Ralph Dexter A.

Toylo June 20,2017

ABM-RIEMANN

THE SIX DANCES AND ITS NATURE

Traditional (Folk Dance and Ethnics)

With each passing year, customs and beliefs of groups of people get built little by little, slowly with time
forming into traditions. Folk dances represent one of the strongest ways these (sometimes truly ancient)
traditions of countries and regions can be showcased to the public. Even though many traditional dances bear
the name of an ethnic dance, not all of them remained folk dances, but all of them try to emphasize the cultural
roots of the particular dance. Some of them morphed over time into religious dances, and as such, they are not
primarily used to showcase tradition but to enhance religious ceremonies and beliefs. Such dances are often
called religious or ritual dances.

Folk dances are usually danced at social gatherings (which can be formed spontaneously or during yearly
celebrations) that can but are not required to have a particular dancing stage and are almost always so simple to
dance that new dancers and amateurs are encouraged to start dancing with everyone else. Such dances almost
never have an official governing body that is keeping the development of folk dance in check. Instead of that,
the morphing of the folk dances in their countries and local regions happens spontaneously by the changes with
local traditions. Modern dances that have developed spontaneously such as hip hop are not regarded as folk
dance, and they are often called as street dances.

Different Types of Folk Dance

Some of the most notable folk dances from all around the world are:

Ball de bastons Weapon dance from Spain and Portugal

 Cilidh Gaelic folk dance originating from Scotland and Ireland
Clogging Folk dance that features beating of heavy footwear on the floor
English country dance Traditional English folk dance that is also danced in France and Germany
Fandango Traditional Spanish couples dance that is accompanied by guitars and clapping hands or
castanets.
Georgian folk dances They include dances such as Kartuli, Khorumi, Acharuli, Partsa, Kazbeguri,
Khevsuruli and many others.
Greek dances Rich Greek history has borne over 100 of traditional folk dances, including a dozen that
was danced at ancient feasts such as Angelica, Carpaea, Cordax and others.
Hora - Traditional folk dance of Balkans, danced in Montenegro, Macedonia, Bulgaria and several other
countries.
Kolo Folk dance of that is danced in South Slavic countries such as Serbia, Bosnia, Croatia,
Macedonia, and Slovenia.
Irish Dance Traditional folk dance that has several forms of dancing, including popular Irish Step
Dance.
Italian folk dance Italy is a home of many popular folk dances such as Tarantella, Pizzica,
Monferrina, Calabrian Tarantella and Ballu tundu.
Jota Popular Spanish folk dance.
Morris Dance Traditional English dance is originating from the 15th century.
Polka Very popular traditional dance from the Czech Republic that is danced today all around the
world.
Turkish dances Bar, Halay, Horon, Zeybek and Sufi spinning dance.
Hungarian dances Most famous Hungarian folk dances are Verbuk, Ugrs, Karikzm, Legnyes
and Csrds.
Polska Traditional folk dance of Nordic countries (Denmark, Sweden, Finland and Norway)
Square Dance Traditional dance originating from England, it involves four pairs of dancers.
Sword (or Weapon) dances Genre of folk dances, consisting of dozens upon dozens of individual
dances from all around the world
Dollu Kunitha Very popular drum-based dance from India.
Bhangra Famous Punjabi harvest dance.
Attan - The national dance of Pashtun regions of Afghanistan and Pakistan.
Khigga Celebration or Wedding circle dance of Assyria
Odori Japanese folk dance, performed at streets during celebrations and parades
Buy Japanese geisha and artist dance.
Modern and Contemporary Dance

Born in the early 20th century, modern dance is a dance style that focuses on a dancer's own interpretations
instead of structured steps, as in traditional ballet dancing. Modern dancers reject the limitations of classical
ballet and favor movements derived from the expression of their inner feelings. During the 1900's, European
dancers began rebelling against the rigid rules of classical ballet.

Turning against the structured techniques, costumes and shoes of ballet, these dancers favored a more relaxed,
free style of dancing. Modern dance pioneers often danced in bare feet and revealing costumes. In the United
States, several dance pioneers paved the way for American modern dance, including the legendary Martha
Graham.

CHARACTERISTICS OF MODERN DANCE

Modern dance encourages dancers to use their emotions and moods to design their own steps and routines. It is
not unusual for dancers to invent new steps for their routines, instead of following a structured code of
technique, as in ballet.

