St.

Francis Parochial School

Talisay, Camarines Norte
K12 Curriculum
Senior High School Department

MODULE (HOPE) GRADE 12

Unit 11 Chapter 4
No. of days 2-3
TOPIC: Dance as an Art

INTRODUCTION:
Dance is an art of rhythmic bodily movements that projects ordered sequence of
moving visual patterns of line, solid shape, and color (Thomas Munro in Krus and Gaufman, 1981).
The postures and gestures of which these visual patterns are created suggest kinesthetic
experiences of tension, relaxation, and emotional moods and attitudes associated with them. Some
of these dances that are considered an art form are folk dance, ballet, and contemporary dance.

COMPETENCY/IES:
- Identify the fundamental movements of each dance.
- Understand the importance of dance through basic skills
- Appreciate the value of each dance, and each contribution into the society
- Applying creativity through choreography of different dance

SPICIFIC OBJECTIVES:
- Identify the origin of folk dances as they have developed in specific folk cultures, know
the brief history of ballet.
- Define the meaning of modern and contemporary dance, and identify the
characteristic of dance.
- Appreciate skills in folk dance, ballet, and modern dance that appropriate in style and
spirit for each specific dance.
- Applying creativity through choreography of different dance

LESSON INPUT:
OTHER SOURCES:
“DANCE IS AN ART WHICH DEALS WITH THE EMOTIONS OF THE HUMAN
BODY”
- James K. Feilbleman, a great philosopher
Folk dances are the indigenous dances of any specific “folk” or the common people. They are traditional
customary or recreational dance forms of a given country which have evolved naturally and were handed down
across generations.

Folk dances are related to everything of importance in our daily lives, such as customs, rituals, and
occupations of a specific group of people. Most of these dances are related in origin to religious belief, stemming
from emotions, superstitions, festivals, ceremonies of birth, courtship, marriage, Schlottmann, and Rutledge
(1948), “folk dance became the overt expression of emotions and ideas which were peculiarly significant or the
re-enactment odf customs and events constituting an important part of their history and patterns of daily living”.

Lopez (2006) defined Philippine folk dance as “a traditional mode of expression that employs bodily
movements of redundant patterns linked to definite features of rhythmic beats or music. She further stated that
Philippine folk dance, to be called such, should have the following characteristics:

- It is traditional
- It has an expressive behavior
- Simple, basic rhythmic dominates the folk dance and established the pattern of movement
- It is created by an unknown choreographer or by communal efforts
- It performs a functional in the life of the (folk) people.
Oftentimes, the term folk dance is being confused or used interchangeably with ethnic and national dance.

The first National Artist for Dance and the Mother of Philippine Folk Dance is Francisco Reyes
Aquino.

Is acknowledged as the pioneer of folk dancing in the Philippines. This Bulakena

began her research on folk dances in the 1920s, making trips to remote barrios in Central
and Northern Luzon. Her research on the unrecorded forms of local celebration, ritual,
and sport resulted in a 1926 thesis titled “Philippine Folk Dances and Games, and
arranged specifically for use of teachers and playground instructors in public and private
schools. In 1945, she received the Public Award of merit given by the late Pres. Ramon
Magsaysay for “outstanding contribution towards the advancement of Filipino Culture”,
one among the many awards and recognition given to her.
For her great efforts of researching and popularizing Philippine folk dances, she received an honorary doctor of
science in physical education degree from Boston University in 1949; an honorary doctor of Humanities degree from
Far Eastern University; certificate of Award from UNESCO National Commission and a presidential citation for
distinguished service to the 10th World Jamboree from the Boy Scouts of the Philippines in 1961; and the Ramon
Magsaysay Award for government service in 1962.

What are the differences between folk, national,

and ethnic dances?

Folk dances are traditional dances found in a certain country while national dances are also traditional folk
dances but have a national scope. They are popular and widely danced throughout a given country, often with a
number of regional variations.
The Philippine dances Carinosa, Curacha, and, Pandango are examples of National Folk Dances as they are
popular dances throughout the country. Pandango, for example, has several variations coming from both Luzon and
Visayas island. Even within one locality, dancers have different ways of performing it. Examples Pandango dances
are:
- Pandango Ilocano
- Pandango Visayan
- Pandango Dumagueteno
- Pandango Ivatan
- Pandango Rinconada
- Pandango sa Ilaw

Ethnic Dances or Ethnological Dances are those performed in primitive tribes and have
retained their close religious ritual and community custom. These dances my “require a certain
level of special performing skills” (Kraus, 1962) that are symbolic in meaning, making it harder
for those outside the group to understand. They can be performed in three different categories,
namely, ritual, life-cycle, and occupational.
In the Philippines, dances originating from the Ifugao people of the norther Luzon, T’boli tribe from Palawan are
examples of ethnic dances.

a. Ritual dances – dance that depict ritual ceremonies. Examples are DUGSO (Bukidnon) and
Pagdidiwata (Palawan).
https://www.youtube.com/watch?v=xMudu8Ke5LU

Visit this link:

https://www.youtube.com/watch?v=boa4GX16iQo

b. Life-cycle dances – dances relating to the cycle of human life such as birthing, courtship, wedding,
and funeral. Examples are BINASUAN (Pangasinan) and DALING-DALING (Muslim courtship dance
from Sulu).

Visit this link: https://www.youtube.com/results?search_query=BINASUAN+

%28Pangasinan%29+

Visit this link:

https://www.youtube.com/watch?v=4ddPe3aRSvk

c. Occupational dances – dances that exhibit work and occupational of the dancers. Example are
Mag Asik (Cotabato) and Mananagat (Cebu) dances.
Visit this link: https://www.youtube.com/watch?v=Ov7AD5kBKUo

Visit this link: https://www.youtube.com/watch?v=LCnYnIfVtK8

All national and ethnic dances are folk dance, but not folk dances are considered national or ethnic dances.
The Philippines has very rich and varied folk dances. There are hundreds of traditional dance collections found in
the country that are mostly for all occasion. They come from the southern to northern parts of the Philippine
island. These dances exhibit the customs, ideas, beliefs, superstitions, and events of daily living in a certain Filipino
community. The origin of the dances may be seen by looking at the costumes, props, and implements of a certain
group or tribe. However, due to acculturation, Philippine indigenous dances may have evolved and modified since
cultures of the other countries have greatly influenced these dances.

