CChapter5, STREET DANCE AND HIP-HOP ‘Lesson 5.1 History of Steet Dance Lesson 5:2 Definition Lesson 33 Fitness Benefits of Steet Dance ‘Lesson 54 Elements of Stret Dance Lesson 5 Hip-hop Lesson 56 Elements of Hip-hop Lesson 37 Two Main Categories of Hip-hop [Lesson 88 Terminologies in Hip-hop [Lesson 59 Fundamentals of Hip-hop Movements [REFERENCES. Chapter 1 FOLK DANCE LEARNING OBJECTIVES At the end ofthe chapter the students are expected to: 1, Define terms used in folk dance; 2. Identify the phases of dance program and the common. formations used in folk dance; Discuss the concepts of folk dance: |4. Demonstrate the fundamental positions of hands and Feet ‘used in folk dance; Determine the note patter, step pattern and counting of the diferent dance steps in folk dance; 6. Execute the different dance steps used in folk dance; and 7. Create and. perform combinations from the different dance steps.Definition of Terms, Rhythm. This is measured motion of flow, characterized by basically regular recurrence of elements or features as beats, sounds, or accents. Ths definition implies mensurement of time, space, and energy. All works of art require rhythm. One finds rhythm inthe design of a beautifully woven basket or a lovely piece of embroidery, inthe lines of « wellcomposed poem, in the harmonious notes of song. Rhythm is most clearly seen through dance thea of movement. Rhythm is natural to every individual. This isso because of a ‘sense of rhythm which i influenced by the shythmic beating of his heart. the ythmic movement of his lungs as oxygen is taken in {nd carbon diovide is forced out ofhis system, and ether rhythmic ‘movements ofthe organs of his body. ‘The universe works in a system of rhythm. The movement of the earth around the sun and the moon around the earth create the ‘movement of day and night and that ofthe tides, Nature itself is a ‘manifestation of rhythm, Rhythm is a term which denotes an aspect of a quality of ‘movement that is sometimes thought of as dance. When an individual moves in response toa particular rhythm or music we callthe movements as rhythmic movements or rhythms, Structured forms which start creative rhythmic movements are sometime called yt Dancing. This is a means of expressing one's emotions though movement disciplined by rhythm. It isan art of moving rhythmically and expressively to an accompaniment. The word dancing” came from an old German word “damson’ which means “to stretch” Essentially, all dancing is made up of stretching and relaxing Dance. This refers to movement set to music where there ‘emerges organization, structure, and pattem. Its a composition that implies arrangement of parts into a form, a Phases of the Dance Program Creative Rhythms Creative ythns ae or cilsen inthe elementary grades. These activites ave sometines called fundamental ehyims or tural dances A cestie yt san end-product of exploration tha improvisation of ovement as ren learnt love the aes oftheirbodyand to use them as instruments of expression Folk Dance Fk dances call ar form handed dwn from generation to getaton, I commonietes te cian ale, Hal and Scone of he prope oft region or oun, Fok dancing Belongs othe people emanates roxy ten. Ehic tbs ave Shr Spece ral foe crated ad danced by he people ofthe ibe Examples of folk dances are the rural and country dances, ots, mazcurkas, pandanggos, among others with foreign influence Examples of ethnic dances are the dances ofthe mountain peoples ofthe Cordilleras, dance ofthe ethnic groupsin the Cagayan Valley Region, and the ethnic dances in the Mindanao Regions, among, others. Social and Ballroom Dance 3 setingof the xi and alm dances social gathering wih the mote formal atmosphere than the simple and informal Farts n which he ecreatonal dance ae the unl forms. Socal RU bali dancing ae general bel inthe evenings. The portant areusual informa tre rot jiterius, Examples of soil and ballroom dances are