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your loser you are stupid

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'Martha Graham devised the principle of contraction and release based on the example of breathing.' (Foulkes, 2002, p.17)

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https://www.youtube.com/watch?v=TygmMPbwfjA

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Contemporary dance is the most recent of the three dance genres. It has developed from classical ballet and modern jazz technique into its own style of dance due to pioneering practitioners such as Cunningham, Martha graham ect. They use 'movement forms that preexisted the choreographer, that wernt invented by them' (Copeland, 2013, 81) to codify a new pathway of dance genres.

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This is the exercise I have been given to work on the precise muscles needed to improve on my attitude position. The general rule for this exercise is to keep my hips square without lifting one. It targets my glutes and my core for stability. By next year my aim is to have a 90 degree attitude with correct placement as I continue to use this techniq

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1529

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Jazz dance was origionaly a social form of dance which later got professionalised into its own genre. Professional jazz now requires a high level of skill, dynamics and stylistic interpretation. However, jazz dance has continued to evolve and create style that we know of today such as commercial and musical theatre.

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The five positions of the feet in ballet were codified in 1725. However, the codified technique is now used across the majority of dance genres. Ballet is considered to be the foundation to all styles of dance and has remained the same throughout time.

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All three of my core technique lessons have different requirements from dancers, however there are many things intertwining these styles with others.

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I believe I am improving in contemporary as my movement memory grows and I concentrate on corrections given to me.
One main correction is to loosen the upper body at points where I am able to have some artistic freedom to enable more stylistic movements and performance value.

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We mainly focus on Horton technique which is commonly known as very free flowing and shape orientated. It consists of exercises such as flat backs, laterals, contract and release and primitive squats. This technique requires upper body strength, which is largely influenced by Graham technique. Contemporary has improved my flexibility massively and I got flat in both my right and left splits during contemporary.
Classical ballet technique is also used throughout, such as the plie, merging the two styles.
We have done a lesson on gaga technique which was the 'I rise' piece.

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I did not take part in my formative assessment so have no grades so far.

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The alegro section of a class explores agility and mobility. Petite alegro is a ballet term otherwise known as 'small jumping steps'. A correction I was given after my previous assessment was to work on my assomble. An assomble is where a dancer jumps, the feet meet in the air and you land with both feet at the same time. I had a habit of not closing my feet and turning it into a totally different type of jump, a sissonne. This ultimately dragged my mark down as I wasnt doing the correct intended step. Taking on board corrections of how to specify between the two, I can feel an improvement in myself.

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In ballet we use Russian technique, devised by Russian dancer 'Vaganova'. The russian technique training method incorporates both the french romantic era and the athleticism of Italian influences. 'It is acknowledged all over the world as the foremost training syllabus of the classical ballet.' (IBT Academy).

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Barre        -48
Adage      -48
Turns       -44
Petite alegro    -42
Grand alegro   -40
Retention -42
Anatomy  -48
Musicality-46
Progress/
Commitment -65

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Turn out is something I need to  pay more attention to. Doing the 'oyster' exercise targets the correct 'turn out' muscles which. During a plie I need to ensure my knees do not go over my toes, which could cause injury. However, whilst doing this, I must keep in mind my posture as I have a tendency to arch my back. Turn out is a rotation from the hip allowing for greater extension of the legs.
This warm up also focuses a lot on working through the metatarsals and articulating the feet, also seen and discussed in the tendu video.

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I am working through my metatarsals which helps later in class with petite and grand alegro. Correctly using my feet will help prevent injuries because 'incorrect landing will also have incorrect weight placement, frequently leading to shin splints' (Howse & McCormack, 2000) which i have suffered from before. Moving forward I need to be more conscious of using my feet properly in all aspects of dance not just ballet. Jumping in my other core technique classes also require this attention, thus becoming a widespread necessity.

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As you can see in my ballet grades I only got  46 for musicality. This video, unfortunately, supports that grade as I am doing the pique's out of time. With this knowledge i plan of fixing this error before my next assessment.

