MODULE 29: Chinese Fan Dance (China)

I.                      Objectives:

At the end of the lesson, the students are expected to:

a. identify Chinese fan dance;

b. explain the history of Chinese fan dance;

c. classify the costumes or props use in Chinese fan dance; and

d. demonstrate the different steps in Chinese fan dance.

II.                    Overview:

The art and tradition of the Chinese fan dance have captivated audiences for two thousand years. Just one of many forms of traditional folk dances, fan dances has been preserved to share the stories and beauty of Chinese culture.

III.                  Learning Content:

               

Chinese Fan Dance the Chinese fan dance is performed in celebration of Chinese culture. It represents beauty, grace and delicacy, according to the Chinese Educational Development Project. It also expresses feelings of joy. The dance is composed of consistently changing rhythms paired with consistently changing body positions. Feather fans and silk fans both are part of the traditional Chinese dance that has its roots in the Han Dynasty, circa 206 BC.

History

While archaeologists have found pottery depicting Chinese folk dances dating from about 4000 to 2000 BC, the fan dance is believed to have begun during the Han dynasty. This dates the fan dance to around 200 AD. It was also during the Han dynasty that the first effort was made to collect and preserve the country's folk dances. Thankfully, this practice became important to following generations and folk dances of old are still shared today.

Classifications

Chinese dance was divided into either civilian or military dance and their movements can vary based upon the classification. Civilian fan dances tend to be more flowing and detailed, celebrating grace and beauty. They derived from early dances celebrating the distribution of the food gathered from hunting and fishing; people would dance holding feathered banners. The military dancing was done with weapons, in coordinated group movements. This evolved into the movements used in military exercises.

Function

Like most other forms of folk dance, the Chinese fan dance developed as a way to share stories, preserve the culture and to communicate feelings and emotions without words. This form of communication and preservation was vitally important to the Chinese, as dances were created even before written symbols. Chinese fan dances include a specific type of semantics, symbolism, vocabulary and structure so as to allow the dancer to communicate her intentions.

Fans

The fans are used to highlight the graceful movements of the dancers and as extensions of very delicate poses. They can be used as a sort of prop, representing a basket of food, a gift or a found treasure. The fans are made of a variety of materials including feathers, paper or bamboo and they reflect the highest level of craftsmanship and artistry.

Different kinds of fans

Japanese flat fan (uchiwa)

Japanese fans are made of paper on a bamboo frame, usually with a design painted on them. In addition to folding fans (ōgi), the non-bending fans (uchiwa) are popular and commonplace. The fan is primarily used for fanning oneself in hot weather.The fan symbolizes friendship, respect and good wishesThey are given on special occasions, and they are also an important stage prop in Japanese dance.

STEPS:

1.       Get fans made of feathers or silk and hold them in each hand while standing. With your arms held out to each side, begin fluttering the fans while raising them above your head and lowering to the side. This step may be repeated throughout the choreography by facing different directions or including walking steps. As the choreography varies, the specific techniques of opening, closing and fluttering the fans remain.

2.       Rhythmic Changes

After lowering the arms while fluttering the fans, bring your arms in front of you (as if you are reaching for something). With a count of 8, open and close the fans by turning your wrists in and out. Repeat for another count of 8. Continue by tilting your upper body to one side while raising one arm overhead while the other arm is out to the side. Remember to keep fluttering the fans throughout all the arm and torso position changes. Lower arms back to the start position with arms to the side.

3.       Positions of Power

Bend your knees, moving up and down, while fans are held close together and arms are outstretched in front of you. You'll turn your torso to the right and left (see Fun Dance Workshop at dancemedia.com). Raise your arms abruptly overhead while crossing one fan in front of the other. Hold this position for a few seconds as this pose represents power. The dance will either continue with new positions or repeat the positions introduced earlier.

MODULE 28: Japanese Parasol Dance (Japan)

I.                    Objectives:

At the end of the lesson, the students are expected to:

a.       discuss briefly the history of the Japanese Parasol Dance;

b.      identify the different counting and formation in Parasol Dance; and

c.       execute the steps of the Parasol Dance.

II.                  Overview:

Japanese Parasol Dance is very colorful and easy dance for the girls. It is customary with Japanese girls to use umbrella for rain and sunshine. This module will tackle on the historical development of the dance in its origin country, Japan. Later on, the execution of the dance figures in the dance will be introduced.

III.                Learning Content:

Parasol dance was created for wealthy men. Then, Japan was very sensual and often times Geisha would do this after coitace almost as a award for the male. Though later, it became a dance before sexual status happened so the man would see the female better before erotica every approached.

               

The Japanese parasol dance is an example of a simple Japanese dance uses an umbrella. The dance is suited for girls making use of shuffling steps that is basic typical Japanese. The parasol dance is from Kabuki. The song played during the dance is called Micado (a song in 4/4 time).