The manifestations can be seen by the kinds of costumes, props, music.,

and dance steps used and integrated into some of the regional and national folk
dances of the Philippines. Some of these dances were influenced by the western
cultures, such as the Americans and Spaniards and others were influenced by the
neighboring Asian countries such as Indonesia, Malaysia, and China to name few.

In 1935, the University of the Philippines (UP) Filipiniana Dance Group was founded by
Francisca Reyes Aquino which served as the experimental group for her extensive research on
the different folk dances of our country. It was originally named the “UP Folk Song and Dance
Club. It was during the time of Cynthia Abad Santos. Who succeeded Reyes-Aquino, that term
“Filipinaina” was used as the group’s official name.
Today, UP Filipiniana continues its mission of furthering and deepening the practice of
Philippine Folk Dance and its accompanying dance forms through research, teaching, restaging,
and participating in cultural events locally and internationally.
What are the different types of Philippine
folk dances?

There are several ways to classify Philippine folk dances. According to Francisco Reyes-Aquino, folk dances
may be classified by geographical extent of origin, nature, speed, of movements, formation, and distinguishing
feature. Lately, folkloric specialist merged regional and functional classifications to sort out the different dance
materials (Lopez, 2006).

Three major regional classifications of Philippine folk dances are tribal dances from the Cordilleras,
dances from lowland Christians, and Muslim dances.

Tribal dances from the Cordilleras – include non-Christian dances

from the Cordilleras.

Lowland Christian dances – dances coming from places with Western

influences such as that of the Tagalogs, Ilokanos, Pampanguenos, Pangasinese,
Bisayans, and Bicolanos. These dance influenced by Hespanic and European
cultures.
Muslim dances – dances from the people of the Southern Islands of the
Philippines such as in Mindanao and Sulo. These dances are influenced by Arabic
and Indo-Malayan culture.

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 childhood to adulthood; from singlehood to marriage;
and from life to death. The different dances that portray life
cycle:
a. Courtship dances
b. Wedding dances
c. Funeral dances
2. Festival dances – dances that are either 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. Palay festival, a national
dance in rice-growing regions, is an example of an
occupational dance wherein dancers portray different steps
in rice growing from planting to harvesting to threshing,
flailing, pounding, airing and winnowing (Aquino, 1979).
4. Ritual and ceremonial dances – dances performed as part of
the rituals and ceremonies of a certain tribe or group of
people.
5. Game dances – derivations from local folk games. One
example of these dances is the Pukol dance from Aklan and
Capiz in the Panay. Pukol means “to stike or bump each
other” (Aquino, 1979).
6. Joke and trickster dances – include jokes or tricks played by
a dancer on another or a group of dancers who is one of
them. The intention is to render that individual “to a
physical or mental indignity or discomport” (Lopez, 2006).
Example of these is the Pandanggo sa Sambalilo dance from
tagalog regions wherein a girl teases her male partner by
playing with his hat then pishes him when he is about to
succeed in getting back and putting on his hat from the floor.
7. Mimetic or drama dances – dances that mimic animals,
inanimate objects, or other people. The dancer into roles
other than themselves and become actors totally immersed
in the story the dances tell. The itik-itik dance from Surigao
is an example of a mimetic dance as it imitates the
movements of a duck.
8. War dances – dances that express feud and enmity wherein
two male dancers engage in physical combat with Spartan-
like intensity (Lopez, 200). Maglalatik (Binan, Laguna) is an
example of a war dance as this depicts a battle between
Muslims of southern Philippines and the Christian Filipinos
of the lowlands over latik (the residue after coconut boils
down). In this dance, the Muslim Moros to Christianity
(Aquino, 1979).
9. Social amenities dances – dances that express social graces,
hospitality, and offerings of gifts to friends. All social
ballroom dances and most of the “Filipinized” Western
dances that show camaraderie merriment belong to this
group (Lopez, 2006). Examples are Minuete Yano (Iriga,
Camarines Sur), Alay (Tagalog regions), and Habanera
Botalena (Botolan, Zambales) dances. Minute Yano, for
instance, is performed by people from high social standing in
the community during special occasions honoring high
government officials and Church dignitaries (Aquino, 1979)

What are the fundamental folk

dance steps?
Most folk dances are based on several fundamental dance steps. According to Lopez (2006), Philippine folk
dances should have simple, basic rhythm that dominates the dance and establishes the pattern of movement.
With this, it is imperative to review and learn the different fundamental dance steps in order to perform several
folk dances. The origin of these steps varies and depends on the influences of different cultures. The following are
some of the Fundamental steps that are useful in learning how to perform folk dances.
BALLET
Ballet was taken from the Italian word ballare, meaning to dance, and ballo, referring to dances
performed in a ballroom. There are several definitions of ballet from different authors:

1. Ballet, according to Haskell (1965)

“combination of the arts of dancing, poetry, music and painting. The essential quality
of the ballet dancer is grace that is phrasing, fluidity, harmony, the making of words
into a poetic whole; bound up with the reaction to music that goes far deeper than a
purely rhythmic reaction.
2. Burian ( 1963 ) further affirms that:
“ Ballet is an artistic, programmatic, scenic dance accompanied by music. It is basically
a special and generically unique form, which resulted from the synthesis, collaboration
and equilibrium of several different types of art. The art of gesture and mine
interprets, by specific means of expression, the thematic and emotional content of the
scenario on which it is based, bringing the poet’s ideas to life, presenting the story
with all its conflicts, plots, and solutions.