cach, fox trot, jitterbug, tango, samba, rumba, quick step, Viennese walt jve, and paso dab.Recreational Dance Recreational dane inches dance mixers square dance, round and couple dances Many ofthese dance ave simple patterns and combination of walking steps, wostep polka step, andthe waltz sep ‘The setting of recreational dances usually informal gatherings and parties, reunions, and the like Creative Dance Creative danceisthe highest form of dance, tis the end-product of exploration and improvisation of movements as the dancer oF the choreographer expreses his feelings or emotions, ideas, and {nterpretations. This isa dance with a definite form, a beginning, and an ending. The principles of artform are all observed in the ‘composition of the dance. Examples of creative dance are ballet, jazz, and modem or contemporary dance Formations Commonly Used in Rhythmic Activities Sng Circe facing deckise Se Ge cing courerdocvise Single ci acg prers Single ele acing dockovise [Square or quad formation Single Gl facing counterclockwise_|Semi-crce or half moon Single circle facing partners Double lines facing Font Single Gre, acing center Doble ines facing partners Double arde, ing pare Tong open formation [Double cree facing counterclockwise Double cre facing couples artes | Seater formation a pairs Square or quale formation Note: oer formations can be made s desired. Folk Dance Definition 1, Folk dances are traditional dances of a country which evolved naturally and spontaneously in connection with everyday activities and experiences ofthe people who developed them, Folk dancing is the heartbeat ofthe peopl. Folk dances are traditional social expressions of the ideal, mores, felings and thoughts of a people or group of people ‘through body movement. 4. Dancing isthe outburst of people's feelings. Values of Dancing 1. Physiological and neuro-muscular development of the organic systems of the body CCultural-depics ofthe culture of people 3. Social and recreational‘Types of Folk Dance 1 National - traditional dances ofa given country 2 Regional local Objectives of Teaching Philippine Folk Dances 1, To foster patriotism and nationalism through the study of our dance 2. To rouse better appreciation of Philippine music and folk dances 3, To provide, through dancing, a healthful form of relaxation and recreation 4. To develop a graceful and rhythmic coordination of body ‘movements that will improve posture 5. To preserve posterity, folk dances and music indigenous tothe ferent regions of the Philippines 6 To demonstrate the growth of Filipino culture through the evolution of Philippine dances Do's in Folk Dancing 1 Dance in natural, simple, and direct manner. 2 Dance with ease and smoothness 3, Use the proper costume forthe dance. 4. Follow directions and dance instructions as closely as possible. ‘Dance with feeling and expression Don'ts in Folk Dancing Donot exaggerate the dance steps. _Do not make the dances too dainty and graceful lke ballet. Don't make entrance and exit too long, Don't make steps too elaborate and complicated Don't call a dance a folk dance unless steps come from traditional dances, Suggestions for Teaching Philippine Folk Dance 1. Acquaint the children with the background of the dance. Origin and meanings b. Kinds of movements ‘© Customs, traditions costumes, modes of life and mood of the people 2. Let the childrenlistentoand enjoy the musicin respectto tempo, ‘mood, and parts of the dance, teach the words the children, 3, Teach new steps, explain and demonstrate them. Acquaint the children withthe terms. 4. Put das into formation and teach Figure I, then Figure Il after which take up and I. 5. Perform the whole dance and repeat often enough tobe enjoyed. 6 Dance with the right expression and correct interpretation. Characteristics of Philippine Folk Dance 1. Ingeneral dancers stand apart 2. There itl, if any, bodily contact. 3. Most of the dances are done by pairs or couples. 