I.
Objectives:
At the end of the lesson, the
students are expected to:
a. explain the Origin and
Principles of dance;
b. enumerate the five (5)
Principles of Dance and;
c. appreciate the importance of
Dance.
II.
Overview:
ORIGIN OF DANCE
Dance does not leave behind clearly identifiable physical such as stone
tools, hunting implements or cave painting. it is not possible to say when
dance became part of human culture. Joseph Jordania recently suggested, that dance, together with
rhythmic music and body paintings, was
designed by the forces of natural selection at the clearly age of evolution as
a potent tool. In this state hominids were losing their individual identity and
were acquiring identity.
Jonathan Pieslak’s research shows that some contemporary military units
use loud group singing and dancing in order to prepare themselves for the
dangerous combat missions. Dance has certainly been an important part of
ceremony, rituals, celebrations and entertainment since before the birth of
earliest human civilizations. In Indian and Egyptian tomb paintings depicting
dancing figures from 3300 BC. According
to a Sinhalese legend, Dances originated 250 years ago, from a magic ritual
that broke the spell on a bewitched king.
Principles of Dance
Philosophical
(by Clem Stanyon)
1. Together is better
2. Know your role
3. Less is more
4. Be happy
5. Minimize thought
III.
Learning
Content:
Origin and Principles of Dance
Dance does not
leave behind clearly identifiable physical artifacts such as stone tools, hunting implements or cave paintings. It is not possible to say when
dance became part of human culture.
Joseph
Jordania recently
suggested, that dance, together with rhythmic music and body painting, was designed by the forces of natural selection at the early stage of hominid
evolution as a potent tool to put groups of human ancestors in a battle trance, a specific altered
state of consciousness.
In this state hominids were losing their individual identity and were acquiring collective
identity.
Jonathan Pieslak's research shows, that some contemporary military units use
loud group singing and dancing in order to prepare themselves for the dangerous
combat missions. According to Jordania, this trance-inducing ability of dance
comes from human evolutionary past and includes as well a phenomenon of military drill which is also based on shared
rhythmic and monotonous group activity.
Dance has certainly
been an important part of ceremony, rituals, celebrations and entertainment since before the birth of the
earliest human civilizations. Archeology delivers traces of dance fromprehistoric times such as the 9,000 year old Rock
Shelters of Bhimbetka paintings in India and Egyptian tomb paintings depicting dancing
figures from c. 3300 BC.
One of the earliest
structured uses of dances may have been in the performance and in the telling
of myths. It was also sometimes used to show feelings for one of the opposite
gender. It is also linked to the origin of "love making." Before the
production of written languages, dance was one of the methods of passing these
stories down from generation to generation.
Another early use
of dance may have been as a precursor to ecstatic trance
states in
healing rituals. Dance is still used for this purpose by many cultures from the
Brazilian rainforest to the Kalahari Desert.
SriLankan
dances goes
back to the mythological times of aboriginal yingyang twins and "yakkas"
(devils). According to a Sinhalese legend, Kandyan dances originated 250 years ago,
from a magic ritual that broke the spell on a bewitched king. Many contemporary
dance forms can be traced back to historical, traditional, ceremonial, and ethnic dance.
Principles of Dance Philosophical
(by Clem Stanyon)
1. Together is better
The principle aim
of all basic step patterns, and all figures, is to allow two people to
coordinate their movements to music without any other communication. So long as
the people are moving in sympathy with each other, it doesn’t matter on what
beat they are dancing, whether the figures are executed according to rigorous
parameters, or anything else. Grace and connectivity are what dancing is about,
not the rigid formalization of these characteristics.
2. Know your role
The aim of the lead
in a partnership is to create a frame of movement in which the follow displays
their appreciation of the music. It is not for leads to detract from the
follows’ efforts by grandstanding or showing off, leaving their partners doing
nothing. In the case of less experienced follows, the lead facilitates the movements
of the follow by extending their range of movement, teaching the follow to
realize their capabilities. When the follower is more experienced, they can
take more initiative – as distinct from back-leading – and provide the leader
with more options into which the couple can move.
3. Less is more
Unless performing,
use styling only to accentuate points in the music, not points in a figure.
When best executed, these will coincide, but frequently, parts of figures
suited for accent do not match the music, so leave that head-flick out or
outstretched arm in, until the music and the movement are right for it.
4. Be Happy
No matter what
their level of skill, happy, joyful people are much more fun to dance with than
over-focused, unhappy or attitude-ridden people. You will have more fun, and so
will you partner, if you relax and enjoy the experience, than try to force it
to conform to your expectations of what it, or you, ‘should’ be.
5. Minimize thought
Dancing is more
about feeling – intuitive, spontaneous response to music – than about thought.
While learning a figure or working on something in a class, thinking is all to
the better – understand what you have to do, so you can remember it to practice
later – but once the foundation is laid, you will enjoy it more if you let it
flow than spend all your time trying to remember while dancing (as opposed to
practicing dancing). If you think too much, you will forget to breathe, and to
enjoy yourself!
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