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Lyrical Jazz is a style created by the fusion of ballet and jazz. It includes many technical elements of ballet but combines them with the fluidity, expressiveness and freedom of contemporary and jazz styles. Many people would say that modern Jazz is split into two different sides: Commercial Jazz, which is dancing for the sake of dancing and to look good (dances are typically set to fun, upbeat pop songs) and Lyrical Jazz, the other side of the coin. Lyrical is different because while it includes technical elements from older traditional jazz as commercial does too, it borrows fluidity from ballet to allow for the focus of the dance to be on expression, often responding deeply to music and lyrics to tell a story or portray a certain emotion. The dance was thought to be mothered by Suzi Taylor, amongst others and it did not gain popularity until the 1990s.
"Lyrical" does not refer to the style of the music or how the music sounds, neither does it refer to how lyrics are interpreted. Instead it simply describes the lyrical quality of movements. This is incredibly important in developing the dancers expression of self. It expresses sentiment through balletic line, not necessarily ballet steps.
The music popular with lyrical jazz includes modern classical, and alternative rock, pop, and folk music.

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We began this lesson by watching examples of lyrical jazz dance to get a feel for it. I could see that many technical aspects from ballet and traditional jazz are used in lyrical jazz, just to a slightly different effect. Actions such as pirouettes, arabesques and chassés can all be seen in lyrical jazz, sometimes with traditional ballet arm positions, as well. However the jazz influence is also strong, with loose, fluid movements paired with isolations common, and responses to lyrics and accents in the music in a traditional style also occurring often. The result of this fusion is a beautiful, slightly technical style that in freeing itself from some of the constraints of more traditional dance styles it makes room for passionate, emotionally involved dances that are usually driven by the music they are danced to.

Because of all this, lyrical jazz is often confused with contemporary, a very similar style and it can be especially difficult to determine whether a dance is contemporary or lyrical because the defining traits are often disputed. The key thing I have drawn from looking into both lyrical jazz and contemporary is that the two styles may have somewhat of a grey area where dances may fit into either category but beyond this, it is clear how to create a dance specific and true to lyrical if you include enough technical elements.

In this lesson we learnt a phrase to dance to the chorus of Wake Me Up Inside by Evanescence. The music is powerful, emo, alternative rock with the chorus being particularly loud, and fast paced. This initially made it hard trying to place dynamics in the poetic phrase, with all of the movements we were taught having a predominant fluid element to them. One move I found particularly hard was a step diagonally into an abdominal contraction with both arms thrown to the floor, legs in a fondu position with the right foot suspended just behind the left ankle. This was hard because the contraction felt really unnatural to do, it was also incredibly fast so it was difficult finding a way to look pretty and poetic whilst being so sharp dynamically. Bellow is an example of an abdominal contraction.
Target Setting:
My target for next lesson is to focus better so that I can pick up the steps more accurately.

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I worked with Sophie to choreograph our own short lyrical jazz phrase, however at this point I struggled to fully grasp the style without coming across as more contemporary than lyrical. I was lost for technical movements, but I was adamant to get at least something choreographed so that I could get feedback and work on it later. Sophie noted that my choreography wasn’t fluid or linked to the music like it should be, therefore my target for next lesson is to find a better understanding of the song.
Target Setting:
Use interpretive skill in dance to explore music and emotion.

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In this lesson, Chloe, Sophie and I discussed the song and what we want to put across in our choreography. I was made aware last lesson that I was having trouble connecting with the song, so I looked more into the lyrics and observed some modern dances to music of a similar genre.

This video of choreography to Pink’s song, Try, shows how lyrical dance can be done to to a fast, upbeat song and yet still appear graceful. It works because the song in itself is passionate. It is feisty and emotionally sung and this provides the basis for a passionate, emotional dance. They also show a range of dynamics: in the very beginning of the dance, the first few movements are seen to be fluid, even gentle before the beat of the song kicks in and the dancing becomes a lot faster and more energetic with more sharp movements, but still fluid in places. I aim to apply this kind of approach to my dancing, and find grace in fast, passionate movements.

