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Chapter 3

Chapter 3 discusses contemporary dance, outlining its definition, historical background, and various genres including modern, jazz, lyrical, and ballet. It highlights the contributions of key figures like Isadora Duncan, Martha Graham, and Merce Cunningham, who shaped the evolution of contemporary dance. The chapter also emphasizes the cultural significance of dance in the Philippines and provides insights into common terminology and techniques used in contemporary dance.

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Dominic Acampado
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323 views36 pages

Chapter 3

Chapter 3 discusses contemporary dance, outlining its definition, historical background, and various genres including modern, jazz, lyrical, and ballet. It highlights the contributions of key figures like Isadora Duncan, Martha Graham, and Merce Cunningham, who shaped the evolution of contemporary dance. The chapter also emphasizes the cultural significance of dance in the Philippines and provides insights into common terminology and techniques used in contemporary dance.

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Dominic Acampado
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We take content rights seriously. If you suspect this is your content, claim it here.
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Chapter 3 CONTEMPORARY DANCES (MODERN, JAZZ, LYRICAL, BALLET) A ee el ang sl te tg tet "He mse fait a fair monn bla ‘mately fain nts the tty, ra as (efi he ca x de lati LEARNING OBJECTIVES At the end of the chapter, the students are expected to: 1. Define contemporary dance; 2. Determine the historical background of contemporary dance, and the people who contributed tits development; Classify the different genres of contemporary dance; Deliberate further the development of ballet, modem, jazz and lyrical from the time these dances started up to now; [Express an appreciation of the origin of the dances andl the roles the play in one's culture; 6. Produce, and accomplish a choreographed contemporary dances based from the different dance steps; and Perfotm correctly the different steps of the dances with ‘ease and smoothness. ” Introduction ‘What is Contemporary Dance? Contemporary Danes combination of several dance genees Itisa se of expressive dane that combines laments of several da es lg mode yal nd si al onempoary dancer tive to connect the mind and the bod tough ld danse movements the en “eonienporare” 8 someat misleading describes a genre that developed dai Stith cota ancl ey pp oy Modem, jar, Ise and classical ballet are just 2 few of the dane genres tit are combine in contemporary ance an expresive dance form. Through fluid: dance movements Contemporary dances ito nite he body an the inlet Lesson 1.2 Overview of Contemporary Dance Inconrstoblle igi onganize ye, om cas \ le contemporary dance mpi bit nd sponte. Duns neo ses conceal on Tornrk nd It get dg tend in ts pe intr et ae Rue rom jacous mil gees canbe sad to accompany conte port dane peromanes The dans cnt are Clone fed of movement. eating he tes 10 fly expe ir deepest emotions and convey tales Contemporary dance Sa gc peat frm The miners a prone {a6 sadn fom sd ap pp e How To Start Contemporary Dance? Isadora Duncan, Martha Graham, and Merce Cunningham were pioneers of modem dance because they disobeyed the rigid Festretions of ballet. ll ofthese dancer/choreographers held the tiew that dancers should be able to move freely, expressing their fermost thoughts with their body. I's crucial to. remember, though, that Cunningham is frequently referred to as the founder fof contemporary dance, whereas Graham pioneered what is now Known as modem dance and Duncan's style was distinctly her Lesson 1.3 Historical Background of Contemporary Dance ‘There are many features that both modem and contemporary dance share; they are, in a sense, branches coming from the Same roots. Ballet was a term used to describe theatrical dance performances in the 19th century. With Catherine de’ Medic’s Essistance, court dancing throughout the Italian Renaissance ‘evolved into ballet, a formal discipline that gained popularity Ballet conventions started tobe broken by afew dancers around the tal end ofthe 19th century. Francois Delsarte, Loe Fuller, and Isadora Duncan were a few ofthese people who created distinctive ‘movement genres based on their own philosophies. ll of them put fgreater emphasis on emotional and physial expressiveness than fn formal procedures. CConteary fo ballet or Duncan's “Isadorables,” a new dance style Known as “modem dance” arose between about 1900 and 1950, Modem dance isa codified dance technique with a particular