Reading Material

Physical Education and Health 3

Session 1- History and nature of Dance

Dance differs from athletics or other daily activities because it focuses primarily on “aesthetic or
even entertaining experience” (Myers, 2005). Dance has been a major form of religious and social
expression within primitive cultures. It was used as a way of expressing and reinforcing tribal unity
and strength, as an approach for courtship and mating, and as a means of worship and
communication, and therapeutic experience. It was said that the first use if dance was as a gesture
in order to communicate.
Dance comes in different forms:
History of dance
Pre historic era- people in this era performs dance in a way they hoped would appease the forces
of nature or give them new powers of their own. As Krauf and Gaufman (1981) said, “man danced
originally to supplicate the gods on all important occasions of life”. Nevertheless, dances during
this period have not been fully recorded.
Pre-Christian- through middle eastern civilizations, dance became full blown and was highly
recorded in ancient Egypt. It was reflected in their wall paintings, reliefs, and in literary record in
hieroglyphs. Most of dances in this era were chiefly a medium of religious expression.
Ancient Greeks- dance is closely linked with other kinds of experiences. Dancing was taught as
an aid to military education among boys of Athens and Sparta, not just for religious and military
training but also for entertainment and display.
Education- Plato, Aristotle and Socrates are Greek philosophers who strongly asserted that dance
is an art as an integration of body and soul. Plato highlighted two types of music and dancing:
a. Noble- fine and honourable
b. Ignoble- imitating what is mean and ugly
Ancient Rome- they gave less importance in dancing. It stopped valuing such qualities in art as
the nation grew wealthy and powerful. The romans ceased to create and perform within the arts
themselves. Dance became brutal and sensualized since the performers are slaves and captives
from many nationalities, and it was used more often for gruesome purposes (Kraus, et al., 1981).
Eventually dance became part of corruption resulting in the condemnation of dance by early
Christians.
Catholic Church- the development of the Catholic Church in Europe following the fall of Rome
transformed the history of dance. Christian fathers approved the use of dance, provided that its
form and intent were holy and profound. Dances then became part of worships and church services.
Renaissance- dance then was wholly accepted in the courts during early renaissance as the gradual
increase of the capitalist class produced patrons of learning and art in Europe. During the
renaissance, dance and art in general gained impetus. The entertainers now became valuable
appendage to the courts of Italy and France and they were to serve the secular goals of the wealthy
and powerful nobles who had emerged throughout Europe.
A vast dance movement occurred throughout the courts of Europe I the 15th and 16th centuries.
During these times, new court dances performed by the nobility came about as well as the right of
the art of ballet in Italy and France. From then on, several other dance forms continued to sprout
and spread across several countries. Other dance forms also came to light and have been widely
recognized worldwide (Kraus and Gaufman, 1981)
ELEMENTS OF DANCE
Existence is movement. Action is movement. Existence is defined by the rhythm of forces
in natural balance.
 1. Space – this is the area the performers occupy and where they move. It can be divided into
four different aspects also known as spatial elements.
 Direction – dance movements can travel in any direction. The performers can go
forward, side, backward, diagonal, circular, and so on. They may also face any
direction while executing a single movement or several phrases.
 Size – movements can be varied by doing larger or smaller actions
 Level – movements can be done in a high, medium, or low level.
 Focus – performers may change their focus by looking at different directions.
2. Timing – the movements timing may be executed in varying tempo (speed). Performers
move with move with the tempo of an underlying sound, known as a beat or pulse. Timing
can be varied by moving faster or slower than the normal beat.
- When a sequence of movement or a group of phrases is done in varying tempos,
they generate rhythmic patterns.
- The addition of silent or pauses also adds to rhythmic patterns
3. Dance Energies – dance uses different energies and a varied use of these minimizes the
monotony of the movements in a performance. There are six qualities of dance energies.
 Sustained – movements are done smoothly, continuously, and with flow and
control. It does not have a clear beginning and ending.
 Percussive – movements are explosive or sharp in contrast with sustained
movements. They are accented with thrust of energy. They have a clear beginning
and end.
 Vibratory – movements consist of trembling or shaking. A faster version of
percussive movement that produces jittery effect.
 Swinging – movements traced a curved line or an arc in space. The movements are
relaxed and giving in to gravity on the downward part of the motion, followed by
an upward application of energy.
 Suspended – movements are perched in a space or hanging on air. Holding a raised
leg in any direction is an example of a suspended movements.
 Collapsing – movements are released in tension and gradually or abruptly giving in
to gravity letting the body descend to the floor. A slow collapse can be described
as a melting or oozing action in a downward direction.
4. Bodily Shapes – it refers to how the entire body is molded in a space or the configuration
of the body parts. The body can be rounded, angular, or a combination of two. Other boy
shapes can be from wide to narrow and from high to low. They can be symmetrical and
asymmetrical.
 Symmetrical – balanced shape; movements are practically identical or similar on
both sides.
 Asymmetrical – unbalanced shape; movements of two side of the body do not
match or completely different from each other.
5. Group shapes – in this element, a group of dancers perform movements in different group
shapes. They are arranged in ways that are wide, narrow, rounded, angular, symmetrical or
asymmetrical and are viewed together as a total picture or arrangement within a picture frame.