4. Hand movements play an important part. 5. Most dances are in long formation 6. Most dances begin and end with “saludo”. 7. Dances from the lowlands have more foreign elements than those found in the uplands 8 War dances are found among non-Christian tribes,Classincatiog of Pidigblas Daca 8. War dances: showing imaginary combat or duel Examples: Sagaya,Palu-palo |. General Classification A. Geographical extent of origin ‘€, Movements: 1. Active - with fast energetic movements. Examples: 1 National dances - found throughout the islands with ‘Tinikling, Maglalatik, Sakuting, Polkabal etc. ee 2 Moderate - Examples: Carifosa, Tagala, Habanera, ‘Examples: Rigodon, Carifios, Jota, Balitaw, Pandanggo. Purpuri ee 2 Local dances - found ina certain locality. 3. Slow - Examples: Pasakat, Amorosa, Ti Liday, Examples: Tnikling - Leyte; Maglalatik - Binyang: Kundiaman etc Esperanza Nabua; Subli- Batangas Biniganbigat- Abra 4. Slow and fast - Examples: Puritos, Bangles, Habanera ete B. Nature D. Formation 1. Occupational - depicting action of certain occupation 1. Square or Quadrille~ Examples: Rigodon, Losa Bailes industry or human labor : | deayeree Buamples: Manting, Harvesting Pounding, Winowing, | Long formation (ov or more parallel ins) Examples: Pabirk Manguete ct. i Tey ceaeee a e 2 Religions or cemonal-perormedin connection with se citing of bd caer ed ge MEE sligoun vows tnd ceremeniea, i facing cach ober or sang cde by side, Bramples Examples: Dugss, Suasua, Putong, Sa. Clarang, Binadyong. Hapik Kalawat Hiner ; 3. Comic dances - depicting. funny movements for Special Clasifcation- Group dances having. special ceterainment BY abtncsive features. Examples: Kimbo conggo, Kinoton } sample Kinin Mango, Kin | A. Dance with songs - Examples: Absrray, Manang Bay, 4. Game dances- with pay elements dance mixer) aly, Rogela, iss Rawayanee Examples: Lubi-lubi Pavo : B. Old Ballroom Dances - Examples: Polka, Mazurka, Chotis, 5. Wedding danes-peromed ducing wedding fost Valse ete Example: Panashan | C Dances ith implements- Examples: Magalatik,Sakuting woe ace, | | ES in Examples Helehel,Bagoguiere, Maraniom, Tade Lite ak Reams pee) hie ee ee Pantomina, Los Biles de Ayer ee. Festival dances- suitable for special ocasion of any social gathering 5 Examples: Fandango, Habanera Jota, SurtidoFactors Affecting Fotk Dances AL Geographical locations 2. Economic conditions 3. Climatic conditions 4. Customs and traditions How to Teach a Dance Give name and background of dance. Let children listen to muse Illustrate or demonstrate dance steps. Repeat for dlariiation, ‘Dance fis bythe number, then with the music “Teach next figure. Repeat land Ml, each Fig. repeat Fig, Il et Fundamental Dance Positions in Folk Dance ‘There are five fundamental or basic positions in dance t commonly termed as Ist postion, nd position, 3d postion, 4th Position, and Sth position ofthe feet and arms. 1st Fret: Heels close together toes apart with an angle of about 45 degrees. ‘Arms: Both raised forward in a cele in front of chest with the fingertips about an inch apart. 2nd Position: Feet: Astrde sideward about a pace or 1 foot distance. Arms: Both raised sideward with a graceful ‘curve at shoulder level 0 {3rd Position: Feet: Heels of one foot close to in-step of ‘other fot ‘Arms: One arm raised sideward as in 2nd position, other am raised upward, 4th Position: Feet: One foot in font of other foot ofa pace distance ‘Arms: One arm raised in front as in Ist position; other arm raised over head, Sth Position: Feet: Heel of font foot close tobi toe of rear foot ‘Arms: Both arms raised over head. ‘The Basic Natural Movements, ‘The basic natural movements ae classified into two: locomotor ‘and non-locomotor of axial movements. Locomotor movements ‘ate those that move the body in space in any direction with the feet {as the moving base. Non-locomotor movements are those in which ‘various parts