aesthetic. Modern dance, which was created by trailblazers {ike Martha Graham, is based on breathing, movement, muscle contraction, and muscle release. Martha Graham had Alvin Ailey as one of her students. ‘e was the first to incorporate African. American aesthetics and oncepts into contemporary dance, although maintaining a closer link to previous approaches Merce Cunningham, a different Graham student, started ‘experimenting with his own kind of dance in the middle of the 1940s, John Cage's utterly original music served as Cunningham's inspiration for creating. an abstract dancing style. Dance was liberated by Cunningham from the traditional theatrical seting and, from thenecessitytoconvey particular storiesorideas, Cunningham, ‘popularized the idea that dance steps may be arbitrary and that ‘every performance could be distinctive, Cunningham is Frequently, considered to asthe father of contemporary dance because of his full abandonment of traditional dance practices Contemporary Dance in the Philippines ‘There has been alot writen on the country in relation to other hhumanities disciplines, particularly literature. Dance’s unasual Positioning inside and in relation to the national discourse has always interested me. Dance is an ephemeral art form that has inspired a range of opinions, oftentimes ones that are diametrically ‘opposed. But there is no denying that dance has shaped and informed our conceptions of the nation and nationhood. 1 canot be did that nations have costa had to tie 4 bolane between upholding thelr denies and meeting the mands of the verchanging socipolica, eaeeeie® aed ‘ull realignmens around the world. Ths expecially oe in the age of intense gltalzaton In cntemporary Sothees hag where national borders have ostensibly given way te the fll ‘ovement of ecnomie goods, peoples and cultural yates Rea ‘sl cll paces re constantly entangled mages coal tnd plea ndtv and bone emo in pesto express ofthe nations conning power, depo ae becuse ofthecontenousnatire ofthe goalies debe tae, the reorganization af iteratonal power dynamics hi leds te ‘eisserton of ational boundair ther than he stesso nations Asa result numero cultural stra, soon ho religious economic gender aca and vol dtc ons tobe forged inthe nation as a discurve pence In the Philippines, dance has made a significant cultural contribution. There is no denying that dance in the Philippine context has integrated itself in society over many years artis 50 Ay ingrained in culture rom one ofthe oldest dated dances ‘Ste eh ting ones re dance ike he pena, tarifosa, and subi and even to more contemporary dances ke th al Tet dance densa he aly of contemporary Prilppine dances by each having a distinctive origin and purpose Fiipto dancing has always bee inh spot as result of utherous honors and recognitions bestowed upon diferent dance rembles Tere are groups ke the Bayanthan Dance Troupe and the Ramon Obusan Dance Troup, bh of which have toured the lobe to advertise theater's varied dances (OF course, there ae lipino organizations tke let tippines, Philippine All Stary and jtbawockez that have ores in jaz hip hop, and bal However, ve women who Tenis an promoted in folk and moder dance came before {hese crcbes were weltinown local and internationally ehames to keepin mind ae Fanccs Reyer Aine, Leonor (non Cogungc, Leia Reyes Ul, Ale Reyes and Lay Fernand utbangsn. oe he deals and conrbtons of these famous Filipino pioneering dancers please visit this link: ht! For father reading you may visit Ui ink ising. phat cc 3subcommisiosleuhcommissonon-earts-scaldacelippine ‘emprarydael ‘Today's Contemporary Dance Avariety of styles including ballet, modem, and “post-modem” (trues) dance ae norported within cotemporay dance today, ie some contemporary dancers improv in the ovn stinctive ways, others perform wholly new creations as they sae artes drape cyto sons cng 2019) Lesson 1.4 Common Contemporary Dance Terminology Alignment This refers to how your limbs, torso, and head ae placed in relation to each other. Its = like posture, but for poses and i movement. Correct alignment rot only helps the dancer f complete the movements with the correct visual style, but helps Dynamics t This is how a dancer utilizes aspects of motion ike flow space, time, texture, and weight to create movement. One will immediately see that there combinations and variations in the dynamics of dance if an individual ties to picture each of those elements next to a control knob t different gradient of effort, 3 perm Breath Th the strictest sense breathing relates to your use of oxygen while dancing, but breath more specifically refers to the use of inhalation and exhalation as theatrical tools to add toa performance Canon Dance frequently uses the same vocabulary as