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I watched this video to help me better understand the stylistic qualities of Matt Mattox's work.

Boross, B. (2016). Matt Mattox Freestyle Jazz Dance Technique/Choreography - Taught by Bob Boross. [online] YouTube. Available at: https://www.youtube.com/watch?v=JfQp6crDX00&t=128s [Accessed 3 Apr. 2019].

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Matt Mattox Freestyle Jazz Dance Technique/Choreography - Taught by Bob Boross

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I read this article to help me better understand Horton's life.

Blumberg, N. (2019). Lester Horton | American dancer and choreographer. [online] Encyclopedia Britannica. Available at: https://www.britannica.com/biography/Lester-Horton [Accessed 3 Apr. 2019].

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Lester Horton | American dancer and choreographer

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Lester Horton: Lester Horton, dancer and choreographer credited with launching the modern dance movement in Los Angeles and for establishing the country's first racially integrated dance company. In his short career he developed a dance training technique that continued to be used by instructors into the 21st

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This video advanced my understanding of Horton's technique and how it should be performed.

Horton, L. (2008). Lester Horton Technique. [online] YouTube. Available at: https://www.youtube.com/watch?time_continue=2&v=SGKClA27FI4 [Accessed 3 Apr. 2019].

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From this article I learnt more about Balanchine's life and his works.

Koch, D. (2002). Biography | The George Balanchine Foundation. [online] Balanchine.org. Available at: http://balanchine.org/balanchine/01/bio.html [Accessed 3 Apr. 2019].

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I used this article to learn more about Bournonville and his early life.

Encyclopedia Britannica. (2019). August Bournonville | Danish dancer. [online] Available at: https://www.britannica.com/biography/August-Bournonville [Accessed 4 Apr. 2019].

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August Bournonville: August Bournonville, dancer and choreographer who directed the Royal Danish Ballet for nearly 50 years and established the Danish style based on bravura dancing and expressive mime. He studied under his father, Antoine Bournonville, one of the major dancers of his day, before going to Paris for

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This articled helped me better understand Vaganova's style and taught me more about her early life.

Encyclopedia Britannica. (2019). Agrippina Vaganova | Russian ballerina. [online] Available at: https://www.britannica.com/biography/Agrippina-Vaganova [Accessed 4 Apr. 2019].

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Agrippina Vaganova (born June 14 [June 26, New Style], 1879, St. Petersburg, Russia-died November 5, 1951, Leningrad [now St. Petersburg]) was a Russian ballerina and teacher who developed a technique and system of instruction based on the classical style of the Imperial Russian Ballet but which also incorporated aspects of the more vigorous Soviet ballet developed after the Russian Revolution of 1917.

Vaganova studied at the Imperial Theatre School in St. Petersburg, where she was taught by a number of legendary teachers, including Lev Ivanov and Christian Johansson. Upon her graduation in 1897, she joined the Mariinsky Ballet, where she became known as the "queen of variations" for her soaring leaps and brilliant footwork. Yet, despite her strong technique and energetic style, her dance career progressed slowly because of the number of talented Russian dancers-such as Anna Pavlova, Tamara Karsavina, and Olga Preobrajenska-who were her contemporaries and competition. Vaganova danced the leading roles of Odette-Odile ( Swan Lake) and the Tsar-Maiden ( The Little Humpbacked Horse), but she was not given official ballerina ranking until 1915, the year before her retirement from the stage. When her years as a performer ended, Vaganova embarked on a second career as a ballet instructor, joining the Petrograd State Ballet School (formerly the Imperial Theatre School) in 1921.

Russian ballet at the beginning of the 20th century was a mixture of disparate influences, combining aspects of the traditional national style with French and Italian elements. Although it was appreciated throughout Europe, the future of Russian ballet was uncertain. The unique Russian style had developed over time, and a systematic method for teaching and communicating it did not exist. Russian ballet was further challenged by the turmoil that followed the Revolution; because ballet had been long associated with the aristocracy, its function as an art form was questioned by some revolutionaries.

During her years as a performer, Vaganova had observed the absence of method in Russian ballet. When she became a teacher, she selected the best aspects of the various styles and integrated them into a coherent system based in classical movement. Her teaching system emphasized harmony and coordination of all parts of the body but particularly developed the spine and neck, enabling her students to maintain a seemingly effortless core of stability while dancing. Vaganova's new method of ballet instruction would eventually become the basis for all Soviet ballet training. Her efforts in this area were her greatest contribution to the history of dance, as they helped to ensure the survival of Russian ballet and expanded its impact on other dance styles. Many accomplished ballerinas, including Galina Ulanova, developed under her tutelage.