The first ballet performers

were men. The ballet costumes
before were Grecian: sandals,
diaphanous skirt, low-necked
body, hair in form wreath.

Brief History of Ballet

It was in the 15th century during the Renaissance period when ballet began in Italy. It started as a
performance in the royal court where the male servants would execute a movement related to the course,
they are serving during a court dinner. At that time, the French king, Francis I of the House of Valois had
many contracts with Italy and was able to witness one of the dinner ballets. He knew many outstanding
figures of the Italian Renaissance and he became well acquainted with the ideas and artistic efforts that
developed and flourished in Europe.
Francis’s son Henry II, his successor to the throne, married Catherine de Medici. It was during de
Medici’s reign as a queen that marked the staging of ballet. She brought it to France from Italy and further
developed at the French courts during the 16 th century. She also brought with her Italian musician Balthazar
de Beaujoyeulx (formerly known as Baldassarino in Italy) to arrange court fetes (a large, elaborate, festival or
celebration). Beaujoyelx then was acclaimed by both the queen and the court for his “Ballets des Hymphes,
whose alternation of verse and dance already clearly delineated the fine contours of Ballet Comique de la
Reine where it combined the spoken word, solo, and choral song and the dance in a unified whole presenting
a story. “The ballet closely reflected not only the customs and love intrigues of the court but also the politics
of the day (Haskell, 1965)”.

French court ballet reached its peak under Louis XIV, a dancer and performed and was called the
magnificent Sun King. he loved to dance and took part of his first ballet at the age of 13. He set up the
Academie Royale de Dance together with his dancing master, Pierre Beauchamp. It was during his time that
the five basic dance positions were written down for the first time (Castle,1998) and became the basis for
ballet up to this day. In 1672, ballet then also became a profession when Louis XIV handed over and allowed
professional dancers to perform noble dance instead of just the character parts (Haskell, 1965) (Clarke and
Crisp, 1973).

Ballet during this period was also an affair in which high

aristocracy the queen, princess, and nobles, took active part and
participated in the dances. Due to the restrictions of traditions relating to
dance and the kind of dress worn by the participants, ballet movements
in this period were minimal. There were no high leaps and fast turns.

Many of these features that we see in ballet today began only during the
Romantic era in the 19 th century where artistic endeavor flourished together
with the many developments in science and industry. The people became more
liberated in their fantasy in books, music, art, and ballet. The female dancers
hand more important roles than the males. Ballerinas wore softly gathered
skirts, rose on tiptoe in specially stiffened shoes, and pretend to be fairies,
sylphs, and other exotic beings (Castle, 1998). According to Haskell (1965,
Romantic period was the dancer’s golden age.
The ballerinas were the popular idols and ballet after ballet were produced by ballet masters. Ballet in the
French courts became so popular that is spread and influenced the entire of Europe.
Ballet was imported to Russia during the country’s first period of
westernization when many European fashions, including dance,
were it rapidly grew in popularity. A Frenchman, Marius Petipa,
became one of the most important choreographers and was also
associated with the imperial Theatres for almost sixty years. He
become the virtual dictator of Russian ballet (Anderson,1986).
Petipa created a formal structure for the ballets which celebrated
the technical ability of dancers and added greater variety of gravity
defying jumps (Castle, 1998).

Ballet and the arts in general experienced an enormous change during

the 20th century. This was due to the Russian Revolution, World Wars, and
liberation of women. Sergie Diaghilev and Michel Fokine, Russian
choreographer, experimented with movement and costume that went
beyond the confines of classical ballet form story.

One of Diaghilev’s very different works The Rite of Spring is a story

of human sacrifice that has a dissonant music and unfamiliar movements.
Although this caused uproar to the audience, it marked the beginning of
the new phase in ballet.

Visit this link: https://www.youtube.com/watch?v=YOZmlYgYzG

It was also during this time that ballet reached the United States. George
Balanchine a Russian choreographer who immigrated to America expanded the form
of classical ballet and introduced neo-classical ballet. Balanchine was regarded to be
“the greatest innovator of the contemporary plotless” ballet. With no definite story
line, its purposed is to use movement to express the music and to illuminate human
emotion and endeavor”.
Ballet today has become multifaceted and several of its form are
linked together to create what is now known as modern ballet. Although
ballet began in Italy and had spread tremendously over Europe and other
countries such as the America, it was the French who substantially
widened its popularity, thus, making French the medium used for the
terms in ballet.

CLASSICAL VS. CONTEMPORARY

Although they do not vary in nature, classical ballet is known for its exactness of technique that highlights
pointed toes and turnouts, high extensions and gracefulness. It also uses traditional mime that utilizes gestures for
conversation instead of words. “These gestures are as precise as ballet steps and have to be learned and
performed accurately”. Contemporary or modern ballet, on the other hand “mainly uses ballet steps and more
nature movement to convey meaning” (Castle, 1998). It incorporates elements of both classical ballet and modern
dance that allows a greater range of movement that does not support the strict bodylines that are traditional in
any of the classical ballet techniques.

Contemporary Ballet

Classical Ballet
Ballet in the Philippines
Did you know!
The first ballet company in the Philippines is the Cultural Center of the Philippines
Dance Company (now Ballet Philippines) and Dance theater Philippines.
The American colonization paved the way for the introduction of Classical Ballet in the Philippines. In 1915 at
the Manila Hotel Roof Garden ( Dimalanta, 2006). In 1972, Luva Adameit came to Philippines and started a
ballet school, she trained the first ever ballet dancer in the country. Her dance, Sur les pointers, were inspired
by local dances like the Painting Rica, Carinosa, and the Maria Clara that eventually influenced Leonor Orosa
Goquingco.

From then on, ballet has thrived in the country and brought a number of foreign teachers and performers to
perform and teach as well. It paved the way to “a receptive outlook towards the artistic values of the art form”
(Alejandro, 1983).

