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These results are from my formative assesments in December 2018.

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Ballet formative assessment results

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Jazz formative assessment results

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Contemporary formative assessment results

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Box Splits 1/3/19: I have always been flat or close in box splits however I have always struggled with were my weight should be held to get maximum stretch: the weight should be help in the middle of the stretch. I can apply this flexibility within class during jumps and kicks and I can also apply the anatomical muscle memory that I have developed.

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Left Splits 1/3/19: same anatomical knowledge as source 46

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Right Splits 1/3/19: With this alignment I can transfer this anatomical knowledge into many exercises in all the aspects of the core technique classes. I need to ensure my hips are completely straight with being on top of my legs and not resting to one side, my body should also be completely up right. I can transfer this knowledge in to leaps (see source 21-22) and grande battements in each class. Although I have been flat in splits for both semesters my understanding with how I should hold my self in splits has improved, this has then improved how I can utilise this flexibility within exercises.

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Piroette postion: This is the form I need to maintain when I turn to create the best opportunity for multiple turns. I need to ensure my leg is at my highest point of retire with my arms in an extended jazz first with palms facing my body. My supporting leg needs to be pulled up and straight on my highest releve.

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Box Leap position: I practise this alignment on the floor to the transfer into my box leap: see source 21-22. By knowing the position on the floor I can use muscle memory as to where to direct my legs when I use it as a jump aspect I need to keep my legs turned out with my feet pointed to create the aesthetic line that is required, also I need to maintain my flat back with my shoulders being pulled down by my lateral muscles as having the space within my body with help with height and space to propel my legs in the leap.

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Plie at the barre- 8/3/19

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Adage at the barre- 8/3/19

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Grande Battemont at the barre- 8/3/19

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Frappe at the barre- 1/3/19

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Fondu at the barre- 1/3/19

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Rond de Jambe at the barre- 1/3.19

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Jete at the barre- 1/3/19

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This class is based on Matt Mattox technique which is what our lessons loosely follow this is interesting to watch and compare to how we now interpret this style and how we as students are taught it -
https://youtu.be/I76CXCQtqcw 18/11/18

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Matt Mattox Freestyle Jazz Dance Exercises - Perpignan, France - 7/25/1993

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Tendu at the barre- !/3/19

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Tendu in center- 1/3/19

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Adage- 13/3/19

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Pirouettes- 12/2/19

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Pirouettes- 21/2/19

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Jazz Port de Bras- inspiration following our teachers instruction regarding Mattox technique- 14/11/18

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Horton Fortification- 1 -11/3/19

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Horton Fortification- 1 -11/3/19

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Horton Lateral T exercise- 4/3/19

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Horton Flat back with rise- 11/3/19

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Horton Lateral strengthening exercise- 11/3/19

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Horton Flat back with diagonal- 11/3/19

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Graham contract and release warm up combination - 2/12/18

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Graham contract and release warm up- 2/12/18

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In this video I am demonstrating a scissor leap. To maintain this I combine skills learnt in all core techniques to devolve this trick style leap. I have to use the devlope leap (see source 21) to utilise the power to spilt my legs the other way. By knowing how to use skills learnt in class I can use my facility to complete this to maximum impact. I use the anatomic placement I know from my splits to achieve this in the air in all my jumps I need to remember ti use my hip flexors to control the turn out in my back leg to not create a bent line

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In this video I am demonstrating a kick exercise that we do I jazz lessons, within the technique when I kick my supporting leg it should straighten and my working leg should be at full extension however with the force that I put behind it causes my knee to bend which is bad technique to work on this I need to strengthening the and controlling the concentric contraction of the hip extensors as without controlling this I can damage my supporting ligaments losing actability of my knee. You can then see in source 41 that I have worked on improving this by strengthening but remembering to focus on the supporting leg rather than loosing control just to get my working leg higher, however you can still see a give in my leg with the power that I put in so I just need to spend more time watching and videoing myself to see an improvements.

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Lady of CamiliasThe Lady of the Camellias - Bolshoi - Act I -SOURCE 6

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Lady of CamiliasThe Lady of the Camellias - Bolshoi - Act I -SOURCE 6

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Paris Opera's rework of John Neumeieir's original piece
https://youtu.be/0b2RhLQYi60 12/2/19

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The Lady of the Camellias - Bolshoi - Act I

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The Royal Danish Ballet - August Bournonville
https://youtu.be/feQoiYUuunE 12/2/19

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La Sylphide - The Royal Danish Ballet - August Bournonville (Сильфида Бурнонвиль)

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George Balanchine Choreography Live recorded from the Mariinsky Theatre, St. Petersburg
https://youtu.be/8ArLbpD38sc 11/2/19

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George Balanchine - Jewels (Ballett in three parts): Diamonds (3/3) | Mariinsky Ballet

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George Balanchine Choreography Live recorded from the Mariinsky Theatre, St. Petersburg
https://youtu.be/JBL8u5mkjsk 11/2/19

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George Balanchine - Jewels (Ballett in three parts): Rubies (2/3) | Mariinsky Ballet

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George Balanchine Choreography Live recorded from the Mariinsky Theatre, St. Petersburg
https://youtu.be/9sMx4AtM8Gg 11/2/19

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George Balanchine - Jewels (Ballett in three parts): Emeralds (1/3) | Mariinsky Ballet

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Carlos Acosta's ballet interpretation of Marius Petipa Ballet- https://youtu.be/5fKxzQ8ARTQ 2/11/18

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Don Quixote - Act I finale (Marianela Nuñez and Carlos Acosta, The Royal Ballet)

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Pirouettes in Jazz using inspirations from the codification of practitioners used in lesson

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Flat back with pile- 25/2/19

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Collins, K. (2019). Matt Mattox (1921-2013). [online] Dance Magazine. Available at: https://www.dancemagazine.com/matt_mattox_1921ae2013-2306909428.html [Accessed 22 Jan. 2019].