Vaganova was also active as a choreographer, beginning with The Visions of a Poet in 1927. As the artistic director of the Mariinsky Ballet (from 1935 to 1990 called the Kirov State Academic Theatre of Opera and Ballet) from 1931 to 1937, she encouraged both modern dance and revivals of classical ballet, notably Swan Lake (1933). From 1946 to 1951 she taught choreography at the Leningrad Conservatory.

Vaganova's writings include a widely used textbook published in Russian in 1934; it was published in English as Basic Principles of Classical Ballet (trans. 1946, reissued incorporating all the material from the 4th Russian ed., 1969). In 1934 Vaganova was made People's Artist of the Russian Soviet Federated Socialist Republic, and in 1946 she was given the Stalin Prize of the U.S.S.R. Her legacy was confirmed when the Leningrad Choreographic School (formerly the Petrograd State Ballet School) was renamed the Vaganova School in her honour in 1957.

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Agrippina Vaganova | Russian Ballerina, Choreographer & Teacher | Britannica

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Agrippina Vaganova was a Russian ballerina and teacher who developed a technique and system of instruction based on the classical style of the Imperial Russian Ballet but which also incorporated aspects of the more vigorous Soviet ballet developed after the Russian Revolution of 1917. Vaganova

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Bourneville petit allegro

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Vaganova grand allegro

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These images are of my stag position in November and March to show mu improvement. In the first image my work leg is much lower than it should be because I was not flexible. Further more, my back shoulder is lifted out of line. In the second image my leg is much higher because I worked on my back flexibility, my knee is also parallel to the floor which is correct. I also pulled my back shoulder down to make my arms one straight line.

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Source 17 - 29 October 2018 and 26 February 2019

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Source 17 - 29 October 2018 and 26 February 2019

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These images are of the progression of my splits between October and February. In the first image I am not flat down, my knees are not stretched and my back hip is lifted which distorts the line. In the second image I am flat down as my flexibility improved and my knees are straight and my hip is in the correct alignment making it much more aesthetically pleasing.

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This video is of me performing a scissor leap in October. It is in correct because my knees are not straight, my arms are sloppy and I am looking at the floor. However, the swishing action is correct.

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This video is of me doing a correct scissor leap. My legs are split as much as possible, my arms are correct, I jump high enough to switch my legs in the air and my alignment is correct.

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This kick good because my upper body is controlled, my legs are high, my hip is down and I am stretching my knees and toes.

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This kick is anatomically incorrect because my hip is lifted, my knees are bent, my posture is dropped and I am not throwing my leg as hard as possible which all spoils the line.

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Bourneville petit allegro 2

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Matt Mattox influenced grounded routine

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Port de bras with par de boure exercise, Matt Mattox contractions

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Rhythmic Matt Mattox exercise

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Horton influenced routine, agility

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Fortification 3, dynamics

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Vaganova barre exercise

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Fortification 2, technique and articulation of the feet

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This video of me performing an entrelacé my alignment is good because I swish my working leg through the floor, I am turned out, my legs pass each other rather than going round the side, my arms assist my jump and my lets split very well.

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Although I successfully perform a double pirouette in this video, it is anatomically incorrect. this is because when my arms are in 5th position my elbows are drooping, I am not spotting and my foot takes too long to reach the pasé position.

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This lateral T position is incorrect because my upper body is too high meaning I am not actually in a 'T' shape, my standing foot is also not turned out enough for me to properly be able to balance. More over, my arms are not properly by my ears meaning they are not parallel which also ruins the 'T' line.

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Horton grand battement exercise, dynamics

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Isolated arms tendu exercise

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Matt Mattox low-level traveling sequence

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Horton lateral T, style

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This image of a lateral T is anatomically correct because my upper body and working legs are in a straight line which is parallel to the floor. Also, my standing foot is facing directly to the side which is how to achieve optimum balance and my arms are parallel and by my ears.

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Balanchine turns prep

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In this video I am performing an exercise to strengthen my adductor muscle so I can developpé my leg higher in ballet without having to use the wrong muscle which would result in injury.

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Word count: 2669

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Jenna Earnshaw 18001145 PCD4007 Core Techniques