of the body move in space witha fixed base. The base -may be standing, kneeling, siting or yingLocomotor Movements: Walking ~ Moving at moderate pace on feet, lifting one foot only alter the other foot has touched the floor or ground. Legs ‘swing from the hips while the arms swing naturally at slides, Running - Moving on foot with springing steps at rapid pace such that for an instant both feet are of-ground during each stp. Jumping Springing and taking off with one foot and landing, conboth feet Hopping ~Springing on one foot and landing on the same fot. ‘Skipping ~Same procedure a in hopping but bouncing lightly with alemative steps and hops. “Leaping - Springing on one fot and landing onthe other foot. Galloping ~ Moving in continuous forward or sideward ower growing, Son jerky rund movement” |, Movement which Examples: fog ‘slow ‘Ajumpingjack | Examples: ants, turtles 4 Smooth sustained] 4 Movement which movement ishigh Exampes plane, | Examples: kites sh wwimming | clouds ‘Traditional Folk Dance Steps in 2-4 Time ‘The dance steps used in Philippine traditional dances are ‘combinations of the basic natural movements, Listed below are the dance steps in 2-4 time which are grouped aecording to note patterns and their corresponding counts as suggested by the rhamber of movements [A NolePaters J J =Tmessare County 2 Dance Steps Step Pattem and Counting Touch Step Pint (ed fwd. fbr) lowe ROT el a E Blehing Sep Tels place Rlwd awd) cose LOR al ad SCs Sep Sep R (any direction) coe LOR fads 4d Crom Sep Step R, cross and sep Lacros R tt etd Eiilop sep ‘Step (any direcionlrhop on R etl a2 G Brash sep Step R (any dneton) brash el 2 7-Side ep Side R rd fwd palowe LIOR al az a Swing sep ‘Step Rewwd) vd swing across ett etd B Note Pater JP) V=T mewsre Counts Tanda Dance Sep Sep aterm and Counting Thang ep Kany direction cone CW RSWPR ts. Jct ctand ct2 Grom ange sep | Cros ad tp R ars, Ilo to Rs Rocroul a cand _ot2 Fr Contraganza Lap Rio sw R, cos and step Laos sep Gi ad ae[ENoteFaters J PV =T mere Cont Tand? THabanera Step Step R any direction} dose L wo R Sep R| in place ett 12__ctand D.NotePavere WV! =Tmeasure Count tand and 1 Fan pola Raise step R (walawd found) dow Lo sep Jciletand ot. cand Hop polka Hop-step R hed dose Lo R; Step B fwi pase flee and 2 ctand ENotePaters JJ RJ =2measures Count, 1-2 Tand 2 Dance Sep Sep Paterna Counting 1, Heel and Toe Gang Hel place kn fond pT sep ea 2 PR cose LIOR step R pause Jat cand ae 2 Heeland Tox POs] Heel place Rifas pont raise step R; close Lto R; step R; pause let cand ct? Ee 3 Hel ad Toe Hop] Hea pace RG Fon): to poi War Polka an = op sep Rc Lo Rsk pe eertrns EN Tate RQ mere Count Toad Zand T Mining saps With feet in Sh postion, heels raised, tak as many tiny steps as possible sdeward (an | ection) (1 step on every count) 2 Shaflng eps With bot fet Maton Moor, make Hy sie step forwand (small side on every et) 3 Chasing saps neste sucesive close steps with one fot leading : step on every ct) YearCourse Date Rating Practice Test > 1. Slide, close 2. Step, cross 3. Point, lose 4. Step, hop 5. Step, close, step (es tand2) 6, Heel place, close 7. Raise-step, close 8, Leap, crose-step, step. 9. Hop-step, close step 1 -dentify the following dance steps suggested by the step patter: } 0. Heel place, toe point, step close, Step 11 Step, close 12, Cross-step, close, step 13, Step, close, step (es.1 and 2) 14, Heels place, toe point, raise-step close, raise step 15, Tiny steps with heels raised 16, lide steps with feet flat on floor 17, Successive close steps ‘with one fot leading MTT'B._ Write the step pattem of each ofthe following dance steps and, ‘write the counting below each movement: Example touch step point dose fea! 1. Slide step 2 Close sep 3. Change step 4. Hopstep 5. Pain poka 6 Cross step 7. Hop potka SS. Habonera step 8. Crosschange step 10. Bleking step HITT TL. Hedland teechangestep 12. Contaganza 15, Mincing steps (1M) 14, Heel and toe polka 15. Chasing steps 1M) 16, Shuing Steps | Dance Step Combinations ‘The following are dance step combinations which may be used for interpretation from either verbal instruction or from printed form, Combination One 4 change steps forward; hands on waist 4M b._ 4 touch steps in font alteratoly RL. 4M. Repeat (a) and (b) moving backward. 