GROUP 2 HANDOUT

A. DEFENITION

DANCE

• Dance is an art form that involves rhythmic movement of the body, often
accompanied by music. It serves various purposes, such as expression,
storytelling, celebration, and entertainment.
• It can be performed solo, with partners, or in groups, and is a universal form
of communication and expression found in cultures around the world.

DANCING

• Dancing is the rhythmic movement of the body, usually to music. Styles of

dancing vary widely and include forms like ballet, hip-hop, salsa, and folk
dance, each with its own techniques and cultural significance.
• It specifically emphasizes the action or process of moving rhythmically to
music.
B. HISTORY OF BALLROOM DANCES
EARLY ORIGINS

The origins of the oldest traditional ballroom dance, Waltz, first appeared in
16th century Europe. Michel de Montaigne, a French philosopher, wrote about what
he observed “individuals danced together so closely that their faces touched."
Although initially popular amongst the lower classes, this 3/4-time dance eventually
spread from the countryside to the suburbs, and finally to metropolitan areas.
As ballroom dance entered cities across Europe, aristocrats danced the
minuets (stately ballroom dances from the 18th century) to music by Mozart, Haydn
and Handel. The styles of the upper and lower classes began to blend when noblemen
became bored by minuets and decided to attend the balls of their servants. As
peasants and noblemen danced together, novelists observed and incorporated
elements of this dancing into their writing, often depicting it as both shameless and
indecent.

Despite this, Waltz grew in Vienna, quickly reached England, and was
introduced to commoners by infantry soldiers in the early 1800s. Composers, such
Johann Strauss and Franz Lanner, took note of the dance’s rising popularity and
developed more music in the 3/4 timing. No longer was the Waltz considered
scandalous or indecent and the style was danced at social gatherings and parties
across Europe.

Across the globe, other forms of social dance emerged. Some historians
attribute the origins of the Merengue to African slaves of the Dominican Republic. After
watching the aristocrats dance stoic, waltz-style dances during parties, they mimicked
these dances, taking bits of what they liked, increasing the tempo, and adding their
own music and rhythm. By the 1850s, Merengue was danced at every social occasion
in the Dominican Republic and neighboring Caribbean and South American Countries.
Well-suited for crowded rooms or small spaces, Merengue was introduced to the
United States first in New York City and was easy to dance in bustling bars or clubs.
TURN OF THE CENTURY

At the turn of the century, many dance styles came to life across all parts of the world.
In the streets of Buenos Aires, Argentina, the Tango popularized at a rapid rate.
The birth of the dance was so closely tied to music, that many instruments became
known as traditional “Tango” instruments, including the guitar and the Bandoneon
(tango accordion). In the early 1900s, Tango reached New York City and Paris,
expanding into all social classes. The North American Tango strayed slightly from the
Argentinian at first and became more unique over time. Today, the tempo of the music
and movement of the dancers is must faster in this style at typically a 2/4 or 4/4 rhythm.
In the United States, a smooth, traveling dance called the Foxtrot was named
after entertainer and Vaudeville, actor Harry Fox. Around 1914, Harry would typically
perform trotting steps to ragtime music in one of his theater acts in New York City,
earning his dance the name of “Fox’s Trot”. Husband and wife actors, Vern and Irene
Castle, also helped popularize and refine the dance after appearing the Broadway
Show, Watch Your Step, in 1914.

