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I need to have strength in my legs to be able to snatch up onto a releve, with the other knee turned out and the foot just under the knee. Also core strength is involved when trying to maintain this postiion whilst turning. Alternatively pirouettes in certain styles of contemporary although, have specific placement, tend to be less controlled, therefore, I am less comfortable with them because I feel less stable with the movement.

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A main weakness is consistency of pirouettes, especially in ballet. As you can see from source F the feet start turned out either from 5th position or 4th however, in jazz feet are parellal in jazz 4th which I find easier to snatch into pirouette position from.

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Due to missing a lot of important technique lessons, it has been essential for me to pick up what I have missed, so that I do not fall behind. This has pushed me to focus and helped me become better at retaining choreography and corrections. This will also help me when it comes to auditioning as the speed of pick up is important. However, within contemporary I find it harder to retain the steps as I have had the least amount of trainig in this technique, therefore, the style is still very new.

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Flexiblity requires a different strength and luckily I have been able to maintain the same level of flexility before and after the operation. This is needed for all the core techniques: ballet, jazz and contemporary. Therefore, has helped me get back into the training quicker for example: with a kick exercise in jazz I only need to focus on the supporting leg and having that in the right position as I know I can kick to a certain point already. However " Strength and flexibility are two physical qualities that complement each other" (Komeroski, 2016) and, as my strength needs improving this could benefit my flexibility.

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Luigi technique is beneficial for a dancer because his ‘exercises help dancers isolate movement of body parts’ (Scheff,2014) and can therefore imrpove strength and dynamics within sequences. As can be seen from source E, the arms remain still whilst the legs are working, developing the control, balance and presentation of the technique.

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My injury has also affected my confidence as I no longer feel secure in a lot of the movements, although this will come back with time I need to ensure that I improve my strength and stamina to help regain control. As Luigi devised his technique in order to rehabilitate; using only what feels right for the body, with each movement having a specific place. In particular I am least confident in contemporary as stated earlier I have had the least amount of training in that. However, due to the greater freedom of movement there is more pressure on my knee whereas in the other styles the movement is more controlled and therefore, I can work around my injury better.

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Strength is required within ballet and jazz especially due to their technical demand. As shown in source D the adage exercise has an intense physical demand, being able to hold a position whilst pivoting on the supporting leg. Lack of strength within legs and core affects balance therefore, in order to improve this I need to make sure I am engaging my muscles, especially the glutes throughout all bar exercises to improve center work. It is key that I continue with strengthening exercises given by the physio to maintain strength of my knee. Within dance there is the misconception that strengthening will change the aesthetics of a dancer however,  "resistance training can demonstrate muscular strength enhancements without interfering with key appearance requirements"( Koutdekis, 2009). Improving my strength will mean in the future I will be able to perform slow sustained movements in a manner which is controlled and presentable.

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As a result of being unable to take part in dance for a number of months it has meant that my strength has declined along with my stamina. Therefore, I need to focus on these going into next year to ensure I am able to improve within other areas of dancing.

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In order to achieve this I intend to take extra classes in the evening to familise myself with the different styles within the commercial bracket to improve on style and presentation and allowing for greater use of dynamics. Therefore, I will try and push myself to go to classes that are not my usual style and are not in my comfort zone.

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Due to my knee injury I have been limited with what I could partcipate in physically within technique classes. Therefore, this has given me time to focus on weaknesses I had highlighted last year, one being performance. Although I would still class performance as a weakness over the last semester due to the performance module there has been influence from practitioners within jazz (see source C). A practitioners work we have looked at is Bob Fosse, whose style has a lot of emphasis on performance and presentation, as "his dances were designed to entertain and please an audience" ( Young, 2009). This has been beneficial as instead of just focusing on getting the steps right, I have been able to look at the texture and quality of movement, especially as Fosse's work incorporates humour.

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The term Frappé translates to struck therefore, this movement involves the foot moving en croix incorpoarting a striking motion. I have always struggled with being able to change from a flex to a pointe quickly enough and since my knee injury it has taken a while to be able to pick it back up again. In order to improve this I need to focus on differetiating between the beats around the ankle with a flexed foot and the stretched pointe outwards. The dynamic of the  frappé is sharp with the thigh being held still and "the accent occurring when the leg is straight" (Paskevska, 1988, p. 64). Accenting on the outstretched pointed leg will help to build the power and speed back into  the legs and ankle. This will be beneficial when performing petite allegro involving beating steps, as its based on quick footwork. As you can see from source C I need to focus on using the floor to develop the striking motion which will enable me to improve the dynamic of the frappé. Continued practice on this will also help to rebuild the muscle memory of my injured leg. Although having had some training in ballet before Shockout it had been more focused on the style and flow of ballet as oppose to mastering its quick footwork.