HOPE-3-REVIEWER.pdf

Traditional folk dance is a dance that has arisen from the cultural traditions of the people of a certain country or region. It reflects the life of the people and is passed down from one generation to another. Folk dance is the oldest form of dance and can be one of the earliest forms of co...

Traditional folk dance is a dance that has arisen from the cultural traditions of the people of a certain country or region. It reflects the life of the people and is passed down from one generation to another. Folk dance is the oldest form of dance and can be one of the earliest forms of communication. Folk dance may differ depending on the culture of its origin. The Philippines on the other hand has a wide variety of folk dances. Pandanggo Rinconada A festive dance from the province of Bicol showing the happy and contented life of people. Tinikling A dance originated from the province of Leyte depicting long-legged bird named tikling which was trying to avoid the bamboo traps placed by the farmers. Some accounts said that the Tinikling came from the word "tinik" or thorns. They said that thorns were placed in a bamboo poles and being clapped hardly by the Spaniards to serve as punishment for lazy farmers. Maglalatik A mock dance originated from the province of Laguna depicting the war that happened between the Christians and Moros fighting over a latik or a delicacy made from caramelized coconut crumbs. Singkil A dance originated from the Maranao people from the shores of lake Lanao. It is the retelling of an episode from a Maranao epic legend Darangen in which Prince Bantugan is on the mission of saving princess Gandingan which was abducted by the diwatas. The clashing of bamboos represents the wrath of gods by trembling the ground in which prince Bantugan fascinatedly watch the graceful way of Princess Gandingan avoiding the moving soil. Common Dance Terms After learning the fundamental arms and feet position, one must familiarize on the common dance terms so that they can execute the steps properly. Abracete - Girl at the right side, holds Right arm of partner with her Left hand, free hands down at the sides. This term is of Spanish and is used in Rigodon and in other dances. Arms in Lateral Position - both arms are at one side, either sideward right or left. This may be done at shoulder chest or waist level. Arms in Reverse "T" position - Arms are side horizontal, elbows bent at right angles, forearms parallel to head, palms forward or facing inward, fists loosely closed.  Bilao - To turn hands up and down alternately, hands at waist level in front, elbows close to waist. Brush - Weight on one foot, hit the floor with the ball or heel of the other foot (the free foot) after which that foot is lifted from the floor to any direction. Cabeceras - When dancers are in square formation, the couples occupying the width of the hall are called "cabeceras" or head couples. This is of Spanish origin. Clockwise - Like the motion of the hands of the clock. Right shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the left. Counterclockwise - The reverse direction of clockwise. Left shoulder is toward the center of an imaginary circle. When facing center, the movement is toward the right. Costados - When Dancers are in square formation, the couples occupying the length of the hall are called "costados" or side pairs. This is of Spanish origin. Crossed arms - Partners are facing each other or standing side by side, girl at the right of boy. They join their Left hands together and their Right hands together either Right over Left- or Left-over Right hands. Cross-Over - Two couples (the vis-à-vis) are opposite each other. Each couple proceeds in a straight line to the opposite place. The girl passes by their Left shoulders between the boy. Boys bow to each other when they meet at the middle or at about one-third of the way, then proceed to the opposite place. Upon reaching the opposite place, partners turn-about, girls stand at partners' right side. Cut - To displace quickly one foot with the other, thus completely taking off the weight of the body from the displaced foot. Do-Si-Do("Dos-a-Dos") - The vis-à-vis (opposite) both advance forwards, pass each other's right (or left) side, step across to the right (or left), move backward without turning around pass each other's left (or right) side to proper places. This is of foreign origin and is used in many Philippine dances. Draw - To pull one foot along the floor close to the other which has the weight of the body. The weight may or may not be transferred. Free Foot - The foot no bearing the weight of the body. Free Hand - The hand not place anywhere or not doing anything. Hand on Waist - Place hands at the waist line (at the smallest part of the trunk), knuckles in, fingers