In the 1920s, a lively dance called the Swing was inspired by contemporary jazz
music and popularized by Black Americans. Like Tango, the music and dance evolved
together, and Swing came to include many other styles—Lindy Hop, Shag, and
Charleston. Talented dancers such as Norma "Queen of Swing" Miller, danced the
Jitterbug and Lindy Hop, with incredible displays or jittering movements as they
danced. While Lindy Hop and other styles of Swing are still danced across the country,
in the ballroom world, the most popular styles of swing are defined as “East Coast"
“West Coast” Swing.
Partner dancing began to evolve around the beginning of the 20th century. As
the arts became an integral part of many American origin stories, dancers and other
artists became popular within the media. The Hollywood stars, Fred Astaire and
Ginger Rogers, were one of many dance partnerships causing the American public to
swoon in adoration. Between their connection on the dance floor, and their ability to
move as one with music, these dancers became the fulcrum of the US's passion for
partner dancing.
In the 1940s, bandleaders began to play a new form of music called Mambo.
Mambo gave people the freedom to move their bodies and was characterized by
complicated footwork and interesting patterns. A Puerto Rican dancer named Pedro
Aguilar, also known as “Cuban Pete," became a household name as songs wrote
about his impressive ability in this style. He eventually brought the Mambo to the
Palladium club in New York city and became historically recognized as the “greatest
Mambo dancer ever,” a title presented to him by Tito Puente, a superstar in Latin
dance music.
Alongside the Mambo, the Cuban Rumba became popular within club settings
and in the streets, as it was danced to the music of local entertainers in Latin America.
Originating in Africa, this dance and music style was brought to Latin America through
the African slave trade to Cuba. In Africa, the Rumba began as a fast dance with large
hip actions, said to represent the “chase” of a courtship. The “Son,” another popular
Cuban dance, was like Rumba, but was slower and more compressed. The wealthy
Cuban class danced yet a different style to Rumba music, called the “Danzon,” with
smaller shipments created by bending and straightening of the knees. As Rumba
increased in popularity in South America, the styles began to blend. The Rumba we
know today is a combination of parts of each of these histories, and even is danced
competitively across both the American and International categories of ballroom
dance.

BALLROOM DANCE TODAY

Today, ballroom dance is a phenomenon as a social activity, as well as a competitive

entity. Its popularity has only been increased as television shows like Dancing with the
Stars have released. Ballroom dance comes with many benefits and is a unique
opportunity to move, share movement with others, and showcase creativity.
ANOTHER INFORMATION
Origins: The roots of ballroom dance can be found in the social dances of the 16th
and 17th centuries, particularly in Italy and France. These dances were often
performed in ballrooms of aristocratic homes and included elaborate steps and
formations.

19th Century: The 1800s saw the rise of more structured ballroom styles, with dances
like the waltz gaining popularity. The introduction of the waltz in the early 19th century
was revolutionary, as it featured close partner dancing, which was considered
scandalous at the time.
Formation of Styles: During the Victorian era, various ballroom styles began to
emerge, including the polka, mazurka, and quadrille. Social dancing became a
significant aspect of social life, with formal balls and events becoming common.

Early 20th Century: The advent of jazz music influenced the development of new
styles, such as the foxtrot and tango. The dance craze of the 1920s, including the
Charleston, also impacted ballroom dance, leading to the fusion of various styles.

Dance Competitions: In the mid-20th century, ballroom dance began to be formalized

with the establishment of competitive dance organizations. This led to standardized
techniques and styles, including the International and American styles of ballroom
dance.
Modern Era: Today, ballroom dance includes various styles like the Standard (waltz,
tango, foxtrot) and Latin (samba, rumba, cha-cha) dances. It remains popular
worldwide, with social dancing, competitions, and shows (like "Dancing with the Stars")
contributing to its ongoing appeal.
BENEFITS OF BALLROOM DANCES

PHYSICAL BENEFITS:
1. Improved cardiovascular fitness: Ballroom dancing provides an excellent
cardiovascular workout, helping to improve heart health, stamina, and
endurance.
2. Increased muscle strength and tone: The various movements and
techniques involved in ballroom dancing engage and strengthen different
muscle groups, resulting in a more toned and defined physique.
3. Enhanced flexibility and balance: Ballroom dancing requires dancers to
perform a range of motions, which helps to increase flexibility and improve
balance and coordination.
4. Weight management: As a form of aerobic exercise, ballroom dancing can
contribute to weight loss or maintenance by burning calories and increasing
metabolism.
5. Improved posture and body awareness: Ballroom dancing encourages
proper posture and body alignment, leading to a more graceful and confident
presence both on and off the dance floor.
MENTAL BENEFITS