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I am fairly confident when it comes to performing as reflected in my grades. Jazz dance originated as a social form of dance which was then later codified by Jack Cole, professionalising the genre of dance. Performance is a large aspect of jazz and adding subtle gestures into movements can add a little something extra to a basic move, shown in thee images below. One is a regular 'drop cross' and the other is a 'drop cross' but with a popped shoulder which I have started incorporating into my dance training.

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Matt Mattox jazz style corresponds with ballet technique as he evolved his style based on ballet. Examples of this can be found in seven brides for seven brothers (2min 50sec) - a film which he featured and partially choreographed.

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Extension (flexibility) was my lowest formative mark which I have worked immensely on, stretching in my own time. Finally achieving both leg splits on the 30th January in a contemporary class. This should also correspond with my kick sequence. My next step is not only continue with my flexibility but to gain the strength to utilise it properly.

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My posture has improved due to my increased flexibility, less strain to try and get my legs up. However I want to keep improving. I now need to pay more attention to the strength in my legs instead of just flexibility in order to continue improving on kicks and other vital jazz moves such as leaps ect. I need to identify the specific muscles that are needed and understand the placement required. 'Strength and flexibility are two physical qualities that complement each other and which are fundamental to the technique of jazz dance'. (Delabary, Haas, Komeroski, 2016, 513)

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Plies play a big part in Horton technique. The plie exercise is used as an Achilles stretch, making sure too keep my heels on the ground to get the full effect.
Moving forward I intend to focus a lot more on control and using my core as I seem to just be passing through the movements and not fully reaching every position i should be.

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This attitude features in my current assessment adage and I have experience with attitude turns in previous routines/ lessons. My attitude is far off what I want it to be but in March I was given an exercise to do which will, in result, enable me to improve my strength, astablishing a better attitude position. (see example of the exercise in the video below). In russian technique the knee should be above the foot in attitude and to enable this position I often lift my hip. I have noticed this in myself and am actively trying to rectify this and it is one of my aims for the rest of the year.

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Our jazz is highly influence by Matt Mattox and Jack cole. Mattox made jazz appropriate for theatre and concert dance, however, he didnt like the term 'jazz'. He 'pulled from ballet, flamenco, tap, Spanish dancing and his own creations when teaching' (Semko, 2015) and called it 'freestyle'. He is no know and the king of freestyle.

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As shown in my marks, turns were not great for me. I believe I have shown improvement within my technique by using levels e.g deeper plie in 4th position and during a pirouette. 'loco motor movements normally are in the plié level of jazz dance' (Oliver& Guarino, 2014, 123) created by Matt Mattox, which is why majority of our content is low level. Moving forward I need to be conscious about the placement of my arms and hit the correct jazz 1st. Next year I aim to have a clean triple and I have identified the fact that i need to use my core to keep me steady in order to keep my centre of gravity and balance. I believe I have also improved my turns in ballet as well but the same correction applies, as well as keeping turnout not parallel.

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JAZZ - blue
BALLET - pink
CONTEMPORARY - yellow

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Isolation            - 52
Travelling          - 57
Turns                 - 53
Extension          - 47
Arm line            - 52
Elevation           - 52
Retention          - 58
Musicality/
Dynamics          -60
Performance    -60
Commitment/
Progress           -64

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1-4 learnt on 19.9.17
5-8 learnt on 10.10.17
9-10 learnt on 17.10.17
The action content of these steps include travelling and rotation. I like to think my travelling and arm lines have improved.
Tuesday 23rd January- Told that I was hitting all the shapes but now the movements need to come from my back which relates back to Matt Mattox.

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turning exercise- before

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turning exercise- Present

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Matt Mattox and Jack Cole both used syncopated isolation's of the body which are featured in our warm up and often in routines. Given a mark of 52 for isolation and arm line I am looking to improve my strength and control to better my mark in my final grade.

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Boring drop cross

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improved