Background of the Study. discusses the basic information about the survey. the importance and principle of the chosen subject. and its possible conceptual model of the survey.Part Two. Aim of the Study. states the research and production and specific inquiries.Part Three. Significance of the Study. cites the benefits that would be derived from the consequences of the survey.Partially Four. Definition of Footings. defines the of import footings used in the survey for intent of lucidity and apprehension.Part Five. Boundary line of the Study. identifies what are included in the survey.Part Six. Summary. sum up all about the genre used by the research workers in their survey.
Background of the StudyContemporary dance is a genre of concert dance that employs compositional doctrine. instead than stage dancing. to steer unchoreographed motion. It uses dance techniques and methods found in concert dance. modern dance. and post modern dance. and it besides draws from other doctrines of motion that are outside the kingdom of classical dance technique. The term “contemporary dance” is sometimes used to depict dance that is non classical. wide manner manner wind or common people dance. The trademark of the modern-day dance is an consciousness of the restrictions of signifier. Sub-genres late defined by dance critics include non-dance. conceptual dance and prosaic company. Unlike classical concert dance. modern-day concert dance frequently utilizes land work and terpsichoreans frequently perform in au naturel pes.
Contemporary dance that was developed in U. S. and Europe in the twentieth century is a reaction to traditional concert dance. Precursors included Loie Fuller and Isadora Duncan. Formal instruction of modern dance began with the constitution of the Denishawn Schools by Ruth St. Denis and Ted Shawn in 1915. Many of their pupils. chiefly Doris Humphrey and Martha Graham. farther contributed to modern dance’s definition as a technique based on rules of autumn and recovery ( Humphrey ) and of contraction and release ( Graham ) .
Movement frequently stressed the look of emotional strength and modern-day topics instead than concentrating on the formal. classical. and frequently narrative facets of concert dance. Later developments included a rebellion in the 1950’s against Graham’s expressionism. led by Merce Cunningham. whose stage dancing included concert dance technique and the component of dance. Balance is one of the features of modern-day dance. it is the ability to keep the Centre of gravitation of the organic structure while minimising postural sway. It is a province of bodily equilibrium characterized by complete hush. nothingness of opposing forces on all sides.
Breathing is the self-generated pickings in and giving out of air from the lungs. the merchandise of the seeable motions of the ribcage and venters. Centering is critical to remain focussed and avoid distractions. It helps to remain in the minute and release yesteryear and future ideas. concerns and programs. Centering is the weight of the organic structure someplace between the heel and the large toe. Gesture is a signifier of non-verbal communicating in which seeable bodily actions communicate peculiar messages. either in topographic point of address or together and in parallel with spoken words. Gestures include motion of the custodies. face. or other parts of the organic structure. Gestures differ from physical non-verbal communicating that does non pass on specific messages. such as strictly expressive shows. proxemics. or shows of joint attendings. Gestures allow persons to pass on a assortment of feelings and ideas. from disdain and ill will to blessing and fondness. frequently together with organic structure linguistic communication in add-on to words when they speak.
Position is the place or attitude of a person’s organic structure. Inactive position is the position of a individual standing. sitting. or lying still ; dynamic position is position in motion. Correct position consequences in the organic structure being aligned so that the Centre of gravitation base on ballss through the Centre of the organic structure and the place is maintained with a lower limit of attempt. If the organic structure is off-centre. compensatory motions are made. This sets up emphasiss and strains that can ensue in achings and strivings. peculiarly in the dorsum.
Rhythm is used in dance to maintain in clip with the music and to do the dance expression more interesting. Dance techniques and motion doctrines employed in modern-day dance may include: The modern-day concert dance is a signifier of dance influenced by both classical concert dance and modern dance. It takes its technique and usage of point work from classical concert dance. although it permits a greater scope of motion that may non adhere to the rigorous organic structure lines set Forth by schools of concert dance technique. Many of its constructs come from the thoughts and inventions of twentieth century modern dance. including floor work. balletic motions and turning of the legs.
Harmonizing to Alexander. Alexander technique as an instruction or counsel system to “improve position and motion. and to utilize musculuss expeditiously. ” The Alexander technique denotes both the educational methods used by Alexander instructors and single bodily awareness methods taught. Bartenieff Fundamentalss are an extension of Laban Movement Analysis developed by Irmgard Bartenieff. who trained with Laban before going a physical therapist. A set of constructs. rules and exercising that apply Laban’s motion theory to the physical or kinesiological operation of the human organic structure. Contact improvisation is a dance technique which points of physical contact provide the starting point for geographic expedition through motion improvisation. Contact improvisation is a signifier of dance improvisation and is one of the best-known and most characteristic signifiers of postmodern dance.
Dance improvisation is the creative activity of jury-rigged motion and it is associated with twentieth century concert dance but it’s non sole to that genre. Development of jury-rigged motion stuff is facilitated through a assortment of originative geographic expeditions including organic structure mapping through organic structure head focus oning. degrees. form and kineticss. centripetal experiences through touch or contact improvisation. and perceptual scheme. Contrary to popular belief dance improvisation is non merely about making motion but it is besides defined as stop deading the organic structure from accustomed forms. Dancers and vocalist Michael Jackson combined improvisation in both of those definitions. take a firm standing that he had an involvement in executing a dance to Billie Jean merely if he could make it in a new manner each clip.
Horton technique in 1920s. ‘30s. ‘40s. terpsichorean and choreographer Lester Horton developed a dance technique based on Native American dances. anatomical surveies and other motion influences. In add-on to make his technique and choreograph a figure of plants. Horton established the Lester Horton Dance Theatre. one of the first theater dedicated to modern dance in the U. S. . in Los Angeles in 1946. Release technique is an umbrella term that encompasses a assortment of different corporeal that emphasizes efficiency of motion. Emphasis is placed on breath. skeletal alliance. joint articulation. easiness of muscular tenseness and the usage of gravitation and impulse to ease motion.