Their costumes are: Bright colored Kimono, Bright colored flowers in hair, a Japanese parasol and Japanese wooden shoes.

Counting used in the dance: one two, to a measure: one, two, three, four, for two measures basic steps used: shuffling steps.

Formation: in groups of four facing the audience. The open Parasol is held with two hands over the head, the hands holding the handle at chest level. They stand about four feet away from each other. One to any number of sets may take part in this dance.

Steps of the Parasol Dance:

1.       Music A

a.       Starting with the R foot, execute shuffling steps forward. Twirl parasol overhead.

b.      With shuffling steps turn around in place clockwise. Twirl the parasol over the R shoulder.

c.       Repeat (b) turning counter clockwise. Transfer parasol to the l shoulder.

d.      Turn right about and repeat (a) going to proper place. Twirl parasol overhead. Finish facing front.

e.      Repeat (b) and (c).

2.       Music B

a.       Step R sideward (ct. 1), step L close to R foot (ct. 2), bend knees slightly (ct. 3), straighten knees (ct. 4). Bend the head slightly to the right side, parasol resting on the R shoulder (do not turn).

b.      Repeat (a) to the left side, starting with the L foot. Transfer the parasol to the L shoulder (ct. 1-4).

c.       Repeat (a) and (b).

d.      With no. 1 leading, execute shuffling steps moving clockwise. Each group makes its own circle. Twirl parasol on the shoulder (8cts.).

e.      Turn right about and repeat (d) counter clockwise. Transfer parasol to the L shoulder.

3.       Music 3

a.       All bend forward and drop on knees. Place the parasol behind. Bend trunk slowly forward until the head touches the floor (obeisance) (8cts).

b.      Raise the trunk slowly and take parasol with both hands and place it in front (8cts).

c.       In kneeling position, sit on the heels (Japanese fashion). Raise the head and look around the parasol at the right side (4cts.) and to the left side (4cts.).

d.      Repeat (c).

4.       Music A

a.       Each girl rolls her own parasol around self clockwise (4cts.) and counter clockwise (4cts.).

b.      Roll it in front sideward right (2cts.) and sideward left (2cts.).

c.       Repeat (b).

d.      Repeat (a) and (b).

e.      All take parasol and stand up with the write foot (4cts.).

5.       Music B

a.       All face right, holding the parasol with two hands at high level (top toward the audience, handle toward the rear).

b.      Execute shuffling steps forward, twirling parasol clockwise (4cts.)

c.       Turn left about, repeat (a), parasol top toward audience, (4cts.)

d.      Turn right about. Repeat (a) and (b).

e.      Execute shuffling steps forward to form a square, each girl occupying a corner, facing a common center.

f.        Turn around in place clockwise (2M) and counter clockwise (2M) as in figure I (b) and (c) finish facing the center.

g.       Turn around in place as in figure I (b) twice (8cts.) finish facing proper places.

h.      Repeat (a) going to place.

i.         With no. 1 leading each set turn once, clockwise and then exit. Use shuffling steps throughout, twirling the parasol on the shoulder.

Note: If more music is needed, part C may be repeated as many times as necessary.

MODULE 27: La Curacha (Mexico)

I.                    Objectives:

At the end of the lesson students are expected to:

a.       understand the meaning of the la cucaracha;

b.      discuss the brief history of La Cucaracha; and

c.       demonstrate the basic steps of La Cucaracha.

II.                  Overview:

La cucaracha (Spanish: the cockroach) is the traditional folk corrido that became popular in Mexico Revolution. The La Cucaracha dance is all about “The Little Cockroach.” This is a dance known to all Mexicans. This is usually performed in social gatherings. Couples are arranged informally round the room and the participants may be arranged in any desired formation.

III.                Learning Content:

"La Cucaracha" (Spanish: "The Cockroach") is a traditional Spanish folk corrido that became popular in Mexico during the Mexican Revolution. It has additionally become a verse played on car horns.

Origin

“La Cucaracha” is a traditional Mexican/Spanish folk song. The exact origins of “la Cucaracha” (Spanish: Cockroach) are unknown. It has been suggested that it was composed following the expulsion of the Moors from Spain on January 2, 1492, whilst others say it is about Mexican revolutionary Pancho Villa’s car, which frequently broke down and earned the nickname la cucaracha from villa’s troops. The lyrics consist of independent verses, often improvised. The one prototypical verse is: La Cucaracha, la cucaracha/ Ya no puedecaminar/ poque no tiene, porque le (the cockroach, the cockroach/ he can’t walk anymore/ because he doesn’t have, because he lacks/ Marijuana to smoke). This version is supposedly about President Victoriano Huerta, who was a notorious drunk and user of narcotics. To confuse things further, during the Mexican Revolution, the song was frequently given political lyrics by rebel and government forces alike. Today, the song is primarily regarded as Mexican, though it was probably originally written in Spain. All about the Dance La Cucaracha means “The Little Cockroach”. This is a dance known to all Mexicans. This dance is usually performed during the social gatherings. There are as many meaning of “La Cucaracha” as there are versions of it. The same can be said for the word itself. The word can refer to the insect. It can also be used to refer to a person derogatorily by association with a cockroach. It has been used as an underworld slang term for marijuana or a marijuana cigarette stub (whence the American slang term “roach clip”), or tobacco adulterated with marijuana, or tobacco adulterated with anything. It has been used as slang for a vehicle or train car without any wheels.

