1. MPE-503 ANALYSIS OF
HUMAN MOVEMENTS AND
PERFORMANCE IN DANCE
AND SPORTS
Submitted by:
Vercyn Jane D. Arnibal
MPE I - A
2. Submitted to:
Prof. Jemuel B. Garcia, Jr.
CONTEMPORARY DANCE
History of Contemporary Dance
Around 1980s, the world "contemporary dance" referred to the movement of new dancers who did not want to follow strict classical
ballet and lyrical dance forms, but instead wanted to explore the area of revolutionary unconventional movements that were gathered
from all dance styles of the world. Contemporary dances therefore do not use fixed moves and instead try to develop totally new forms
and dynamics, such as quick oppositional moves, shifting alignments, expressions of raw emotions, systematic breathing, dancing moves
preformed in non-standing positions (for example lying on the floor), and in general trying to find the absolute limits of our human form
and physique.
The origins of this popular dance movement can be traced to several influential dance masters such as Isadora Duncan, Martha
Graham and Merce Cunningham. They all wanted to show to the world that contemporary dancers should embrace freedom, ignore old
dance conventions and explore the limits of the human body and visual expression of feelings. Also, one of the precursors to the
contemporary dance can be found in the millennia's old techniques of Zen Buddhism and Indian Health Yoga, which incorporates various
dancing philosophies that closely follow the principles of contemporary dance.
What Is Contemporary Dance?
Contemporary dance is a style of interpretive dance that embraces innovation, blending techniques from various genres, including
classical ballet, jazz, modern dance, and lyrical dance. This genre of dance, which focuses more on floor work over leg work and pointe,
isn’t restricted by the rules that govern traditional dance forms. Instead, it relies on improvisation and versatility and is characterized by
freedom of movement and fluidity, letting dancers explore the mind-body connection and ideally evoking emotion in the audience.
3. Contemporary dance is sometimes considered a form of storytelling, and dancers may use the medium to portray characters, replay
events, or convey personal stories. Its routines may also communicate abstract ideas, such as ethical values, acceptance of self, and timely
social issues. Costumes typically reflect the topic or tone of the accompanying music, and dancers often perform with bare feet.
Performers may perform this type of dance to various musical styles, spoken word poems and songs, or silence.
Dancer who introduced and greatly popularized the contemporary dance to the worldwide audience was Martha Graham (1894 -
1991). During her seven decade long career, her modern dance and choreographies gathered the fame that is today compared to the life
works of legendary art geniuses.
1. Martha Graham: American choreographer Martha Graham was a pioneer of modern dance. Her innovative style laid much of the
groundwork for the contemporary dance movement. She's also responsible for developing the Graham technique, which takes its
inspiration from the breathing cycle and has become an intrinsic part of modern dance forms. Her revolutionary approach to dance
paired movement with emotion, and her contemporary dance company, which was founded in 1926, still performs today.
2. Isadora Duncan: In the early 1900s, American ballet dancer Isadora Duncan rejected the rigid techniques of classical dance and
ballet in favor of embracing the human body’s natural lines and energy. In doing so, she aimed to create a dance style with more fluid
dance movement and emotional resonance. Other renowned dancers and choreographers quickly followed Duncan’s lead, with each one
responsible for innovations that ultimately defined contemporary dance as we know it today.
3. Lester Horton: Beginning in the 1920s and working for decades, American choreographer Lester Horton developed modern
dance techniques inspired by Native American dances. He was also one of the first American choreographers to insist on racial
integration in his performances. His legacy lives on in the work of notable contemporary coreographers, including Alvin Ailey and Bella
Lewitzky, who studied under Horton as part of his dance company.
4. Merce Cunningham: In the 1940s, American choreographer Merce Cunningham created the groundbreaking Cunningham
Technique, an innovative approach to dance training that emphasizes spatial awareness, rhythmic accuracy, and clarity of form. He
expanded the genre through his experimentation with technology and sounds other than music, often inspired by the compositions of
his partner, John Cage, whose influential sound featured some of the first prepared piano music. Cunningham and Cage introduced a
radical concept that was influential in the world of contemporary dance: that composers and choreographers can create music and dance
independently, yet still combine them for a single performance.
5. José Limón: In the mid-twentieth century, Mexican choreographer José Limón developed a distinctive masculine movement style
while establishing the importance of men in contemporary dance. His choreography often explored themes pulled from religion,
literature, religion, and history.
6. Loie Fuller: Fuller was an American dancer who innovated the genre with her experimental colored lighting and the use of
silhouettes and silk. She may be best known for creating the serpentine dance, which was inspired by popular skirt dances.