Release work appears as portion of bodily paradigm. whereby subjective. internal experience of the organic structure is valued aboard nonsubjective. analytic outside position of it. The development of release technique has strands in curative motion techniques. such as Feldenkrais. Alexander Technique. Cranio-Sacral Therapy etc. . and besides from dance specific patterns. pulling from modern and postmodern. every bit good as Eastern motion doctrine and patterns such as Yoga and Martial Arts. Practitioners include Erik Hawkins. Doris Humphrey and Mary O’Donell Fulkerson. The researcher’s intent was to carry on a survey on the construct. features of modern-day dance genre every bit good as on “Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo. ” The research workers similarly aimed to bring forth a modern-day dance concentrating on how the Carlesenos gimmick crustaceans. Through dancing. this survey hoped to lend to the field of modern-day dance and to the Philippine folklore as a general cognition about “pagpanulo SA baybayon. ”
The research workers inputs of the survey were the conceptual literature of modern-day dance. production construct or outline. production inputs were composed of the costumes. props. qualified terpsichoreans. budget. and modern-day dance music. The research workers schemes were the library method. cyberspace surfing. interview and observation method was employed. Gathering information needed in this production procedure was included. Explicating the production construct and outline. finalizing of stage dancing. hearing for qualified terpsichoreans. practising. smoothing and barricading were besides used. The end product of the survey was a modern-day dance production entitled “Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo. ”
This survey aimed to find the basic construct and features of modern-day dance. It similarly aimed to happen out the manners and techniques of modern-day dance. Production Purpose This survey aimed to bring forth a modern-day dance picturing “Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo. ” Conceptual literature of modern-day danceProduction construct or outline CostumesPropssQualified terpsichoreansBudgetContemporary dance musicPurposes of the Study Inputs of the Study ProceduresResearch Methodology Library methodInternet surfing InterviewDetectingProduction Design Explicating of the production construct and outlinefinalizing of the stage dancingHearing of the qualified terpsichoreansRehearsingPolishingBarricading “Ang Pagpanulo SA Baybayon SA Poblacion. Carles. Iloilo” : A Contemporary DanceEnd product of the Study
Figure 1: Flow of chart demoing the intents. inputs. procedures. research methodological analysis. production design and end product of the survey. Purposes of the StudyThis survey aimed to find the basic construct and features of modern-day dance. It similarly aimed to happen out the manners and techniques of modern-day dance.Specifically. it sought to reply to the undermentioned inquiries: What is modern-day dance?2. What are the manners and techniques of modern-day dance? How did modern-day dance evolve? What is “Ang Pagpanulo SA Baybayon SA Poblacion. Carles. Iloilo? ” What is the history of Poblacion. Carles. Iloilo?Furthermore. this survey aimed to bring forth a modern-day dance picturing “Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo. ” To achieve this intent. this inquiry was asked: How are the fluctuations of motion of modern-day dance employed in the survey picturing “Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo? ”
Significance of the StudyThe consequence of the survey would hopefully be good to the followers:To the choreographer. who may get extra cognition and a new motion vocabulary to function as a usher in their stage dancing.To the terpsichoreans. this may heighten their accomplishments and cognition on what modern-day dance is all approximately. This may likewise service as an inspiration in doing their ain stage dancing.The Carlesenos. this may function as a agency of grasp in following “Ang Pagpanulo SA Baybayon SA Poblacion. Carles. Iloilo. ”Last. to the hereafter research workers. this survey may function as their mention for the hereafter survey.
Definition of FootingsFor intents of lucidity and apprehension. the undermentioned words were given their operational and conceptual definitions.Contemporary Dance- is a genre of concert dance that employs compositionaldoctrine. instead than stage dancing. to steer unchoreographed motion.In this survey. modern-day dance refers to the sort on genre in dance that the research workers had choreographed.Panulo- is a manner of gather shellfish during low tide. nevertheless. it is done at dark with the usage of crude oil gas or torch of bundled thenar fronds to entice runts and pediculosis pubis which will be finished out with crisp knife. or with the sleight and adequate bravery by manus.
In this survey. panulo refers to the operational rubric of the researcher’s production.Torch- is a fire beginning. normally a bacillar piece of wood with a shred soaked in pitch and/or some other flammable stuff wrapped around one terminal. Torchs were frequently supported sconces by brackets high up on walls to throw visible radiation over corridors in rock construction such as palace or crypts. In this survey. torch is one of the props used in the production.Poblacion. Carles. Iloilo- is one of the barangays in the municipality of Carles. Iloilo.In this survey. it is the operational rubric of the researcher’s production. It besides refers to the topographic point the modern-day dance was based on.
Boundary line of the StudyThis survey aimed to happen out the basic construct. features. manners and techniques of modern-day dance. Furthermore. this survey similarly aimed to bring forth a modern-day dance picturing “Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo. ” Creative method of research was employed in this survey. Creative research is a changeless procedure of seeking and oppugning. Descriptive research trades with everything that can be counted and studied. The research must hold an impact to the lives of the people around you. This descriptive originative research was conducted in Balasan National High School-Special Program in the Humanistic disciplines during the school twelvemonth 2011-2012.
DrumheadA modern-day dance is a genre of concert dance that employs compositional doctrine. instead than stage dancing. and uses dance techniques and methods in concert dance. modern dance and post-modern dance. Dance techniques and motion doctrines employed in modern-day dance included: Contemporary concert dance. Alexander technique. Bartenieff basicss. Contact improvisation. Dance improvisation. Horton technique. and release technique. Review of Related LiteratureChapter 2 consists of conceptual literature related to the survey. This chapter is divided into eight parts viz. : Contemporary Dance as a Literary Form. Basic Concept of Contemporary Dance. Characteristics of Contemporary Dance. Styles and Techniques of Contemporary Dance. Beginning of Contemporary Dance. History of Poblacion. Carles. Iloilo. And Pagpanulo sa Baybayon SA Poblacion. Carles. Iloilo as the support of the Carlesanon. and Summary.
