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After a week of rehearsing the piece within our own independent time, I feel that we were able to go straight into the session as we were confident with the choreography and therefore we did not need to recap any choreography. After this session, we are now confident and are happy with the performance to perform it on stage. The predominant point in which we focussed on throughout this weeks session was portraying the correct emotion through the sensitivity of the movement as well as ensuring we have the correct facial expressions when performing the choreography. The only issue in which occurred throughout this session was the lift in terms of it happening in the correct section of the music. This then meant we had to speed the process of lifting up to ensure that she reached maximum height on the lyrics "quiet". By the end of this session and running the piece several times in which tested our stamina as dancers, we then mastered the lift as it is now performed perfectly consistently. Overall, I feel ready and confident with the piece in terms of movement memory, technique and I feel I portray the correct emotion, demonstrated in the rehearsal video footage.

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Similarly to the other weeks, we began by  demonstrating safe dance practice to warm up our bodies. In order to begin the session, we began by running through the piece from beginning to the end. After this week of rehearsing the choreography within our own independent time, we were able to continue and learn the choreography to finish the piece. Once we had finished learning the choreography, we then went onto refine and perfect the choreography such as the unison section and ensuring that everyone is performing in the correct formation. By the end of the session, there were still aspects in which I feel that we could still improve on, the main aspect being performing in unison. This became apparent to us as a group after watching back the recordings of the piece in rehearsal. Throughout this session, we also refined the jazz technique for each movement.

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After demonstrating a strong sense of safe dance practice, we began the session by recapping the choreography in which we learnt last week  to ensure that the movement was embedded into our movement memory  before we move on and learn more choreography within this session. Due to people being absent within last week, the first task was to teach the choreography to the peers in which took the first 30 minutes of the session. This was a disadvantage to the rehearsal. Once we had accomplished this task we then went onto learning more of the choreography. Within this session we mastered a lift in which was included in in the choreography which was a pencil lift and then a backwards walkover to recover from the lift. To finalise the session, we ran the piece with the choreography that we knew from beginning to end allowing the movement to be embed into my movement memory prior to learning more choreography next week and potentially finishing the piece. By watching the recordings of this piece, it highlighted the issues and errors in which we are going to have to iron out prior to the performance.  In order to achieve this, we will be required to rehearse in out own independent time.
Lyrical jazz also requires a high level of technique with an underlying classical ballet style. During this session, we refined the technique during this session. Overall after leaving this session,  I feel that I am confident with the existing choreography. Within this session I also learnt a small solo section within the piece and therefore will be my responsibility to perform this section to the best of my ability.

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Within this weeks session, we began by our tutor explaining her main intention for the piece as well as the emotion in which is going to be required for this piece. The song was also introduced to us and was named "moon and Back" and therefore had I had noticed the variety of lyrics within the song that the choreography will bring to life through the lyrical Jazz movement. This song has a deep meaning of love and therefore portrays a clear sense of emotion and as a dancer I will need to portray this through the sensitivity of my movements and the facial expressions throughout the piece. The main inspiration that my tutor will base the piece around is the bond between her and her daughters. Once this had been explained this gave us as dancers an idea of the emotion in which we will be required to portrayed. Once we had become familiar with the emotion and the intentions of the piece, we then went onto learning the first section of the choreography and therefore to finalise the session, we ran the choreography in which we learnt full out to allow us to embed the movement into our movement memory. This is the song in which the piece will be choreographed to and the movements will bring the piece to life.

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Alice Kristiansen - Moon and Back (Lyrics)

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Song: Moon and Back Artist: Alice Kristiansen I do not own the song, picture or font! All rights go to the orginal artists. I make these videos for fun, I don't get any earnings from them. If you want your song removed from my channel please message me on youtube!

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As the final week prior to the assessment, throughout this session, we ensured that we were all confident with the technical aspects of the exercises. Over this next week, I will ensure that I use my independent time in order to rehearse the exercises and refine the  technique ensuring that the movement is embedded into my movement memory. Today's session was classed as a mock assessment therefore i demonstrated a high level of professionalism and discipline.

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Throughout today's session, we had the time to recap all of the exercises as well as refine and perfect the technique of all exercises. Within this week, we found it useful to go through the technique exercise by exercise. The musicality throughout this session was also perfected. An improvement i feel i will need to rehearse prior to the assessment is to ensure that I know the exercises to a high standard allowing me to dance them with confidence and accuracy.

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Within this session, we began by continuing on to learn the rest of the exercises in time for the assessment. Throughout this session i ensured that i focussed on using my core to ensure that the movement was well balanced. I feel I was successful in this week as I had improved my weakness from last weeks session therefore was able to perform the exercises with precision and control. A negative aspect I feel i need to improve on is ensure that i return to a deep lunge in the kick combination exercise. This will then prepare me for the high kicks.