8M Combination Two a. 4 Bleking steps alternately ideward , L; hands on waist... 4M lose steps forward; hands on Waist so M 6 Repeat (a) é eneest iM pains = jee, aM Combination Three 1a. 2contraganza steps sideward RL, hands on waist ™M b,. 2slide steps forward R, L 2M Repeat). ™M js Repest () moving bacerart ™ fe. Repeatall(a~d), 8M Combination Four ‘a 2heel-and-toe change steps forward R, L; hands on waist... 4M b. Tumabout and repeat (a. eon &M € Tumubout and mae lide steps tothe ght conn AM 4, slide steps tothe let AM aCombination Five ‘a, 4 plan polka steps forward; hands on waist... bi step wings sideward R, Lascnennn Repeat a) and (b) moving backward... ‘Combination Six a. habanera steps forward... 1 2h ep idee Rte bth ep dear Repeat a) and (6) moving backward, Combination Seven a change steps forward; hands on waist at ad b, Shop steps sideward RL... ee! aM Repeat (6) backward. : aM 4. 2mining steps to sdeward Rand 2 mincing sepa to steward Left arms in 5th position. 4M. Combination Fight 470s change stops forward: hands on waist. aM . close steps backward RL, altemately.. aM gallop steps to sideward L. aM <4. steps in place RL, alternately M Practical Examination and Creative Work ‘Students will be asked to execute the combinations by group ‘and create their own dance combinations out ofthe different dance ‘steps learned using the rubricbelow. Dance Combination erformance Greative Work Mastery and Proper Execution | 25 | Uniqueness ofthe Created | 15 ofthe Combinations Combinations Grace of Movements TF | Completeness ofthe [10 Combination Choreography (Gretiviyin | 10 Formation Used) Tota w 3s Creative Work: You may choose from the suggestions below or create your own combinations 1. Create a dance figure with a combination of two (2) basic steps using 16 measures 2/4 time, 2. Create another dance figure wth acombinationof two (2)basic steps using 16 measures in 24 time, 3. Combine No. 1 combination with No. 2 combination to form a tbeo-figure dance. 44. Select any percussion instrument and create two-figure chythm ‘sing 16 measures foreach dance figure.‘Traditional Dance Steps in 3-4 Time Signature Listed below are the basie dance steps in 3-4 time that are grouped according to note paters and thelr corresponding counts ' suggested by the numberof movements T Slides | SdeR (wd find dow LOR cute? a3 B Swing step | Step Kova) fd swing Lacoss Malet a3 CNotePatier: |) )J=2measures Count 123 123 at ae TTweasure count? 3 Gime T Sway bnse [Sep Rigel Faas ep aa withapoint | 12 3 ance Seps [Sep Pater and Courting —_ Pant | step Red point Ln font T Walz step [Sp R (wd wd ed) clone Lo Rep Rv 133 pee Ss SS Sway balance | Step R (diagonally feed) crose-step across Ri T Grow | Crossstep Race coset Rep Rin Face witharabe | 12 3 ee sd a3 step R bd case and owing Lin front Waters |Sep R Ge ivdy dase to Rad le Boh 123 els bel down 3 Sway Balance | Sep K(iagorally vd) croseatep Lacros& aut @2 a3 withabrush [12 3 fe Marana Side R oat (place) R with Land op swing R step Red brash Ltd akan in roto 123 eet a2 23. 1 Sway Balance [Sep K(iagonally fwd) eroratep Lacrosse 5 Redota~ [Side R(Giagonal a owt Rw UaAL wan witnahop | t 3 & Sep-owingop [ep R (any director) swing L ecroes in front step Rwrd:hopon R 7 hop on R 133 cei 2 3 5 Sway balance |Bep Kiagonally fwd); cros-atepL acrom Re 7 Sepbrath___| Sep R(dlswd) brash and wring shop R withaclose | 12 3 swngip lat runes step Rbwrd. dose LtoR: 133 B.Note Pater =Twessure count 23 ddd Egat wit a Sep Row coaraepl ao Toad Sep [POR Getiwd Porras com SSE aa tia? ad nemic Bese [ies pas Grave cae oR Dacha - Count? 