Part One. Contemporary Dance as a Literary Form. defines the signifier of modern-day dance.Part Two. Basic Concept of Contemporary Dance. defines the basic constructs of modern-day dance.Part Three. Characteristics of Contemporary Dance. discusses the features of modern-day dance.Partially Four. Styles and Techniques of Contemporary Dance. enumerates and introduces the manners and techniques on modern-day dance.Part Five. Beginning of Contemporary Dance. discusses the beginning of modern-day dance.Part Six. History of Poblacion. Carles. Iloilo. it talks about where did the topographic point come from and how it got its name.Part Seven. Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo as the support of the Carlesanon. presents the penetration and techniques about “panulo” which is common support of the Carlesanon.
Contemporary Dance as a Literary FormContemporary dance is officially the name given to a series of dance manners including modern dance. Highly interpretive in its stage dancing. modern-day dance frequently includes an unconditioned focal point or alliance. opposing motion. natural emotions and systematic external respiration. While many dance genres including wind and lyrical. focal point on flexibleness and excellence of assorted structured stairss. the technique in modern-day dance focused more upon unconventional choreographic moves that were devised in the first 60 old ages of the twentieth century by assorted Masterss of the trade.
Contemporary dance is a genre of concert dance that employs compositional doctrine. instead than stage dancing. to steer unchoreographed motion. It uses dance techniques and methods found in concert dance. modern dance. and post modern dance. and it besides draws from other doctrines of motion that are outside the kingdom of classical dance technique. Contemporary dance employs many modern dance techniques such as contract-release. autumn and recovery. floor work. improvisation. and lifts in partnering.The term “contemporary dance” is sometimes used to depict dance that is non classical. wide manner manner wind or common people dance. The trademark of the modern-day dance is an consciousness of the restrictions of signifier. Sub-genres late defined by dance critics include non-dance. conceptual dance and prosaic company.
Contemporary dance is aesthetic. natural and socially free. Advancement from the governing aristocrat’s dance all right aesthetic.Contemporary dance. like modern art or modern music. is characterized by a reluctance to lodge to stiff traditional signifiers. and insisted embracing simpleness in signifier. invention in construct. and symbolism in significance. Merely as the political orientation of modern is in contrast with that of concert dance. so is the motion the stage dancing of the signifier. Most significantly. while concert dance emphasizes elation and tallness in the dancer’s motion. modern dance emphasizes the gravitation drawing terpsichoreans toward the floor. Modern terpsichoreans use their organic structure weight to overstate their motions and choreographers make great usage of “falls to floor. ” Additionally. modern terpsichoreans perform barefoot and frequently wear minimalistic costumes. as opposed to the intricate point places and luxuriant Tutu of concert dance terpsichoreans.
Around the mid-twentieth century. and likely in reaction to World War II. modern dance become so minimalistic that some dance lacked subject and emotion wholly. and merely integrated stage dancing marked by falls. and contraction and release. Merce Cunningham is the most noteworthy choreographer of this type of modern dance. She created dances that did non stress the cardinal portion of the phase. alternatively foregrounding the angles and unconventional infinites of the public presentation land. Another noteworthy choreographer who bloomed after Cunningham was Alvin Ailey. who drew from modern. wind. and established the still-existing Alvin Ailey Company in 1958. The company is non merely appreciated for its alone stage dancing. but besides for supplying a infinite for Afro-american terpsichoreans to accomplish great acclamation in modern dance. Today. the most current tendency in modern dance is non to insulate the motion into its ain dance signifier. but alternatively to blend its component with other genres. even concert dance.
Likewise. modern-day concert dance will comes the freshness of modern into public presentations. The pinnacle of this coaction took topographic point in 1990. when Mikhail Baryshnikov. a celebrated concert dance terpsichorean. worked with dancer-choreographer Mark Morris to establish the White Oak Dance Project. a dance company that combines the genres. Basic Concept of Contemporary DanceContemporary dance that was developed in U. S. and Europe in the twentieth century is a reaction to traditional concert dance. Precursors included Loie Fuller and Isadora Duncan. Formal instruction of modern dance began with the constitution of the Denishawn Schools by Ruth St. Denis and Ted Shawn in 1915. Many of their pupils. chiefly Doris Humphrey and Martha Graham. farther contributed make modern dance’s definition as a technique based on rules of autumn and recovery ( Humphrey ) and of contraction and release ( Graham ) .
Movement frequently stressed the look of emotional strength and modern-day topics instead than concentrating on the formal. classical. and frequently narrative facets of concert dance. Later developments included a rebellion in the 1950’s against Graham’s expressionism. led by Merce Cunningham. whose stage dancing included concert dance technique and the component of dance. Features of Contemporary DanceBalance is one of the features of modern-day dance. is the ability to keep the Centre of gravitation of the organic structure while minimising postural sway. It is a province of bodily equilibrium characterized by complete hush. nothingness of opposing forces on all sides. Breathing is the self-generated pickings in and giving out of air from the lungs. the merchandise of the seeable motions of the ribcage and venters. Centering is critical to remain focussed and avoid distractions. It helps to remain in the minute and release yesteryear and future ideas. concerns and programs. Centering is the weight of the organic structure someplace between the heel and the large toe.
Gesture is a signifier of non-verbal communicating in which seeable bodily actions communicate peculiar messages. either in topographic point of address or together and in parallel with spoken words. Gestures include motion of the custodies. face. or other parts of the organic structure. Gestures differ from physical non-verbal communicating that does non pass on specific messages. such as strictly expressive shows. proxemics. or shows of joint attendings. Gestures allow persons to pass on a assortment of feelings and ideas. from disdain and ill will to blessing and fondness. frequently together with organic structure linguistic communication in add-on to words when they speak.
Position is the place or attitude of a person’s organic structure. Inactive position is the position of a individual standing. sitting. or lying still ; dynamic positionis position in motion. Correct position consequences in the organic structure being aligned so that the Centre of gravitation base on ballss through the Centre of the organic structure and the place is maintained with a lower limit of attempt. If the organic structure is off-centre. compensatory motions are made. This sets up emphasiss and strains that can ensue in achings and strivings. peculiarly in the dorsum.
