Dance

Some Baptists view dancing as a distraction and a possible avenue of temptation, and so they avoid it personally or even forbid it in their congregation - deeming it to be too dangerous of an activity to partake in, fearing that it will make them lose their focus on God.

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Answer#2: vitamin

Many Christians defend their right to dance by stating that people danced before the Lord in the Bible, including David who danced through the streets. And it is allowed if you know how David danced. Every move should have it's own meaning. If you know what you are doing when you are dancing then go ahead. The problem is today we don't know how to do that with all of the...grinding and touching! We have a lot of people who think they are dancing but actually it's a copy of a different culture-dance from Africa or Asia (and not the dance of David) mostly used for the worship their own gods or idols.

Answer #1: Icthus87

Not all Baptists view it as wrong though, for example my Baptist church (which is a little different in it's ways than some others), but we have a drama department and people who use the art of dance as a ministry. We've had a Christian ballet group come as well. Biblicaly, people danced before the Lord, so for the Baptist that take Bible literally, as long as it isn't like the dancing that you see involving people air humping, having sex with their clothes on and grinding and all that. THAT will be a turn-off to most devout Baptists.

The Kuratsa is highly favored by the Visayan people especially the Waray people of the Eastern Visayan region in the Philippines. Strictly speaking, The Kuratsa must be done the amenudo-way; that is, only one couple dances it at a time. Believed to be a Mexican import (supposedly from La Cucaracha dance typical to Monterrey region of Mexico)- the Kuratsa is however, very different in the manner of execution to the Mexican counterpart. Even the "basic" Kuratsa music is not based on Mexican or even Spanish melodies but just bolero-inspired lilting music. A very interesting dance caught up the eyes of the beholder.

Philippine dance researchers, however, point either to the Kigal and the Bikal as the 'ascendant' of the Kuratsa. The Kigal (spelled "Quigal" in early Spanish writings on Samar culture and lifeways) is a sort battle-of-sexes couple dance that imitate mating birds. The Kigal is in fact called by another name: Binanug or Kiglun (Kigalun?) according to a 17th century Samarnon dictionary by Jesuit missionary to Samar, Fr. Alcazar. It is interesting that banug is the Waray word for the 'hawk'.

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COSTUME

Girl - Bright colored skirt, white blouse, white apron. Dutch cap of white muslin or crepe paper, coral necklace, Dutch wooden shoes, an apple in the pocket of her apron.

Boy - Colored shirt, very full trousers pulled almost to shoulders, high fur cap, Dutch wooden shoes.

MUSIC - is divided into two parts: A and B.

COUNT - one, two, three to a measure.

FORMATION - Partners stand side by side, girl at the right side of boy, about four feet apart, facing the audience. Three pairs make one set. One to any number of sets may take part in this dance.

PART I (Music A)

(a) Take six dutch steps sideward, R and L alternately. Girl's hands on waist, boy's hands inside the pockets of his trousers ... 6 M

(b) Feet together, take three small jumps forward. Place both hands on knees and look at partner. Jump on the first and third counts of the first measure and on the first count of the second measure ... 2 M

(c) Repeat (a) ... 6 M

(d) Repeat (b) moving backward ... 2 M

(e) Repeat all (a-d) ... 16 M

PART II (Music B)

(a) Starting with the R foot, take three steps forward (cts. 1, 2, 3), point L foot in front (cts. 1, 2, 3). Hands on waist ... 2 M

(b) Repeat (a) three more times, starting L, R, L ... 6 M

(c) Starting with the R foot, take four big steps backward (taking one step for every measure). Hands as in (a). Twist body to R and L side alternately while stepping backward ... 4 M

(d) Starting with the R foot, execute mincing steps backward with the heels ... 2 M

(e) Stamp on R foot, (cts. 1, 2), stamp on L (ct. 3), stamp on R again (ct. 1), pause (cts. 2, 3). Transfer weight to the L foot on the last count ... 2 M

(f) Repeat all (a-e) ... 16 M

PART III (Music A)

(a) Partners join inside hands, free hands on waist. Take six dutch steps sideward, R and L alternately ... 6 M

(b) Take three steps sideward right, starting with the R foot (cts. 1, 2, 3), click heels together (ct. 1), pause (cts. 2, 3) ... 2 M

(c) Repeat (a) and (b), starting with the L foot ... 8 M

(d) Repeat all (a-c) .... 16 M

PART IV (Music B)

Partners face each other.

(a) Execute mincing steps backward with the heels, bend body forward and arms sideward ... 2 M

(b) Trunk erect, shade eyes with the R hands as if looking for partner at the right side (1 M). Do the same to the left with the L hand (1 M) ... 2 M

(c) Turn right about and repeat (a) and (b)... 4 M

(d) Repeat (a-c). Omit (b) at the last time, but instead of looking for partner, face each other and clap both hands with both hands of partner at the last count as if to say "ah, there you are." ... 8 M

(e) Repeat all (a-d) ... 16 M

PART V (Music A)

Partners face front. Cast off.