Although ballet in the Philippines started a little later compared to European

and Western countries, it does not fall far behind when it comes to producing
world-class ballet performances. Several ballet companies such as Ballet
Philippines and Ballet Manila have prospered and are recognized internationally.
They also have trained and produced dancers of international caliber.
Ballet education became widespread in the country. From Luzon to Mindanao, various dance studios and
hundreds of ballet dance classes are being offered in major areas of the archipelago. A number of ballet schools in
the country can be found when searching the yellow pages and the internet.

Ballet performances come in different forms. Some of them tell a story, others
develop a theme, and a few are simply dancing for its own sake called abstra ballets
(Castle, 1998). To tell a story, ballets use a mixture of technique, mime, and natural
body language. Regardless of what ballet performance from would be, the
preparation and the day-to-day training are all, if not the same, similar in structure
thus, the structure of a ballet class consist of a warm up, exercises for the barre,
center, and across the floor.

What is the composition of a ballet class?

Dancing imposes great physical demands on the body. Therefore, a ballet class is designed carefully to prepare
the body for it. Each ballet class should consist of the following segments:
WARM UP - limbering and stretching exercises that warm and gently stretch the muscles before trying
the difficult moves. A good warm up is the best start to a ballet class as ballet puts your body in positions
that it is not used to executing.

BARRE EXERCISES – The students hold on to a barre to help maintain balance and correct placement of
thr body. Exercise include variations of bending and stretching, small movements of the legs which
gradually increase in range of motion and tempo as the leg is lifted from the floor.

CENTER WORK EXERCISES – After the barre exercises, the students move to the center of the room to do
more stretching and relaxing exercises to loosen the back and the muscles in other parts of the which
have worked hard in the previous exercises (Dufort, 1985). All exercises here will be done without
support, adding arm and head movements. They are at first executed slowly (adage) to develop balance,
strength, and body alignment. It is followed with turns (pirouettes), then with linking steps and small
jumps (petit allegro), and fast and lively (allegro) footwork and jumps.

CORNER DRILLS (grand allegro) – consist of sequence of steps combining big jump, leaps, and turns which
cover large areas and put the demands on the body’s strength, endurance, and control. These exercises
are done moving across the dance floor or rehearsal area.

Like any other activity, it is unsafe to abruptly stop after a series of moderate to high intensity movements. It is
therefore vital to include or integrate transitions ( cool-down ) as part of the ballet class segments.

What are the basic dance positions in ballet?

The ballet technique is based on the five positions of the feet. The feet in each position are always parallel with
each other with an outward rotation of the legs called turn out. This provides freedom of movement in any direction
and making the execution of the most difficult movements look effort and graceful (Reynold, 1979). There are five
ballet position: first, second, third, fourth, and fifth.

Position Description
First position Hands in a circular position in front of the ribs.
Turn the legs out from the top down to the heels making sure the feet do not roll inwards.
The heels are touching and toes are turned out to the side.
Second position Open arms to a rounded position with the hands lower than the shoulders.
Stand with the feet at shoulder-width apart. Distribute the body weight evenly on both legs.
The feet are still turned out.
Third position One arm stays in second position while the other moves to first position (in front of ribs).
Place the heel of one foot in front of the middle (arch) of the other foot.
Fourth position Lift the front arm into a round position over the head. Place or slide one foot in front of the
other, with a space the length of one foot in between the legs.
Fifth position Move both arms in a circle above the head. Put the heel of the front foot against the toe of
the back foot.
Note that this is the hardest position of all because it demands good turn out with straight
legs and correct posture.

What are the basic exercises performed in the

barre?
Dancers hold on to handrail called the barre to support them while they practice. Barre exercises are the
preparation for everything else in ballet (Hackett, 2007).
Ballet Dance step Description Performance Tips

Plïé (pli yey) To bend or fold the knees. The fluid rise and fall
Grand-Plíé: Bend deeper and let
gently warms the leg muscles and the hip sockets.the heels come oof the ground.
This is the basis of all coordinated balletic movement
Push the heels back to the ground
and is very important in developing the flow of while coming up. Straight the
movement across the dance floor which is so knees and stand tall.
characteristic of classical ballet (Dufort, 1985).
Demi-plíé: Start in turned out feet
position. Bend knees and turn
There are two types of plíѐs: the grand plịé and them out to the side and keeping
demi-plíé. the heels in contact with the
ground. Straighten the knees and
stand tall.
Plíés can be done in all five
position.

Relevé (re le vey) To lift rise. This is rising up the body

All releves begin with a demi-plié in
onto the balls of one or both feet, order to push up from the floor.
either as a smooth continuous Straighten the knees and lift the
movement or with a little spring. heels at the same time keeping the
toes on the floor.
Développes (dev low pey) Means “unfold”. This exercise helps Lift the foot fifth position to touch
with the slow and controlled and the ankle. Raise the foot to the knee
may need a lot of practice. in retire keeping the hip level and
The movement is similar to not lifting with the leg.
unfolding and closing of the arms
and legs together. This is also the
preparation for attitude and
arabesque.

Battlement Tendu (batma than dew) It means “stretched beating” From the starting position, the
working leg and foot slide from the
full-foot position along the floor to a
pointed-foot position on the floor.
The pointed foot reverses its path to
full foot position in the ending
position (Kassing, 2014).
Battement Dégagé (bat ma deh In French, it means “disengaged”. From the beginning position, the
ga zhen) working leg is in full-foot position
and stretches along the floor to a
pointed off the floor. On the
return. The working foot points
on the floor and continues sliding
back into the beginning position.

Grand Battement ( grawn bhat mahn) It is a big kick. In French, it means From the starting position, brush the
“large beating”. This is designed to working leg off the floor to a straight
loosen the hips and hamstrings by pointed position in the air. On the
throwing the leg as high as possible return, lower the working leg to a
into the air point Tendu before sliding back into
the beginning position.