Rhythm is used in dance to maintain in clip with the music and to do the dance expression more interesting. Rhythm controlled or measured flow of motion. either aural or ocular. normally produced by an ordered agreement of differing elements of the medium concerned. Rhythm is a basic characteristic of all the humanistic disciplines. peculiarly music. poesy. and dance ; beat can besides be detected in natural phenomena. Manners and Techniques of Contemporary DanceA signifier of dance influenced by both classical concert dance and modern dance is modern-day concert dance. It takes its technique and usage of point work from classical concert dance. although it permits a greater scope of motion that may non adhere to the rigorous organic structure lines set Forth by schools of concert dance technique. Many of its constructs come from the thoughts and inventions of twentieth century modern dance. including floor work. balletic motions and turning of the legs.
Harmonizing to Alexander. Alexander technique as an instruction or counsel system to “improve position and motion. and to utilize musculuss expeditiously. ” The Alexander technique denotes both the educational methods used by Alexander instructors and single bodily awareness methods taught. Bartenieff Fundamentalss are an extension of Laban Movement Analysis developed by Irmgard Bartenieff. who trained with Laban before going a physical therapist. A set of constructs. rules and exercising that apply Laban’s motion theory to the physical or kinesiological operation of the human organic structure. Contact improvisation is a dance technique which points of physical contact provide the starting point for geographic expedition through motion improvisation. Contact improvisation is a signifier of dance improvisation and is one of the best-known and most characteristic signifiers of postmodern dance.
Dance improvisation is the creative activity of jury-rigged motion and it is associated with twentieth century concert dance but it’s non sole to that genre. Development of jury-rigged motion stuff is facilitated through a assortment of originative geographic expeditions including organic structure mapping through organic structure head focus oning. degrees. form and kineticss. centripetal experiences through touch or contact improvisation. and perceptual scheme. Contrary to popular belief dance improvisation is non merely about making motion but it is besides defined as stop deading the organic structure from accustomed forms. Dancers and vocalist Michael Jackson combined improvisation in both of those definition. insistence that he had an involvement in executing a dance to Billie Jean merely if he could make it in a new manner each clip.
Horton technique in 1920s. ‘30s. ‘40s. terpsichorean and choreographer Lester Horton developed a dance technique based on native American dances. anatomical surveies and other motion influences. In add-on to make his technique and choreograph a figure of plants. Horton established the Lester Horton Dance Theatre. one of the first theater dedicated to modern dance in the U. S. . in Los Angeles in 1946. Release technique is an umbrella term that encompasses a assortment of different corporeal that emphasizes efficiency of motion. Emphasis is placed on breath. skeletal alliance. joint articulation. easiness of muscular tenseness and the usage of gravitation and impulse to ease motion.
Release work appears as portion of bodily paradigm. whereby subjective. internal experience of the organic structure is valued aboard nonsubjective. analytic outside position of it. The development of release technique has strands in curative motion techniques. such as Feldenkrais. Alexander technique. Cranio-Sacral Therapy etc. . and besides from dance specific patterns. pulling from modern and postmodern. every bit good as Eastern motion doctrine and patterns such as Yoga and Martial Arts. Practitioners include Erik Hawkins. Doris Humphrey and Mary O’Donell Fulkerson. Beginning of Contemporary DanceThe beginnings of modern-day dance are illustrations and cross the Earth. with beginnings in both Europe and North America. One of the beautiful things about modern-day dance’s beginnings is that they come from all different waies. In modern-day motion you will non merely see proficient dance stairss. but besides moves borrowed from Pilates. yoga. and plentifulness of dance improvisation like none other.
Possibly the true beginnings of modern-day dance are found in the Black Marias and creativeness of all who’ve dared to take it on. stretching their suppressions for a trade that tolerates none. Modern dance. tradition of theatrical dance unique to the twentieth century. Modern dance flourished in countries that lacked strong concert dance tradition. such as in the United States where concert dance companies were imported from Europe. Although modern dance originated in Europe. by 1930 the United States had become the centre for dance experimentation. Early modern dances were miniatures-solos of extremely tight consequence. They were unlike anything known. for dance at that clip was dominated by late nineteenth century concert dances. which were characterized by big dramatis personaes. a great assortment of dance Numberss. and dramatic scenic effects. But concert dance has evolved over the centuries as a altering tradition. so besides has a modern dance during its shorter period of being.
The genre was developed in Germany and in the United States in the early 20th century as a rejection of concert dance. which the innovators of modern dance considered superficial and overly strict. The end of conceivers of modern dance. including Isadora Duncan. Loie Fuler. and Ruth St. Denis in the United States and organize that expressed emotional. personal. and experiential subjects. Since the Ballets Russes began revolutionizing concert dance in the early twentieth century. there have been continued efforts to interrupt the canasta of classical concert dance. Presently the artistic range of concert dance technique ( and its attach toing music. jumper. and multimedia ) is more across-the-board than of all time. The boundaries that classify a work of classical concert dance are invariably being stretched. muddied and blurred until possibly all the remains today are hints of technique parlances such as ‘turnout. ’
It was during the detonation of new thought and geographic expedition in the early twentieth century that dance creative persons began to appreciate the qualities of the persons. the necessities of ritual and faith. the primitive. the expressive and the emotional. In this atmosphere modern began an detonation of growing. There was all of a sudden a new freedom in what was considered acceptable. what was considered art. and what people wanted to make. All sorts of other things were all of a sudden valued every bit much as. or beyond. the costumes and fast ones of the concert dance. Most of the early twentieth century modern choreographers and terpsichoreans was ballet in the most negative visible radiation. Isadora Duncan thought it was ugly. nil more than meaningless gymnastic exercises. Martha Graham saw it as European and Imperialistic. holding nil to make with the modern American people.
Merce Cunningham. while utilizing some of the foundations of the concert dance technique in her instruction. approached stage dancing and public presentation from a wholly extremist point of view compared to the traditional balletic format. The twentieth century was so a period of interrupting off from everything that concert dance stood for. It was a clip of unprecedented originative growing. for terpsichoreans and choreographers. It was besides a clip of daze. surprise and widening of heads for the populace. in footings of their definitions of what dance was. It was a revolution in the truest sense. By the 1980s dance had come full circle and modern dance ( or. by this clip. ‘contemporary dance’ ) was clearly still a extremely proficient and political vehicle for many practicians.
