Danc

Dance does not often

leave
behind
clearly
identifiable physical artifacts
that last over millennia, such
as stone tools, hunting
implements
or
cave
paintings. It is not possible
to say 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.

Archeology delivers traces

of dance from prehistoric times
such as the 9,000 year old
Bhimbetka
rock
shelters
paintings in India and Egyptian
tomb
paintings
depicting
dancing figures from circa
3300 BC.

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.

Dance

refers
to
movement set to music
where
there
emerges
organization, structure, and
pattern. It is a composition
that implies arrangement of
parts into a form.

Dance is a sport and

art form that generally refers to

movement of the body, usually
rhythmic and to music,used as
a form of expression, social
interaction or presented in a
spiritual
or
performance
setting.

Dance may also to

regarded as a form of
nonverbal
communication
between humans, and is
also performed by other
animals
(bee
dance,
patterns of behaviour such
as a mating dance).

Gymnastics, figure skating and

synchronized
swimming
are
sports dance disciplines, while
martial arts kata are often
compared to dances. Motion in
inanimate objects may also be
described as dances (the leaves
danced in the wind), and certain
musical forms or genres.

In the early 1920s, dance

studies (dance practice, critical
theory, Musical analysis and
history)
began
to
be
considered
an
academic
discipline. Today these studies
are an integral part of many
universities'
arts
and
humanities programs.

By the late 20th century

the recognition of practical
knowledge as equal to
academic knowledge lead to
the emergence of practice
research and practice as
research.

Dancing
This is a means of
expressing ones emotions
through
movements
disciplined by rhythm. It is an
act of moving rhythmically
and expressively to an
accompaniment.

The
word
dancing
came from an old
German word danson
which means to stretch.
Essentially, all dancing is
made up of stretching
and relaxing.

Dance Composition
It is used to describe
the practice and teaching
of choreography and the
navigation or connection
of
choreographic
structures.

The art of making concert

dance is based on the
manipulation of the abstract
elements of human movement:
space, shape, time and energy
within an emotional or nonliteral context for the purpose
of expressing ones unique
creative voice.

Movement language is
taken from the dance
techniques
of
ballet,
contemporary dance, jazz
dance, hip hop dance, folk
dance,
religious
dance
and/or
pedestrian
movement.

Concepts studied include the

compositional use of organic
unity, rhythmic or non-rhythmic
articulation, theme and variation,
repetition as well as the practice
of improvisation for the purpose of
developing innovative movement
ideas.
Geared
toward
the
presentation of dance as a
concert art form

Dance
Improvisation
It is the creation

of
improvised movement and
is sometimes associated
with 20th century concert
dance but is not exclusive
to that genre.

Development of improvised
movement material is facilitated
through a variety of creative
explorations
including
body
mapping through body mind
centering, levels, shape and
dynamics, sensory experiences
through
touch
or
contact
improvisation, and perceptual
schema.

Contrary to popular belief

dance improvisation is not only
about creating new movement but
is also defined as freeing the
body from habitual movement
patterns. Dancer and singer
Michael
Jackson
combined
improvisation in both of those
definitions, insisting that he had
interest in performing a dance to
Billie Jean only if he could do it a
new way each time.

Developed Dance
Forms with
Improvisational
Natures

1.

Argentine Tango, is a dance

form that despite the apparent
choreography
relies
on
improvisation.
Improvisation
techniques are taught and
improvisation is encouraged as
necessary to reach high levels of
competency
in
dance
and
performance environments.

Closely knit crowds, varying

rhythmic patterns in music,
switching partners for each
dance, and a large vocabulary of
movements
encourage
improvisational
dance
in
Argentine Tango.

2. Belly dance is one of the most

commonly improvised dance forms,

since the often live music does not
support the structured nature of
choreography. Professional belly
dancers may dance publicly 6 nights
a week, up to three times a night, and
simply do not have the time to
choreograph for the 15-60 minutes a
night that such performing requires.

Even dancers with substantial

choreography repertoires often
choose to improvise when
performing to live music because
they value the exchange of
energy between the dancer, the
musicians, and the audience,
which is heightened by working
"in the moment".

American Tribal Style belly

dance is built entirely upon
group
improvisation,
although the group will
typically plan and rehearse
individual combinations and
their cues in advance.

3.

Blues dance is generally done to

blues
music,
and
is
highly
improvisational.
Like
lindy
hop,
emphasis is on the lead and follow
connection, but the emphasis is even
greater. Blues dance is a partnered
and structured form of interpretive
dance, and relies mostly on the leader
interpreting the music how he or she
will; at the same time, the follower
usually has some freedom to interpret
the music and add in his or her own
style as well.