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Dance Spirit. (2017). Horton Technique. [online] Available at: https://www.dancespirit.com/horton-technique-2326036575.html [Accessed 22 Jan. 2019].

This article explains the origins and intensions of Horton technique and how it helps the body and Hortons intention for his codification of technique

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In the 1920s, '30s and '40s, dancer/choreographer Lester Horton developed a dance technique based on Native American dances, anatomical studies and other movement influences. In addition to creating his technique and choreographing a number of works, Horton established the Lester Horton Dance Theater, one of the first permanent theaters dedicated to modern dance in the U.S., in Los Angeles in 1946. (It closed its doors in 1960.) He was also among the first choreographers in the U.S. to insist upon racial integration in his company-in his 1995 autobiography, , Alvin Ailey wrote, "What it came down to was that, for Lester, his art was much more important than the color of a dancer's skin." Horton's legacy is perhaps most visible today in Ailey's work, and Horton technique is the foundation for masterpieces including Revelations and Cry. Recent years have seen a resurgence in Horton technique across the country, especially on the West Coast, where Horton created most of his work.

How to Prepare

Dancers coming to their first Horton class can prepare by drawing on their experience with jazz dance. "Many jazz teachers incorporate some of Horton's ideas in their warm-ups," says Ana Marie Forsythe, chair of The Ailey School's Horton Department. For instance, Horton uses flat backs and lateral stretches, tilt lines and lunges, all movements that could be found in a jazz warm-up. (Horton technique also incorporates lyrical, circular movements focusing on stretching in opposite directions.)

Outside of the classroom, students can look to graphic design, typography and architecture for a sense of the clean, clear lines emphasized in Horton technique. For example, "we do a 'Lateral T,' and it looks like a big, block letter T," Forsythe explains.

"Horton believed in getting the body warmed-up and blood flowing quickly," Forsythe says, "so class begins standing, rather than sitting, like some other modern techniques." The specific order of exercises can vary based upon the teacher's interpretation of the technique. As taught at The Ailey School, codified Horton technique incorporates 17 "fortification studies" (among other elements) that each focus on a different idea, such as descent/ascent and laterals, or body parts such as the Achilles tendons or abdominals. Class then progresses across the floor with movement phrases, turns and single-foot arch springs (jumps from one foot).

Don Martin, who studied with Horton and heads up the Lester Horton Dance Theater Foundation, Inc., explains that exercises always tie in to one another. "The movements are never arbitrary. There's always a segue," he says.

Key Concepts

Horton died of a heart attack in 1953 before completely documenting and cementing his ideas, and so the way that Horton technique is presented can differ from one teacher to the next. One constant is that the technique is designed to correct and improve dancers' physical limitations so that they might pursue any form of dance. Additionally, Horton was interested in clearly defined shapes, as well as how a dancer can move through these shapes with energy and use of space.

"Horton's technique isn't limited to a concept of one or two movements and their contrasts," Forsythe explains. The technique is dynamic and dramatic, develops both strength and flexibility, and works with an energy that is constantly in motion. The primary focus of many beginner-level Horton studies is creating length in the spine and hamstrings. There is also an emphasis throughout all levels on developing musicality and performance qualities. As students progress, exercises become longer and more complex; Martin, who's currently teaching the technique at the Los Angeles County High School for the Arts, describes these exercises as "almost like études. They're like concert pieces in themselves."

"I've been teaching this technique for more than 40 years," Forsythe says, "and I continue to be impressed with the intelligence and sense of humor that Horton incorporated. It's maintained my interest after all these years. It's so accessible for dancers. And I love how it helps create dancers who are long and strong."

Joshua Legg is a technique instructor and rehearsal director for Harvard University's Dance Program. He holds an MFA in dance choreography and performance from Shenandoah University.

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In the 1920s, ’30s and ’40s, dancer/choreographer Lester Horton developed a dance technique based on Native American dances, anatomical studies and other mo

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This is the style of contmepoary that we will be learning in the second semester
https://youtu.be/LIEPwNZdAoo 4/2/19

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Lester Horton Technique • advanced level

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Research into Graham technique- https://youtu.be/p78zYG6-aHI 23/10/18

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Martha Graham based floor work - Teacher: Andreas Constantinou

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As our jazz class is loosely based on Matt Mattox technique this workshop that he taught shows essences of what we learn in class with a similar technique.
https://youtu.be/Qfg2BuWEbus 22/10/18

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Matt Mattox teaching Freestyle Jazz Dance at Jazzart Jazz Dance Workshop - 1997

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Jazz combination/routine with inspiration from practitioners studied in lesson 15/11/18

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Forward lean and side leap 21/10/18

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Forward leap and side leap 21/10/18

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Jazz plie and tendu warm up 21/10/18