Existing aboard classical concert dance. the two art-forms were by now populating peacefully following door to one another with small of competition and aversion of old epochs. In a cleverly designed remark on this on-going competition the superb coaction of Twyla Tharp ( one of the twentieth century’s cutting border dance avant-gardes/contemporary ) and concert dance dance was finally achieved. The present clip sees us still in the really competitory artistic atmosphere were choreographers compete to bring forth the most lurid work. nevertheless. there are still glances of beauty to be had. and much unbelievable dance in an age where dance technique has progressed farther in expertness. strength and flexibleness than of all time before in history.
Exciting development of modern-day dance besides found in the E in states such as Hong Kong. Singapore. and Japan. History of Poblacion. Carles. IloiloToward 1850’s the peripheries and off shores of Punta Bulakawe and neighbouring islands are often visited by seasonal fishing activities. safety and sanctuary from bad conditions and from depredation of Muslim Piracy. Later a few households of those fisherman. huntsmans. and stranded bargainers from shipwrecks until Francisco Arriola arrived and founded the barrio colony of Bulakawe. The colony flourished on “ibabaw” platue merely 300 metres north of the present Poblacion. Carles.
On October 15. 1847. a twelvemonth after Francisco Arriola had organized the barrio. colonists celebrated thanksgiving for the first twelvemonth day of remembrance of their reaching in the shore of Punta Bulakawe. Arriola transferred Barrio Bulakawe to the level lowland next and below “ibabaw” platue on 1856. where in at the clip the municipal office and other landmarks of Barrio Bulakawe were constructed like the Mercado. St. Therese Church where located that’s why they called it “banwa” subsequently called Brgy. Poblacion. Barrio Bulakawe was alteration to Badiang in position for the fact that Badiang workss were abundant in the locality of the new site.In January 1860. Badiang leaders headed by Arriola went to Capiz to petition the provincial authorities to alter the Barrio Badiang to a municipality or to pueblo ; he immediately turned down the request.
Out of their disgust. the Badiang suppliants travelled to Iloilo City. their request was studied and approved by Governor Jose Maria Carles including their entreaty to turn the Barrio Badiang to pueblo. In gratitude to Governor Carles the Badiang suppliants once more appealed changed the name Badiang to Carles in honor of the Spanish Governor Jose Maria Carles. The blessing of as the new name was followed by its startup as new Pueblo on July 1. 1862 with Alejandro Buaya as first Gobernadorcillo de Carles which included for its drawn-out legal power over Balasan. Estancia and Batad.
Ang Pagpanulo sa Baybayon sa Poblacion. Carles. IloiloHarmonizing to our respondent. “pagpanulo” was done at dark with the aid of torch to be the beginning of visible radiation. It was normally done in new Moon. Sometimes a group of people did this sort of fishing. They used torch as the beginning of visible radiation. “panaklob” used to catch pediculosis pubis and runts. a little basket used as the container of the gathered sea nutrients. and a net used to catch fish. In making “panulo” the H2O degree was below the articulatio genuss. Any outfit in making “panulo” will make except for long bloomerss and long arm. The appropriate outfit in making this is a short bloomerss and a t’shirt.
“Panulo” is another manner of garnering shellfish during low tide. nevertheless. it is done at dark with the aid of torch of bundled thenar fronds to entice runts and pediculosis pubiss which be finished out with crisp knife. harpoon or sleight and adequate bravery by manus. DrumheadThe modern-day dance is a genre of concert dance that employs compositional doctrine. instead than stage dancing. to steer on unchoreograph motion. It is aesthetic. natural and socially free. Contemporary dance was developed in U. S. and Europe in the twentieth century as a reaction to the traditional concert dance. One of the beautiful things about modern-day dance beginning is that they come from all different waies.
Contemporary dance have six features: balance. external respiration. focus oning. gestures. position and beat. Balance is the ability to keep the centre of gravitation of the organic structure while minimising postural sway. Breathing is he self-generated taking in and giving out of air from the lungs. Centering is critical to remain focussed and avoid distractions. Focus oning the weight of the organic structure someplace between the heel and the large toe. Gesture is a signifier of non-verbal communicating in which seeable bodily actions communicate peculiar messages. either in topographic point of address or together and in parallel with spoken words. Gestures include motion of the custodies. face. or other parts of the organic structure. Position is the place or attitude of a person’s organic structure. Rhythm is used in dance to maintain in clip with the music and to do a dance expression more.
The first was Alexander technique improves positions and motion. Bartenieff basicss are a set of constructs. rule and exercises that apply Laban’s motion theory to physical kinesiology operation of the human organic structure. Was the starting point for geographic expedition through motion improvisation. Dance improvisation associated with twentieth century concert dance. Horton technique was developed based on Native American danced. anatomical surveies and other motion influences. Release technique is an umbrella term encompasses a assortment of different corporeal patterns that emphasize expeditiously of motion.
This chapter discusses the method and processs employed in the survey. It is divided into two parts: ( 1 ) Research Methodology and ( 2 ) Creative Production Design.Part One. Research Methodology. restates the research objectives. depict the method employed. identifies the beginnings of information and discusses the process in garnering information.Part Two. Creative Production Design. restates the production aims. depict the method employed. specifies the stuffs used and the modern-day dance production process.
This survey aimed to find the basic constructs. beginning. manners and techniques of modern-day dance. It similarly aimed to cognize the procedure of “panulo” and the history of Poblacion. Carles. Iloilo. This descriptive-creative research method was employed in this survey. Descriptive research trades with everything that can be counted and studied. Creative research is a changeless procedure of seeking and oppugning. The research must hold an impact to the lives of the people around them. The research workers gathered the needed information from secondary beginnings in order to come up with back uping theories. thoughts and facts about their research job. Secondary beginning is a papers prepared by an person who was non a informant to an event to person else. harmonizing to Frankel and Wallen ( 1993 ) .
The informations necessary for the survey were obtained from secondary beginnings such as lexicons. mentions from the barangay hall and electronic media. Interview and detecting the procedure of catching fish were used in garnering informations needed in the survey. The research workers visited some fishermen in Poblacion. Carles. Iloilo.When the research workers went to the assorted fishing land. they observed the procedure of catching fishes. They besides jot down note the of import inside informations and activities of fishermen. The categorization of primary. secondary and third beginnings of information. When the research workers have finished garnering their resources they classify them if it was primary. secondary or third. The research workers gathered their informations from primary and secondary beginnings.