Below is a section of the lyrics from the song we are dancing to - Wake Me Up Inside by Evanescence. From listening to the song more closely with Sophie and Chloe and studying these lyrics, I have come to understand that what Evanescence are trying to put across is a strong feeling of sadness and emptiness, something we can show in our performance using our facial expressions. There is a real sense of struggle against “the dark” as she is pleading desperately for someone to save her. We can show this determination using fast, sharp and bold moves, counteracted with slower, sullen movements to show her sadness. We can also use our posture to convey character and emotion. For example, a strong upright posture is not always called upon in this song. This we demonstrated later on after we learnt Phrase 1, for example when walking in a circle, dragging our feet behind our focus became to look down, at the floor or our hands as we moped sullenly and elegantly. This not only used our posture, but each step involved accurate musicality, facial expressions and the use of eyelines to convey emotion. The opposite of this is also shown in the first phrase during the chassé turns, where after each turn we have a momentary lean where we look outwards in anguish, holding this pose for a beat as we stare longingly. We also used actions such as fosse arms, which exercised our musicality and interpretation of the music. Extension is incredibly important in this dance, as it provides a fantastic opportunity to communicate emotion stylistically. Because of this, Harvey and I added to Amy's choreography, creating a sweeping motion with our right feet, (rond de jambe a terre) to match the sweeping movement our right arms were already doing, leading us swiftly into a turn to face the back.

How can you see into my eyes like open doors?
Leading you down, into my core
Where I've become so numb, without a soul
My spirit's sleeping somewhere cold
Until you find it there, and lead it, back, home
Wake me up inside
Wake me up inside
Call my name and save me from the dark
Bid my blood to run
Before I come undone
Save me from the nothing I've become

During this lesson, Chloe choreographed a knee drop which did look really cool, however we decided to explore other options because it was unfair for Sophie as she suffers a knee injury, on top of the fact that it came across as much more of a contemporary move than something that might be more linked to ballet or jazz. I also found in this lesson that I have been struggling a lot with the back isolation / head roll in Phrase 2 due to suffering from back stiffness and pain along my left side. This has been exceptionally frustrating as the stiffness and pain flares up when I try to move with flexibility.
Target Setting:
Repeat back stretches daily to improve flexibility
Engage focus to avoid becoming pent up with frustration, thus distracting me from the lesson

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"Try - Pink" Lyrical Jazz Choreography by Mito Rincón (Jaime Rincón)

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NO COPYRIGHT INFRINGEMENT INTENDED" I DO NOT OWN THESE SONGS. ONLY FOR INSPIRATIONAL PURPOSES. Grupo de Entrenamiento y Formación de Bailarines Profesionales! Bogotá, Colombia!! Info-contact: Jaime.rincondancer (Facebook) @JaimeRDance (Twitter) jaimealrincon@gmail.com (E-mail)

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In this lesson we learnt a new warm up, starting with reaching up to the ceiling with a slight lean or shift of weight, then reaching out to the left and the right in much the same way. This exercise was very good for balance, and especially helpful in the way that it proved the importance of linking musicality to extension to perform with a better, more emotional effect. From this exercise I could see improvement relating to my target set in Lesson Two, to achieve a better emotional understanding of lyrical jazz. Step together steps also improved our dynamics, and with all the technical elements to the warm up helping us concentrate on maintaining a soft demeanour whilst still using strong, precise movements.

I found that doing three hops followed by a flick-kick required a lot of concentration whilst trying to add in fast, sharp arms opposite to the leg movements, simultaneously. I stuck with hands on hips for now, but I am determined to achieve the transition from loose arms to first, then to third.

We then did corner exercises, leaps (preceded by step ball changes) being something I found challenging due to my lack of flexibility. To improve this I will be doing more stretches every day, to improve the elasticity of the muscles in my legs and back. After this we looked at Phrase 1, polishing any rough edges that were not quite right. Through peer feedback I became aware that my face was really showing my lack of confidence with the dance and that I looked bored, so I made it a goal to practise more so that I’m comfortable and confident with the movements. We solved any timing differences through discussing as a group how to get our dance to a place where it is all synchronised.
Target Setting: Be mindful of facial expressions when dancing. Continue to work on facial expressions.

