“Ang Pagpanulo sa Baybayon sa Poblacion, Carles, Iloilo”: A Contemporary Dance
Anntonette B. Barrios
Rogelin B. Bereber
Marnie Lynn S. Martirez
Floyd John C. Sorongon
Introduction of the Study
Chapter I is divided into six parts, namely: (1) Background of the Study, (2) Purpose of the Study, (3) Significance of the Study, (4) Definition of Terms, (5) Delimitation of the Study and (6) Summary.
Part One, Background of the Study, discusses the basic information about the study, the importance and rationale of the chosen topic, and its potential conceptual framework of the study.
Part Two, Purpose of the Study, states the research and production and specific questions.
Part Three, Significance of the Study, cites the benefits that would be derived from the results of the study.
Part Four, Definition of Terms, defines the important terms used in the study for purpose of clarity and understanding.
Part Five, Delimitation of the Study, identifies what are included in the study.
Part Six, Summary, summarizes all about the genre used by the researchers in their study.
Background of the Study
Contemporary dance is a genre of concert dance that employs compositional philosophy, rather than choreography, to guide unchoreographed movement. It uses dance techniques and methods found in ballet, modern dance, and post modern dance, and it also draws from other philosophies of movement that are outside the realm of classical dance technique.
The term “contemporary dance” is sometimes used to describe dance that is not classical, broad way style jazz or folk dance. The hallmark of the contemporary dance is an awareness of the limitations of form. Sub-genres recently defined by dance critics include non-dance, conceptual dance and pedestrian company. Unlike classical ballet, contemporary ballet often utilizes ground work and dancers often perform in bare foot.
Contemporary dance that was developed in U.S. and Europe in the 20th century is a reaction to traditional ballet. Precursors included Loie Fuller and Isadora Duncan. Formal teaching of modern dance began with the establishment of the Denishawn Schools by Ruth St. Denis and Ted Shawn in 1915. Many of their students, principally Doris Humphrey and Martha Graham, further contributed to modern dance’s definition as a technique based on principles of fall and recovery (Humphrey) and of contraction and release (Graham).
Movement often stressed the expression of emotional intensity and contemporary subjects rather than focusing on the formal, classical, and often narrative aspects of ballet. Later developments included a revolt in the 1950’s against Graham’s expressionism, led by Merce Cunningham, whose choreography included ballet technique and the element of dance.
Balance is one of the characteristics of contemporary dance, it is the ability to maintain the centre of gravity of the body while minimizing postural sway. It is a state of bodily equilibrium characterized by complete stillness, void of opposing forces on all sides.
Breathing is the spontaneous taking in and giving out of air from the lungs, the product of the visible movements of the ribcage and abdomen.
Centering is critical to stay focused and avoid distractions. It helps to stay in the moment and release past and future thoughts, worries and plans. Centering is the weight of the body somewhere between the heel and the big toe.
Gesture is a form of non-verbal communication in which visible bodily actions communicate particular messages, either in place of speech or together and in parallel with spoken words. Gestures include movement of the hands, face, or other parts of the body. Gestures differ from physical non-verbal communication that does not communicate specific messages, such as purely expressive displays, proxemics, or displays of joint attentions. Gestures allow individuals to communicate a variety of feelings and thoughts, from contempt and hostility to...
Please join StudyMode to read the full document