pointing in rear. Hapay - To flourish or offer a handkerchief, hat or glass of wine to somebody as a sign of invitation. Hayon-Hayon - To place one forearm in front and the other at the back of the waist. This is a Visayan term. Hop - A spring from one-foot landing on the same foot in place or any direction (in front, in rear, sideward or across). Inside Foot - The foot nearest one's partner, when partners stand side by side. Inside Hand - The hand nearest one's partner, when partners stand side by side. Jaleo - Partners turn once around clockwise (with right elbows almost touching) or counter clockwise with left elbows almost touching) using walking or any kind of dance step. The hands near each other are on waists. This is a tagalong term but is of Spanish origin.  Jump - Spring on one foot or both feet, landing on both in any direction. Kumintang - Moving the hand from the wrist either in a clockwise or counterclockwise direction. This is an Ilocano term. Leap - A spring from one-foot landing on the other foot in any direction (forward, sideward, backward or oblique) Masiwak - To turn the hand from the wrist half-way clockwise then raise and lower wrist once or twice. This is an Ibanag term. Outside Foot - The foot away one's partner, when partners stand side by side. Outside Hand - The hand away from one's partner, when partners stand side by side. Place - To put the foot in a certain or desired position without putting weight on it. The sole of the foot rests flat on the floor. Point - Touch lightly with the toes of one foot, weight of the body on the other. Saludo - Partner bow to each other, to the audience, opposite dancers, or to the neighbor. Sarok - Cross the Right (or left) foot in front of the Left (or right), bend the body slightly forward and cross the hands down in front with the Right (Left) hand over the Left (Right). Set - A dance formation like a quadrille or a unit composed of two or more pairs. Stamp - To bring down the foot forcibly and noisily on the floor (like doing heavy steps). Step - To advance or recede by raising and moving one foot to another resting place. There is a complete transfer of weight from one foot to the other. Tap - To tap lightly with the ball or tip of the toe, placing weight of the body on the foot. There is no change or transfer of weight here. The Elements of Dance The Elements of Dance are the foundational concepts and vocabularies that help students develop movement skills and understand dance as an artistic practice. The acronym BASTE will help you remember the elements: ❖ B-Body ❖ A-Action ❖ S - Space ❖ T-Time ❖ E- Energy Modern Dance is a broad genre of western concert or theatrical dance which included dance styles such as ballet, folk, ethnic, religious, and social dancing; and primarily arose out of Europe and the United States in the late 19th and early 20th centuries. Its roots can be traced in Europe while the innovations in the dance were made in the United States by the choreographers and pioneers of the said genre. It was developed against the rigid rules and structured steps of classical ballet. It was brought about by the cultural factors and socioeconomic status around that period. Modern Dance Choreographers and Pioneers and Their Contributions to Modern Dance There are many choreographers and pioneers who contributed to the history and development of modern dance. These include the following. 1. Isadora Duncan - she was considered as the inventor of modern dance. She was an American dancer and choreographer who set focus on creating movements guided by breathing and gravity, she also made use of bare foot, loose hair, free-flowing costumes, and emotional expression incorporated with humor in her dance performances. She gained inspiration from various sources such as natural forces, folk dances, social dances, and classical Greek arts. The running, jumping, skipping, leaping, and martor abrupt movements used in new American athleticism also gave her some ideas. Ballet for her was ugly and meaningless gymnastics. 2. Loie Fuller - she was an American burlesque skirt dancer who made use of lighting equipment and translucent silk costumes in her dance performances. Her lighting equipment include colored gels and chemicals which are bumed to create a luminescent effect on her silk costume. Her choreographies are characterized by natural movement and improvised techniques. Her apparatus and methods of stage lighting as well as her voluminous silk stage costumes are protected by patent under her name. 3. Ruth St. Denis - she was an American dance innovator who developed her translations of Indian culture and mythology from the influence of Sada Yacco, a Japanese dancer, and Sarah Bernhardt, a French stage actress. She quickly gained popularity through her dance performances. She did an extensive tour while. 