(a) Starting with the R foot, take sixteen waltz steps forward, casting off (eight waltz steps outward, eight waltz steps inward). Hands on waists. Finish in proper places facing each other ... 16 M

(b) Girls in one line hold in shoulder-to-shoulder position and boys in the opposite line do the same. Take fourteen dutch steps sideward, R and L alternately. Drop hands at the last step ... 14 M

(c) Starting with the R foot, take three steps to the center and form one line facing front. Girls stand in front of partners. Girls place hands on waists with the knuckles back, boys hold the hands of the girls which are placed on the waist ... 2 M

PART VI (Music B)

(a) Take six bleking steps, R and L alternately. Partners look at each other over the R and L shoulders of the girls saying "No." ... 2 M

(b) Boy whisper to the R ear of partners asking for apples. Girls look surprised and shake heads as if saying "No." ... 6 M

(c) Repeat (a) ... 6 M

(d) Boys whisper again to partners. Girls shake forefingers to partners as is saying "You naughty boy." ... 2 M

(e) Repeat all (a-d). Partners separate about two feet apart and face each other at the last measure ... 16 M

PART VII (Music A)

(a) Take two dutch steps (R, L). Hands on waist ... 2 M

(b) Clap own hands once (ct. 1), pause (ct. 2), clap both hands against own thighs twice (cts. 3, 1), pause (cts. 2, 3) ... 2 M

(c) Repeat (a) ... 2 M

(d) Clap own hands once and both hands twice against partner's in the same manner as in (b) ... 2 M

(e) Repeat all (a-d), three more times ... 24 M

PART VIII (Music B)

Partners face front.

(a) Girls - Get their own apples from their pockets (1 M). Show it to partners (1 M), make a notion of cleaning it with the apron (rubbing it against the apron) (2 M). They boys in the meantime look at the apple of their respective partners ... 4 M

(b) Boys - Hold out their hands as if saying "Please, give me a bite." They stretch out their hands repeatedly nearer and nearer their partners. The girls shake their heads "No, No." ... 4 M

(c) Girls repeat the cleaning and showing off the apples to partners. The boys look hungrily at the apples ... 4 M

(d) Boy repeat asking for the apples. Finally and desperately at the last measure they try to grab the apples from the partners with their two hands. They did not succeed because the girls put them beyond their reach ... 4 M

(e) The girls teasingly bite their apples. Starting with the right foot, they waltz forward to exit. Boy follow closely behind their respective partners still trying hard to get the apples, reaching out with the R and L hands alternately the boys execute waltz steps also ... 16 M

Im not a ballroom dancer.Im a folk dance dancer in our school here in philippines.but try to check out my answer if this is correct.

♥♥Now that the holiday blues are over, it's time to talk dancing tid-bits. Volume and Space in Ballroom Dancing sounds funny but really if you want to achieve a higher level of projection, these aspects of your silhouette must be given due consideration.

Why did I pick this topic today? I attended a session with Pierre Allaire on Tango Technique the other day at Dancesport Academy. The following words he used were very striking. He said that "The partnership Space is defined from Elbow to Elbow." This had such a pronounced effect on my brain that I suddenly woke up, moved to where he had Pam in dance position and really put my hands from his left elbow to Pam's left elbow. It felt like I was holding a huge basket between my hands. Both of them are perhaps under weight but the Space and Volume they occupied was phenomenal. This of course does not preclude a good close contact at the center of their bodies. So I thought I would mention Volume and Space in my Tid-bits today.

What is meant here? For a keen dancer, there is nothing more dramatic to eyes than to see a good couple dancing a Waltz or Foxtrot or any other ballroom dance for that matter. It is how they present themselves to an onlooker. If their partnership takes "more volume and space" and they have a good posture, poise and balance, they have incorporated all the essential elements of ballroom dancing and they will look good.

Define what is meant by Volume and Space? Actually if you become very robotic and technical, Volume = Length multiplied by Width and Height. It is expressed as Cubic what ever feet or centimeter. For dancing purposes we will keep it simple. Let's say that a partnership will look good if they occupy "more space" as they hold each other. In other words their combined volume is the maximum they can assume keeping their Posture, Poise, Contact and Balance etc.

Make it simple? The Hold and the Frame of upper bodies will determine the silhouette of your partnership. That is where also comes the "Universal Right Arm" concept of the Man as presented by Stephen and Jennifer Hillier which I have described in my previous tidbits. So much for today. Where the Elbows should be in relationship to man's body plane? I am a little confused by the controversial information presented by different coaches and I will express that later in my tidbits without much hesitation. Hope you had a nice holiday season and best wishes for a very happy new year. ♥♥

i didnt know anything else about it.but, i hope that this will help you a lot.