Costume

The boy or the male wears “blousy” shirt, a low cut vest, a jacket cut something like a long bolero, and long rather tightly fitting pants decorated sometimes with silver buttons. On his head, he has a huge sombrero and on his arm he carries his brightly colored zerape.

Music and Steps

Music: the music for this dance is divided into two parts. A and B with the counting of one, two and three to a measure. Formation: couples are arranged informally around the room. The boy clasps his hands around his back, the girls’ holds her skirt gracefully at the side or the participants may be arranged in any desired formation. Partners stand side by side, the girl in the right of the boy. 

Music A. Play once

Partners stand side-by-side facing fronts. Throughout the figure, partners turn slightly away and toward each other. They perform cross-waltz steps in place. The first step (ct. 1) is strongly accented with a decided “dip” of the knees in this dance. Starting with the inside foot, take eight cross-waltz steps in place. Girl holding the skirt, boy clasping hands behind……………………………………8M Figure II

Music A. Play Once

Partners face each other and do the cross-waltz steps revolving around each other. Starting with the R (right) foot, take eight cross-waltz steps forward moving clockwise. Crossing the R foot over the turn the body, to the left and bring them into a position touching R elbows. When the L (left) foot is across the R, the left elbows are touching……………………………..8M Figure III

Music B. Play Twice

Partners are side-by-side facing steps front. The following directions are for the boy; reverse for the girl.

Boy steps sideward L (ct. 1), steps R close to the L foot (ct.2), steps L sideward left again (ct. 3), stamps R foot in place (ct. 1), pauses (ct.2 and 3), puts weight on the R foot……………………………….2M

Three steps turn L away from the partner (ct. 1, 2, 3). Stamp R foot twice, keeping the weight on the L Foot (ct. 1,2), pause (ct. 3) ……………………………………………8M

Steps R sideward toward to the partner (ct. 1), step L close to R foot (ct. 2), step R sideward again (ct. 3). Step L foot in place (ct. 1), stamp R foot twice (ct. 2, 3)………………………………….2M

Starting with the r foot, three steps sideward F to change place with partner. The girl passes in the front of the boy (ct. 1, 2, 3). Stamps L foot (ct. 1), pause (ct. 2, 3)………………………………….2M

Repeat all from steps A-D starting with the opposite foot, finish in to the original position………………………...8M

MODULE 26: Hula Dance (Hawaii)

I.                    Objectives:

At the end of the lesson, the students are expected to:

                                a. define hula dance;

                                b. demonstrate hula dance; and

                                c. appreciate hula dance.

II.                  Overview:

One of the foreign folkdance evolved in the western countries influenced is the Hula. It originated during the 19^th and 20^th century. This dance was developed in the Hawaiian Islands by Polynesians who originally settled there. It is performed as entertainment for the chiefs who typically traveled from one place to another. This dance is also divided into two divisions: the Hula Kahiko and Hula ‘Auana.

III.                Learning Content:

Hula is a dance form accompanied by chant or song. The chant or song is called mele.

There are many styles of Hula. They are commonly divided into two broad categories:

Ancient Hula, as performed before Western countries with Hawaii, is called Kahiko. It is accompanied by chant and traditional instruments.

Hula, as it evolved under Western influence, in the 19^th and 20^th centuries, is called ‘Auana. It is accompanied by song and Western-influenced musical instruments such as the guitar, the ukulele, and the double bass.

                                Halau- called to the teaching of Hula in schools

                                Kumu Hula- the teacher of Hula

                                (where kumu means “source of knowledge”)

                               

Instruments and Implements

1.       Ipu- single gourd drum

2.       Ipu heke- double guard drum

3.       Pahu- sharkskin covered drum; considered sacred

4.       Puniu- small knee drum made of a coconut shell with fish skin (kala) cover

5.       Ili-ili- water-worn lava stone used as castanets

6.       Uli-uli- feathered gourd rattle

7.       Pu-ili- split bamboo sticks

Costumes:

Pa’u- wrapped skirt, traditional female costume

Malo- loincloth, traditional male costume

Necklaces, bracelets, anklets, and lei

Hula Kahiko

- do not include modern instrumentation (such as guitar, ukulele, etc.) encompassed an enormous variety of styles and moods, from the solemn and sacred to the frivolous.