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Throughout the first session of this technique assessment process, we learnt the half of the exercises. As we learnt them, our tutor went through the technique in details as to what we need to remember. Positives in which I feel that I portrayed within the session are I had a good sense of movement memory allowing me to learn the exercise at a quick pace. An improvement I feel that I need to make in preparation to the assessment is to ensure that I hold my core allowing me to perform the movements with control and precision.

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As the final section of the technical exercises, this section involves elevation movements such as grand jete's, barrel turns as well as turning leaps. Although these exercises are simplistic, there are a variety of technical aspects that are involved such as: using the plié to create the highest amount of elevation possible, both legs should be turned out from the hips along with the glute's being held to hold the turn out, the legs should be fully stretched and pulled up through the knees, the eye line should be high to create the illusion of adding the extra height, when landing from the leaps, the dancer should land through the feet and in a deep plié to prevent the harsh and heavy landing. For the barrel turns, the spine should be curved as the dancer should be launching the body backwards whilst the arms are at right angled to the body with the fists clenched. Both legs should be bent and the hips should be thrusted upwards as well as ensuring the dancer is spotting to prevent becoming dizzy.

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This exercise is a strengthening exercise as well as an exercise that prepares the dancer for pirouettes. Although this exercise is simplistic, it involves a variety of technical aspects such as holding the core muscles to ensure the dancer is able to balance to a high standard whilst on a high demi pointe, the working leg should be in a strong retire position with the foot to the side of the knee of the supporting leg,  the arms and upper body should be held strong although no tension should be held throughout the body, the eye line should be raised and should be mimicking the spotting action therefore leaving the head behind. This exercise involves the pas de bourré step consisting of 3 steps with the accent on the third step. The knees should be pulled up to prevent the legs from relaxing. The pelvis should be in neutral as well as the glute's being held in to prevent the arch in the lower spine.

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This exercise is a simplistic although is significantly beneficial to the dancer as it improves flexibility as well as stamina and core strength. Although this exercise is simplistic, there are a variety of technical aspects that are involved for example: the most important point is to hold the core muscles as well as the glute muscles to allow the dancer to have a good sense of stability and balance especially as the exercise is performed in heels, ensure that both legs are turned out from the hips, the feet should be fully stretched in the heels from the ankle , each time the leg returns it should return to a deep lunge with the weight evenly spread across both feet where the heels should be pressed down into the floor, the posture should be held with the shoulders back and down and elongating the neck from the spine, ensure that the grand battement begins from the bottom of the thigh (hamstring muscle) and does not grip with the top of the thigh, the feet and ankles should not be sickled, the leg should be dynamic on the way up and should be controlled on the way down, the arms should remain strong throughout the entire exercise.

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Triplet Steps and Triplet Steps with added Arm Movement, Triplet with sense of Direction 

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Triplet Steps and Triplet Steps with added Arm Movement, Triplet with sense of Direction 

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The triplet step is a simple and typical jazz technique step that involves a significant amount of technique. The technique involves aspects such as keeping the shoulders and arms strong, pushed back and strong especially when the arms are above the head. When turning whilst carrying out the triplet step, it is vital for the dancer to spot to avoid becoming dizzy, it is essential for the dancer to hold the core to ensure that the balance is to a high standard as well as ensuring that the exercise is carried out in a straight line, the musicality when performing the exercise is essential as well as the main accent of the movement being on count 3 of the movement, the dancer is required to remain on the high demi- pointe, the dancer should not favour one leg along with the legs remaining straight and pulled up through the knees, no tension should be held throughout the upper or lower body. The eye line should be raised allowing the dancer to perform and project the exercise.

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Similarly to the other exercises within the set, this exercise is performed in many different variations for example, on a plié, with elevation, a sequence of the two combined and a sequence of the step ball change step. Aspects of this exercise in terms of the technique that should be demonstrated are: ensuring that you use the plié to create the elevation, the hips should remain straight with no lifting of the working hip, the arms should remain in the perfect 90 degree angle, you should step out to the furthest point possible to allow the dancer to travel, the thighs should be squeezing together by activating the inner thigh muscles, hold the core muscles to allow the dancer to be stable with no wobbling, the turn out should be held to prevent the feet from rolling in , in order to land correctly the dancer should land through the feet and the metatarsals preventing the dancer from landing heavily and causing injury such as shin splints, when in the air, the legs should be squeezing together by activating the thigh muscles, from the front there should only be one foot that can be seen when squeezing the feet together in 5th position, the pelvis should remain in neutral, the shoulders should be pressed down and the neck elongating from the spine and the eye line lifted in the direction of travel.