Note Taking
After the research workers have gathered and classified their informations they evaluated them harmonizing to its truth. dependableness and up to dateness.The dependableness and truth of a information can be determined if the research workers have satisfaction in it. In order to cognize if the information is up to dateness. they look for the twelvemonth of publication. The last undertaking was to enter what information has been and supported the survey. The information should be taken down in citation. paraphrased. summarized and evaluated to avoid plagiarism.
Creative Production DesignProduction PurposeThis survey aimed to bring forth a modern-day dance picturing “Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo” . Production MethodInterview and detecting the procedure of catching fishes was used in garnering informations needed in the survey. The research workers visited some fishermen in Poblacion. Carles. Iloilo.When the research workers went to the assorted fishing land. they observed the procedure of catching fishes. They besides jot down notes and the of import inside informations and activities of fishermen. Medium Contemporary dance was used as a medium in this originative production. Contemporary dance is the name for a modern concert dance genre. It is non a specific dance technique but a aggregation of methods developed from modern and post-modern dance and can take on many signifiers including dance merger. emergent dance and revisionism. Production Materials
The research workers utilized assorted stuffs in doing the modern-day dance production which are follows:Propss. The research workers used props as a stuffs in production which includes “panaklob” . bola tie. torch. baskets. and bucket that are related in “pagpanulo” . It was used to do the audience understand the production. Costumes. The performing artists used it as their outfit in executing their research production. The costumes for work forces were “camisa tsino” and any colour of bloomerss. For adult females were square bloomerss and shirts. The terpsichoreans must have on apparels like fishermen.
Music. The research workers used instrumental music which will desert one of the component which is H2O so that it will accommodate the research workers stage dancing.Make-up. Used by the performing artists in order to be presentable on phase. Human EngagementThe terpsichoreans in production were pupils of Balasan National High School-Special Program in the Arts. The research workers was the choreographers and at the same clip they are one of the performing artists. Creative Production Procedures
Making an original modern-day dance production is a boring. hard and an effort-making procedure. Several factors and processs had to be considered in carry throughing the dance production. These are the undermentioned: Explicating of the production construct and outline. The research workers created the construct and wrote the outline. They besides plannned the general overview of the production.Finalizing of the stage dancing. Choreographing of the “Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo” . The research workers formulated some steppings of the modern-day dance using the motions of fishermen in “pagpanulo” . The research workers so finalizes their stage dancing by sequencing the occurance of events.
Auditioning of qualified terpsichoreans. The terpsichoreans that were qualified auditioned harmonizing to their ability to put to death the dance stairss. organic structure construction. endurance and attitude towards dance. It was done on the month of January.during school yearss from 3:00-5:00 o’clock in the afternoon. Rehearsing. The terpsichoreans were rehearsed every 3:00-5:00 o’clock in the afternoon from Tuesday to Friday get downing November 15. 2011.Polising and barricading. The research workers needs to smooth the dance to hold a better public presentation. This procedure was a spot hard because all the motions were to be corrected and refined. Likewise. the projection. the bodylines. the unity of motions and the timing were smoothen. Barricading on phase was a necessity to hold the right spacing.
Consequences
Part One. Basic Concepts and Characteristics of Contemporary Dance. This portion discusses the constructs and features of modern-day dance.Part Two. Beginning of Contemporary Dance. It gives information about how modern-day dance evolves.Part Three. Styles and Techniques of Contemporary Dance. It discusses the different manners and techniques of modern-day dance.Partially Four. Interview with the Informant. it will give thought on the research workers so that they can bring forth their ain modern-day dance production.Part Five. Application of the Styles and Techniques of modern-day dance in the originative production.
Basic Concept and Characteristics of Contemporary Dance
Contemporary dance that was developed in U. S and Europe in the twentieth century is a reaction to traditional concert dance. Precursors included Loie Fuller and Isadora Duncan. Formal instruction of modern dance began with the constitution of the Denishawn Schools by Ruth St. Denis and Ted Shawn in 1915. May of their pupils. chief Doris Humphrey and Martha Graham. Further contributed to modern dance’s definition as a technique based on rules of autumn and recovery ( Humphrey ) and of Contraction and release ( Graham ) .
Movement frequently stressed the look of emotional strength and modern-day topics instead than concentrating o0n the formal. classical. and frequently narrative facets of concert dance. Later development included a rebellion in the 1950’s against Graham’s expressionism. allow by Merce Cunningham. whose stage dancing included concert dance technique and component of dance. This image presents a modern-day dance manners and techniques which includes balance. external respiration. focus oning. gesture. and position. Balance is the ability to keep the centre of gravitation of the organic structure while minimising postural sway. It is a province of bodily equilibrium characterized by complete hush. nothingness of opposing forces on all sides. Breathing is the self-generated pickings in and giving out of air from the lungs. the merchandise of the seeable motions of the ribcage and venters.
Centering is critical to remain focussed and avoid distractions. It helps to remain in the minute and release yesteryear and future ideas. concerns and programs. Centering is the weight of the organic structure someplace between the heel and the large toe. Gesture is the signifier of non-verbal communicating in which seeable bodily actions communicate peculiar messages. either in topographic point of address or together and in parallel with spoken words. Gestures include motions of custodies. face. or other parts of the organic structure. Gestures differ from physical non-verbal communicating that does non pass on specific messages. such as strictly expressive shows. proxemics. or shows of joint attending gestures allow persons to pass on a assortment of feelings and ideas. from content and ill will to blessing and fondness. frequently together with organic structure linguistic communication in add-on to words when they speak.