Session 2- Folk dance

Folk dance is a form of dance developed by a group of people that reflects the traditional life of
the people of a certain country, region or community
Ethnic dances or ethnological dances are those performed in primitive tribes have retained their
close kinship with religious ritual and community custom. They can be performed in three different
categories, namely ritual, life-cycle, and occupational.
What are the classifications of folk dance?
Philippine folk dances, regardless of their classifications, may also be categorized as:
1. Life-cycle dances- dances that serve as ritual as one passes to a different stage in life such as
from birth to childhood to adulthood; from singlehood to marriage; and from life to death. Below
are the different dances that portray life cycle:
a. Courtship dances
b. Wedding dances
c. Funeral dances
2. Festival dances- dances that are religious or secular and are connected with the celebration of
recurring events of special significance.
3. Occupational dances- dances that depict the means of livelihood of the Filipino people.
4. Ritual and Ceremonial dances- dances performed as part of the rituals and ceremonies of a
certain tribe or group of people.
5. Mimetic or drama dances- dances that mimic animals, inanimate objects, or other people. The
dancers get into roles other than themselves and become actors totally immersed in the story the
dances tell.
6. War dances- these dances are representation of performers illustrating struggle in a combat or
duel. According to Lopez (2006) these are dances that express feud and enmity wherein two male
dancers engage in physical combat Spartan-like intensity.
7. Social dances- dances that express social graces, hospitality and offerings of gift to friends.
According to Aquino (1979) it is performed by people from high social standing in the community
during special occasions honouring high government officials and church dignitaries.
Nature and Background of Binislakan
Binislakan is a dance from Lingayen, Pangasinan. Lingayen literally means to look
backward and upward which was derived from Chinese “Li-King-Tung”. The folks in Pangasinan
dance in commemoration of the Chinese pirate who lived with them named Limahong. This dance
displays the movement of looking backward and upward with the use of the sticks to produce
rhythm imitating the Chinese chop sticks. Literally in Pangasinan, the use of stick is called
Binislakan.
Binislakan Dance Properties
Music : composed of two parts music 2/4 time in signature
Dance Classification : Social Dance
Place of origin : Lingayen, Pangasinan
Meaning : to look backward and forward
Dance Researcher : Francisca Reyes Aquino

Sua ku sua
Meaning : My Pomelo tree
Dance Culture : Lowland Muslim (coastal)
Place of Origin : Jolo, Sulu
Country of Influence : China, Malaysia, and Indonesia
Ethno-linguistic Group : Tausug
Classification : Courtship Dance

Nature and Background

The Tausug of Sulu, Southern Philippines, though known as fearsome warriors are also
better known as a sturdy seafarers and hardly farmers. Extensive orchards are planted with
coconuts and pomelos and field with staples like rice and root crops.
At harvest time, pomelo fruits are gathered in big baskets before they are sent away. The
Tausugs depends strongly on the income the pomelo bring them and this relationship romanticized
by comparing the sua’s gentle leaves, slender branches, attractive fruits and fragrant to the virtues
of a lady. Put to music, it is this song that is sang by couples while flapping two white fans each
resembling leaves rustling in the wind in the Sua-ku-Sua Dance.
 Sua-ku-Sua performers, some men but especially women come to the festivities with face
thickly covered with finely ground rice powder and their eyebrows and sideburns enhanced with
soot- all for beauty’s sake.