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Fosse side kicks and Fosse Side kicks with twisted step 

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Fosse side kicks and Fosse Side kicks with twisted step 

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Within these set of jazz exercises, Bob fosse a jazz pioneer has had a significant impact on the style of the exercises for example involving the Fosse style arms with the bent wrists as well as the confident style in which is portrayed across the dance style. The technique involved in this exercise involves keeping both feet turned out by holding the glute's and turn out muscles, the Fosse kicks should be from the knee and not the thigh therefore the top of the leg should remain still, the foot of the working leg should be fully stretched from the ankle with the knees fully pulled up, the wrists should be fully flexed which is part of the Fosse style, the stylistic features of Fosse should be added through the dynamics , the hips should remain straight with no lifting of the working leg, the entire exercise is performed on a plié and therefore the body should remain on one level when travelling across the room, the pelvis should be in neutral, the eye line should remain high and in the direction of travel, the arms should move from being up to the low position with smooth transition , for maximum control the core should be held to avoid wobbling as well as the entire exercise should have a strong sense of musicality.

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This exercise is performed in a series of ways from the corner of the studio as well travelling across the floor. This exercise is performed with simplistic arms, then with an added arm sequence and then with a change of direction with an added step, as well as extremely quick with the added arm sequence. The technique involved within this exercise includes the supporting leg on fondu with the knee over the toes, the feet should be fully turned out from the hips along with the core muscles being held to allow the posture to remain correct throughout the exercise. The posture requires the dancer to lean slightly forwards from the hips with the shoulders back and down the with the neck elongating through the spine. The dancer should remain on one level and throughout with a limited amount of bobbing up and down. The back leg should be fully stretched and turned out from the hip along with the foot being fully stretched ensuring that the foot is not sickled. The eye line should be kept high throughout the exercise to allow the posture to remain correct. The pelvis should remain in the neutral position.

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Warm up jumps in the centre is an exercise in which tests the dancers ability to keep going through muscle fatigue. Despite this exercise not being too technically demanding, the main point of the exercise is to warm up the dancer gently to help avoid injury through the dancer being cold. The dancer requires a high standard of stamina as well as determination to get through this exercise. Throughout the exercise when carrying out the runs section, the wrists should remain flexed and the upper body should remain upright with the shoulders back and down the shoulder blades. The core should be held tightly to ensure that as a dancer you can perform the exercise with stability and a good sense of balance. When carrying out the runs section, the dancer should be on the ball of their feet as well as the entire way throughout the exercise. the dynamics for the exercise are quick, sharp and sudden movements as this adds light and shade to the exercise making it aesthetically pleasing. The warm-up jump sequence requires the dancer to keep their feet and ankles pointed throughout the runs section and therefore will assist in ensuring that the exercise is performed with accuracy as well as being technically correct. This exercise is a challenge, although requires technique such as sharp and dynamic arm movements for the jazz hands inspired section.

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Similarly to the remainder of the rehearsals we began by demonstrating a clear sense of safe dance practice. Once we had carried out a cardiovascular warmup in the style of jazz dance, we then began by running the piece continuously so that we become used to the new music as well as the style of dance and dynamics in which as a dancer is essential to portray for this Broadway style piece. Our stamina within today's session was tested to the maximum as we continuously ran through the piece. Within this session we concentrated on the hat section for a significant amount of time to ensure that this was slick in appearance. Throughout this session we fixed aspects such as the formation and transitions between one section to another. To conclude this session we had a discussion as a group to discuss the costume choice to ensure we have it ready for the dress rehearsals coming up in the next few days. I left this session feeling confident with the movement and the characterisation in which I am required to portray though my movement. Today was the final studio rehearsal and therefore I feel the piece is ready for the stage.

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After demonstrating a clear sense of safe practice, our plan as a group was to finalise and learn the rest of the reconstruction by the end of this session. The first task within this session we set was to perform the choreography in which we have already learnt full out so that it would give us confidence in the choreography as well as highlight any issues that we will require to iron out within this session. By the end of this session, we had completed the reconstruction which will now give us the next two weeks to refine and perfect the choreography throughout our own independent time as well as within the next two weeks of scheduled sessions. Throughout this session, we also changed the music into the version from the youtube to the itunes version. When we came to dance the piece full out, we then realised that the music was different. Within this new piece of music, there were sections in which needed filling with choreography and therefore this was complete within this session. This section of new choreography will need to be worked on, refined and perfected in our own independent time to ensure that next week we are then able to just keep running the reconstruction to perfect the appearance. When watching back this rehearsal run through, I feel that other than the new section to fill the music, the piece is looking aesthetically pleasing and is accurate to the original piece in terms of movement and the use of the prop.