Battements are done to the front,

the side, and the back and with both
legs alternately to developed an
equal ability on either side of the
body.
a. Grand Plié visit this Link: https://www.youtube.com/watch?v=Ktiqr-OhvmY

b. Developpe visit this link: https://www.youtube.com/watch?v=m4A6PLeGIB4

c. Battement Tendu visit this link:

https://www.youtube.com/watch?v=HpIkZlqAlI0&list=RDrUJcqAkCGvA&start_radio=1

What are the basic ballet movements?

A. FOR CENTER EXERCISES
1.Port de brass (por de brah) – the carriage of the arms; graceful movements of the arms through a series
of positions.
2.Arabesque (ara besk) – comes from a Moorish ornament that has similar lines. It can be a pose, a step on
allegro ( fast movements ) combination. To form an arabesque, one leg is raised and extended behind
the body and a variety of shapes of the arms are used to harmonize with its long, extended line (Dufort,
1985). It has several variations depending on the methods. Some methods use five arabesques while
others use only four arabesques.
3.Saute arabesque – or arabesque hop; while doing the arabesque position, do a complete hop, hold the
pose in demi-plie, then repeat on the other side.
4.Attitude – the bent leg is raised in front (croise) or behind (echappe) the body. It gives a feeling of
enclosing space because of the wrapped-around quality of the raised leg. It is open used as a midway
position in slow unfolding movements.
5.Pas de bourrée (pha da bo rey) – meens “stuffed steps.” From the starting position and moving right,
step the working (left) foot in the beginning position. The back and side steps are done in three-quarter
releve with both feet finishing in demi-plie.
6.Glissade – means gliding step. In the starting position, do a demi-plie. Remain in demi-plie as the working
leg and foot do a low battement jete a la seconde. Push of the supporting leg to straighten both legs
barely off the floor. Transfer the weight to the first leg, and quickly close the other leg in the starting
position.

B. FOR CORNER EXERCISES ( done moving across the dance floor )

1.Ballet walks – starting in first or third position, walk through the toes, ball, and then heel of one foot and
then the other. The body is aligned and moves with grace and ease.
2.Chasse (cha sey) – means chasing step. Starting in a first or third demi-plie position, shift the weight so
the front leg slides along the floor to fourth or second position. Pull both legs together in the air in the
chasse to side. Both feet land together in the starting demi-plie position. This is similar to galloping but
done with straight knees and pointed toes.
3.Sautes – means “jumps.” Starting in a demi- plie, execute a vertical jump into the air and end in starting
position. This can be done in all five positions.
4.Jete ( je tey ) – it means “thrown.” Soaring through the air and land as lightly as possible. Brushing the
back leg off the floor at a certain height. Pushing off the other leg, and leap to the other leg.
5.Grand jete – means a big leap. Using runs as the approach, brush the front foot forward, push off the
back leg for the air moment, and land in demi-plie on the other foot. Hold the landing briefly, then
begin the runs for repeating the leap on the leg, and leap to other leg.
6.Assemble (a sem bley) – means “assembled.” In this jump, the feet are brought together or “assembled”
in the air, with the legs beating together before landing on the ground. It is done in all directions either
as a small or as a very large jump.
a. ARABESQUE
ATTITUDE (front)

ATTITUDE (behind)
SAMPLE ILLUSTRATIONS OF CENTER EXERCISES

GRAND JETE ASSEMBLE

SAMPLE ILLUSTRATIONS OF CORNER EXERCISES

Since ballet dancers do not use verbal communication in dance, it uses mime to tell a story. The movements are
done in a way that makes them visible to understand. Most of the ballet performances in the past until the present
have been using mime to tell a story.
There is more to ballet than just learning the technique. It is also about learning how to tell a story or convey a
meaning a meaning using ballet movements. As an aspiring or a beginner ballet dancer, it is important to focus not
just on the techniques but also on the meaning that the movements convey. It would take time to master this skill,
but like any other skill, persistent practice is the key to make learning ballet or any other dance easier to grasp.

MODERN DANCE
Modern dance, a term to describe contemporary dance, is a style of dancing where
dancer is free to express their feelings through movements without adhering to any rules in
dance particularly that of ballet.
It is actually a rebellion against the confining nature of classical ballet (Horwitz, in Reynolds, 1979). Unlike ballet,
dancers of modern dance use their interpretations instead of structured steps.

They thrust aside the classical ballet stance of an upright, erect body, and instead
often opt for deliberate falls to the floor (Bedinghaus, 2016). The movements are
not always necessarily light, beautiful, and effortless, but instead strong and
sometimes ugly as the effort involved in producing it is revealed. Modern dance
uses more of torso on a horizontal rather than a vertical plane, and new varieties
of tilting, twisting, and bending movements. The feet are not always turned out
and are either pointed or flexed.
Beauty and ethereal qualities of the human situation is what is mostly being
emphasized in ballet, while modern dance portrays the actual human situation as it is.
Even the training structure also different with that ballet. Modern dance makes use of
the floor as part of the movements, whereas in ballet, the floor was merely for standing
or sitting purposes. It also includes several areas of dance movement, namely,
technique, improvisation, and choreography.
Characteristics of Modern Dance
1. Technique. Although some would see modern dance as just purely an “interpretative dance,” there is a
technical approach to training a modern dancer. This teaches the dance to control the body and making it
the instrument. It also provides the skills of dance movement to make the body movement efficiently and
with precision. There are several techniques from various modern dance choreographer but the main goal
of each technique is “to develop an instrument, which is the human body, that is capable of expressing
any and all aspects of human behavior”.

Famous Techniques in modern dance:

- Graham Technique
- Humphrey-Weidman Technique
- Limon Technique
- Cunningham Technique
- Hawkins Technique
- Horton Technique
- Nikolais/Louis Technique
2. Improvisation. This refers to the spontaneous movement performed by dancers in response to
suggestions by the choreographer. Various images, ideas, feelings, or other stimulating events may be
motivation for improvisations. Modern dance allows considerable freedom to the dancer.
3. Choreography. Modern dance allows choreographic freedom. The form in this dance mostly represents
the personal and emotional experiences of its creators. The intent and style of the dance choreography
are not limited to certain areas or subject matters giving the choreographers freedom to choose their
own.

