PE Reviewer PDF

**\[ Yana Notes: i did not include information na i confirmed with laoshi ericka na hindi maapil sa exam \]** **LESSON 1: DANCES FROM THE PAST** **DANCE** - part of human life - essential element in different cultures, traditions, celebrations, and important rituals. - performed for s...

**\[ Yana Notes: i did not include information na i confirmed with laoshi ericka na hindi maapil sa exam \]** **LESSON 1: DANCES FROM THE PAST** **DANCE** - part of human life - essential element in different cultures, traditions, celebrations, and important rituals. - performed for self-expression, recreation, competition, means for having active lifestyle **HISTORY OF DANCE** - Dance comes from german word "**damson**" meaning **to stretch/to drag** - Oldest among all arts - Natural expression of united feeling and action **PREHISTORIC PERIOD** - Dance as everyday movements - Important means of communication revolving around life events (e.g., birth, puberty, courtship, marriage, death) - **Shamans** (said to possess magic) were physicians, religious leaders, and lead dancers **ANCIENT CIVILIZATION PERIOD** - Egyptians' primary way of expressing their religious services and teaching about their ancient myths - Major dancers: **The king, the priests, the virgin dancers** - Classifications: pure movement/spontaneous dances, acrobatic dances, imitative dances, pair dances, group dances, war dances, dramatic dances, lyric dances, grotesque dances, funeral dances, religious dances **ANCIENT CRETE** - Dances intertwined religious ceremonies, fertility rites, myths, and symbols - Used dance to perfect their timing in their army (according to Homer, a greek writer) - Cretan women performed a circle dance, holding hands around an outside altar and purified whatever is in the center (acc. Sappho, greek poet) **ANCIENT GREEK** - Dances were organized and structured - **95140 body movements** existed in these dances - Dancers were required to sing while performing - Army performed dance to inflame courage and give strength to preserve in the paths of honor and valor - **Phorai and Cheironomia** - greek terms describing the *carriage of the body during dance and mimetic gestures* - **Schemata** - *form and shape of gestures*; focuses on execution - **Deixis** - pure dance performed by male greek dancer; portraying essence of a human, animal, or natural element **ANCIENT ROME** - Performed for religious, social, and entertainment - Highlighted burlesque, overly erotic, comic, frightening elements - Dance performers: slaves from Greece and other conquered nations (had low status as professionals and were less respected) - Wealthy Romans preferred to hire and watch dances than dancing themselves - **Salii** (college of 24 dancing priests that are members of noble class) performs war dances in full armor with sacred shield (left) & a staff (right) during roman religious celebrations - **Worshiped the god Mars** and headed rites for purification and funeral ceremonies - Did **fertility dances to honor the god Pan** - **Pantomime** (solo performance of not speaking but acts in stylized form) and mimes were famous performances - *Pantomimist* (person) **MIDDLE AGES AND THE RENAISSANCE** - Dance as showing their manners - Celebration, amusement, and entertainment - Associated with church **(liturgical/sacred)** or society **(secular)** - Priests & Clergy performed ritual processions in eucharistic celebrations - Bishops led sacred devotional dances during feast days and sundays - Feudalism & knighthood (12th Cen) defining codes of decorum, loyalty, bravery, romantic love, and chivalry - Chivalry gave dancing a code of etiquette, manners, and courtly love **ELEMENTS OF DANCE** **1: BODY**  - - - - - a. **Symmetrical** - balanced; identical on both sides b. **Asymmetrical** - unbalanced; not match/completely different from each other **2: ACTION** - - a. **Locomotor** - performer moves [one place to another] b. **Non-locomotor** - done in [stationary] place **3: SPACE** - - 1. **Direction** - travel in any direction (forward, backward, side, etc.) 2. **Level** - high, medium, low  3. **Size** - larger/smaller actions 4. **Focus** - change focus by looking at different directions **4: TIME** - - **5: ENERGY** - - **LESSON 2: DANCING TOWARDS THE 21ST CENTURY** **LATE 16th & 17th CENTURIES** - Dancers and personalities exerted remarkable influence as builders of ballet - **France**: forerunner in dance - Catherine de Medici's (Queen of France 1547-1559; Married King Henry II) transfer to France + Le Ballet Comique de la Reine (1581; performed by italian entertainers by the queen for wedding of son's fav friend) = italian court influence on dance transferred to french court - Male Dancers in Court Ballet played both male and female roles - **Mila La Fontaine**: first female professional dancer of Academie Royal de la Musique et de Dance (1681) - 3 SIGNIFICANT BALLETS IN 17TH CEN a. **Ballet de la Nuit** (1653) - - b. - - c. - - - **18th CENTURY** - Dance in Ballroom & Theatrical Performance separate technically and aesthetically a. **Technical** -- retained the ballroom techniques in which we see in classical ballroom performed b. **Aesthetical** -- still uses the ballroom fundamental elements of ballroom but developed into dancesport or competitive ballroom dance - Establishment of Paris Opera: male and female professional dancers were given equal opportunity - **Danseurs nobles** took *leading roles* in ballets - Prof. female dancers enhanced movements with beat, turns, & leg extensions - Common themes: Mythology, Fantasy, Realism **19th CENTURY** - Romantic Era  a. Female dancers: lead roles (appeared as winged, unearthly beings like nymphs and fairies) b. Male dancers: supporting roles - Code of etiquette when attending a ball must be strictly followed by male and females - Master of Ceremonies: prepares set of written ballroom guidelines, activities, & written instructions for the dances - BALLROOM DANCES OF 19TH CEN a. **Cotillion** - many figures; requires practice [by group] b. **Polonaise** - [partners dancing side by side behind a lead