4. Lindy Hop is generally an eight-count

swing dance, developed in large part by
Frankie Manning, and includes a large
amount of improvisation. Once a dancer
has learned a variety of swing dance
moves, ranging from East Coast Swing
to Charleston to Balboa, the dancer will
often combine any and all the moves he
or she knows of these styles of dance,
as well as add his or her own dance
style, or make up new dance moves or
aerials.

Because of its improvisational

nature, lindy hop heavily relies
on lead and follow connection,
rather than each partner knowing
the steps and doing them
together.

Dance Notation
It is the symbolic representation of
dance movement. It is analogous to
movement notation but can be limited to
representing human movement and
specific forms of dance such as Tap
dance.

Various methods have been used to

visually represent dance movements
including:
Abstract symbols
Figurative representation
Track or path mapping
Numerical systems
Music notation
Graphic notation
Letter and word notations

Usage
The primary use of dance
notation is the preservation of
classic dance documentation,
analysis and reconstruction of
choreography and dance
forms or technical exercises.

Another purpose of dance

notation
is
the
documentation and analysis
of
dance
in
dance
ethnology. Here the notation
is not used to plan a new
choreography
but
to
document
an
existing
dance.

Dance notation systems developed

for the description of European dance
are often not applicable and not
appropriate for the description of
dances from other cultures, e.g. the
polycentric dances of many African
cultures, where the movement of the
body through space is less important
and a great deal of the movements
takes place inside the body.

Attempts have been

made
by
ethnomusicologists and
dance ethnologists to
develop specific notation
systems
for
such
purposes.

Elements of
Dance

The elements of dance are the ingredients of

dance. Often, one or two elements predominate
in a dance, but all are present. The different
ways of combining and using the elements
determine the expression of the dance, just as
re-ordering words in a sentence changes the
meaning of the sentence. The elements of
dance identified in the dance program are based
on the movement theories of Laban (1975), and
the later work of Preston-Dunlop (1980a, 1980b)
and Boorman (1969).

1. Actions
Actions are what the body is doing.
By finding out, through movement
explorations, what the body can do
and by expanding the body's abilities,
students build a "bank" or repertoire
of movements they might use in their
dance creations. This bank is called a
movement
vocabulary.
A
rich
movement vocabulary increases the
capacity to express through dance.

Actions can travel (locomotor)

or move on the spot (nonlocomotor). They fall into the
following categories: travelling,
stillness, gesturing, jumping,
falling,
turning,
twisting,
contracting, expanding, and
transferring weight.

2. The Body
The body is the instrument of
dance. Just as a painter paints
with a brush, in dance it is through
the body that movements appear.
Therefore, students need to have
knowledge about their body and
its potential for movement.

Awareness of the body is encouraged in the

dance curriculum by learning about the
following
concepts:
1. Whole Bodybody
2. Body parts - head, arms, hands, legs,
feet, torso, elbows, wrists, shoulders, hips,
knees, ankles
3. Body zones - body areas of front, back,
left side, right side, upper half, lower half
4. Body bases - whatever supports the
rest of the body; for example, when
standing -- the feet, when kneeling -- the
knees.

3.
Dynamics describe how the
body
moves. It is an umbrella
Dynamics
term and includes the factors
which give movements various
qualities. Therefore, dynamics
is the element which gives
dance its expressiveness.

Awareness of dynamics is encouraged in

the dance curriculum by learning about the
following dynamic concepts:

1. Duration - the length of time needed

to do a movement; duration is on a
continuum of very short to very long
2. Energy - the muscular tension used
to move; energy is on a continuum of a
little
to
a
lot
3. Even rhythm - movements of equal
duration; for example, walks

4. Uneven rhythm - movements of

unequal duration; for example, skips
5. Quality - characteristics of a
movement; for example, strong or
light
6. Speed - velocity of movements;
speed is on a continuum of very slow
to
very
fast
7. Time Signature - a symbol that
denotes a metric or measured
rhythm; for example, 3/4 or 4/4.

4.
To what or to whom
Relationships
describes the relationship.
Relationship
is
the
correspondence or connection
between things, be they
dancers to each other, dancers
to objects, or a dancer's body
parts to each other.

Awareness of relationships is
encouraged by having students
learn
about
the
following
concepts: connecting, leading,
following, meeting, parting, near,
far, passing by, and surrounding.
Students
should
also
be
encouraged to explore various
configurations when working in
groups.

5. Space

Space is where the body

moves. It is the medium of dance.
As dancers move through space,
their bodies create patterns on
the floor and in the air. These
spatial designs are an integral
part of dance, giving dancers a
purposeful reason for moving.