Position is the place or attitude of a person’s organic structure. Inactive position is the position of individuals in motion. Correct position consequences in the organic structure being aligned so that the Centre of gravitation base on ballss through the Centre of the organic structure and the place is maintained with a lower limit of attempt. If the organic structure is off Centre. compensatory motions are made. This sets up emphasiss and strains that can be improve musculus tone. muscular strength and endurance. and flexibleness. Rhythm is used in dance to maintain in clip with the music and to do the dance expression more interesting. Rhythm controlled or measured flow of motion. either aural or ocular. normally produced by ordered agreements of differing elements of the medium concerned. Rhythm is a basic characteristic of all the humanistic disciplines. peculiarly music. poesy. and dance ; beat can besides be detected in natural phenomena.
Beginning of Contemporary Dance
The beginnings of modern-day dance are illustrated and span the Earth. with beginnings in both Europe and North America. One of the beautiful things about modern-day dance’s beginnings is that they come from all different waies. In modern-day motion you will non merely see proficient dance stairss. but besides moves borrowed from Pilates. yoga. and plentifulness of dance improvisation like none other. Possibly the true beginnings of modern-day dance are found in the Black Marias and creativeness of all who’ve dared to take on it. stretching their suppressions for a trade that tolerates none. Modern dance. is a tradition of theatrical dance unique to the twentieth century. Modern dance flourished in countries that lacked strong concert dance tradition. such as in the United States where concert dance companies were imported from Europe ; by 1930 the United States had become the centre for dance experimentation.
Many early modern dances were miniatures-solos of extremely tight consequence. They were unlike anything known. for dance at that clip was dominated by late nineteenth century concert dance. which were characterized by big dramatis personaes. a great assortment of dance Numberss. and dramatic scenic effects. But concert dance has evolved over the centuries as a altering tradition. so besides has a modern dance during its shorter period of being. The genre was developed in Germany and in the United States in the early 20th century as a rejection of concert dance. which the innovators of modern dance considered superficial and overly strict. The end of the conceivers of modern dance. including Isadora Duncan. Loie Fuller. and Ruth St. Denis in the United States and organize that expressed emotional. personal. and experiential subjects.
Manners and Techniques of Contemporary Dance
A signifier of dance influenced by both classical concert dance and modern dance is modern-day concert dance. It takes its technique and usage of point work from classical concert dance. although it permits a greater scope of motion that may non adhere to the rigorous bodylines set away by schools of concert dance inventions of twentieth century modern dance. including floor work. balletic motions and turning of legs. Harmonizing to Alexander. Alexander Techniques as an educational counsel system to “improve position and motion. and to utilize musculuss expeditiously. ” The Alexander technique denotes both the educational methods used by Alexander instructors and the single bodily awareness methods taught. This image presents one of the educational technique of Alexander.
Barteneiff Fundamentalss are an extension of Laban Movement Analysis developed by Irmgard Bartenieff. who trained with Laban before going physical therapist. A set of constructs. rules and exercisings that apply Laban’s motion theory to the physical kinesiological operation of the human organic structure. Contact Improvisation is a dance technique which points of physical contact provide the get downing point of geographic expedition through motion improvisation. Contact improvisation is a signifier of dance improvisation and is one of the best-known and most features signifiers of postmodern dance.
This image presents a contact between the two terpsichoreans. Dance Improvisation is the creative activity of jury-rigged motion and it is associated with twentieth century concert dance but it’s non sole to that genre. Development of jury-rigged motion stuff is facilitated through assortment of originative geographic expeditions including organic structure mapping through organic structure head focus oning. degree. form and kineticss ( see Laban Movement Analysis ) . centripetal experiences through touch or contact improvisation. and perceptual scheme. Contrary to popular belief dance improvisation is non merely about making new motion but it is besides defined as stop deading the organic structure accustomed motion forms.
Horton technique in 1920’s. 30’s and 40’s. terpsichorean choreographer Lester Horton developed a dance technique base on Native Americans terpsichoreans. anatomical surveies and other motion influences. In extra making his technique in choreographing a figure of plants. Horton established the Lester Horton dance theater. One of the first lasting theater dedicated to modern in U. S. . in Los Angeles in 1946 ( it closed its doors in 1960 ) . He was besides among the first choreographers in the U. S. to insight upon racial integrating in his company in his 1995 autobiography. Disclosures. Alvin Ailey wrote. “What it came down to was that” . . Recent twelvemonth seen revival in Horton Technique across the state. particularly on the West Coast. where Horton created most of his work.
This image presents a dance technique of NativeAmerican terpsichoreans that was developed by Lester Horton. Release technique is an umbrella term encompasses a assortment of different corporeal patterns that emphasize efficiency of motion. Emphasis is placed on breathed. skeletal alliance. joint articulation. easiness of muscular tenseness and the usage of gravitation and impulse to ease motion. Release work appears as portion of a bodily paradigm. whereby subjective. internal experience of the organic structure is valued aboard nonsubjective. analytical outside position of it. The development of release technique has tendencies in the curative motion techniques. such as Feldenkrais. Alexander Technique. Cranio-Sacral Theraphyetc. and besides from dance specific patterns. pulling from modern and postmodern every bit good as Eastern motion doctrine and patterns such as Yoga.
This image presents a release technique and a release work. Interview with the Informant“Pagpanulo” harmonizing to Rudy Zambales is another manner of garnering different sorts of shells and fishes during low tide. With the aid of “binangon” ( a lance ) . bucket. petromax. intoxicant and gas. He said that Carles is a suited topographic point for fishing and trucking. cyberspaces. It is where he is accustomed to catch fishes for support. The suited clip for “pagpanulo” is during “ugsad” ( new Moon ) where there is low tide. It is best suited because the H2O is crystal clear where you can see abundant boodles and fishes. “Pagpanulo” was done with a comrade because no 1 will keep the petromax to help the fishermen. “Binangon” was used to catch fishes and forestall the pediculosis pubis from running off. Then after that the fishes was placed in a bucket. “Panulo” was done merely during low tide.
Application of the Styles and Techniques ofContemporary Dance This originative production presented a modern-day dance using the manners and techniques of modern-day dance. Its manners and techniques centres on a terpsichoreans ain readings alternatively of structured stairss. The research workers considered assorted manners and techniques of selected modern-day motions such as forward axial rotation. lifting’s. straddle leap ( for male child ) . condescending leap or bird of Jove leap ( for misss ) . pretzel and phase tally or phase walk. The production conceptualizes a narrative of a married twosome who invited their neighbors to travel with them to acquire some fishes like “giraw” . “latab” . seafood’s like pediculosis pubis. runts. In carry throughing this production several factors were considered such as outline. stage dancing. music. costumes. props. and dry runs. Outline.