4. 7. Ruth St. Denis: American choreographer Ruth St. Denis created the concept of music visualization, which explored movement
equivalents to the musical components, such as rhythm and timbre. Believing that dance should be a spiritual act, she embraced themes
that were once thought too philosophical for dance and often pulled techniques from traditional Asian dance forms.
By the 1980s, the term contemporary dance described routines that didn’t adhere to the strict rules of classical dance. Contemporary
dancers of this era began to create new dynamics, exploring unconventional movements and pushing the limits of the human form. Their
moves combined dance styles from around the world. Some even traced back to ancient techniques found in the practices of Eastern
philosophies, such as Indian Hatha Yoga, pilates, and Zen Buddhism. Techniques often included systematic breathing, expression of
emotion, rapid oppositional moves, and contrasting rhythms and postures. Many movements were also performed in prone and other
non-standing positions.
Philippine Contemporary Dance
Rising from the rubbles of WW II and freed from American domination, the Filipinos surged in creativity. The ’50 and ’60s saw dance
revival and choreographic invention.
Schools put up folk dance troupes like the Far Eastern University, Philippine Normal University (Barangay Folk Dance Troupe)
and Philippine Women’s University. The Bayanihan Philippine Dance Company captivated the world at Brussels Exposition in 1958.
Leonor Orosa Goquingco’s Filipinescas Dance Company, Teresita Pil’s Leyte Kalipayan Dance Company, University of the Philippines
Filipiniana Dance Group, Darangan Cultural Troupe at Mindanao State University-Marawi, and Ramon Obusan Folkloric Group followed
to win their own awards and accolades abroad. All at first capitalized on the efforts of now-declared National Artist, Francisca Reyes
Aquino, to gain national and international recognition, from Manila to Broadway and across the Iron Curtain.
In ballet, Orosa Goquingco went to stage Noli Dance Suit and other ballets. Remedios de Oteyza’s abstract ballets were
performed by the De Oteyza Ballet, Manila Ballet Company and Hariraya Ballet Company (founded with Inday Gaston Manosa). Rosalia
Merino Santos staged and lectured with the Far Eastern University Modern Experimental Dance Group. Anita Kane toured nationwide
with classical and Filipino ballets of hers called Anita Kane Ballet Company, later Pamana Ballet. Joining them was Ricardo Cassell from
America, first teaching for Pacita Madrigal (staging Giselle for her and Benny Villanueva Reyes) and later his wife Roberta’s school and
Studio Dance Group. Trudl Dubsky Zipper periodically returned from the United States to stage ballets and operas.
They all inspired a new group of dance-makers and leaders. Corazon Generoso Iñigo staged folk dances and choreographed
modern pieces for university groups, for the films and the productions of J. Amado Araneta in Cubao, Quezon City. Maribel Aboitiz and
Eddie Elejar followed up the fame of Manolo Rosado and Fely Franquelli in Europe. With Joji Felix and Cesar Mendoza, Elejar set up a
5. school at PWU. He and Julie Borromeo and Felicitas “Tita” Layag Radaic later formed Dance Theater Philippines as the first professional
company, along with the Hariraya. DTP was later solely directed by Radaic or Basilio (Steve Villaruz), carrying on Ballet at the (Rizal) Park
for more than 12 years and producing ballerinas Anna Villadolid, Lisa Macuja and Eloisa Enerio. Still later, the Dance Concert Company of
Vella Damian and Eric Cruz, and Manila Metropolis Ballet of Elejar and Toby Fabella served the widening audience for ballet. This was also
met by visiting companies from Asia, Australia, the United States, Britain, Europe and Russia.
With the opening of Meralco Theater and the Cultural Center of the Philippines, still later of the restored Manila Metropolitan,
U.P. and Camp Aguinaldo Theaters, choreographic ambitions were no better served than in the old Far Eastern University, Philamlife and
Girls Scouts of the Philippines auditorium, and the defunct Rizal Theater.
Starting as a private group called Alice Reyes and Modern Dance Company, Ballet Philippines had the advantage as resident
dancers of the CCP. Reyes (starting with Elejar as co-director) built a modern repertoire with her Amada, Itim Asu, Rama Hari, Carmen,
choreographers Elejar, Fabella, Gener Caringal and Norman Walker, and the ballet classics with foreigners, especially William Morgan and
the Russians. Subsequent directors were Edna Vida, Denisa Reyes, Agnes Locsin–all choreographers in their own right, and now Cecile
Sicangco. In 1987, CCP accommodated Philippine Ballet Theater who came under the directorship of Manosa, Borromeo, Elejar and
now Caringal. The Company’s strength had been its wide choice of local choreographers. In 1966, a splinter group from PBT formed
Ballet Manila with Cruz and Macuja as directors. It espouses Russian style, although it has lately acquired works from David Campos, Vida,
Fabella, Nonoy Froilan and Osias Barroso. All these companies have won merits in performances abroad. They have toured nationwide,
following the pioneering work of Kane and of Fe Sala Villarica in the Visayas.