WHERE DID MODERN DANCE COME FROM?

Modern dance developed independently in America and Germany. It was then known in Germany as
Ausdruckstanz, meaning expressive dance. At the beginning of the 20 th century, a group of pioneering
dancers started creating a new movement that suited the tempo and pulse of the new century. This
movement is different from what has existed in ballet. The pioneering artists were Isadora Duncan, Ruth St.
Denis, and Ted Shaw. All of them had studied ballet but found it not suitable to their temperament and
movement style. They also found it confining and rejected it.
Isadora Duncan styles of dancing emanates from the center of the body
where energy flow outward, providing impulses for actions. She called it the solar
plexis or emotional center. Her dances “appeared natural and so free flowing that
it looked like it was to recreate the classical ideals of the ancient Greeks through
her dancing, putting less emphasis on theatrical effects and focus in pure
movement and the use of the body.

Ruth St. Denis single-mindedly created a dance wherein she portrayed an

Egyptian goddess. Her dances also projected impressions of the ethnic dance forms.
She married Ted Shawn and they both formed Denishawn, a touring dance
company that traveled throughout the United States. St. Denis and Shawn did more
than just bring modern dance to the American people compared to the other
pioneers of modern dance. They established schools and trained many young
performers in dance technique who then become important personalities in
modern dance. Some of these prominent students were Doris Humphrey, Charles
Weidman, and Martha Graham.

Martha Graham was the first to leave Denishawn. She become a solo dancer,
eventually turned into a renowned choreographer, and formed her own Martha
Graham Dance Company. She developed her technique based on her expressional
needs and her movement style is “based on the principle of contraction and release
in the torso and is an extension of the simple act of breathing”. She has danced and
choreographed for over 70 years and preferred the term contemporary dance over
modern dance.

There are the number of eminent names of personalities who have contributed significantly to the growth of
modern dance. Some of them are Mary Wigman, Charles Weidman, Erick Hawkins, Merce Cunningham, Agnes de
Mille, Jose Limon, and Lester Horton to name a few. They each created their own performing dance groups that
still exist up to this day.

Did you know?

- The pioneers of modern dance movement Ruth St. Denis, Ted Shawn and
Denishawn Company performed at the Manila Grand Opera House in 1922.
- Among those who were able to witness the introduction of modern dance in the
Philippines were Filipino dancers Ferrer Advoso, Corazon Generoso Inigo, and
Rosalia Marino Santos.
WHAT ARE THE BASIC MODERN DANCE SKILLS?

Modern dance movements are based on basic locomotor and non-locomotor skills (Hays, 1981). It is the
application and the incorporation of the meaning of the movement that turns the simple movement to dance
movement. The following are the basic modern dance skills:

1. Dance walk – an even rhythm pattern in which an alternate transfer of weight occurs from one
foot to the other. Walks help maintain body weigh ready for immediate action. There are
different directions to which dance walks are done:
a. Forward
b. Backward
c. Sideward (grapevine action)
2. Run – an even rhythm in which there is an alternate transference of weight from one foot to
other. It is faster than walk and requires more energy. A smooth run should be done with toes
reaching forwards so that the ball of the foot strikes the floor first, followed by the heel, to
absorb shock. Its many use in dance include covering distance, changing direction, gaining
momentum for another movement gaining height.
3. Triplet (plié, relevé, relevé) – basic modern dance experience performed in an even ¾ meter with
each step requiring a complete change of weight. Its pattern consists of one step with a slight
flexion of ankle, knee and hip (plié), followed by two steps on half-toe (relevé) it is done with
alternate feet ( R L L / L R R ).

Step by Step description:

a. Step out in demi-plié on right leg turned out, left leg extended and the knee straightened.
b. Step through in relevé on L foot.
c. Remain on relevé position and step through on to R foot.
d. Perform in a series across the floor or in a defined space pattern with a slight accent on the
first of each of the three steps.
4. Waltz – even rhythm with counts 1 2 3/ 1 2 3/. Begin as in the walk, turned out fifth position.
Reach forward strongly onto R demi-plié carrying upper body evenly with the pelvis over the R leg
(ct. 1). Cut under body in relevé on L through fifth position (ct.2). shift weight back to R demi-plié
in place (ct.3). Repeat side R and slide left for the traditional balance movement.
5. Gallop – this is two steps performed in uneven rhythm 1 & 2/ 1 & 2/, long-short, long short. One
foot always maintains the lead.
Step forward in slight demi-plié and push-off into the air, extending ankles and legs.
Recover on opposite foot in demi-plié. Increase force on takeoff for added height and vary
directions and position of the legs while in the air.
6. Chassé/Slide – uneven rhythm with counts 1 & / 2 &/ with one foot maintaining the lead. It is
smoother in quality than the gallop, the slide retains other of its features. Emphasis is placed on
the gliding action of the leading foot, following foots cuts under, body weight is lifted sharply as
this takes place in either through third or fourth position.
7. Jumps
a. Basic (Sauté) – uneven rhythm / & 1/ & 2/. Starting with first position turned out in a demi-
plié preparation, jump straight into the air (ct. &). Land in demi-plié (ct. 1). Repeat several
times. May also be done in second, third fourth and fifth positions with both turn out and
parallel rotations.
b. Echappé – jump from the first position in demi-plié springing with legs on a slight diagonal
outward from hip joints (ct. &). Land with feet in second position (ct. 1). Spring into the air,
legs extended (ct.&) and finish with feet in first position demi-plié (ct.2). May be done in all
five position.
c. Sisone – spring to Right side from fifth position demi-plié with right foot forward. Allow left
leg to extend to knee height through second position and tilt shoulders and head slightly right
(ct.&). Finish in demi-plié fifth position with left foot in front, torso erect (ct.1). Can be done
forward and backward and alternate side.
8. Leap – in the gap between take-off and landing. The body is suspended in the air with both feet
off the floor for a short flight of freedom.
a. Jeté – (see ballet terms)
b. Prance – like run, the weight changes alternate the feet in an even rhythm with counts 1 2 / 1
2/. As weight is taken on L leag in demi-plié, the R knee is lifted sharply and R foot strongly
extended. Both knees should extend ankles together at the highest point elevation. The body
elevates slightly between each steo.