Another characteristic of modern dance in opposition to ballet is the deliberate use of gravity. Whereas classical
ballet dancers strive to be light and airy on their feet, modern dancers often use their body weight to enhance
movement. This type of dancer rejects the classical ballet stance of an upright, erect body, often opting instead
for deliberate falls to the floor.

If you are attending your first modern dance class, you are probably wondering what type of shoes and clothes
you should wear. While some studios have strict dress requirements, you will probably be safe showing up in
tights and a leotard underneath a top or skirt of some kind. As for shoes, many modern dancers prefer to wear
leather or canvas ballet slippers, and some like the feeling of bare feet.

Ballroom dance (Recreational and competitive)

Is a set of partner dances, which are enjoyed both socially and competitively around the world. Because of
its performance and entertainment aspects, ballroom dance is also widely enjoyed on stage, film, and television.
Ballroom dance may refer, at its widest definition, to almost any type of partner dancing as recreation.
However, with the emergence of dancesport in modern times, the term has become narrower in scope, and
traditionally refers to the five International Standard and five International Latin style dances (see
dance categories below). The two styles, while differing in technique, rhythm and costumes, exemplify core
elements of ballroom dancing such as control and cohesiveness. Developed in England,[1] the two styles are now
regulated by the World Dance Council (WDC) and the World DanceSport Federation (WDSF). In the United
States, two additional variations are popular: American Smooth and American Rhythm, which combine elements
of the Standard and Latin styles with influences from other dance traditions.
There are also a number of historical dances, and local or national dances, which may be danced in ballrooms or
salons. Sequence dancing, in pairs or other formations, is still a popular style of ballroom dance.[2]
The term 'ballroom dancing' is derived from the word ball which in turn originates from the Latin
word ballare which means 'to dance' (a ball-room being a large room specially designed for such dances). In
times past, ballroom dancing was social dancing for the privileged, leaving folk dancing for the lower classes.
These boundaries have become blurred. The definition of ballroom dance also depends on the era: balls have
featured popular dances of the day such as the Minuet,Quadrille, Polonaise, Polka, Mazurka, and others, which
are now considered to be historical dances.

Cheerdance

Cheerleading is an organized sports activity involving short routines that combine dance, gymnastics, and stunt
elements to cheer on teams, most commonly football. Performers of these one to three-minute routines are
called "cheerleaders". Cheerleading originated in Britain and spread to the United States where it remains most
common, but has also become popular in other parts of the world, such as Europe, Central America, Australia,
New Zealand, Canada, and Asia.

Though founded on the notion that cheering before spectators in the stands would boost school spirit and
thereby improve team performance, cheerleading has become an All-Star sport of its own. Cheer teams enter
competitions every year, vying for large prizes and trophies. Cheer teams can be found in middle and high
schools, colleges, youth leagues, and athletic associations. There is professional and All-Star cheerleading.
There are an estimated 3.5 million cheerleaders in the US alone, not including dance team members, gymnasts,
and other affiliated participants which would raise that number to above 5 million. Cheerleaders outside the US
total about 100,000.

History

Cheerleading dates to the 1860s, in Great Britain, and entered the US in the 1880s.

Although women currently dominate the field, cheerleading was begun by men.

Princeton University, in 1884, got the idea that crowd chanting at football games would boost school spirit so
they came up with a catchy cheer.

Ray, Ray, Ray!

Tiger, Tiger, Tiger!
Sis, Sis, Sis!
Boom, Boom, Boom
Aaaaah! Princeton, Princeton, Princeton!

A decade later Princeton grad and pep club member Thomas Peebles introduced the University of Minnesota to
the idea of chanting to a crowd of spectators. On November 2, 1898, U-Minnesota student Johnny Campbell led
an organized cheer at a football game between Minnesota and Princeton University, so you might say he was
the first actual "cheer leader". Minnesota was having a tough season that year, and it was thought that cheering
the team on might improve morale and affect the team's outcome. It may not have changed their luck any, but it
created a lasting trend and a sport in its own right.

Soon after, in 1903, the University of Minnesota organized the first cheer fraternity called Gamma Sigma. They
likely used a megaphone to project their voices; although it wasn't until later that it became a popular accessory
to cheerleading.

