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Source O (section from the Horton Technique set warm up)

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Source O (section from the Horton Technique set warm up)

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Source P (Horton Technique travelling sequence)

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Source P (Horton Technique travelling sequence)

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Within this video, I need to avoid being afraid to push the movements further in order make them visually bigger. For example, let the momentum take my body in specific areas, high release, contractions.

On going with this critique, I need to demonstrate a clearer contrast in levels that’s been set. For instance, bend the knees more when there’s a plié, dropping the upper body lower, more extension through the legs.
All these aspects will help demonstrate the technique behind Horton’s intentions.

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Source I (Luigi’s set grand battement sequence)

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Source I (Luigi’s set grand battement sequence)

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As I watch this back, I recognise I have a poor habit of not extending the back of the supporting leg’s knee to it’s full capacity. This is mainly due to me not growing out of the hips, which is causing the underneath leg to bend.

In order to develop a better extension, I need to perform certain exercises in my own time which target the backs of the legs. This is so I build more strength as the mobility’s there.

It’s my responsibility to perfect this critique by the end of second year as it results to better technique, especially with it being technical jazz.

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Source J Part 1 (double outward pirouette on the right)

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Source J Part 1 (double outward pirouette on the right)

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Source J Part 2 (double outward pirouette on the left)

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Source J Part 2 (double outward pirouette on the left)

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I noticed I fall off balance when I perform an outwards pirouette on the left side. This is due to my weight placement being incorrect. To execute a stabled pirouette, I need to find the correct weight placement and control. For instance, shoulders/hips central and weight’s over the ball of the supporting foot, lists ankered down the spine, core engaged. If I keep following these critical elements and turns will gradually improve.

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Source K (double pirouette into fouetté en dehor)

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Source K (double pirouette into fouetté en dehor)

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At the beginning of second year, I struggled to execute a double pirouette into a fouetté en dehor. The more I practised in my own time, I am able to perform it well whilst sustaining a good balance.
However, one correction that was given to me by Mr Needham is to make sure my hips are squared to the front before I go into the fouetté. I’m in the progress of correcting this critique as I  still slightly see I’m cutting of the alignment too early. I’m aiming to fix this element before the beginning of third year, as this specific sequence will be more advanced in the next academic year.

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Source L (low levelled double pirouettes) 

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Source L (low levelled double pirouettes) 

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Source A (Plié combination in first position)

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Source A (Plié combination in first position)

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As I noticed in this video, I’ve improved on letting the head follow the arm, especially areas where there’s a port de bra. For this reason, it gave more performance quality. Which I consider it to be a big achievement, as my co-ordination with the head and the arm were poor at the start of second year. Although, within this particular exercise, I need to be aware that my head and eyeline doesn’t drop too close to the floor, specifically during the Grande plié, as it loses focus and connection with the audience. To avoid this happening in future, I need my eyeline to focus over the hand instead of under it. If I do this it will enhance my headline to be slightly lifted, so that the audience will recieve a clear view of the face. It’s in my hands to perfect this, in order to develop this critique and maintain it in future.

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In this clip, I’ve spotted my fifths in during the rise position have become much more tighter since September. This demonstrates that I’ve become fully aware to glue my heels together, as it gives a neater line. Although, to neaten this line further, I need to make sure my gluteus are fully engaged throughout every exercise. This is to activate the lateral rotators, in order to achieve more turnout.

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Source D (Combination of port de bras at the barre)

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Source D (Combination of port de bras at the barre)

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As I viewed this clip back, in the forward port de bra, I avoided stroking the floor with my working hand. I’m happy to have taken this specific critique into consideration, as it’s part of Mr Needam’s main technical requirements.
During the back bend, I managed to control my hips to stay square and central. Earlier on in second year they placed slightly forwards. As I followed this correction, the outcome gave off a neater alignment.

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The purpose of this exercise is to build strength within the muscles of the feet, in which I’m lacking. I strongly need to develop articulating through the metatarsals of my feet, in order to create more resistance with the floor, for elevation purposes. And it will also build more strength for when it comes to doing allegro work.

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Source F Part 1 (Rond de jambe with the left hand on the barre)

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Source F Part 1 (Rond de jambe with the left hand on the barre)

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As I perform the rond de jambe on the opposite side to source G. I’ve noticed during the battements in second, my right leg naturally kicks lower then my left leg. This tells me I need to build more strength in my right leg’s hamstring. This is to improve an equal amount of strength in both legs, so that the elevation and control will have the same impact.

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Source F Part 2 (Rond de jambe with right hand on the barre)

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Source F Part 2 (Rond de jambe with right hand on the barre)

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I applied Mr Needham’s correction to have my focus clearly away from the working arm when it goes through bras bas to fifth, as my working foot dégagé’s to avant. This performance element shows more artistry and making each position count.

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Source G (Fouetté avant to derrère at the barre)

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Source G (Fouetté avant to derrère at the barre)

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In this video, here’s me performing a fouetté from the leg positioned in avant to derrière/arabesque. I strongly believe I have gained an understanding to control keeping my hips being square, whilst I rotate the leg. The reason being, when I began second year my control was weak as my hip lifted up which didn’t present a clean alignment. As I’ve developed this critique throughout second year, I have to maintain this in future.

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PARIS MARAIS DANCE SCHOOL ballet & Graham

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Introduction to Martha Graham contractions - teacher Maggie Boogaart

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1min 28sec - 1min 40sec

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PARIS MARAIS DANCE SCHOOL ballet & Graham

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CLASS Graham beginner level percussive contractions

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The image bellow demonstrates a bad and better example of a flat back position during Luigi’s warmup.
The image on the left is the bad example. As the core is relaxed and the arms are behind the shoulders. By doing this it causes your weight to go back.
The picture on the right demonstrates how it should be positioned. As the core’s pulled in and the arms are in line with the shoulders, creating a flat position.

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In this video, I believe that my musicality was the strongest aspect throughout the routine.
The isolation of my torso stood out as a dynamic quality.

To improve I need to animate the dynamics better to avoid being too bouncy.
I need to sustain control alongside my performance quality.

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The dance styles of So You Think You Can Dance, explained

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Understanding So You Think You Can Dance