couple]; performed in triple time; has one step repeated throughout c. **Quadrille** - [stately manner then in an accelerated one]; introduced to english society in 1815 d. **Waltz** - [triple time by single couples in close embrace]; wild hopping, stamping, throwing of female partner in the air; from german landler and southern german folk dances e. **Polka** - [quick, hopping steps, 2/4 time music]; originated from Poland (former Czechoslovakia) **20th CENTURY** - Early part is described as **"dance fever"** - DANCES/MUSIC: a. **Ragtime** - syncopated melodic line b. **Castle Walk** - - c. **Charleston** - - - d. **Black Bottom** - similar to charleston; from New Orleans e. **Lindy Hop** - combination of jazz, tap, breakaway, & charleston; sometimes referred as a street dance f. **Boogaloo** - combination of latin, african american, rhythm and blues, rocknroll, soul music g. **Twist** - - - - h. **Psychedelic Dance** - - - i. **Disco** - 1970s "[dance bang]" with disco jocks creating music from jazz, soul, & rhythm and blues j. **Dance Trends** - - - k. **Macarena** - hit US 100 song for 60 weeks and became the dance craze with its arm movements and hip-swiveling l. **Street Dance** - - - **LESSON 3: INTRODUCTION TO PHILIPPINE FOLK DANCE** **FOLK DANCE** - dance that [reflects life of the people of a certain country] or region - passed from generation to generation **Francisca Reyes Aquino** (Mar 9, 1899 - Nov 21, 1983: Age 84) - [Mother of Philippine Folk Dancing] - Thesis: Philippine Folk Dances and Games (1926) - Books: a. Philippine National Dances (1946) b. Gymnastics for Girls (1947) c. Dance Steps and Music (1948) - helped by **Ramon P. Tolentino** in promoting ph folk dances in PE classes - assisted by **Antonio Buenaventura** in composing and recording music for the dances **NATURE OF PHILIPPINE FOLK DANCES** **LUZON** - northern part - cordillera tribes - DANCES: a. **Idaw ** - hunting ritual before a tribal war - tribesmen search and watch scared [idaw bird]  b. **Banga** - Cordillera women on their way to the river to [fetch water] for their families - women carry fix or six clay pots full of water on their heads c. **Idudu** - [Itneg or Tinggian couple] - take turns in taking care of children while doing daily work on fields **VISAYAS** - group of islands in central PH - most have western, arabian, & spanish influences - draw inspiration from animal movements - DANCES: a. **Tinikling ** - - - b. **Kuratsa** - - - c. **Itik-itk** - - d. **Inalimango** - - **MINDANAO** - southern part - often reflects religion and culture of muslim filipinos - DANCES: a. **Singkil** - - b. **KiniKini** - - - c. **Asik** - - d. **Pangalay** - - - **GENERAL CLASSIFICATIONS OF DANCES** **LESSON 4: PHILIPPINE FOLK DANCE** **GENERAL TERMS** **Clockwise** - moving any part of the body (hands, arms, shoulders) like the motion of a clock's hands **Counter-clockwise** - reverse direction of motion of the clock's hands **Set** - dance formation (square or unit formation composed of 2 or more pairs) **BASIC ARM & FEET POSITIONS** **First Position** a. arm - both arms circle in front of the chest b. feet - heels close to touch; toes apart **Second Position** a. arm - open arms sideward b. feet - feet apart sideward **Third Position** a. arm - one arm overhead, other remains in 2nd position b. feet - heel of one foot touch instep of the other foot **Fourth Position** a. arm - one arm remains overhead, one arm in front of chest in half-circle b. feet - one foot in front of the other foot to walk strike **Fifth Position** a. arm - both arms overhead b. feet - heel of one foot touch toes of the other  **HAND & ARM MOVEMENTS** **Hands on Waist** - hands at the waistline, knuckles in, fingers pointing in rear **Hayon-hayon** - one forearm in front and the other at the back of the waist **Masiwak** - turn hands from the wrists *halfway clockwise*, then raise and lower once or twice **Kumintang** - move the hand from the wrist in a clockwise or counterclockwise direction **Arms in Reverse T** - arms on side horizontal position, elbows bent at right angles, forearms parallel to head, palms forward or facing inward, fists loosely close **Arms in Lateral Position** - both arms at one side, either sideward right or left. may be done at shoulder, chest, or waist level **Salok** - swing arms *downward-upward* passing in front of the body as if scooping. bend trunk forward following the movement of arm doing the salok **FEET MOVEMENTS** **Place ** - foot in certain or desired position without putting weight on it - sole of foot rests on the floor **Point** - touch floor lightly with toes of one's foot, while weight of body is on the other food **Free Foot** - foot not bearing weight of the body **Supporting Foot** - foot bearing the weight of the body **Slide** - glide foot smooth along the floor **Draw** - pull one foot along floor close to the other which has the weight of the body **Brush ** - weight on one foot, hit floor with the ball or heel of the other food after which that foot is lifted from the floor to any direction **Cut ** - displace one foot with the other, completely taking off the weight of the body from the displaced foot **Hop**  - spring from one foot and land on the same foot in place or in any direction. other foot may be raised in any direction **Jump ** - spring on one foot or both feet and land on both feet in any direction **Leap ** - spring from one foot and land on the other foot in any direction **Tap**  - tap slightly with the ball or toe of the free foot. no transfer or weight **Stomp ** - bring foot forcibly and noisily on the floor with or without transfer of weight **Panadyak** - stomp or stamp in front or at the side with right or left foot and tap with same foot close to the right or left food with the weight of the body on the right or left foot **Pivot** - turn with the ball, hell, or whole foot on a fixed place or point **Whirl ** - make fast turns by executing small steps in place to right or left **Sarok ** - cross right or left foot in front of left or right foot, bend body slightly forward, and cross forearms down in front