dance. Polka, a jolly couple dance to 4/4 music that incorporates a little jump.
Quadrille, a lively square dance for four couples. Lancers, a more stately square dance for
four couples, containing military bows and salutes and deep curtsies.

20th Century. Edwardian England, WWI, 1914--1918, WWII, 1939--1945,

Queen Elizabeth II, 1952--present. Two Step, grew out of the nineteenth century galop
and the polka, and at first was a vivacious marching dance with interpolated skips. There
is no rise and fall, as in waltz.One Step, smooth, steady, walking rhythm in which the
dancer walks on every other beat (a "slow" count) or runs on every beat (a "quick" count).
It evolved out of the two step. Tango, an earthy, erotic, proud, and passionate dance with
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the look of a stylized duel, partners stalking each other in a restless prowl, bodies pressed
together, intense eye contact, and legs thrusting in attack. Later, much of the flirtation,
temptation, and maybe passion were taken out."Animal" dances like the Turkey Trot and
Bunny Hug arose out of ragtime music. Vernon and Irene Castle showed that one could
dance beautifully to ragtime. The Castles' presentations of the one step, two step, waltz,
and tango were so popular that Vernon has been called the "father of modern dancing."
Charleston, three more ragtime dances from the '20s. Black Bottom,Varsity Drag

1920s- Henry Ford promotes square and round dancing in Detroit.1930s & 40sLloyd Shaw promotes square and round dancing in Colorado Springs. 1950s- Printed
"Dance Instructions," later to become cue sheets. The first syllabus of standard round
dance figures was printed. 1960s- Round dances are still mostly memorized but cueing
was beginning to be used. 1970s- Cueing becomes popular.

III.CONCLUSION

The more we learn about Latin dance and the truth about the cultures that gave
birth to it, the more we see that modern Mexican and Latin American dances, from
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Mexican folklrico dance to salsa and rumba, as well as others such as merengue, tango
and samba, are a way of non-verbal communication to express peoples beliefs, ideas, or
culture, in the same way that the ancient Aztecs used dance. The utilization of dance as a
physical language is a human system of communication that very likely characterizes all
cultures past, present, and future . This is what many people may fail to see when
watching a dance performance. Dance and music have emerged as potent symbols of
identity for ethnic groups and nations worldwide , which is often overseen. People tend
to see these dances as entertainment when in reality there is much to learn about the
culture through their dancers.

This is the reason why learning about dance is very

important. Dancers learn much more than just movement techniques. It is apparent that
because of this form of expression, many cultures have communicated and achieved their
social and political needs and goals. Given that this is true, maybe we need to continue to
give dance more scholarly attention than it currently receives.

The inclusion in statutory learning frameworks of any subject depends on the

contribution it offers to the educational experience and I believe dance has enormous
potential for enabling students to develop many skills that are fundamentally important to
life, such as problem-solving, creativity, critical, expressive and communication skills. It
also evidently has physical benefits such as supporting the development of childrens
balance, co-ordination, motor skills, etc and can play a positive role in promoting fitness
and healthy lifestyles, an concept actively supported by the NHS in their Change for Life
campaign.

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In addition, it also allows students to work collaboratively to imaginatively

develop and challenge both their own knowledge and understanding, and that of others, by
listening to, and talking about, all their different ideas.

ELECTRONIC SOURCES:

http://libguides.dixie.edu/c.php?g=57906&p=371835
https://en.wikipedia.org/wiki/History_of_dance
http://www.historyworld.net/wrldhis/PlainTextHistories.asp?historyid=ab82
http://www.dancefacts.net/

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http://www.infoplease.com/encyclopedia/entertainment/dance-the-origins-dance.html
http://www.dancefacts.net/dance-history/
http://seattledancesofuniversalpeace.org/brief_history.htm
https://en.wikipedia.org/wiki/Dance_and_health
http://www.dance-teachers.org/dance-styles/the-benefits-of-dance.aspx
https://www.betterhealth.vic.gov.au/health/healthyliving/dance-health-benefits
http://www.rounddancing.net/dance/articles/developmentofdancethroughcenturies.html
http://chandrakantha.com/articles/indian_music/nritya/bollywood.html
https://en.wikipedia.org/wiki/Gangsta_Walking
https://en.wikipedia.org/wiki/Popping
https://en.wikipedia.org/wiki/Locking_(dance)
https://en.wikipedia.org/wiki/Electric_boogaloo_(dance)
https://en.wikipedia.org/wiki/Bounce_music
http://www.jobshadow.com/interview-with-a-professional-dance-teacherchoreographer/?
doing_wp_cron=1457420215.9161069393157958984375
http://danceplus.uk.com/the-role-and-value-of-dance-in-education/

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