- performed today by dancing to the historical chants. Many hula kahiko are characterized by traditional costuming, by an austere look, and a reverence for their spiritual roots.

Hula ‘Auana

-          Modern hula arose from adaptation of traditional hula ideas (dance and mele) to Western influences.

-          The primary influences were Christian morality and melodic harmony.

-          Hula ‘Auana still tells or comments on a story, but the stories may included events since the 1800s. The costumes of the women dancers are less revealing and the music is heavily Western-influenced.

-          The mele of Hula ’Auana are generally sung as if they were popular music. A lead voice sings in major scale, with occasional harmony parts.

MODULE 25: Square Dancing (America)

I.                    Objectives:

At the end of the lesson, the students are expected to:

a.       define square dancing;

b.      identify the two types of Square Dancing; and

c.       execute the steps in Square Dancing.

II.                  Overview:

Square Dancing today is often thought of as a vigorous and exciting dance set to classic Country and western, American music. Square Dancing is a folk dance with four couples (eight dancers). In this dance, the participants perform a routine in the shape of a square. This dance originated in England and France and was brought to the United States by early settlers and it quickly a part of their culture. Square Dancers are prompted or cued through a sequence steps by a square dance caller to the beat of the music. The Caller leads and responsible for calling out the instruction to the dancers but does not participate in the dance. There are two types of Square Dancing: the Traditional square dance or also known as “old time square dance”  and Modern Western square dance or called as western square dance or contemporary square dance”.

III.                Learning Content:

Square dance is a folk dance with four couples (eight dancers) arranged in a square. The dance was first described in 17th century In England and France then it was brought to the United States by early settlers. It has become associated with the United States of America due to its historic development in that country.US has designated it as their official state dance.

The various square dance movements are based on the steps and figures used in traditional folk dances and social dances of the various people who migrated to the USA. Some of these traditional dances include Morris dance, English Country Dance.

Square dancing is enjoyed by people around the world, and people around the world are involved in the continuing development of this form of dance. Square dancers are prompted or cued through a sequence of steps (square dance choreography) by a square dance caller to the beat of music. The caller leads, but usually does not participate in the dance. Square dance calling is both an art and a science. The caller's task is to create dance sequences that have the qualities of good body flow, good timing, surprise dancers and are resolved with dancers in sequence and have the correct partner pairings.

It is estimated today that millions of Americans and countless others around the world participate in square dancing. Modern square dance is growing, and new ideas are continuously introduced, ensuring that square dance remains vibrant. Although the average dancers remain in the mainstream levels of square dancing for four to five years, advanced and challenge levels of square dancing have been developed to maintain the interest of the dancers.

There are two broad categories of square dance:

Traditional square dance, which is also called "old time square dance". Traditional square dance is not standardized and can be subdivided into regional styles. The New England and Appalachian styles have been particularly well documented; both have survived to the present time. There are several other styles; some have survived or been revived in recent years, some have not. They make use of Folk music in this dance.

Modern Western square dance, which is also called "Western square dance", "contemporary Western square dance", or "modern American square dance". The basis of modern Western square dance was established during the 1930s and 1940s by Lloyd Shaw, who solicited definitions from callers across the country in order to preserve traditional American folk dance. They make use of country music in this dance.

MODULE 24: Varsovienne (Germany)

I.                    Objectives:

At the end of the lesson, the students are expected to:

a.       enumerate the elements of Varsovienne dance;

b.      perform the basic steps of Varsovienne; and

c.       appreciate the Varsovienne dance.

II.                  Overview:

Varsovienne came from Germany. It is a slow, graceful dance in ¾ time with an accented down beat in alternative measure with the key signature B minor. It combines elements of waltz, mazurka, and polka. It is one of the smoothest and graceful dances known.

III.                Learning Content:

Varsovienne known originated around 1850 in Warsaw, Poland in honor of Mount Versevius and was introduced to France by a young dance instructor named De’sire’ in America in 1853. The dance was popular in 19^th century in America, where it was danced to the tune Put Your Little Foot. It is a slow, graceful dance in ¾ time with an accented down beat in alternative measures with the key signature B minor. Ot combines the elements of waltz, mazurka, and polka. It quickly became a favorite folkdance in Scandinavian countries as well.

The unique arm hold by the same name- also known as the promenade hold is used in other dance styles such as American square dance, contra dance and some ballroom dances.

The dance came from Poland is a form of the Warschauer that, however is danced meanwhile in whole Germany. Its special feature is the constant change between forceful mazurka steps and atmosphere-full waltz forms. Varsovienne is form Pomeranian and danced in a Weizacker costume.

·         The dance is in ¾ time signature.

·         Key signature of B minor

·         Combines elements of waltz, mazurka, and polka

·         Music is in the tune of Foot Your Little Feet