Note: Emphasize the lightness of the pelvis and strong articulation of the foot on both take-off
and landing.

9. Falling – falling action can be aesthetically breathtaking when performed quickly and with
control. It can be done in any direction.
a. Simple side fall

i. Stand erect, feet diagonally turned out and arms hanging naturally. Bring ribcage and
right side of head to right until body losses balance stumbling to R side.
ii. Side falls – from a side sitting position, arms and legs pointed in same direction, bend
body to L, dropping L arms across body and placing hard on floor. Slide L hand sideward
as legs extend in opposite direction. Weight of the body is taken first on L hip and then as
the body extends, on the L side. At the end of the fall, the L arm is extended, head resting
on shoulder, and R arm is parallel with extended legs.
iii. Side split fall – stan in first position, shift weight slightly onto L letting R slide to the side.
Simultaneously slide forward reaching for floor with hands without collapsing. Control
descent by maintaining pelvic and abdominal lift and a well-arched spine. As hands touch
the floor, elbows bend to catch the weight of the torso. The body should resist the floor
to maintain smooth quality control.
b. Simple forward fall – from standing erect, feet parallel and arms hanging naturally, step
forward R and bring face and chest forward. As weight progresses forward, allow L leg to rise
in a small arabesque (see ballet definition). Continue until the body falls forward off balance
almost stumbling.
c. Overcurves (Glissade) – stand erect, arms curved downward and feet turned out. Inhale and
reach out to R side sensing a lift at the moment of weight transfer through second position
(ct.1). shift weight to working leg and close other foot in front to a relaxed fifth position
allowing knees to bend. Exhale (ct.2). repeat sideward action in same direction closing foot in
back on count 2 to produce a grapevine effect.
d. Tombé - this indicates any time the body falls forward, backward or sideward off the
supporting leg onto the working leg in a demi-plié.

Example: stand in parallel first position, brush R forward and let body weight follow leg until a
shift or weight onto the R in demi-plié occurs.

e. Front falls

i. Simple – from a high kneeling position, contract body forward and downward, placing
hands on floor below shoulders. Slide hands forward, extending hips and arching upper
spine until body is fully extended in prone position.
ii. Swedish fall – from first position, step forward on one foot, lifting other leg towards the
back. Arch upper spine and swing arms forward with palms toward the floor. Fall forward
to catch weight on hands, back leg still extended in the air. Lower body to floor by
bending the elbows then sliding hands forward as legs straightens.
iii. Front sliding fall – begin in a slow run as a preparation. Lunge forward on R allowing
torso and arms to reach out towards the floor. Upon contact with floor, pull backwards
with hands while maintain a strongly arched back, extended legs and feet, and pulled up
abdominals.
f. Back falls – from erect standing position, cross R foot in back lowering to R knee. Sit on floor
extending L foot forward and reaching hands sideward. Curl spine down while extending R leg
and using hands to help support and control torso.
g. Spiral falls – from erect standing position and legs turned out, cross L foot behind and twist
shoulders to right while contracting into R hip. Deepen this spiral action to right lowering to
floor balanced on the L hip. Control descent. Avoid moving the feet intentionally as they only
react to changes in torso position.
10. Rolls

a. Log rolls – from supine lying position, with arms extended overhead and feet and ankles
extended, revolve entire body to end in prone lying position. Repeat as many times as desire.
b. Forwards – starting with a kneeling position, sitting on heals, body curled forward, head
turned to one side and elbows in at center of body. Make a complete body roll in the direction
opposite to turned position of head, to end in starting position.
c. Backward roll – begin supine lying, arms at the sides of the body. Contract abdomen and
hinge legs up and backward. Aim knees slightly to the R shoulder and turn and head to left.
End on knees or on feet in a squat.

11. Turns – this involves establishing an axis within the body, through the body’s point of contact
with floor. It is vital to learn how to spot in order to execute the turns efficiently and smoothly.
Spotting is an attempt to trick the eye and inner ear balance receptors into thinking one has not
turned at all. This is done by selecting a spot at eye level upon which to focus. Hold that spot for
as long as possible without allowing the head to tilt, usually ¼ of the turn. The head then flips
around to focus on the spot again before the body has completed its turning action. In turning,
the head is last to leave and first to arrive.

a. Three step turn – begin with weight on left foot, right leg extended to side. Step on right doing
½ right turn. Step left continuing right turn to end facing forward, recovery step to right side.
Focus in direction of the turn.
b. Cross over turn (Soutenu/turn) – weight on left, right arm extended to second position. Step
right foot, crossing left over. This can be done with or without a slight springing action to the
step, weight on both feet, pivot Right to face forward.
c. Chainé – keeping the feet close together on ½ toe, step on Right doing ½ turn. Step left foot
completing the turn. Perform a series in a straight line. It is important to spot on chaines
because of the speed and desired accuracy.
d. Grapevine – exaggerate the twists so that both hips and shoulder turn from side-to-side on
each. Step Right, cross over left and twist to face right. Step side right, cross back left to face
side left.
e. Coupé Turn – related to the chané with the same footwork only on each step with the
working leg is placed slightly above the front of the supporting ankle. Also springing instead of
stepping onto the supporting leg. Each step makes ½ turn, therefore two coupes result to a
whole turn. Make sure to spot in the line of direction of the turn. Do in series.
f. Pas de Bourree Turn – begin with weight on right foot, left foot behind. Stepping underneath
the body, step on left making 1/3 turn to left. Step right continuing turn to left. Finish turn in a
coupe on left foot.
g. Pique Turn – start with weight on Right, left foot extended forward. Reach to left diagonal
with fully extended leg and foot. Shift weight over to left leg and turn left to face forward
shifting weight back to original position. Working leg is held with knee flexed and ankle
resting against back of left calf, thigh turned out. Turn progresses in a straight line.
h. Pirouette – the preparation always begins with the supporting leg turned out in demi-plié.
Beginners and intermediate students would begin the turn with the working foot also on the
floor. Start in a small forward lunge, weight on forward leg. Whip the back leg around to the
pirouette position and turn in the same direction as the supporting leg.