1. Stress relief: Dancing provides a fun and enjoyable outlet for releasing stress,
allowing participants to unwind and forget their daily worries.
2. Cognitive function: Ballroom dancing requires mental focus, concentration,
and memorization, which helps to sharpen cognitive abilities and may reduce
the risk of age-related cognitive decline.
3. Boosts self-confidence and self-esteem: As dancers progress and master
new skills, they often experience increased self-confidence and a greater sense
of accomplishment.
4. Emotional expression: Ballroom dancing offers a creative outlet for
expressing emotions and interpreting music through movement, fostering
emotional well-being and personal growth.
5. Mindfulness: The focus required in ballroom dancing can promote a state of
mindfulness, allowing dancers to be present in the moment and fully engaged
in the activity.
SOCIAL BENEFITS
1. Improved social skills: Ballroom dancing requires partner communication and
collaboration, helping individuals to develop better social skills and become
more comfortable interacting with others.
2. Expanding social circle: Participating in ballroom dance classes and events
provides opportunities to meet new people, make friends, and expand one's
social network.

3. Sense of community: The ballroom dance community is generally welcoming

and supportive, fostering a sense of belonging and camaraderie among its
members.

4. Opportunities for connection: Dancing with a partner can create a unique

bond and connection, strengthening relationships and fostering trust and
understanding between partners.

5. Enhances teamwork: Learning and performing a ballroom dance routine with

a partner or a group requires cooperation, coordination, and mutual support,
promoting teamwork and collaboration skills.

CONCLUSION
Ballroom dancing is a multifaceted activity that offers a wealth of physical,
mental, and social benefits. As a fun and enjoyable way to stay active, ballroom
dancing can help individuals improve their overall health, well-being, and quality of life.
Whether you're a beginner looking to try something new or an experienced dancer
seeking to maintain your skills, ballroom dancing can provide a fulfilling and rewarding
experience that will enrich your life in countless ways.
ESSENTIAL COMPONENTS OF DANCING
Dance can be broken down into the following five elements:

• Body
• Action
• Space
• Time
• Energy

BODY: Who Dances? The Dancer!

Imagine a body moving with rhythmic purpose and motions, usually performing
to music. That’s dance. Sounds simple, right? Dance critic Walter Terry put it best this
way:
“No paints nor brushes, marbles nor chisels, pianos or violins are needed
to make this art, for we are the stuff that dance is made of. It is born in our
body, exists in our body and dies in our body. Dance, then, is the most
personal of all the arts . . . it springs from the very breath of life.”

The human body is what others see when they look at dance. Sometimes the
body is still; other times, it may be in motion. A dancer can use the whole body, or
emphasize individual body parts, when moving.
When you watch dance, try to notice the position of the body. Is it symmetrical,
with the right and left sides doing the same thing, or not? What shape is the body
making? Are the shapes sharp and angular, or soft and rounded? Is the body curved,
twisted, or straight?
Just as some colors in a painting may be more vibrant than others, you may
notice dancers who have exceptional body control. They have worked hard to train
their bodies (essentially their instrument of expression) to achieve superior balance,
strength, and agility. Pay extra attention to how dancers use their breath when working
through a dance phrase, or series of movements.
Dancers use their bodies to take internal ideas, emotions, and intentions and
express them in an outward manner, sharing them with others. Dance can
communicate this internal world, or it can be abstract, focusing on shapes and
patterns.
In this excerpt from George Balanchine’s Apollo, you can see how the dancers
use individual body parts to create a beautiful effect in space. The three ballerinas
touch their toes to the male dancer’s hand, and then link their arms through his.

ACTION: The Dancer Does What? Moves!

Action is any human movement involved in the act of dancing. What do dancers
do? They move—this is the action they perform. Movement can be divided into two
general categories:
• Non-locomotor or axial movement: Any movement that occurs in one spot
including a bend, stretch, swing, rise, fall, shake, turn, rock, tip, suspend, and
twist.
• Locomotor movement: Any movement that travels through space including a
run, jump, walk, slide, hop, skip, somersault, leap, crawl, gallop, and roll.

Action includes small movements like facial expressions or gestures, as well as

larger movements like lifts, carries, or catches done with a partner or in a group.
“Action” is also considered the movement executed as the pauses or stillness between
movements.

Dancers work together with a choreographer to practice and refine the action
of the dance. When the action has been “set,” or finalized, the dancers must memorize
their movement sequences to be able to perform them.

SPACE: Where Does the Dancer Move? Through Space!

