FEREX A.

ACDANG
BSIT-1A
BASIC CONCEPTS OF MOVEMENT, SPACE AND RHYTHM
Four Developmental Movement Concepts
Hall-Thorpe Sports has modified a model first developed by Rudolf Laban (see Gallahue & Donnelly, 2003).
The model centers on four developmental movement concepts which are essential learning patterns during
early/middle childhood are; Body Awareness, Space Awareness, Effort Awareness and Relationship
Awareness.
1. Body Awareness: What the body can do.
Figure 1: Body awareness involves knowledge of; the body parts, what the body parts can do, and how
they can do it.

2. Space Awareness: Where the body can move

Figure 2: Space awareness is an essential movement task for beginning movers who are at the
fundamental movement phase of development and at the beginning or novice level of movement skill
learning.

3. Relationship Awareness: With what or with whom the body can move
Figure 3: Relates to the interactions with objects /or other people

4. Effort Awareness: How the body can move

Figure 4: Emphasises the dynamics and qualities of movement, consequently includes the elements of
time, weight, and flow.

PHASE OF RHYTHMIC ACTIVITIES

There are five phases of rhythmic activities. They are aerobics (fundamentals of dancing), break dancing,
gymnastics (exercising and stretching the body), bending and stretching.
DANCE ACCORDING TO PHILOSOPHERS
The dance philosopher is thus faced with these two tasks among others: 1) to show how dance is or is not
properly conceived as a form of art that can be analyzed under the conceptual tools and resources
developed for the traditional fine arts, 2) to discern in what precise ways traditional aesthetics might need to
be changed or developed in order to accommodate dance. One traditional way that dance philosophers
have considered the question what is dance? is to characterize dance as a particularly expressive form of
art, or one that involves action in a particular way. (For more on expression as a feature of dance see
Section 5.2 below.) Dance historian Selma Jean Cohen (1962) has held that expressiveness is present in
all dance, causing Monroe C. Beardsley (1982) to posit that expressiveness might be a necessary if not
sufficient condition for dance as art. Beardsley finds that expressiveness, which he characterizes as
present when a movement has more fairly intense volitional qualities such as zest, vigor, fluency,
expansivenss, or stateliness than necessary to fulfil any practical functions of movement as workings,
sayings and strivings, is what changes other forms of movement (what he calls motions) into dance
movements (what he calls movings) (1982, 31, 33 and 35). Borrowing from action theory, Beardsley says
that one causal bodily action can, under the right circumstances, be sortally generated into another kind of
action. Thus, the act of marrying can, under the right circumstances, also be bigamy. Following Beardsley
here, we can thus say that an act of running, for example, can, under the right circumstances, also be
dance. The right circumstances, he maintains, might be expressiveness, as described above. We can also
infer here that other conditions of dance might also apply (being on a stage in a theater, being offered for
appreciation as a dance, conducted in ways that are part of a dance vocabulary, etc.).
In making this claim, Beardsley rejects Haig Khatchadourians view (1978) that dance movements are not
actions, crediting Van Camps Philosophical Problems of Dance Criticism (1981) for helping him to critique
Khatchadourian in this way. (See Meskin 1999 for more on dances as action sequences rather than mere
movements.) In short, Khatchadourian (1978) says that a dance consists of movements that are not actions
because they are not intentional in the traditional sense, that of being directed towards making something
change in the real world rather than in the imagined world of a theatrical performance. Dance movements,
according to Khatchadourian, are instead, non-action voluntary activities that consist in patterns of
movement either pure movement or movement representing certain imagined actions of imagined
characters, imaginary situations, and so on made by parts or the whole of the human body, creating
dynamic visual, or visual and auditory, forms (1978, 25).
Transcript of PHASES OF DANCE PROGRAM
PHASES OF DANCE PROGRAM
CREATIVE RHYTHMS
are actually for children in the elementary grades. These activities are sometimes called fundamental
rhythms or natural dances. A creative rhythm is an end- product of exploration and improvisation of
movements as children learn to move the parts of their body and to use them as instruments of
expression.
FOLK OR ETHNIC DANCE
is a cultural art form handed down from generation to generation. It communicates the customs, beliefs,
rituals and occupations of the people of a region or country. Folk dancing belongs to the people. It
emanates from them. Ethnic tribes have their specific tribal art forms originated and danced by the people
of the tribe.
SOCIAL AND BALLROOM DANCE
The setting of the social and ballroom dance is a social gathering with the more formal atmosphere than the
simple and informal parties in which the recreational dances are the usual forms. Social and

ballroom dancing are

generally held in the
evenings. The participants
are usually in formal attire.
RECREATIONAL DANCE
includes dance mixers, square dance, round and couple dances. many of these dances have simple
patterns and combination of walking steps, two-step, polka step and waltz step.
These setting of recreational dances is usually informal gatherings and parties, reunions and the like.
CREATIVE DANCE
is the highest form of dance.
It is the end product of exploration
and improvisation of movements as the dancer or the choreographer expresses
his feelings or emotions, ideas and interpretations. This is a dance with a definite form, a beginning and an
ending. the principles of art form are all
observed
in the composition of the
dance.
ballet,
jazz
and
modern or contemporary
dance
examples
are:
FORMATIONS COMMONLY USED IN RHYTHMIC ACTIVITIES
1. SINGLE CIRCLE - FACING CLOCKWISE
- FACING COUNTER CLOCKWISE
- FACING EACH OTHER
- FACING CENTER
2. DOUBLE CIRCLE - PARTNERS FACING
- PARTNERS FACING COUNTER
CLOCKWISE
- FACING CLOCKWISE
3. SQUARE OR QUADRILLE FORMATION
4. SEMI CIRCLE OR HALF MOON
5. DOUBLE LINES/ COLUMN FORMATION
- FACING IN FRONT
- PARTNERS FACING EACH
OTHER
. 6. LONG OPEN FORMATION
7. SCATTER FORMATION
FUNDAMENTAL DANCE POSITIONS
THE BASIC NATURAL MOVEMENTS
are classified into two: locomotor and non-locomotor or axial movements.
Locomotor
movements are 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 with a fixed base. The base may be
standing, kneeling, sitting or lying
walking
running
jumping
hopping
skippng

leaping
galloping
sliding