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Similarly to the other rehearsals, we began by fully warming the body prior to beginning to perform the piece. Once we had fully stretched out the body and carried out a cardiovascular warm up, we then began to recap the choreography learnt in the past few weeks. Within today's our main intention as a group was to perfect and refine the hat section as after watching back the footage from last weeks session, we felt disappointed in the overall appearance and neatness of that section within the piece. In order to perfect and refine this section we went through each movement in close detail making sure that every dancer had grasped the choreography. By the end of this session, I feel that we had perfected and refined the hat section in terms of performing in unison as well as the formation from one movement to another. When watching back the footage from today's rehearsal, we were happy with the appearance of this section by the end of today's session. For the rest of this session, we ran through the reconstruction from beginning to the end, perfecting aspects such as timing and formations before adding any additional choreography prior to next week. The film at the end of this session as well as me as a dancer looked significantly more confident with the movement and with the piece as an overall.

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Today's session I feel was a productive as we managed to get more of the reconstruction learnt the what we had planned. Over the course of the rehearsal process, we found that in order to have a successful session, we set ourselves targets to complete throughout the session. Within today's session, we reached a point in the piece in which the props (bowler hats) were introduced. Within the group as a whole, we all found this challenging in terms of incorporating the prop into the dance movements. Whilst learning this section, it took us longer as we came across many malfunctions such as peers dropping the hat etc. When learning this section today, we had to refer back to the video significantly more times when learning the choreography ensuring that each individual detail was included. Towards the end of this session, we had time to then carry on with learning the rest of the reconstruction. During this time we learnt the trio section and then began to go over the small details for the choreography in which we already had learnt. The small details are in my opinion are what allow the performance to look professional and well polished for example keeping the eye line in the same direction as the other dancers as well as ensuring that the hat is in the same hands for the different movements. The small details are the aspects in which change a piece from being amateur and average to professional and precise. To finish the rehearsal off, we ran through the choreography and performed the piece full out with the added use of the bowler hat prop.

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In today's session, we began the session with a quick but effective warm up to allow the bodies to warm up to assist in avoiding injuries. This demonstrates a clear sense of safe dance practice. In order to refresh our memories about of the choreography in which we reconstructed last week. To begin the session, we began recapping the piece and dancing the short section in which we had already learnt full out. Throughout this past week within our independent time, we gathered as a group in order to run through the choreography to perfect this section so that within today's rehearsal we were able to go straight in to learn more of the choreography. This demonstrated a clear sense of organisation and team work. Within this session we then continued to reconstruct the piece and managed to reconstruct 30 more seconds of the piece. Within the piece there is a section in which there are 2 different groups that perform 2 different sections within the piece. For around 30 minutes of todays session, we split into the two groups to learn our sections of choreography. We felt this was a quicker and more effective way to reconstruct the piece. To conclude the session, we decided to run the piece from beginning to end and amalgamating the two group sections in which we had learnt within today's session. When watching back the rehearsal footage of today's rehearsal, we feel that there is still a significant amount of work in which is still to be done in terms of the choreography and refining the piece in terms of timing and the overall appearance. Throughout this session we also had to catch up my peers who in which did not attend last weeks session. This I feel is a point in which set us back and therefore would not be ideal to occur every week.

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Within this session, we began the task in which we have been given as a group to complete in tie for the Dance works performance. To begin the session, we began by gathering as a group to discuss the assignment brief to ensure that as dancers we knew the main intention of the task that has been asked of us. After we had gained a full understanding of the assignment brief, we then watched the video of the piece in Dance works. After we  had watched the video allowing us to gain an insight into the style of the piece, we then began to plan the piece by working out the first section of choreography. We began to tackle the choreography by splitting up the group into 3 groups to mimic the choreography in which we are copying. Once we had all decided on the formation for the beginning section of the piece and our tutor had made the final decision of where everyone is placed we then began to reconstruct the piece. I was placed on the front row to the right hand side of the centre triangle. Within today's session, we then learnt the first 20 seconds of the piece. After learning this small section, it became apparent that the Broadway style jazz piece is technically and physically demanding and is therefore going to take longer than we imagined to achieve a successful piece for the Dance works performance. This piece is going to require a great deal of dedication and commitment from the entire group within our independent time as well as within the scheduled sessions that occur weekly. This is vital as we only have 5 weeks to perfect and refine the piece in time for the performance. The challenges in which we faced within todays session involved splitting the group up into small groups and then deciding their section that corresponds to the original piece. This was a difficulty as there is only 9 of us performing the piece as opposed to 20 dancers that performed the original.

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This feeling good sequence was an amalgamation of all of the exercises in which this set of technique exercise involved. Within this exercise, there were movements such as high kicks, turns, handstands and windmill turns. This exercise concluded the assessment and therefore was technically demanding. The predominant aspect of this exercise is to ensure the musicality is correct as there are certain movements in which occur on different sections of the music for example when the circular spring steps travel in the circular formation around the space, this should be carried out when the beat of the music changes in the verse. In terms of technique for this movement, the hip should be leading the movement with the supporting leg on a fondu and fully turned out from the hip. This step should have a sense of spring about it and it should travel to its maximum potential. The dancer should travel the movement by stepping out to the furthest point in which is possible depending on the dancer. Within this sequence cheneé turns are involved and therefore require technique such as spotting to prevent the dancer from becoming dizzy half way through the sequence. Windmill turns are also involved in this sequence and therefore include technique such as keeping the core held and the weight forwards to prevent the dancer from loosing their balance and not being able to travel in a straight line whilst turning. Throughout the piece, the dancer should be projecting the movement by raising the eye line and performing each and every movement with flare and dynamics.