LEARNING ACTIVITIES:
ACTIVITY 1: Examining the Background of a Philippine Folk Dance

Direction:
1. Search and choose one from any of the resources you have for Philippine folk dance. Answer the
following question:
Lumagen dance
Lumagen dance in Cordillera is to be a tribal dance. This is a traditional thanksgiving
dance. performed to celebrate good harvest and events such as birth of first born child,
victory in battles and weddings.

a. Where does the dance come from? (Trace the place or province of origin.)
Luzon
b. Is it a national or ethnic dance? If ethnic:
Ethnics
- From what tribe or group of indigenous people does it come from?
Kalinga is both a tribal community and a landlocked province in the heart of the Cordillera
region in northern Luzon, the Philippines. ... Immersed in the magnificent
mountains, Kalinga people lived modest but passionate lives in a world where your skin
communicated your social status to the local community.
- What is the best nature of the dance? Is it ritual, life cycle, or occupation?
If national:
- What is the classification of the dance?
c. What is the motif or theme of the dance?
Tribal Thanksgiving
d. What are the rhythmic patterns?

2. Describe briefly the background of the dance you chose.

From the earliest moments of known human history, dance accompanied ancient rituals, spiritual
gatherings and social events
3. Share and discuss your activity.
This activity is all about keeping culture and history. Folk dances are important for people because
they help preserve a community alive. Folk dances are significant because they conserve and pass
on to the next generation of Philippine culture. The Philippines are a uniting power.

Activity 2: Applying Creativity Trough Demonstration

Procedure:
1. Using popular short story, discuss how the story can be told without using spoken words.
2. Think of how you can use your own body and facial expressions to tell your simple story by using mime
and at the same time incorporating some of the basic ballet movements.
3. Create a collogue of your photo and submit in google classroom

Teacher Made Worksheet:

Worksheet number 1: Multiple Choice

Direction: Read the following items. Write the litter in the blank space before the number.

__A__1. A rhythmic bodily movement that projects ordered sequence of moving visual patterns of life, solid
shape,
and color.
a. Art
b. Sports
c. Dance
__B_2. The indigenous dance of a specific townspeople is called?
a. Contemporary dance
b. Folk dance
c. Country dance
_C__3. The following are characteristics of Philippine folk dance except.
a. It is expensive behavior
b. It is created by unknown choreographer.
c. It requires specific dance skills and technique
a.
b. All folk dances are national dances
c. They are popular with widely danced throughout a given country.
d. They are national scope.
_B__5. Dances performed in primitive tribes and have retained their kinship with religious ritual and community
custom are called?
a. Folk dance b. ethnic dance c. national dance
_ B__6. These are dances that exhibit work or means of livelihood of the people.
a. Ritual dances
b. Occupational dances
c. Social amenities dances
_A_7. Daling-daling, a Muslim dance from Sulu, is an example of a.
a. Ritual dances
b. Life-cycle dances
c. Social amenities dances
_A__8. These are folk dances coming from places with Western influences such as Spanish and European cultures.
a. Lowland Christian dances
b. Tribal dances
c. Muslim dances
_C__9. Itik-itik folk dance is an example of a
a. Festival dance
b. Jokes and trickster dance
c. Mimetic or drama dance
_C_10. The mother of Philippine folk dance and was also awarded as the National Artist of dance is
a. Francisca Tolentino-Reyes
b. Francisco Reyes Tolentino Aquino
c. Francisco Aquino-Reyes

Worksheet number 2: Matching Type

Direction: Match the description in column A with column B. write the letter of your answer in the
blank provided before the number.
COLUMN A COLUMN B

_F_1. The word “ballet” was derived from words a. leaps, galop
_J_2. The period when ballet started in Italy was during? b. third position
_G_3. The queen who marked the staging of ballet was? c. contemporary dance
_B_4. The ballet feet position where the heel of one foot
is in front of the middle (arch) of the other foot is called d. arabesque
_H_5. Exercises done in preparation for everything else in
ballet are called? e. corner drills
_A_6. This consists of sequence of steps that combines big jumps,
big jumps, leaps, and turns that cover large areas and put a
greater demand on the body’s strength and control. f. ballare and ballo
_D_7. A movement where the knees are bent or folded and is the
basis of all coordinated balletic movements is called? g. Catherine de Medici
_J_8. A ballet movement where one leg is raised and extended
behind the body and a variety of shapes of the arms are
used to harmonize with its long-extended line is called? h. center work exercise
_C_9. A dance style where dancers are free to express their
feelings through movements without adhering to any
rules in dance is called? i. devéloppé
_E_10. The movements skills that are used both in ballet and
modern dance. j. Renaissance

ASSESSMENT:
APPLYING CREATIVITY THROUGH CHOREOGRAPHY
PROCEDURE:
1. Observe everyday movements and gestures of three different people. Select relevant
actions from each and combine into a movement pattern.
2. Execute and perform your modern dance piece, record your video and submit google
classroom.

Criteria:
Choreography and Creativity 35%
Showmanship 25%
Control of movements 25%
Overall effects 15%
TOTAL 100%

ASSIGNMENT:
Collect and Create dance
Direction: Make a power point presentation of different folk dances in the Philippines, include the brief history of
the dance that would you choose.

Prepared by:
Joemer V. Altamarino
Mapeh Teacher