music, Which is also true of canon, ‘The difference is that this is segment of choreography Where a certain. style of movement is repeated either inhythm with of out of sync with other dancers, as opposed toa recurring musical patter structured around a single focal movement Choreography The dance steps and movements are mapped out in this manner, Consider it similar to the notation and ngements in music or the director and script in theater and movies Gesture A gesture is a movement that expresses emotion or direction shifting the body's | without ‘weight, and itis a component of the theatricality of contemporary dance. A wave, a smile, a head nod, and jazz hands are a few examples of gestures. A great jet ‘a ballet-inspired forward jump, is not Flow ee This isa characteristic of movement like when someone is, —— trying to pour the water from the hose and let the water pours out continuously and turn it off from the source. The flow becomes 5” confined or constrained and moves in a forced, controlled plagued by external pressures, space that protects the dancer from external influences, space that is expanding or shrinking, and s0 on. Intention Intention is the driving Regen i force behind a dancer's action Textures describe how a and determines how that movement feels 40 the dancer action fits into the overall as well as how the dancer is choreography. Intention plays presenting that feeling. in order crucial roleintherelationship to convey the mood of the score, beteen the arist andthe textures frequently collaborate ? atudience just ike “inspiration f closely with the musi oes for stage actors 13, Time Isolation This can seer tothe tempo or The dancer's capacity. to oa speed of a piece of music, much separate a. movement. fom 26 it does in spoken language the other action ot produce However, whether a movement inactivity with a certain is rapid and cut off or continuous body part while movement Dome and slow, time can also relate 0 is present elsewhere. It is a that quality of movement in dance ‘rucal method of contol Consider how the piano's pedals correspond 0 the notes in musical Motif phrases. Amotifisa focal movement € group of movements that M4, Weight serve as the foundation for a Weight is interpreted in = Digger piece. This word also contemporary dance. in two - ‘originates ffom the musical different ways: A dancer has language. Consider it to be a weight (dearly), but a dancer's =) visual moti Actions and movements also have weight For instance the spectator Space would perceive a light action a5 Thatgeatel dicta being virtually effortless, ike a that the dancer resides i and flick ofthe wrist. A heavyweight motion calls for the dancer to controls. Additionally space isa appear more exhausted and labored quality that a dancer can depict through thei movements, such sour se bagdence basco lunequal space, space that is j Name bate YeariCoure! Rating Tickle Your Mind 1 For me, Contemporary Dance Sounds like Looks lke ‘Accomplish the Y-Chart Graphic Organizerbelow your concept about contemporary dance: Feels like a Hove do you distinguish contemporary dance from other danse forms? Do you need tobe Nexible to do contemporary dance? Why Lesson 2 Modern Dance “Dance to inspire, dance to fesdom. Weis about eperiences so dance ‘aa et your sf become fee Shah Ased Rizvi Introduction (One of the most stunning artistic genres the world has ever seen is modern dance. Every emotion or sentiment possible can be portrayed via the movements of a dance form. The capacity to produce art may be innate or acquired later in life ‘The easiest form of dancing to music you're likely to see is modem dance. It could be swift slow, strong, graceful, boisterous, silent, furious, or immobile. It would be an understatement to say that modern dance is a combination of all dances. It can move in ‘any manner at any speed, and with any feeling you can imagine. Consequently, choosing a diversity of music is a great way t0 “obtain a great workout. I's one ofthe best workouts out there and {s especially good for people who have limited mobility physically active The varieties of modem dance are numerous. With dances like “Americaine” or “Radha,” created by Ruth St. Denis and Ted Shawn as “Denishawn,” and today’s Plobilus, “Symbiosis or the Swiss dance collective Mummenschanz, whose intensely 9 dramatic choreography i pared with modem dance movements there are glaring ferences in their choreography. Note the scent ‘where Danny Kaye dances a contemporary dance routine called Choreography” in the movie “Holiday la which s a stire on the diferences between modern dance, jazz, and tap dance. In Choreography” the movements are purposefully exaggerated 10 demonstrate the funtion of mem dance steps and gestures. Modern dance