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In evaluation to this weeks assessment, I feel that it was successful in terms of me as a dancer and portraying the correct technique with the correct dynamics. In reflection to the assessment, I feel that I took all of my feedback on and therefore i did my best in terms of displaying the correct technique. Aspects from last weeks session and feedback from my tutor I feel I had improved these points due to the commitment and dedication in which I demonstrated within my own independent time throughout this past week. During this assessment, I feel that I portrayed the correct technique in which is explained in the left hand section of this logbook. Throughout this assessment, I feel that I had strong sense of stamina and energy allowing me as a dancer to keep up the correct technique throughout the entire technique assessment therefore the technique was consistent throughout.

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Today's session is the final week prior to the assessment and therefore we focussed on the aspects of the technique in detail to ensure that as dancers we were clear on what the technique is for each exercise. Throughout this session, it was a mock assessment and therefore I portrayed a sense of discipline and commitment towards the movement and mock assessment itself. At the end of this session, we were given individual feedback from our tutor that i will take into consideration during the assessment planned for next weeks session. My feedback I received back from my tutor was: to ensure I do not bend my bottom supporting leg when carrying out the high kicks, as well as ensure that I land through the feet when landing from Grand Jete. Throughout this week, I will ensure I use my own independent time to rehearse these improvements in order to fix these aspects prior to the assessment planned for next weeks session. Positives I received from my tutor include good elevation on the elevated movements such as Grand Jete's.

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Throughout week three's technique session, we began by recapping the exercises in which we learnt in the first week of these technique sessions. Throughout this session, I positively surprised myself as I was able to remember the technique sequences as they were embedded into my movement memory. Within today's session, I was able to demonstrate a high standard of flexibility within the back to black sequence as this required movements such as splits and high kicks etc. An area in which I feel I require to improve through practice is to ensure that I remain in the correct posture throughout each exercise. This will require me to ensure that my shoulders are down and back as well as the core being held tightly.

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To begin week two's technique session, we began by carrying out a cardiovascular warmup in the style of jazz dance to allow the body to become warm to prevent the risk of injury. Once we were fully warmed up, we then began the session by continuing onto learn the remainder of the jazz technique exercises continuing on from last weeks session. This week we managed to finish learning the exercises so therefore from now on until the technique assessment, it will allow us to have the time to perfect and refine the exercises in terms of the technique whilst taking on feedback from peers snd my tutor. A positive in which I feel I portrayed throughout this weeks session was I was able to perform the exercises with the correct dynamics for example adding the accent into the triplet step. An area in which i feel i need to improve on is the handstand movement involved in the final sequence (Back to black). This involves me switching my legs in the air whilst the body is vertical supported by the upper body. Throughout this next week, I will be rehearsing this movement so that I am able to perform this movement correctly for next week.

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Within the first week of this set of technique exercises , we were focussed on learning the technique exercises although because of the limited amount of time, we only managed to learn half the amount of exercises and will learn the remainder of the exercises.  A positive of my performance within today's session is that i was able to retain the movement within my movement memory therefore I was able to perform the exercise alone accurately by the end of the session. An area in which i need to improve on in time for next weeks session by using my own independent time to practice is being able to hold my core tightly allowing exercises such as the kick combination to be performed with control especially when the fouetté occurs. In order to conclude the session, we allowed our bodies to stretch out and allow time to improve our level of flexibility. This will also allow us as dancers to avoid injury by cooling down after the technique assessment.

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For this sequence, the predominant emotion and feeling in which as a dancer, i needed to portray for this exercise is sultry and sexy. This sequence is complex involving the dancer to demonstrate a clear sense of technique when carrying out the movements. The majority of the movements choreographed within this sequence require a sense of suspension and dynamics in order for the correct feeling to be portrayed behind the movement. Technique involved behind the movements include aspects such as: allowing the body to freely move to ensure as a dancer there is no tension held within the body. When performing the sequence the traditional jazz technique applies to the movement therefore this sequence is an amalgamation of all of the technique exercises carried out in the jazz technique assessments.