Movements/Steps Particular to Dance

Creative imagery: Fans transform into tiny sails, face mirrors, butterflies, shields and
leaves. Tausug traditional steps with Chinese influence.

Dance Properties
Music: 2/4 and 4/4; composed of three parts: A, B and C. Gabbang- bamboo xylophone shaped
like a small boat. Bamboo slats thinned and cut to graduated sizes to produce three octaves of
pentatonic scale.
Count: 1, 2 to a measure in 2/4 time signature 1, 2, 3, 4 to a measure in 4/4 time signature.
Session 5- Ballroom Dance
Ballroom dancing is a couple’s dance or a set of partner dances moving to the music using step-
patterns and rhythms that match the character of a given song. It is an activity that one can enjoy
at any age both socially and competitively around the world. The word “Ballroom” is derived from
the word “ball” (a large room) and “ballare” which means to dance.
Dance sport is a combination of art and sport. It was called competitive ballroom dancing in the
past. This goes with partners (male and lady) competing against other partners dancing on the floor
at one time.
TWO MAIN TYPES OF BALLROOM DANCE:

Standard Dance

Smooth/ Ballroom style of dance – these are flowing dances that move around the entire
dancefloor in a counter-clockwise fashion. Examples are Foxtrot, Waltz, Tango, Viennese Waltz
and Quickstep.

 Tango- The name comes from Latin word tangere (to touch), a very powerful was the
result, with big movements, dramatic gestures, and quick snaps of the head from one
position to another. This sensual ballroom dnace originated in Buenos Aires, Argentina in
the early twentieth century. While dancing the tango, the lady is held in the crook of the
man’s arm. She holds her head back and rests her right hand on the man's lower hip. The
man must allow the lady to rest in this position while leading her around the floor in a
curving pattern.
 Waltz – is one of the smoothest ballroom dances. It is a progressive dance marked by long,
flowing movements, continuos turns, “rise and fall”. It was introduced in England in 1874
but it was in 1922 that it became as fashionable as Tango.

Latin Dance
Latin/ Rhythm style of dance – these dances stay in one spot on the dance floor and energetic
that syncopated rhythm of the music being danced to. Examples are Swing, Rumba/ Bolero, Cha
Cha, Salsa/ Mambo, Merengue, Disco/ Hustle, Samba and Paso Doble.
 Swing – Swing dancing is a dance style, or a group of dances, originating from Harlem,
New York with Afro-American Roots. The feeling of the dance is "swinging", as it
developed to the swing style of jazz music from the 1920s to the 1940s or 50s. Its rhythmic
pattern is of 4/4 time signature.

Swing basic dance steps: Hand Positions:

Basic Swing Double-hand hold
Cross Step swing Single-hand hold
Half turn Shake-hand hold
Underarm turn
 Butterfly
Cha-cha – Is a lively and flirtatious ballroom dance full of passion and energy. An electrifying,
syncopated Latin dance which originated in Cuba in the year 1950’s. Its rhythmic pattern is 4/4
time signature.

Cha-Cha basic dance steps: Style: International Latin

Walking Step Music: Medium-tempo Latin music.
Side Step Meter: 4/4 time signature
Cha-Cha-Cha Step Tempo:128 beats per minute
New York Basic Rhythm: 2, 3, 4&1, 2, 3, 4&1 (accent on count 1)
New York Turn
HEALTH BENEFITS OF BALLROOM DANCING
1. Improves Flexibility – Before starting the activity, it is important to do stretching and warming
up to protect against dance related injuries. Ballroom dancing itself contains plenty of stretching
and bending which can be beneficial to physical fitness.
2. Physical Conditioning – Dancing is a cardiovascular or aerobic activity and can help improve
heart. Engaging in dance for at least half an hour, four days a week is a conditioning benefit.
3. Social connectivity – It can help imporve self-esteem, lower stress levels, increase sense of
purpose, and promote a positive outlook on life.

