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Rebelling from the classical conventions of Ballet technique, this is the commonly used parallel position used throughout Modern dance.

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Here is me demonstrating the angular port de bras in a Luigi- style based isolations combination we perform in Jazz class; differing to Ballet technique.

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Videography of me performing a graham spiral floor motif, controverting from Ballet technique as the floor is used as a new plane of space to manipulate movement.

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This is a turned out position in Ballet, demonstrating a clear rotation of the leg through the hip sockets; which requires flexibility in the internal rotators of the hip.

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Cohen, P. (2014). Jazz dance. p.10.
The correct anatomical description of an isolations technique.

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Improvement of the set Adage sequence.
Concentrating on leg alignment and tenacious dynamics I have worked on my balance and core strength.
By using a core strengthening regime such as crunches and v-sit crunches and systematic repetition of the adage

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Adage exercise : I struggled to achieve my maximum ability to extend the leg, due to a poor use of balance.

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Improvement of foot extension.

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Video evidence of the practice I used to improve the arches in my feet, strengthening my metatarsal's and ankles.
Ballet Feet Exercise - Better Arch. (2019). [video] Available at: https://www.youtube.com/watch?v=Snn30izsUJ4 [Accessed 1 May 2019].

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better arches ballet - DomainDev ST Video Search Results

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The search engine that helps you find exactly what you're looking for. Find the most relevant information, video, images, and answers from all across the Web.

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Poor foot extension: demonstrating how the articulation of stretching the foot is unseen as I am clenching the toes. Ballet tendus are also seen through a parallel first, in Contemporary technique such as Horton.

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Videography of clear execution and description of the correct ballet port de bras.
Teaching Classical Ballet Port de Bras - with Ellen Davis. (2009). [video] Available at: https://www.youtube.com/watch?v=2m7mYKRCxvo [Accessed 22 Mar. 2019].

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ballet port de bras youtube - DomainDev ST Video Search Results

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The search engine that helps you find exactly what you're looking for. Find the most relevant information, video, images, and answers from all across the Web.

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An interesting article and video on Upper Body Strength for Port de Bras which I followed as a part of a self reflection and development process.

Dance Science | England | Science in Dance. (2019). Upper Body Strength for Port de Bras | Dance Science | England | Science in Dance. [online] Available at: https://www.scienceindance.com/single-post/2017/10/04/Upper-Body-Strength-for-Port-de-Bras [Accessed 25 Apr. 2019].

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Dance Science | England | Science in Dance

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Upper Body Strength for Port de Bras | Dance Science | England | Science in Dance

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If I had a penny for every time I have had someone say that I am wasting my time doing upper body strengthening for Ballet Dancers, I would be writing this fro

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Secondary Video of Graham technique (contract and release/ sense of falling). As you can see the dancers use the second port de bras, used within Ballet, however use a curvature of the spine seen in Jazz.
Martha Graham Technique DVDs by Phyllis Gutelius excerpt). (2015). [video] Available at: https://www.youtube.com/watch?v=il2lgJcYhXA [Accessed 11 Mar. 2019].

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Martha Graham Technique DVDs by Phyllis Gutelius excerpt)

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An exercise from "Definitions" from the DVD Set "Contemporary Dance Training, the Gutelius Class, by former Martha Graham Dance Company leading dancer, Phyllis Gutelius. The dancers demonstrate a basic exercise especially helpful to a beginner student. The Spine is stretched vertebra by vertebra into an Off Center Contraction as the Abdominal muscles lengthen and strengthen.

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Here is a video of my class demonstrating the Matt Mattox technique through our Jazz class with Eric. As you can see we are very grounded to the floor and perform fast, energetic movement with rhythmical awareness and expansive pathways, relating to the African American Modern Dance heritage of Slavery. Such movements are seen in Commercial dance today.

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Through videography I could see that I was not engaging my pectorals or trapezius muscles.

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Interesting article on Matt Mattox technique. Reflecting his exercises-"A particularly strenuous one requires the dancers to begin in a first-position grand plié and double-bounce into a grand second plié"
Dance Teacher. (2016). Bob Boross: How I Teach Matt Mattox Freestyle Jazz. [online] Available at: https://www.dance-teacher.com/bob-boross-teach-matt-mattox-freestyle-jazz-2392804896.html [Accessed 1 May 2019].

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Bob Boross: How I Teach Matt Mattox Freestyle Jazz

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"It's not vernacular jazz dance," says Boross. "It has a lot of ballet, modern and the footwork of tap mixed together." Bob Boross surveys the group of jazz students before him who are attempting to layer a complicated port de bras on top of a foot warm-up that requires one half of the body to be i...

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Mr Needham (my Jazz teacher) correcting my grand jete, to help me achieve a clear front leg extension with attitude derriere.