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Within the Grand Jete sequence, the are also movement such as the triplet step involved. A Grand Jete is a movement in which the dancer should give the illusion of height and travelling distance. By keeping the eye line high it will add the illusion of height for the Grand Jete. Both feet should be fully stretched from the ankles from as soon as the dancer leaves the ground. The dancers legs should be pulled up through the knees and stretching from behind the knees to ensure the limbs appear strong. The dancer should land through the feet when landing from a jete and therefore should also land on a fondu with the knees pointing over the toes. By landing through the feet, it will allow the dancer to avoid injuries such as shin splints etc as well as reduce the noise of the landing of the Grand Jete. A Triplet step is also involved within the sequence which involves technique such as adding an accent on the third step as a triplet involves 3 steps. The musicality for this sequence is also important to grasp to ensure that the accent is on the correct section of the exercise when performing the triplet steps. The upper body is required to remain upright with the correct posture in terms of the shoulders being back, the core muscles being held, the arms being controlled along with the exercise being dynamic with elements of elevation throughout. This exercise is then repeated on both sides to ensure the dancer gets used to the Grand Jete's on both legs, creating a versatile dancer in terms of technique.

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In order to display the correct technique for kicks from the corner, there were a variety of different combinations performed such as 90 degree kicks, high kicks, kicks backwards as well as a kick sequence with a fouetté turn involved. The technique that should be demonstrated throughout all variations is ensuring that both legs remain straight from beginning to end of the kicks. Each kick performed should be dynamic to suit the style of dance(jazz) and therefore should be thrown up with power and then controlled on the way back down by the dance squeezing all muscles involved. The eye line should remain high as this will then give the illusion of the height of the legs. The supporting leg should be fully turned out from the hips with the knees pulled up. In terms of the upper body, there should be no tension held within the arms, shoulders or neck as this will then restrict the body from using the maximum amount of flexibility in which the dancer has. For the combination kicks with fouetté , it is especially important to hold the core to the maximum as this will ensure that the dancer is stable. In order to fouetté around with the leg mid kick, the dancers leg should remain the same height from beginning to end of the combination. In order to return from the fouetté and continue on with the combination the core muscles need to be held firmly held to allow the dancer to have a strong sense of stability and balance.

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These exercises are performed from the corner and are a series of turns that travel across the space. The pose turns are performed in the parallel position with the knee in the retire position. The technique involved in a pose turn includes: ensuring that the dancer steps up on to the supporting leg with the knee pulled up and the foot on a high demi pointe. Each turn should have a sense of spring in the step as well as a good sense of travel by stepping beyond the place in which the foot naturally steps to. This will assist in the dancer travelling across the space as well as holding the glute muscles firm along with the core muscles to ensure that they are secure turns and are on balance. When carrying out pose turns, the arms should remain in the jazz position with the arms raised to the chest and the elbows lifted. To ensure that the dancer travels in a straight line across the studio, it is vital that the dancer spots to a corner of the room. This is where you find a point within the room in the direction of travel, turn and then the eyes and head should return to looking at that spot. The core muscles should be firmly end to ensure that the turns are accurate and controlled. The core muscles will also prevent the dancer from leaning back causing them to travel across the room in a circular pattern. The foot of the working leg in retire should be lifted to the supporting legs knee and therefore be pointed with no sickeling of the foot. Chaînes turns are also performed across the space as well as involve many aspects of technique such as: ensuring the arms are in a correct 1st position from beginning to end with the elbows lifted and the shoulders pushing back and down the shoulder blades. Similarly to the pose turns, chaînes turns also involve the dancer to spot to prevent the dancer from becoming dizzy as well as ensuring that they travel in a straight line across the space. The dancer should step out in the direction of travel in small steps with both feet turned out from the hips and the heels being pushed forwards. The weight should be spread evenly across the two feet to ensure that the dancer is able to remain balanced from beginning to end. The Chaînes turns are also performed with an arm action where the arms travel up the body repetitively as the dancer turns across the space. This requires a significant amount of control from the upper body and therefore the dancer should hold the core muscles securely to ensure the balance is kept solid.

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Windmill turns are a challenging exercise that is carried out from one corner to another. Windmill turns are the type of movement in which it appears easier than it it to perform correctly with the correct technique. In order to keep the control of a windmill turn, the core should be tightly held to ensure that the dancer is able to travel across the studio space in a straight line with precision. Despite this exercise being simple, there is a large amount of technique involved such as, ensuring the dancer does not arch the back which will then deactivate the core muscles and result in the dancer carrying out the turns in circular pattern within the studio space. Each step for the turns should be kept to a minimum in order for the movement to be performed with accuracy as well as allowing the dancer to travel in a straight line across the studio. Another aspect that will allow the dancer to travel in a straight line is to ensure that the dancer uses the spotting technique. This is where the dancer focusses their eye line on a small part of the wall or object that is in the direction of travel and whips their eyes and head around to return to looking at the spot. This will also prevent the dancer from becoming dizzy. The arms should appear as one long line from fingertip to finger tip and therefore means that the speed of the turns is quick. Both hands should remain stiff and strong to ensure that the line of the arms is not broken at the wrist for aesthetic purposes. No tension should be held throughout the body as this will result in the dancer being restricted at the speed in which they are able to turn at. Each step should be kept to a small step as well as both feet should remain on a high demi pointe from beginning to end.