Session 8- Hiphop or Street dance

Street dance is one of the newest dance genres in the 20th century that immensely attracts the
new generation particularly the youth. It came from the African-American hip-hop culture and
tremendously spread worldwide.
It is a broader style of dance with various techniques and movements. Breakdancing, funky
and up rock, which are first styles, were created in year 1970’s in the United States. These dances
where used for entertainment and also a manner of competition among groups.
It started with funky beats reverberating at house or basement parties and the streets of
New York. It has developed as a ‘cultural and artistic phenomenon affecting the youth worldwide
as it reflects the social, economic, political, and cultural realities and conditions of their lives,
speaking to them in a language and manner he understand.”
The word hip-hop was apparently invented by a New York rapper, Afrika Bambaataa (real
name is Kevin Donovan), who was dubbed as the Grandfather of Hip-hop.
The hip-hop culture in the Philippines emerged in the 1980’s as a result of the large influx
of American musical styles.
Hip-hop dance style performed to hip-hop music and usually done in the street. It started
in the 1970’s and was made popular in the 1980’s by media’s exposure of several hip-hop dance
groups in America.
Top rock (colloquially and presently known as B-boying or break-boy) was the first
competitive manner of dancing in which dancers perform while standing up facing each other.
Dancers take turns and perform freestyle movements, acrobatics, and similar gymnastics
techniques while moving along with a structured, continuous music. On the other hand,
synchronized choreography performed by a group is also allowed when participating in a hip-hop
and street dance includes various techniques, language, music and wardrobe.
4 Fundamental Characteristics
1. Rapping (MCing)- vocal element and music with rhyming words.
2. Disc jockeying (Djing) - means scratching or turn-table record mixing.
3. Break Dancing (B-boying)- accentuated energetic movements with acrobatic skills.
4. Graffiti Art- also known as aerosol art.

Elements of Hip-hop/Street dance

1. Bounce or recoil- it is a quick contraction and retraction, or vise-versa movement

with energy and vitality. The body or body parts may move from one direction and
quickly, changes to a different or opposite direction. Example is the rise and fall
movement of the shoulder that may be done with steady pulse or accentuated.
 2. Tightening of the body- the body is controlled with firmness and strength to prepare
it for explosive and sudden movements. The body moves in a “fragmented manner
which echoes the sampled layering of hip-hop music.”
3. Agility and coordination- “Because the body dances a complex array of interlocking
rhythms. Percussive accents of isolated body-parts pop out in unexpected phrasing
and that break dancers perform elaborate spins, balance, flips, contortions, and
freezes”, it must be able to move quickly and smoothly from one position to the other
with ease.
4. Fun- hip-hop dance is not only exciting but enjoyable as well. “Hip-hop dance is fun.
Fun is an essential element of hip-hop, which offers dancers a mechanism to offer
kinetic musicality with a bravado that is easily consumed by an immobile audience.”

Different Street Dance Styles

Two Categories of Hiphop or street dance:

Old School- emerged in the 1970’s ad 1980’s (breaking, pooping and locking)
New School- develop in the mid-1980’s to 1990’s as hip-hop evolved (house, krumping,
and street jazz)

OLD SCHOOL STREET DANCE STYLE

1. Breaking- This type of dance has no structure and mostly about improvising of movements. It
is usually performed in top or up rocks and more floor-oriented type of dancing. Dancers
perform acrobatics such as spinning, flaring, punching, kicking, handstands, flipping, and
floating.

2. Popping- a quick contraction and relaxation of muscles to producing jerking of various joints.

3. Locking- It relies on fast, distinct arm and hand movements combined with relaxed hips and
legs wherein the locks is the basic move used. It is characterized by the frequent locking in place
and moving again after a quick freeze. The movements are generally large and exaggerated,
rhythmic and tightly synchronized with the music

4. Boogaloo- a very loose and wavy type of dance that displays an illusion that a performer has
no bones. With the combination of popping and locking, it results to a dance effect inspired by
robotics, hydraulics, and animations.