Awareness of space is encouraged

by having students learn about the
following space concepts:
1. General - the dance area
space
2. Personal - the space reached while
stationary
space
3. Directions - forward, backward,
sideways, upward, or downward

4. Focus - where the eyes or the

intention of the movement is directed
5. Levels - high, middle, and low or deep
6. Pathways - the patterns or designs
made in the air or on the floor by the
person's movements; pathways appear
as straight lines, curved lines, or
combinations of straight and curved lines
7. Shape - the design of the body's
position
8. Size - the magnitude of the body
shape or movement; size is on a
continuum of small to large.

The Principles of
Composition
Principles of composition are tools

or
devices which, over time, have proven to
be useful in creating well-formed dances.
A well-formed dance is one in which all
movements contribute toward the whole.
Although the principles apply to all
dance compositions, their use will vary
according to the choreographic intent. In
part,
this
is
what
gives
dance
compositions
their
individual
characteristics.

The principles of composition

identified in the dance program
are adapted from the work of
H'Doubler (1957), Lockhart and
Pease (1982) and Minton
(1986). They are climax and
resolution, contrast, repetition,
sequencing and development,
transition, unity, and variety.

1. Climax and
All Resolution
dances need to begin
somewhere,
build
toward

somewhere,
build
toward
something, and come to a
resolution (beginning, middle,
and end). When a dance
builds in intensity and interest
and reaches a high point, the
high point is called a climax.

A climax can be created in many

ways. For example, dance
phrases can increase in intensity
of energy and speed to a high
point before decreasing to a lull,
or a narrative can build toward a
highlight or a turning-point
before being resolved.

The resolution of a climax

reveals the importance of
what has occurred previously
in the composition. Climaxes
can be resolved in a variety of
ways; for example, the climax
could dissolve, be converted
into something else, or be
replaced by something else.

2. Contrast

Contrast can be achieved by

combining
and/or
juxtaposing
unlike
movements. Movements can
differ
in
action,
body,
dynamic,
space,
or
relationship concepts.

3. Repetition
Repetition
of
movement
phrases or parts of phrases is
reassuring for an audience.
Repetition
permits
an
audience
to
see
the
movements in more detail,
allowing them to become
familiar with the movement
vocabulary the choreographer
is using.

Repetition can also be used to

give
movements
emphasis.
When
used
effectively,
repetition can help create unity
by relating sections of a dance
to each other. It should be
noted that some dances use
repetition
to
create
a
mesmerizing effect or a tension.

4.Sequencing
Sequencing and
and development
refer
to
the
ordering
of
movement
(sequencing) in a
Development
meaningful way (development).

meaningful way (development).

When
movements
are
purposefully connected to each
other, they gain significance and
take on meaning.

This is similar to a word gaining

significance when it is placed in
a phrase or sentence. As the
dance unfolds, each movement
and choreographic idea should
grow logically out of the
previous one. This creates
continuity, helping the audience
follow the intent of the dance.

5. Transition
Transitions are needed when
movements and dance phrases
are
connected.
Transitions
should work toward the intent
of the dance composition by
connecting the movements and
dance phrases in a meaningful
way. Transitional movements
should promote continuity.

6. Unity

When all the parts work together

to contribute to the whole dance,
there is unity. Every movement, no
matter how brief, should work
toward
the
intent
of
the
composition. Unity is achieved
when the removal of any portion of
the composition damages the
whole dance. Most secondary
students will only begin to create
dance compositions showing unity
.

7. Variety

Variety within a dance composition

can engage and hold an audience's
interest. Variety can be incorporated
in several ways, as illustrated in the
following examples: selecting unlike
movements
to
create
variety;
varying dance phrases in length and
structure;

varying spatial, dynamic, body,

or relationship aspects when
movements or phrases are
repeated;
or
presenting
movements in retrograde (doing
a movement backwards, similar
to playing a film backwards).

Motif
Description
Motif Description is a symbol

system which notates the

outline of movement. Motif
Description, developed by V.
Preston-Dunlop, is based on
Labanotation.

Symbols are written in columns

and read from the bottom
upwards, left to right. The
following are action symbols
which will help teachers and
students get started. There are
also symbols for other aspects of
movement including the body,
dynamics,
space,
and
relationships.

Here is an example of a dance

phrase
written
in
Motif
Description. The phrase is read
as: travel, fall, twist to the left,
jump, pause, turn to the right,
expand, gesture, contract. When
executing this phrase, the actions
could be done in any way; for
example, traveling could be
crawling, hopping, rolling; twist to
the left could be an arm twisting
or the whole body twisting.

Jingle V. Catulpos

P.E.
Instructor