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Today’s lesson was a triumph because I achieved several targets that I had set myself over the course of this process. My facial expressions and especially using my eyes to draw my focus to different places while I’m dancing, thus making me more animated has really come along. This has improved my performance quality massively. As well as this, in the warm up this morning I finally managed to get the accompanying arm movements right for our hops and kicks exercise. I could also tell that my flexibility had come along really well, because for the first time during Phrase 1 when sitting on the floor and rolling our bodies into our knees, my face actually touched my knees. This new found suppleness and agility looks a lot more aesthetically pleasing than not quite being able to reach. I also put more emphasis into dynamics during this lesson, making sure my stamina allowed for energy and power in my movements.
Targets achieved:
Improved facial expressions
Jazz arm positions in warm up
Noticeably improved flexibility

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We began this lesson by doing a short cardio warm up, then working on our  warm up phrase. After this we did some core conditioning which comprised of 10 crunches, 10 sit ups and a 30 second plank to work on core strength.

Star jumps - heart rate, stamina

Stretching - deep lunges, side kicks. Develops stamina and the ability to maintain good extension

As a class we solved any timing issues for when we perform each phrase individually and in unison, how it was originally choreographed. This happened to show that most of the class had slightly different timing on the backwards press up, so we resolved it by ensuring it was set to counts, and that everyone pushed up on the sixth count of eight. We also rehearsed our pirouettes, making sure there was no confusion in which direction we were all spinning or in fact the timing for that as well. The main focus points of this pirouette exercise were balance, posture, and musicality. Spatial awareness and co-ordination were also utilised in order for us to land our pirouettes precisely.

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In this lesson we warmed up by doing a stretch Megan suggested. This involved lying on your back, pressing your bottom firmly up against the wall and then raising your legs up above you at 90 degrees and then spreading them into a split position, allowing gravity to pull them further apart. This was unpleasant.

We then added on the final phrase, focusing on travelling using leaps, step ball changes and pirouettes. This phrase also involved a plie, flowing into a sideways leg extension, after which we wrapped our arms round our bodies (feet now in a lunge position, body facing stage right) and arched our backs slowly, rolling out the back, head and neck to look up and then roll back in. This move involved precise timing and accurate musicality as it needed to go with the lyric “breathe”. The move doesn’t have any counts, as it is a movement that should simply flow with the very way the word breathe is sung. This also used flexibility.
Target Setting:
Prepare for assessment by practising routine, focusing on technique.

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We began by doing the warm up phrase a few times through so that we could get it perfect, then filmed the phrase as evidence. We then practised all the phrases, then filmed them one by one. Finally we filmed all three together as a dance in my group consisting Harvey, Chloe and Sophie, including the transitions and changes we’d made to Amy’s choreography. In reflection, I would say that this assessment went well. My performance was drastically improved from when we began working on this dance style, as I felt extremely passionate and emotionally involved in the dance . This was reflected by the high levels of energy I used, still maintaining stamina for the duration of the routine. The timing that I once found hard in the first phrase due to the music not having a beat at this point I executed with ease, this was because through listening to the music well my musicality and performance ability came together to interpret every accent and rhythm in the way I dance. In terms of technique, I feel that I have much improved since the last jazz assessment. Through practice I have become a lot more in touch with the style, and from doing physio my previous ankle injury is no longer troubling me, meaning the strength required for balance in pirouettes, leaps, jumps, hops and other such actions has greatly improved. I still found some areas of extension using flexibility difficult, so despite the fact I can now get my nose to my knees, I still struggle bending my back and neck for isolations, therefore In time for our next performance I would much like to keep improving on my flexibility specifically in those areas. I am going to continue to practice my pirouettes as although they are often good, they could be more consistent. I would also like to improve my technique in general, in order to push myself to be a better dancer.