We’re not talking about the final frontier here! We’re talking about where the action of
dance takes place. Dance moves through space in an endless variety of ways.

To better explain, here are some ways a choreographer or dancer thinks about space:

• Level: Is the movement on the floor or reaching upward? Are they performed
high, medium, or low?
• Direction: Does the movement go forward, backward, sideways, right, left, or
on a diagonal?
• Place: Is the movement done on the spot (personal space) or does it move
through space (general space, downstage, upstage)?
• Orientation: Which way are the dancers facing?
• Pathway: Is the path through space made by the dancers curved, straight, or
zigzagged? Or is it random?
• Size: Does the movement take up a small, narrow space, or a big, wide space?
• Relationships: How are the dancers positioned in space in relationship to one
another? Are they close together or far apart? Are they in front of, besides,
behind, over, under, alone, or connected to one another?

The list above helps us understand how to think about movement through
space. Imagine how many ways you could perform a simple movement, like clapping
your hands if you ran it through the different concepts listed above. Remember, space
can be both indoors and outdoors, and some dances are created with specific spaces
in mind.
TIME: How Does the Body Move in Relation to Time?

Choreographers must make decisions about timing. Are their movements quick or
slow? Are certain steps repeated in different speeds during the work? If so, why? We
can think of time in the following ways:

• Clock Time: We use clock time to think about the length of a dance or parts of
a dance measured in seconds, minutes, or hours.
• Timing Relationships: When dancers move in relation to each other (before,
after, together, sooner than, faster than).
• Metered Time: A repeated rhythmic pattern often used in music (like 2/4 time
or 4/4 time). If dances are done to music, the movement can respond to the
beat of the music or can move against it. The speed of the rhythmic pattern is
called its tempo.
• Free Rhythm: A rhythmic pattern is less predictable than metered time.
Dancers may perform movement without using music, relying on cues from one
another.

ENERGY: How? The Dancer Moves Through Space and Time with Energy!

Energy helps us to identify how the dancers move. What effort are they using?
Perhaps their movements are sharp and strong, or maybe they are light and free.
Energy also represents the quality of the movement—its power and richness. For
choreographers and dancers, there are many possibilities.

The effort the dancers use can communicate meaning, depending on the energy
involved. A touch between two dancers may be gentle and light, perhaps indicating
concern or affection; or it may be sudden and forceful, indicating anger or playfulness.
Energy is crucial in bringing the inner expression of emotion out to the stage
performance.

Some ways to think about energy are:

• Attack: Is the movement sharp and sudden, or smooth and sustained?

• Weight: Does the movement show heaviness, as if giving into gravity, or is it
light with a tendency upward?
• Flow: Does the movement seem restricted and bound with a lot of muscle
tension; or is it relaxed, free, and easy?
• Quality: Is the movement tight, flowing, loose, sharp, swinging, swaying,
suspended, collapsed, or smooth?

Finally, a great way to remember the five elements is by thinking of the

acronym BASTE: Body, Action, Space, Time and Energy.
SUMMARY
All dance forms share foundational concepts known as the Elements of Dance.
The Elements of Dance are overarching concepts and terminology that are useful
when observing, creating, analyzing, and discussing dance. Dance can be broken
down into its primary elements: Body, Action, Space, Time and Energy. It can
be easily recalled through the acronym B.A.S.T.E.

The body is the mobile instrument of the dancer and helps inform us of
what is moving. The body category includes shapes, actions, and whole-body and
part-body movements. Energy is how the body moves. When speaking about Energy,
we can refer to effort or movement qualities. Space is where movement occurs and
includes personal and general space, levels, directions, pathways, floor patterns,
various sizes of movements, range of movement, and relationships. Time is when the
dancers move. The Time category includes pulse, speed, rhythmic patterns, natural
rhythm, and syncopation. Action includes small movements like facial expressions or
gestures, as well as larger movements like lifts, carries, or catches done with a partner
or in a group.

As observers of dance, it can be easy to allow our biases to influence how we

perceive dance. By using dance vocabulary and stating what we observe, we can be
more objective in our discussions of dance. Using the Elements of Dance, we can view
dance through an unbiased lens to consider its structural elements to deepen our
understanding and appreciation of dance as an art form.