NEW SCHOOL STREET DANCE STYLE

1. Krumping- characterized by unrestrained, rapid-fire, and highly energetic moves of the
limbs and torso.
2. House- dance style that emphasizes fast, complex footsteps with fluid movements of the
torso.
3. Street jazz- combination of hip-hop dance style and jazz dance movements.
4. Lyrical Hip-hop- this dance is described as slow hip-hop in which the choreography
depends on the beats or lyrics of the music. It can be done with a partner or solo while
using soft-beat songs. It is somehow similar to modern, contemporary and ballet
movements but more dynamic and snappy.

Step Patterns:
(The step patterns are taken from the review quiz and arranged chronologically)

Binislakan

Figure 1
I. Change step with a raise while striking sticks three times R/L alternately.
II. Mincing step to the right with sticks crossed upward.
III. Trunk bent, strike sticks at the back three times.
IV. Strike sticks in front three times.

Figure 5
I. Strike sticks three times with footwork change steps R/L alternately facing partner.
II. Strike sticks on the floor three times.
 III. Strike both sticks diagonally with partner R/L, raise foot R/L alternately.
IV. Three Steps backward, strike sticks in front three times.

Figure 2
I. Gallop Step with a raise to the right cts 1,2, 3, 4.
II. Point left foot forward, strike sticks three times then point right foot forward, strike
sticks three times.
III. Gallop Step with a raise to the left cts 1,2, 3, 4.
IV. Point right foot forward, strike sticks three times then point left foot forward, strike
sticks three times.

Sua ku Sua

Figure 8
I. Execute “Sua” steps four counts. Forward boys, backward girls.
II. Point (R) foot forward, boys place their (R) fan to the (R)(L) shoulders of their
partners alternately.
III. Execute “sua” steps four counts. Backward boys, forward girls.
IV. Point (R) foot forward, girls place their (R) fan to the (R)(L) shoulders of their
partners alternately.
Figure 2
I. Flex right foot in front once, arms sideward cts. 1, 2. with fans in eight (8) motion.
II. Take six (6) “Sua” steps in place.
III. Flex right foot forward two times cts. 1,2, 3, 4.
IV. Take four steps turn right about in place.

Figure 9
I. Execute “Sua” steps with girls moving backward and boys moving forward, cts 1,2,3,4.
II. Point (R) foot forward, cheek to cheek with partner alternately (R)(L), cts 5,6,7,8.
III. Repeat, execute “Sua” steps with girls moving backward and boys moving forward,
cts 1,2,3,4.
IV. Repeat, Point (R) foot forward, cheek to cheek with partner alternately (R)(L), cts
5,6,7,8.

Cha-cha-cha

New York- Dancers face audience, stepping R foot of the boy across to his L, L foot of the girl
across to her R while raising outside hand diagonally upwards (cts.1,2), cha-cha-cha steps facing
partner (cts. 3&4).

Walking Step- step R/L foot forward (ct. 1), replace weight to L/R foot (ct. 2), step RL/LR foot
backward (cts. 3,4).

Cha-cha-cha- step R/L foot forward (ct. 1), step rear foot backward (ct. 2), triple step backward
RLR/LRL (cts. 3&4)

Swing

Basic Swing- step R/L foot backward, away from partner (ct. 1) replace weight to L/R foot (ct.
2), step LR/RL foot in place (cts. 3,4).

Underarm Turn- step R/L foot backward (ct. 1), step L/R foot forward, girls turning right in
front of the partner in a single-hand hold going to partner’s place (cts. 2,3), step L/R foot
backward (ct. 4).

Cross-step Swing- step R/L foot sideward (ct. 1) step opposite foot forward across to R/L foot
(ct. 2) step outside foot forward (ct. 3) step inside foot backward turning about ending in an
opposite direction (ct.4).
Sources: Recreation for Life H.O.P.E., Physical Education and Health Volume II, First Edition.