Lawrence Herkimer, "Grandfather of Cheerleading"

Lawrence "Herkie" Herkimer is a legend and innovator in the field of cheerleading. He founded the National
Cheerleaders Association at Southern Methodist University, holding cheerleading camps since 1948. His first
camp drew 52 girls and one boy. His camps have since grown to more than twenty thousand attendees. He
founded the Cheerleading Supply Company in 1953, patenting the first pompoms, or pom-pons. Herkimer
chose to call them "Pom-pon" when he learned that the word "pom-pom" in other languages contained vulgar
meanings. His pom-pon with the hidden handle was patented in 1971. Herkimer created the "Herkie"
cheerleading jump by accident when he intended to perform a split jump. Herkimer founded a national
cheerleading magazine called Megaphone while at SMU. In Herkimer's words, he's taken the world of
cheerleading "from the raccoon coat and pennant to greater heights".

Hip-hop dance
refers to street dance styles primarily performed to hip-hop music or that have evolved as part of hip-hop
culture. It includes a wide range of styles primarily breaking, locking, and popping which were created in the
1970s and made popular by dance crews in the United States. The television show Soul Train and the 1980s
films Breakin',Beat Street, and Wild Style showcased these crews and dance styles in their early stages;
therefore, giving hip-hop mainstream exposure. The dance industry responded with a commercial, studio-based
version of hip-hopsometimes called "new style"and a hip-hop influenced style of jazz dance called "jazz-
funk". Classically trained dancers developed these studio styles in order to choreograph from the hip-hop
dances that were performed on the street. Because of this development, hip-hop dance is practiced in both dance
studios and outdoor spaces.
The commercialization of hip-hop dance continued into the 1990s and 2000s with the production of several
television shows and movies such as The Grind, Planet B-Boy, Rize, StreetDance 3D, America's Best Dance
Crew, Saigon Electric, the Step Up film series, and The LXD, a web series. Though the dance is established in
entertainment, including mild representation in theater, it maintains a strong presence in urban neighborhoods
which has led to the creation of street dance derivatives Memphis jookin, turfing, jerkin', and krumping.

Festival dance

Festivals occur in all societies and range from performances associated with major religious traditions to
localized ritual entertainments. Festivals share a sense of license and play. They show that things can be other
than they are. They do so by expressing meaning that is conveyed on a number of levels. Representation
meaning is the first level. People attempt to represent the essence of what is portrayed. Next is an iconographic
(representing something by pictures or diagrams) level of meaning. The thing represented, for example, is not
just a bear or a woman but rather a sacred figure, a bear deity or the Virgin Mary. The next level is that of
interpretation. Perhaps the festival represents the group itself. The metaphoric meaning represents some
relationship in the wider society, perhaps conflict or tension. In addition, the aspect of mystery enhances the
performance.

Finally, the festival performance itself has a social and cultural context. The location, participants,
surroundings, and other aspects add to the meaning of the festival. Overtones of meaning exist, unique to the
people beyond the formal presentation itself. Additionally, festivals have a cultural function; that is, they do
things beyond themselves.
Festivals perform a number of functions in society. Anthropologist Frank E. Manning (1983) placed festivals in
the category of celebration. Also, festivals and other forms of celebration give power to those people who
normally do not exercise it. Festivals also provide an opportunity for people to comment on the political
powers in society and to suggest that things may be other than they are.

Festivals, therefore, are part of the world of play, imagination, and creativity. They can be threatening to those
people who control the levers of power because they suggest that there is also an anti-structure to match any
formal structure, that the world as it is can be replaced by the world that is yet to be.

African festivals fit well within the ludic framework. The song, dance, and costumes are entertaining. However,
their playfulness adds to the possible subversion of commonly accepted definitions of reality. These
festivals both reflect and aid changes found in society, helping to ensure that changes appear to fit well within
the cultural traditions of the group.

The fact that festivals are rituals in themselves and contain a series of rituals also allows them to mask change
under the rubric (rule) of continuity. Festivals are frequently centers of competition, and the competition
is incorporated within the formal structure of the festivals. By observing the same festival over time people see
these changes. Festivals, therefore, both encapsulate much of the cultural history of the group and provide a
means for change.