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Within the set of exercises, there are 2 variations of the movement, Drag slides as the first way is just dragging the same way and the second being alternating the sides in which the dancer uses as the front. This movement is commonly used within aspects such as musical theatre productions and therefore is a Broadway Jazz dance style movement. The technique involved in the piece includes keeping the supporting leg on a fondu with the turnout muscles activated within the hip as well as the glute's and core muscles being held to ensure that the dancer performs with a good sense of strong stability. The eye line whilst carrying out the drag slide steps should be focussed down to the bottom hand along with the arms in a diagonal line across the body. The dancer should be lengthening through the finger tips and should therefore be holding the correct posture with the shoulders back, the neck and spine lengthening and the core muscles being held. The dancer should be leaning slightly forwards over the supporting leg. The working leg should be fully turned out and rotated from the hip joint with the heel pressing forwards to allow the dancer to display the maximum turn out. The foot of the working leg should also be stretched from the ankle down to the toes to ensure the movement is aesthetically pleasing.

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Pas De Bourre combination focusing on direction

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Pas De Bourre combination focusing on direction

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This exercise focusses mainly on direction as well as the pas de bourré step. When learning this sequence, i found the exercise challenging in terms of grasping the correct direction to perform the triplet step in. This exercise requires a significant amount of practice to ensure that the movement and direction is embedded into the movement memory in time for the assessment. When carrying out this exercise, musicality is vital as the triplet step is carried out in counts of three. Throughout the exercise, the feet should remain in the parallel position and on a plié with a sense of bounce within the knees. The gallops/ step ball changes involved within this exercise should be elevated and therefore involving the dancer to push off the floor with the metatarsals achieving the height that is required. To end the sequence there is a pirouette involved and therefore requires the dancer to be on a high demi pointe with the working legs toe at the supporting legs knee. To ensure that the dancer does not become dizzy and remains on balance, it is vital to spot on a position within the space and keep returning back to the position. The weight should be spread evenly once landed the triplet step therefore being able to retain a good sense of balance. A Pas de Bourre consists of 3 steps and therefore the dancer is required to put the accent onto the third step for the technique and musicality to be correct.

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Within this set of technical exercises, there are a range of exercises that are performed from the corner across the studio. The Step ball change step is amalgamated into 3 different combinations, the first being the standard step ball change step facing forwards, the second being the step ball change step with an added twist of the hips where the torso is isolated from the upper body, the third one being keeping on a plié and the fourth being a combination of 2 high and 2 low whilst twisting the hips at the same time. The technique for each one of these exercise includes, remaining on the high demi pointe on the ball of the foot, the core should remain being held firmly to ensure that the movement is performed with control and accuracy, the gap between the thighs should be tightly squeezing together with the inner thighs fully activated. Both legs and feet should remain fully turned out from the glute muscles and from the hips. Both arms should be straight with flexed wrists throughout the entire exercise with the shoulders back and down to form the illusion of a lengthened neck being lifted from the waist. The entire exercise is carried out in a parallel position and therefore does not require turnout. When adding a twist, the lower body should be isolated from the upper body keeping the shoulders facing the direction in which you are travelling in whilst the hips perform the twisting action.The dancer should remain high on the balls of the feet for the entire exercise. In order to perform the correct technique, the dancer should take small steps when carrying out the step ball change step as this will allow the technique to be accurate and tightly held within the lower body. The shoulders should not move and should remain still throughout and facing forwards for the exercise. In terms of the elevated step ball change, the technique remains the same although in order to achieve the height, the dancer is required to push through their metatarsals and land through the feet to prevent a heavy landing. The eye line should be lifted to create the illusion of height as well as the arms being used as a form of lift for the body to create momentum.

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The set of drag runs within the set of jazz exercises consisted of four renditions involving jazz drag runs the first being standard jazz runs from one corner to another, the second being drag runs with the shoulder twist of the torso, the third being elevated drag runs and finally a sequence involving drag runs. Despite these exercises appearing to be simple, there is a variety of aspects of technique involved such as pointing the feet as you bring them through to step onto the foot. The posture for this movement is vital and the body should remain in a straight line from the base of the back to top of the head. The shoulders should be pressed back and down the shoulder blades with the neck lengthened from the waist. When stepping out, the working leg should step further than the point in which a normal step would reach therefore the dancer should step beyond. The turnout should remain solid the entire way through the exercise and therefore should be held from the hips and glute muscles. Throughout the drag run section of the jazz exercises there are a variety of combinations where the main step is a drag walk or run. The first being simple drag runs with the arms at a 45 degree angle to the body and the palms facing the back. The second being the simple drag run with the arms switching from low, middle to high , the third being drag runs with a twist of the torso, the fourth being elevated drag runs and finally drag runs with a twist of the shoulders. Technique involved for these movements include keeping the torso isolated from the lower half of the body to ensure that the hips remain keeping forwards. The feet should be fully stretched from the ankle to the toes. Both knees should be pointing over the toes ensuring that the feet are not rolling in and the turnout should be being held securely by holding the turnout muscles in the glutes. The dynamics of the movement should be strong to give the audience an assured and confident performance. The body should be leaning slightly forwards but not too far that the dancer looses the correct line of posture. The elevated drag runs should have a sense of spring within the step by the dancer using the metatarsals to push and achieve the highest possible elevated leap. The core should be held tightly to ensue that the dancer does not land heavily as well as ensuring that the dancers go through the feet/metatarsals to avoid a heavy landing. Technique for the elevated leaps involves ensuring that the leaps are suspended in the air, with both legs straight and the shoulders remaining being pressed down.