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Books-

Cohen, P. (2014). Jazz dance. p.10.

Online Image or Video-

Alvin Ailey American Dance Theater: Cry. (2016). [video] Available at: https://www.youtube.com/watch?v=OuTJSbWm2QY [Accessed 8 Mar. 2019].

Ballet Feet Exercise - Better Arch. (2019). [video] Available at: https://www.youtube.com/watch?v=Snn30izsUJ4 [Accessed 1 May 2019].

La sylphide (fragmentos 1906 y 1964). (2013). [video] Available at: https://www.youtube.com/watch?v=lcqdN1hdNt0&t=23s [Accessed 25 Apr. 2019].

Lester Horton Technique. (2008). [video] Available at: https://www.youtube.com/watch?time_continue=166&v=SGKClA27FI4 [Accessed 16 Apr. 2019].

Martha Graham Technique DVDs by Phyllis Gutelius excerpt). (2015). [video] Available at: https://www.youtube.com/watch?v=il2lgJcYhXA [Accessed 11 Mar. 2019].

Royal Family | FRONTROW | World of Dance Los Angeles 2015 | #WODLA15. (2015). [video] Available at: https://www.youtube.com/watch?v=Xw6k6Ma0oqo [Accessed 1 May 2019].

Teaching Classical Ballet Port de Bras - with Ellen Davis. (2009). [video] Available at: https://www.youtube.com/watch?v=2m7mYKRCxvo [Accessed 22 Mar. 2019].

Websites-

Dance Magazine. (2010). Technique: The Hows of Horton. [online] Available at: https://www.dancemagazine.com/technique-the-hows-of-horton-2306867019.html [Accessed 29 Apr. 2019].

Dance Science | England | Science in Dance. (2019). Upper Body Strength for Port de Bras | Dance Science | England | Science in Dance. [online] Available at: https://www.scienceindance.com/single-post/2017/10/04/Upper-Body-Strength-for-Port-de-Bras [Accessed 25 Apr. 2019].

Dance Teacher. (2016). Bob Boross: How I Teach Matt Mattox Freestyle Jazz. [online] Available at: https://www.dance-teacher.com/bob-boross-teach-matt-mattox-freestyle-jazz-2392804896.html [Accessed 1 May 2019].

Dance Spirit. (2009). Graham Technique. [online] Available at: https://www.dancespirit.com/graham_technique-2326036529.html [Accessed 24 Apr. 2019].

Human Kinetics Europe. (2019). Positions of the Feet. [online] Available at: https://uk.humankinetics.com/blogs/excerpts/positions-of-the-feet [Accessed 17 Apr. 2019].

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Through peer assessment and analysis, I used the correct anatomical awareness to re-align my posture and perform the step accurately.

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"While Graham’s is a codified technique, with a set series of seated floor exercises, standing exercises and across-the-floor sequences, there are various ways of presenting material from the syllabus Dance Spirit. (2009)"
Graham Technique. [online] Available at: https://www.dancespirit.com/graham_technique-2326036529.html [Accessed 24 Apr. 2019].

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Teaching Classical Ballet Port de Bras - with Ellen Davis. (2009). [video] Available at: https://www.youtube.com/watch?v=2m7mYKRCxvo [Accessed 22 Mar. 2019].

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Teaching Classical Ballet Port de Bras -  with Ellen Davis

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This is me demonstrating a Lateral T from Horton technique.
As you can see this relates to how core strength is needed to hold and maintain difficult positions effortlessly - relating to Ballet training needs.

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Poor Lateral T- As you can see my upper torso was stretched, however there was still room for improvement; reaching the ability to create a linear line.
Through a regime of core exercises such as 30 sit ups a day and holding plank position for 1 minute for a month has now gave me the stability to hold this stretch further.

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"To create the position resembling the letter "T," a dancer stands on one leg, tilts his or her torso 90 degrees, and counterbalances it with the oppositional energy of the extending leg. Dancers capable of performing the lateral T in turns, jumps, and transitions to the floor project a sense of invincibility."
Dance Magazine. (2010). Technique: The Hows of Horton. [online] Available at: https://www.dancemagazine.com/technique-the-hows-of-horton-2306867019.html [Accessed 29 Apr. 2019].

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My side stretch- A common similarity within Horton technique and the Luigi technique demonstrated in Jazz. However in Horton it is usually set to the tempo demonstrated below; the way we perform it at Shockout Arts.

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Lester Horton technique- Such strengthening foundations can improve muscular strength and endurance to help a dancer to be able to perform effortless movements. (The flatback position is recognised in Alvin Ailey's work as he was mentored by Lester Horton.
Lester Horton Technique. (2008). [video] Available at: https://www.youtube.com/watch?time_continue=166&v=SGKClA27FI4 [Accessed 16 Apr. 2019].