The research workers made a outline based from the history of Poblacion. Carles. Iloilo in footings of catching fishes and seafood’s utilizing “pagpanulo” as a method. The narrative was about a twosome who were populating in the coast and their support is “pagpanulo” . One late afternoon the hubby went place from the sea. He checked if the degree of the H2O was in low tide. When he arrived. he saw his married woman sitting outside their house fixing the stuffs to be used in “pagpanulo” . It was already sunset when the twosome decided to take for a walk into the coast. While they are walking they carried some stuffs to be used in “pagpanulo” . They saw their neighbours who went across the way they taking with. They ask their neighbours to fall in them. Their neighbours besides agreed with their suggestion. They were on the coast. look intoing their stuffs like the torch. and “petromax” . The twosome started “pagpanulo” with their neighbours. An hr subsequently they stop after catching different sorts of sea beings. and the twosome went place with their neighbours transporting a smiling on their faces.
Music. ( New Webster’s Dictionary and Roget’s Thesaurus ) the art of giving structural signifier and rhythmic form to unite the sound produce instrumentally or vocally. It is an art of uniting vocal of instrumental sounds in a harmonious or expressive manner. The research workers used instrumental music to execute their production. Choreography. ( The New Webster Dictionary ) is the art of set uping a dance public presentation and the notation of the stairss of the terpsichoreans in item. The research workers made their ain motions by doing originative airss and by utilizing the different ways and stairss of modern-day dance. They besides used the coordination of motions and look to heighten the stage dancing. They apply the manners and techniques of modern-day dance to fancify the stage dancing.
Rehearsal. ( Webster Dictionary and Thesaurus ) is any acquisition or pattern session in readying for the public presentation. It is besides a test public presentation or a pattern. The research workers production dry runs were conducted from the month of January until February 2012 during school yearss from 3:00 o’clock in the afternoon at Balasan National High School and at the municipal gym of Carles. Iloilo every Saturday afternoon. Costume. The research workers designed a square bloomerss for the five misss. The costume of the five misss has the same design but of different colourss. The costume of the male childs was “camisa tsino” with brown pant bloomerss. Props. The research workers used different sort of props such as “panaklob” which is a short. medium tubing with a large gap on the other side. and a little gap on the other side. “bolo” a long pointed knife with a crisp border. “balde” or bucket used as the container. “petromax” and “sulo” served as visible radiations in garnering sea beings. and “sibat” a long pointed wood used to catch fish.
The narrative line is divided into five scenes. In choreographing each scene. the research workers considered assorted manners and techniques of modern-day dance creative persons. Scene 1:The hubby is in a haste to travel place after he had checked the sea if it was low tide. Scene 2:The married woman is busy in their house fixing some of their stuffs to be usedin “pagpanulo” when she saw her hubby nearing their house. Scene 3:The twosome was holding conversation about the degree of the H2O. Scene 4:They now bring all the stuffs to be used in “panulo” . When they saw some of their neighbours went across the way they are taking with.
This survey aimed to find the basic constructs and features of modern-day dance. It similarly aimed to happen out the manners and techniques of modern-day dance.Specifically. it sought replies to the undermentioned inquiries:1. What is modern-day dance?2. What are the manners and techniques in modern-day dance?3. How did modern-day dance evolved?4. What is “Ang Pagpanulo SA Baybayon SA Poblacion. Carles. Iloilo?5. What is the history of Poblacion. Carles. Iloilo?Furthermore. this survey aimed to bring forth a modern-day dance picturing “Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo. ” To achieve this intent. this inquiry was asked:
How are the fluctuations of motions of modern-day dance employed in the survey picturing “Ang Pagpanulo sa Baybayon sa Poblacion. Carles. Iloilo? ” The descriptive-creative research survey was conducted in school twelvemonth 2011-2012 at Balasan National High School. The research workers gathered the needed information’s from secondary beginnings such as dictionary and electronic media. The research workers used library technique in garnering the needed information’s in the survey. The modern-day dance was used as the medium in showing the production. The manners and techniques of Alexander technique. Irmgard Bartenieff basicss. Lester technique. and Horton technique were employed in the stage dancing. The “panaklob” . fishing net. “torch” . basket. bucket and pointed bamboo served as the props. The male terpsichoreans wore “camisa tsino” and any colour of pants while for adult females are square bloomerss. Instrumental music which will desert one of the component which is H2O was used to the stage dancing.
The seven terpsichoreans in production were pupils of Balasan National High School. The procedures undertaken in coming up with the researcher’s originative production construct and outline ; finalizing of the stage dancing ; hearing of the qualified terpsichoreans ; smoothing and barricading. The findings of this descriptive-creative survey include the undermentioned: Contemporary dance is a genre of concert dance that employs compositional doctrine. instead than stage dancing. to steer on unchoreographed motion. It uses dance techniques and methods found in concert dance. and it besides draws from other technique. It is aesthetic. natural and socially free. Advancement from the governing aristocrat’s dance is all right aesthetic.
The manners and techniques of modern-day dance take its technique and usage of point work from classical concert dance. although it permits a greater scope of motion that may non adhere to the rigorous bodylines set away by schools of concert dance inventions of twentieth century modern dance. including floor work. balletic motions and turning of legs. The beginnings of modern-day dance are illustrations and cross the Earth. with the beginning in both Europe and North America. The genre was developed in Germany and U. S. in the early twentieth century as a rejection of concert dance which the innovators of modern dance considered superficial and overly strict. The end of the conceivers of modern dance. including Isadora Duncan. Loie Treller. and Ruth St. Denis in experiential subjects. “Ang Pagpanulo SA Baybayon SA Poblacion. Carles. Iloilo” was done at dark with the aid of torch to be the beginning of visible radiation. It was normally done in new Moon. Sometimes a group of people did this sort o