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Jazz walks are performed from one corner to another and therefore requires the dancer to travel across the studio space. Although this exercise is simplistic, it still involves a significant amount of technique for it to be correct. For this exercise, the hands are required to travel up the body whilst shaking the hands, adding the jazz element to the exercise. The legs should remain in the turned out position from the hips with the heels pushing forwards. The hips are required to be pushed forwards with the core muscles being held to ensure the dancer is well balanced and performing with a good sense of balance. There should be no tension held within the body or the neck to allow the movement to flow. The hips should remain facing forwards and should not twist to face any other direction. Musicality throughout this exercise is also vital as this will ensure the performance is aesthetically pleasing from an audiences point of view. Grasping a good sense of musicality throughout this exercise will assist for when the dancer goes on to learn set choreography. The eye line should be raised to portray confidence and to ensure that the body has the correct posture with the shoulders back and pushing down the shoulder blades with the chest raised. The dancer should remain on the balls of the feet the entire way through the exercise despite this being challenging through wearing heeled character shoes.

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This centre exercise is extremely challenging and requires a significant amount of core strength to ensure that the dancer remains secure the entire way through the exercise from beginning to end. There is a variety of technique involved throughout the exercise and is therefore challenging for the dancer. Technique that is involved throughout this exercise includes keeping both legs permanently stretched and straight from the back of the knees and pulled up from the front of the knees. Within this exercise, there should be no tension held within the upper body making the hands appear to be stiff. The neck should be loose with no tension being held, the eye line should be raised to ensure that the body remains upright with the neck lengthened through the spine and lifting up out of the waist. The core muscles should be tightly held to ensure the the posture is correct with the shoulders pulling down the shoulder blades. When carrying out the Grand Battement, the body should remain straight and should not contract from the waist to help create the illusion of the leg being thrown higher. The working leg should be thrown up and controlled back down by using the hamstring muscles as well as the core muscles. The entire body should remain straight from the base of the back to top of the head with the glute muscles being held tightly to ensure the bottom does not stick out from the body. The supporting leg should remain turned out from the hip from beginning to end which will assist in keeping the dancer stable. Once the working leg leaves the floor, it should be fully stretched from the ankle through to the toes. In between each of the Grand Battement, the dancer should return to the lunge to ensure the exercise remains solid. The legs for this exercise are firstly grand battement to 45 degrees, then to 90 degrees and then to as high as possible. It is vital that the definition between the 3 levels. Both arms should remain straight throughout the entire exercise.

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This exercise is the first exercise as this will allow the dancer to gradually raise their heartbeat sensibly throughout the exercise to prevent muscle cramps if the dancer is not fully warmed up. This exercise is performed to an up beat song and therefore is easy to have a good sense of musicality. This exercise is performed in the centre of the studio and therefore requires a sense of spacial awareness when carrying out the exercise with your peers. Despite this exercise being simple, there are many aspects of technique in which are essential for example for the 4 runs, and 4 jumps, the dancer should be elevated off the ground as high as possible whilst keeping in time with the music and using the metatarsals in the feet to push off the floor to achieve maximum height. The upper body should remain upright with the head and eye line raised which will give the illusion of height. The arms should remain straight down by the side of the dancer for the entire time of that section. The 4 runs are then repeated with a slight development that for the jumps, they are then carried out with a rotation one facing the front and then jumping 90 degrees each time before carrying out an entire 360 degrees. When jumping, the feet should be fully stretched underneath the legs with the knees pulled up with relaxation in the knees. The feet are then pointed alternatively to the side with jazz hands spread widely with the legs turned in with the palms facing inwards. The dynamics for this section of the exercise is vital as this will add light and shade to the appearance of the exercise. Within this exercise there are also jazz clicks involved and the technique involved is to ensure that the body remains low and the body is bent from the hips keeping everything low and at the same level. The feet and legs should remain in parallel throughout the exercise as well as keeping the dynamics sharp and stacatto.