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Video of Cry by Alvin Ailey-
Horton technique was heavily influenced in this award-winning work. As the intention was to represent heart-felt emotion, this differs to Ballet technique as the steps demonstrated in Ballet class are not related to a stimulus or specific surrounding context. However, the leg extensions and rippling torso movements relates to the stylistic qualities of Jazz.
Alvin Ailey American Dance Theater: Cry. (2016). [video] Available at: https://www.youtube.com/watch?v=OuTJSbWm2QY [Accessed 8 Mar. 2019].

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Ballet class has provided the foundations for technique we are aware of today. In Contemporary and Jazz the use of a plie is consistent throughout the warm up and the combinations of exercises. Moreover, the clear use of the extension of the leg and port de bras positions to create shapes is adamant throughout all three genres.

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Interesting article on the codified positions of the feet.
Human Kinetics Europe. (2019). Positions of the Feet. [online] Available at: https://uk.humankinetics.com/blogs/excerpts/positions-of-the-feet [Accessed 17 Apr. 2019].

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Jazz dance class uses both parallel foot positions and turned-out foot positions. In parallel foot positions, the feet may be side by side, apart at the distance of the center of the hip sockets, or in a wide position. Derived from classical ballet, the turned-out positions are called classical positions in jazz dance class.

Neutral position: feet apart at the distance of the center of the hip sockets and parallel to each other (see figure 5.4).

Neutral foot position.

First position: insides of the feet together and parallel to each other (figure 5.5).

Parallel first position.

Second position: feet farther than hip-distance apart and parallel to each other (figure 5.6).

Parallel second position.

Fourth position: one foot forward of the other and the back heel lifted off the floor, as shown in figure 5.7 in pliÃ©.

Parallel fourth position.

Classical first position: feet in a V formation because of the natural turnout from the hip socket (figure 5.8).

Classical second position.

Classical first position.

Classical second position: feet apart about the length of one foot and naturally turned out (figure 5.9).

Learn more about .

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Jazz dance class uses both parallel foot positions and turned-out foot positions. In parallel foot positions, the feet may be side by side, apart at the distance of the center of the hip sockets, or in a wide position. Derived from classical ballet, the turned-out positions are called classical positions in jazz dance class.

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Here is me demonstrating a double pirouette with a stretched leg, engaging my back and core muscles.

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Video of Josh Wharmby's commercial choreography with my class. (I am the girl with the high hair bun, long sleeve black tucked up top). The application of the use of the body ripples and stylistic walks used in Jazz is recognised through Commercial (see video). Commercial may combine techniques and stylistic qualities from Ballet, Commercial and Jazz. Although, Commercial is quite heavy, and energetic however Ballet is more graceful diverting in dynamic qualities.

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Here I demonstrate parts of the Luigi sequence warm up, consisting of apical yet tranquil rhythmical dynamics.

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By enforcing too much power into the pirouette, I became not in control and disengaged my spot and muscles allowing me to fall. However, through tucking the pelvis under and pulling up through the leg I can now consistently perform double pirouettes (see above).

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La Sylphide 1906, 1964.
Marie Taglioni, uses bodily expression through her arm line qualities and dynamics. However (see source) in Jazz, the movement quality is low grounded and the dynamics, even though fast paced like Pointe work, contrast between sharp and smooth.
La sylphide (fragmentos 1906 y 1964). (2013). [video] Available at: https://www.youtube.com/watch?v=lcqdN1hdNt0&t=23s [Accessed 25 Apr. 2019].

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As you can see through this commercial dance video- from 1:20-1:35 , energetic and rhythmical stylistic walks are used to engage the audience.
Also this reinforces that dance has gone global through practitioners and key pioneers of the centuries. Within the 21st century, dance has evolved that much that a complete dancer is now one that offers a Somatic practice and is versatile with artistic flair.
Royal Family | FRONTROW | World of Dance Los Angeles 2015 | #WODLA15. (2015). [video] Available at: https://www.youtube.com/watch?v=Xw6k6Ma0oqo [Accessed 1 May 2019].

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Royal Family  | FRONTROW | World of Dance Los Angeles 2015 | #WODLA15

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To improve my stamina-
As a working dancer, stamina is important as it is crucial to maintain disciplined technique through stylistic artistry.
Therefore, every day for the next three months I will apply this into my training regime:

50 Burpees

25 Star jumps

20 Mountain Climbers

15 Shuttle Runs

(30 seconds break between each exercise)

X 4 Sets

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Here is Anton giving me corrections on my Ballet arabesque line.

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By maintaining the accurate arm alignment and stretching through my back I made great progress.

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As you can see through this Jazz routine, there is a clear use of the torso ripple, port de bras and forth position. The grande battement is also seen through ballet and modern practice.

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