syllabuses are based on ballet movements ‘Today's moder dance onthe other hand, i imbued with current interpretive moves. This is, in some ways, a return to the most primordial dancing eciniques, in whichthebody moves intuitively and improvise, Teaching modem dance nowadays necesitates a symbols esween teacher and students’ mental pictures that transcend 1 dancer’ physical movement. Another aspect of modern danc!’s new tendencies sa concentaton onan body wig rater han foc of energy to proce movement Many dance study clases bohenne mot go hugh hand: ay be daeng for modern dance instructor 'o adap this tendency into a dance technique class or group instruction. th Balt tecniqu and slabs shou be a song foundation for modem dance educator. Teachers employ modern dance movie that focus on choreography, physiology, pedagon, and orcheslogy fo make teaser inconporate cart dance ends ino the curriculum. A base understanding of geometry car ad with he vsualatio of pace and movement Kelly Haris of the Haris Dance Company, fr example is @ great example ofcurrent tendencies inmodem dance choreography. eee ee ee ihe: ie rangle ovens The eof vc accompany curent dance musi a well as choreography based False they travel with high and soaring leaps and ‘graceful turns and walks. 9 © Noidea 4. Undecided 5. Movements in lyrical are hard, strong and passionate soft, small and graceful sharp, hard and energetic and ‘uid, continuous, and graceful PRACTICE YOUR SKILLS Instructions 1. Create atleast 3104 theme below: Theme: Mental Health Look for Performance the entrance and the lytical dance igures or steps with the given music that would fit to your performance linitsould not exceed ced ut) minutes inca ‘exit. Below are the criteria for judging. % CRITERIA] PERCENTAGE SCORE —_ 9 ACHIEVEMENT Mase of a Choreography 25% J@ Synchronization] 9m Cinclades timing % ‘eordination wih the = Costume & Props im if Visalinpag 10k TOTAL] awh Lesson 5 Ballet Dance (com ph Dances the only artinhich we oursebesare the stuff of which ts madd” dancer and choreographer Ted Shion Introduction The movement of the human body shapes the art form of bullet Being theatrical, itis performed in front of a crowd on a fet with props, scenery, and lighting, ICcan be used to explain a Fotion, thought, or emotion orto tell story Ballet dancing has the Potential tobe alluring, captivating, intriguing, or upseting Ballet is a highly disciplined and specialized form of dance. Dance has existed for almost as long, as people have roamed the arth; ballet is only 400 years old. Anyone may play some music, Sway to the beat, and call themselves dances. However, it take ears for a body to develop into the very few positions that make ip the vocabulary of ballet steps. Nobody can sléteach ballet the viny some people can ac, paint, sing, or ply the guitar Itneeds to be studied in a classroom with an expert teacher. In terms of both Teaming and performing, ballet is the most academic and dificult style of theatrical dance. Ballerinas, Broadway performers, and dem dancers all have a ballet background as do the majority of dance professional, Ballet is frequently studied by gymnasts, ice Skaters, and other athletes (such as football players), which helps them focusand develop their flexibility speed, strength, endurance, and balance. 2 Ballet is the most academic form of theatrical dance and takes ‘dedication to achieve success, Here, male ond female billet dancers ‘extend their arms sail posing in midair, showing thir strength and fexibity, Ballet dancers frequently mention Edward Villella, atop male dancer of the 20th century and a former welterweight boxing ‘champion, who arrived to the conclusion that dancing a three ‘minute ps de deux required the same amount of physical stamina 4s fighting a three-minute round. Obviously, there are variances A boxer can groan, grimace bleed, collapse to the ground, and ‘otherwise display his struggle to the audience. However, a ballet dancer must achieve equal power and agility feats while beaming and appearing to freely and gracefully fly through the ar. Lesson 5.1. Whats Ballet Dancing? Bullet (From ta) is a gente of performance dance that cviginated inthe fifteenth centr during the Halian Rentesanet. and evolved ino a concer dance form in Hance and Racist ow evolved into a welled highly technical dancing spe ith 2 own voesbulary, Balt has itp ther dance genes ad culture allover the word and itinreued key mathe tat e sill employed today. Malcaltural ments are preset in cls allthroughout the world. Asaresult there are many new variations cof allt A ballet isa work of art that incorporates the dance moves and. ‘musical score fora ballet performance. Ballets are choreographed and performed by ballet dancers with professional training. In fr rehearsals. However, many diferentcolorsoftightsare used for periormances In addition to the tights, male ballet dancers swear an extremely piece of atice called the dance belt. This s not really abelt but sa sturdy thing that is wor beneath the tights (om Celi piration) and is intended to keep. the definition of the crotch hidden. The Offthe-shoulder tops A ballerina staple these tops give your shoulders a chance to breathe land are undoubtedly chi. Wear them ‘on their own or use it asa layer over a tank top. Invest in styles that are both Tose and form-fting. 