4. Mary Wigman - was a German dancer and choreographer, considered as one of the most noteworthy pioneers in the history of modern dance. Her contributions to the genre are remarkable and she is regarded as the founder of modern dance movement. Her dancing style made use of non- Western musical instruments such as gongs, drums, and bells which effectively created an edgy, contemplative, and gloomy atmosphere in her performances. 5. Kurt Jooss - he was considered as the founder of dance theater. He was a popular German ballet dancer and choreographer. He created and developed dance dramas by combining classical ballet techniques and expressionist modern dance movements. He also established many dance companies including the one located in Essen, Germany which is known as the Folkwang Tanztheater. RADICAL DANCE Radical dance, also known as postmodern dance, emerged because of the rising threat of fascism in Europe. The pioneers of this dance extended their efforts in raising the people's consciousness through their dramatization of the various crises during their time which affected the people in the economic, social, ethnic, and political aspects. Some of the pioneers of radical dance are the following: 1. Hanya Holm - she was a German-born American choreographer who founded the New York Wigman School of Dance in 1931, which later on became the Hanya Holm School of Dance. Among her significant contributions as a pioneer of radical dance is her introduction of the Wigman technique, Rudolf Laban's theories of spatial dynamics and her own American modern dance techniques. Being a founding artist of the first American Dance Festival in Bennington in 1943 was also one of Holm's accomplishments as a choreographer. 2. Anna Sokolow - she was an American dancer and choreographer who was a former student of Martha Graham and Louis Horst. It was around 1930 when she established her own dance company. In general, her compositions are characterized by abstract and dramatic contemporary imagery. They often reveal the full spectrum of human experience that reflects the tension and alienation of the time and the truth of human movement. 3. Merce Cunningham - he was an American dancer and choreographer who was a former ballet student and performer. Together with the American composer named John Cage, he presented his first solo concert in New York in 1944. Because of their collaboration, Cage was able to produce a great influence on Cunningham's artistry. Cunningham made use of postmodern process by embracing modernist ideology. He led the introduction of chance procedures and sought pure movement in choreography. 4. Erick Hawkins - he was an American dancer and choreographer who was a former student of George Balachine, the father of American ballet as considered by many. Hawkins performed in solo before he joined Martha Graham's dance company where he became first male dancer. His interest in the new field of kinesiology led to the opening of his own school in 1951 and inspired him to develop the Hawkins technique. This technique is called the "normative theory of body movement" and is a forerunner of most somatic dance techniques today. 5. Paul Taylor - he was an American dancer and choreographer who was a former student of the Julliard School of Music and the Connecticut College School of Dance. He attracted the attention of several major choreographers through his performance at the American Dance Festival in 1952. In 1954, he established his own dance company. Everyday gestures and modernist ideology were used in his choreography. 6. Alwin Nikolais - He was an American Choreographer who was a former student of Hanya Holm. Some examples of his works are Mask, Props, and Mobiles (1953), Totem (1960), and Count Down (1979). In these works, Nikolais utilized multimedia in a way that the other choreographers were not able to match. According to his belief, the dancer is a talent with the ability to investigate the properties of physical space and movement. Hence, Nikolais did not consider the dancer as an artist of self-expression. This was the reason why he made use of constrictive spaces where his dancers performed and [presented them with costumes that have complicated sound and sets. He let them focus on the physical task of overcoming the obstacles that he put on their way. What is Ballroom Dance? Ballroom dance refers to a set of partner dances, which are enjoyed both socially and competitively around the world. Because of its performance and entertainment aspects, ballroom dance is also widely enjoyed on stage, film, and television. Ballroom dance may refer, at its widest, to almost any type of social dancing as recreation. Two Styles of Ballroom Dancing: 1. Smooth or Standard 2. Rhythm or Latin.