3 123 Scisep [Sep Ray die a TS air Sep Sag ep Foss Siep | BepR eons and sap, crows sep bw, close L#oRstep Rin place ile? a3 ate 26 fs Hpsiep | Step Kany dirston: hop on R Fa Engato with | Sep Rewds croectep Lactose ila2 ed waltz Tee féBrash ep |p Rany dren): brash sep sed lose to R step Rin place led etd aes a eeeCount:1_and, E NotePattens J] JJ) =Tmessure 2 and _3_and T. Mincing steps With etn 5h postion heels ase take as many ny steps a posible sidewar (any direction) (t seponevery count) 2, Shuting eps With both fet lat on Boor make tiny side slep forward (1 small lide on every ct). 3 Chasing eps Bxerute successive close steps with one fol ending (step on every). Nestor ose edo ahd = Measure Count: Land 23. Land 23 T Kuradang step Step R(lagonally forward dose L, to Rep R siagonally hed eed 3. erosstep L, across ; step R diagonally bord R ose Lio step point L- i eee: “a Nana! baie Rating Practice test ‘A. Wentify the dance step suggested by the step pater: Step, hop Step, close, step Slide, cut, hop S Cross-step, close, step Step, cross Side, cut, cut Step, cross-step, step point Step closestep.cross- step, step, close step, point 9, ‘Tiny step sideward with heels raised 10, Small successive steps with one foot leading 11. Heel-place, close 12. Point, close 13, Step, close-heels-raise heels-down 14. Step, crose-step, step raise 15. Step, brush 16. Step, swing 17 Step (sideward), ross: ‘step, step, close 18. Step, crossstep, step, close, step 19, Small successive steps ‘with feet lat on floor 20, Step, cross-step, step, hop3. Witethe stp pater of ach the following dance ses and ‘Wi the cpg VW ea irene ample valet ap, le, sep ‘touch step 2-redoba S.marurka 4. close step 5, waltz balance slide step 7euradang step cross 9. sway balance with a raise 10. cross waltz 1. Bleking step 12. engato with a waltz NN 13. hop step 14. step-swing-hop 15, sway balance with a lose 16. mincing steps (1 measure), 17. sway balance with a hop 18. chasing steps Folk Dance Stepsin 4-4 Time ‘There are only very few flk dances that contain the traditional dance steps in 4-4 time, Nevertheless, an analysis of these dance steps deserves a unit space in this book A. Note Patter: | J J J] 1234 =1measure 1. Escotis step Step R sideward; close L to R tl a2 ‘step R sideward; hop on R a3 tt raising Lfootin rear 2. Schottische step Step Rsideward; close L to R tl 12 step Rsideward; hop on R 3 td saising L foot in front Seas 1. Chotis step (in closed Brush Raise same foot with ballroom pesition with cut etd Partners facing slightly knee bent; brush same foot; towards extended arms) a3 raise same foot again; step R; Ch hl step Lz step R turing clock- 2 etd wise: pause ed ‘Note: The above steps are forthe gir: the boy does these steps withthe opposite fo.aay 1 and 2and 3.and dand WIIZ IID T ana"2 Gnd Sand $ and 1. Chotis step (locano version) ‘Step Rsideward, close LtoR, atl stand ‘Step R sdeward, hop on R, 2 cand Step L sideward, close RtoL mt, ct and ‘Step Lsideward, hop on L, hd stand Four hop steps RL alternately «ts. land 2and Sand 4 and Inplace or turning around Dance Step Combinations The following dance step combinations are suggested for practice in interpretation of written instructions: ‘Combination One a. 2escotis steps sideward RL . 2M . hop steps forward ™M Repeat (a)and(b) moving backward aM 4d. Repeat all (22) rn a ‘Combination Two a. 2schottsche steps sideward RL. ™M 1b. 4 hop steps tuming clockwise in place ™M & 2 schottische steps sideward LR. ™ 4. Alhop steps turning counter clockwise in place aM & Repeat all) . 8M x Combination Three ih prin holdin od alroom poston make cots step moving halfaround clockwise : 2M Bb. Repeat (8) nee By 2M © Face partner and join both hands; make 4 hop steps together with boy moving backward and gil forward IM «d. Repeat (c) with gil moving backward and boy forward .. 1M Repeat c)and (d) ey 7M £. Repeat all(a-e) ‘ aM