6. The footwear (ballet sippersipointe shoes) A pointe shoei typeof shoe worn by allt dancer when. pevorming Pointe work’ Pointe shoes were Seasvd nese fo the dee or lances to appear weightes and yp ita ave even cae dares to dance en point (on te tps of the toes) for extended pri of time, They are manufactured ina variety of colors ‘most commonly in shades of igh pink. | Lesson 5.4 Ballet Techniques and Movements The following are the common techniques anc. movements skis inbuilt dancing that ou should brane 1. Fintona Aignment‘To putts simply all dances should te working toward an understanding of how ther muses bones andjins ork together to propery align the by whem standing tl an when moving tough spcton he lo, md and high levels. Students who have ti understanding cm move sally (without excessive ik or inary) and effcenly (vthat xs sin ers, exeron or aha) aston more easly among dance sles choreographer expecations and the demands of diferent tachers 2 Fluidity and Stabiity ofthe Spine: So much of dance technique and choreography, in almost every genre, involves articulation and anit of the spine ~ bei subs ain the Ballet ulement or powerful as in jazz isolations and West African Co jazz id West A Use of Weight Thad ame he two most impotan Tach they would be undecure and erie, These are Basialy the modersdane tenor cncept tat are iz inmany dance formeballt ances and urernas night ino them beter a cae and pg Mee than yt believe these concepts help dancers understand the relationship oftheir boxy to gravity allowing them to find groundedness fand ballon. Dancers who can drop their weight and connect ‘with the floor ina good unvlercurvehave stronger plie-releves, higher jumps, smoother transitions between movements, and tare generally better able to adapt to movement that goes into land out of the flor. Dancers who can shift theie weight and transfer their hips over their foot and ankle in an overcurve find more suspension in their movement, can transfer between balance and off-balance movement and perform most traveling fume (like pique turns) with greater ease, Undercurves and bvercurves are truly powerhouse ideas to explore in lassi you ‘want your dancers to have a more dynamic use of weight Articulation of the Fetand Ankles:Can you point, x, pronate, Supinate,frd a neutral foot, lt ust the tos, lift just the heel, tnd slide your foot across the floor without socks? Being able to articulate your feet and ankles i not only important as a dancer it's also important asa human bing, General Coordination: I saved the most important fr las, in my opinion So often students can have good technique ~ nice ‘execution of steps, decent alignment, tc ~ but sill be lacking thatjene sid quot In my opinion, that special something” isoften good overall body coordination. I think of body coordination fn terms of Laban Bartel! Fundamentals, which are also articulated in Anne Green Gilberts Brain Dance: Breath Coordinating the movement ofthe body withthe treath 1. Sensation - Responding to ouch and eng © Core Distal ~ Connection rom center of body out to the fntrmites and ack 4. Head-Tuil~Connection hough the spine Upper Body/Lower Body - Being able o isolate, connect eer conde the movement of these halves of the ody -Body-Half Homolterl Moveen!~Beig abe tole conc and coordinate he movement ofthe ightsideand left se of the body 8 Cross-Body (Contralateral Movement) ~ Being. able ‘toss the midline and coordinate movement from one si ‘through the center ofthe Body tothe other side 1h. Vestibular ~Being able to move on and off-balance (Se pishmndaiagn on Keni) ‘exercises ae part of every ballet elas 5, Battement tenduz Extending your leg brushing the leg along the floor and pointing your foot Ex pointe Balancing on the very ps of your toes. En pointe © i chieed with pointe shoes and only students that ave duvanced oa gr sl eve wil otis 7. Grand jete: A forward jump with a spit. i Lesson 5.5. Common Terminology for Ballet Dance 8. Pas de deux: A dance fortwo people. 