In the idiom of jazz, Douglas Nierras and his Powerdance are the most prominent, following the groups Hotlegs, of Julie
Borromeo, Metropolitan Dance Theater, etc. The new groups are Whiplash and several others dancing for television. They have graced
the shows of Vilma Santos, Nora Aunor and Sharon Cuneta, following up those of Pilita Corrales, Nida Blanca and Nestor de Villa in their
time. Television has also provided exposure for the popularization of ballroom dancing, earlier served by Dance Time with Chito
(Feliciano) and the Penthouse editions. The Dance Sports Council has also helped standardize dance competitions and dance instructions.
The Old and new dance forms are the boogie-woogie, rock ‘n roll, mashed potato, twist, boogaloo, bossa nova, frug, pachanga, watusi,
hustle, lambada, swing, hip-hop and the free-for-all disco-dancing.
In dance education, physical education departments continue to teach dance (mostly folk) from the grade school to college
level. Dance degree programs are offered at University of the Philippines and De la Salle University. In addition to the workshops of the
Dance Committee of the National Commission for Culture and the Arts, the Philippine Folk Dance Society, Dance Educators Associations
of the Philippines and Francisca Reyes Aquino Memorial Foundation also offer annual workshops.
6. During the leisure time Filipinos can be found dancing more. This include the battalas (choreographed skirmishes) in the
moro-moro or comedia that still exist, and in many festivals around the country like thesinulog, ati-atihan, caracol, guling-guling,
dinagyang, sayaw sa Obando, turumba in Pakil, etc. These may be found on the streets, the stage or the shopping malls today.
How to Get Started With Contemporary Dance
Contemporary dance techniques typically reflect the body’s natural alignment, so the style is accessible for dancers of any level, and
beginners may learn by taking group contemporary dance classes or private lessons. Classes often focus on topics such as narration,
self-expression, creative freedom, and the conveyance of emotion. Students may experience a variety of benefits from lessons, including
increased body awareness and reduced stress, as well as improved balance, flexibility, and core strength.
When starting contemporary dance lessons, seek reputable dance schools that teach students with similar goals. Ideally, your
instructor should understand the basic techniques of the genre and be able to work comfortably with beginners, as proper training and
constructive feedback can improve the learning experience. You may also find it helpful to study other types of dance, such as ballet or
tap. Beginning contemporary dancers should be ready to embrace innovation, which is a hallmark of the genre.
7. Movement/ Exercise: One Leg Balance
Starting Position: Standing position
Perspective: Kinematics
Force: Static
Phase 1
JOINT Observe
Motion (OM)
JAT
(Joint
Action
Tendenc
y) of
External
Force
Active
Muscle
Group
(AMG)
Specific Muscle
(SM)
Kind of
Contraction
(KOC)
Kind of
Gross
Body
Moveme
nt
(KGBM)
Muscle Stretched
(MS)
Hip Joint
TOJ:ball
and socket
DF: 3
Plane:
sagittal
flexion NEUTRAL
POSITION
flexsors Iliopsoas, Rectus
femoris,
Pectineus,
Sartorius
Tensor fasciae
latae, adductor
longus and brevis
concentric SF + Gluteos maximus,
bicep femoris,
adductor magnus
Shoulder
Joint
TOJ:ball
and socket
DF: 3
Plane:
sagittal
flexion NEUTRAL
POSITION
flexors Pectoralis major,
Anterior deltoid
coracobrachalis
concentric SF + Triceps brachii, upper
fibres,
Levator scapulae
Knee Joint flexion NEUTRAL flexors (Hamstring) bicep concentric SF + (quadriceps) Rectus
11. Movement/ Exercise: Cobra pose
Starting Position: prone lying position, palms on the floor.
Perspective: Kinematics
Force: Static
Phase 1
JOINT OBSERVE
MOTION
JOINT
ACTION
TENDENC
Y OF
EXTERNA
L FORCE
ACTION
MUSCLE
GROUP
SPECIFIC MUSCLE KIND OF
CONTRACTIO
N
KINDS OF
GROSS
BODY
MOVEMEN
T
MUSCLE STRETCHED
SPINE
TOJ :
-ERECTOR SPINAE
-LATISSIMUS
-PECTORALIS MAJOR
-EXTERNAL OBLIQUE