9, Pirouette: A complete tur or seriesof turns on one foot, usually en pointe or demi-point 10. Plié: Knees ate bent while the legs and fet are turned out. Xe Janie: Rou fhe” When th dance et 7M. Ahead males cer towne ih he oer 12, Santé: A small jump on two legs, landing on both legs. (ou hp meena ref begins ‘The following are common ballet terms for beginners: 1. Adagio: Siow, continuous, and gentle movements It is meant to improve a dancer’ balance, strength, and lines. I is also the opening sequence of a two-person dance that includes one partner lifting the other. 2. Allegro: Fast and energetic movements, usually associated with jumps. 3. Arabesque: When the dancer stands on one leg with the other leg raised behind the body and extended in a straight line. 4. Barre: A horizontal wooden bar attached to the walls of the room. The barre is there to support the dancers and barre a Rane! ae Yesrconre Rating ‘TEST YOUR KNOWLEDGE Directions: Answer the following questions based on your own point of view. 1 How do you describe ballet dancing? 2. Why isballet considered as a contemporary dance? 13. Using the Venn Diagram graphic organizer below, compare land contrast ballet dance and other contemporary dances Such ‘as modem, jazz, and lyrical ‘omner CONTEMPORARY ‘DANCES (CHALLENGE YOUR SKILLS Instruction: Perform the following Skills Test s instructed Ballet (Dance Fundamentals) Ski Tesh points Positions of the feet (1-3) E eae 2 Positions ofthe arms a, 23) * placement of arms boxy aligment 3 Pie ees over oes + ea alignment ~ sliding toa point ON the for Tends + talgh gs body alignment 5. Depagé (disengage) * stalgh gs body alignment [& Balance ‘Triplet pie, reve eleve) “cross in back “level change * correct arm placement Toul Points ao 1 structors Name and Signature 10. 2 1. 14 15. 16. REFERENCES Alejando,R. (1983) Contemporary Dance in the Philippines. Vol 1; No. itpss/www stor org/stable 4086064 Balagtas, J.C, Corpuz, EN, Estrella, EO. & Foster, JM. (2012). Rhythinic Activities, Jymczyville Publications; ISBN 975-971 161072 Ballet dance. (nc.) American Heritage® Dictionary of the English Language, ith Edition. QOL), Retrieved December 1 2021 from https www thefreedictionary comvBalletdance Ballet Dancing. hitps//[Link]/wik/Balet Barnes, Clive. 2000), “Who's Jazzy Now? Dance Magazine. ‘Aug 2000 90. Web Boross, Bob (1999). “All That's Jazz.” Dance Magazine, Aug. 1999: 54 Web Canning, Laurie. (2002) “Jazz Capsule.” Dance Spirit: May- June 20:61. Web Common Terminology orBalletDance hitps:/danceclassicsin. comyballe-terms-for- beginners) Contemporary Dance Terminology hitps:/vwwlistudios com/dance-blog/dance-basics/contemporary-dance- terminology! Dance Technique Skills. hitps:/shannondoolingdances ‘com/2018/13/16/dancetechniqueskils) ‘Excellent Benefits of Jazz Dancing”. (Gource:_ hip! [Link]/8-excellent-benefits-ofjazz-dancing) Jack Cole: Jaze (documentary). Dance Film Assocation. Lyrical Dance. (bitps/www [Link]/ programs/éance/yrical-dance) Lyrical Dance. https//en: wikipedia org/wikif-ysical_dance) Miller, G. “Lyrical Dancing’. https/dance [Link]/ Lyrical_Dancing Rinaldi, Robin, (2010), World of Dance: Ballet, Second Edition Copyright © 2010 by Infobase Publishing | 7, Santiago, N. Lyrical Dance Moves, Lyrical Dance. hitps/ [Link]/Lyrcal dance 1B. Stearns, Jean (1994), “Jazz Dance: The Story of American. ‘Vernacular Dance”. Da Capo Press. 1994, ppl-2 19, Strauss, M.R.& Nadel, MH. (2012), Looking at Contemporary Dance: A Guide forthe Internet Age. Princeton Book Company, Publishers 20, https:/www [Link]/modern-dance-history, im 21. hup/fensvikipedia orgwiki Wikipedia 2. The Beginnings of Modem Dance. iips//[Link] wolfson/academic/artsletters/art_philosophy/humanities/ beginnings/beginnings_of modem dance htm 2. Vilrwz, BE (nd. Philippine Contemporary Dance Retrieved from: —_‘tps/[Link]/about-ncca subcommissions/subcommission-on-the-erts-sca/dance] Philppine-contemporary dance! 24, Warta, T. “Jazz Dance Basie Terminology. hitps/dance lovetokmow-comyJazz_ Dance. Terminology 25. What is Lyvical Dance, and What isthe Meaning Behind if (htipsy/[Link] com/our-blog! Iyrical-dance-meaningessons) 26, What is Lyrical Dance and Why Is It Becoming So Popular? (httpsi/www-jadeharrisonschoolofdance couuk/index php! about/blog/69-what-is-lyrical-dance-and-whycist-becoming- so-popular) 27. What i Lyrical Dance. (https/[Link]/artcle) IyFiealdancing-guidefdancewear-frlyrical- dancers) 28, hitps://[Link]/dance-blog/dance-basics/ ‘contemporary-dance-terminology/ bttps/www [Link]/what-is-mader-dance-1007279 |itpsi//www [Link] [Link]/health/healthyliving/ dance-health benefits 31. [Link] ddancetechniqueskil a psiiv infopleae comfenysopediaasfperorning/ © Ganev bginingrtenoerance 28. ups courehercom/ileE7109697/pe-semi-inal- papal 2A, hips dances orgimodenn-dance/modermdance- Me cere nen cpetions! :htps/[Link]-dacefiyrcal-dance

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