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I drew a picture based on the stress of being told what to do by people who do not know how you feel. the picture also focuses on the idea of having no voice, due to the fact that even when you speak no one understands what your trying to say. I decided to do a contemporary improvisation based on the same ideas as the drawing.

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I created this art piece after watching the episode of 'The Vampire Diaries where Elena loses her humanity. this is my visual interpretation of her character without humanity. I plan to potray my version of this character through my breakout piece.

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Harris, K (2015)

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Harris, K (2016)

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Clarke, E (2015) Accessible via:https://www.youtube.com/watch?v=ICPKpB-oL7c&nohtml5=False

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At the beginning of the year I decied that I would try to take part in as many performances as possible, as an attempt to help me with my nerves. I decided to enter a piece into a show in Wales called Who's Up. Initially I planned to perform a contemporary piece. However as it came closer to the show I decided that I should perform a commercial piece, because not many people at home do much contemporary and In was worried that people may not like it. This then meant that I did not have much time to create a new piece, and ended up mixing choreography with some freestyle because I didn't finish creating it. I think from this experience I learned that I need to trust myself more and do what feels good for me rather than trying to be like everyone else. However mixing freestyle with my choreography was also good practice for me as I always get nervous when freestyling for an audience.

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WHAT                                                                 NO. of HRS
Easter Dance Camp -  Dani Dee Dance.        30
Teaching                    -   Dani Dee Dance.       50
Teaching                    -   Active Dance Bury    30
Teaching                    -   TDM Dance                20
Teaching                    -  Element Dance          15
Teaching                   -   Groundswell DC         2
Teaching                   -  TAN Dance                   12
Workshop                 -  Elevate                         1.5
Elevate Rehearsals  -   Sheffield                      8
Move It Rehearsals  -  Studio 25                     20
It Wasn't Me              -  Poets on the Hill         2
Pressure (Video)       - Leighton Wall               8
Rehearsal                   - Who's Up                      10

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Soopanatural (2009) Accesible via :https://www.youtube.com/watch?v=8JzgyewNUcY

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Boy Blue Entertainment's adrenalin fuelled productions combine original street dance choreography by Kenrick Sandy with a bold urban soundtrack created by Michael Asante. Pied Piper is an electrifying mix of synchronised hip hop moves, energetic breakdancing and soulful beats, providing a contemporary take on Robert Browning's poem, and giving it fresh relevance.

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Contemporary Choreography - Sia Elastic Heart

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Contemporary Choreography - Sia Elastic Heart

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Lowry, M( 2015)

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Studio 25 (2016). Accessible from. https://vimeo.com/162090538

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This is "Untitled" by on Vimeo, the home for high quality videos and the people who love them.

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Since September I have been working on my own choreography a lot. Before creating a piece I listen to the song for days before so that I know the music properly. I like the music to relate to my concept and this way, I find it easier to create. I also like to freestyle to the song before I create the choreography, I sometimes film my freestyle and even keep certain parts and put them into the choreography. I did a freestyle to FKA Twigs - Good To Love, in preparation for my Breakout piece.

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"a supportive system of sharing information and services among individuals and groups having a common interest:" (Chapman, R 2010.

All of the dance events workshops and performances I have been involved in have helped me to network and get to know other dancers. this has opened up other opportunities, for example, after my performance at 'Elevate' I was asked by the organiser to teach a workshop in Sheffield. Social Media has also helped me to network and get more work. After posting clips of my teams from Wales, I was offered a job teaching in Bury.

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After my training so far this year, I have decided that I want to do more contemporary training. for my assessment we had to fuse styles, but I tried to give my piece more of a contemporary style, as normally I would focus more on the commercial side of dance.

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"MOVE IT is the UK’s biggest annual dance event taking place 18-20 March 2016 at ExCel London. Dancers of all levels come together in one gigantic celebration of all things dance: classes, performances, career route advice, workshops, shopping and more."
Moveitdance.co.uk(2016)

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"Contemporary Fusion- An expressive and improvisational dance form of organic body movement which could utilize elements with gravity: contract and release, distill and proximal, flow and bound movement."
Green, D (2016). In the future I plan to create work that fuses hip hop and contemporary.

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"Kenrick "H20" Sandy is Atmosphere's Assosiate Creative Director and Choreorapher. Founder of BoyHe is the choreographer of the Olympic Opening Ceremony. He is an IDO World Hip Hop Championship finalist and at the very forefront of UK hip hop. He is the Co-Creator and Choreographer of the Laurence Olivier Award Winning production 'Pied Piper' and a Judge of the Nike Dance Clash."

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United Dance Organisation (2016)

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From working with competition teams I have learned that there are lots of rules and criteria you have to follow in order to do well. I have become better at creating choreography to fit the criteria needed. For example, when I first started teaching teams, I did not use enough different style in the choreography. Now I make sure my teams included different styles in their sets including hiphop, house, waacking, voguing, locking and popping.

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Emotional abuse is any kind of abuse that is emotional rather than physical in nature. It can include anything from verbal abuse and constant criticism to more subtle tactics, such as repeated disapproval or even the refusal to ever be pleased.

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"Just because you’re not battered and bruised doesn’t mean you’re not being abused. Many men and women suffer from emotional abuse, which is no less destructive. Unfortunately, emotional abuse is often minimized or overlooked—even by the person being abused."

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"The company’s main focus is creating pieces of full-length narrative Hip Hop Dance Theatre " Zoonation,(2015)

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Jerwood DanceHouse, Ipswich | Friday 4 April 2014 Open up the sleeve of The Black Album to find a line-up of effortlessly stylish dance. In this exceptional triple bill, three distinctly different hip hop choreographies are seamlessly woven together like a concept album.

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"Avant Garde is a London based company pushing the boundaries of hip-hop and contemporary dance. Our dynamic performances have musicality at their core and explore a myriad of styles, themes and media. " (Adigun, T 2015)

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For this video we had one rehearsal to learn the choreography and then filmed it a few days later. On the day of filming I was asked to freestyle for a different section of the video. This was good practice, because if I was to take a professional dance job, I may be asked to do freestyle or do thing I have not prepared for. From watching the video I have realised I need to use my facial expressions more as they are inconsistent. I also need to acknowledge the camera more when dancing for film.

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"I asked Kennedy to come to our dance school to teach a week's intensive course to choreograph 2 pieces of dance to showcase at our schools show and for a local dance school choreography platform.
Kennedy was my first choice as she is a favourite with the children. She has patience and explains everything thoroughly.
Mainly for her choreography though. We have loved experiencing her choreography develop with her time at Shockout, and feel that her last work has been her best. ❤️" (Danielle Dee Stephens, 2016)

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Dani Dee Dance Studios (2016)

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Below is some of the original choreography I created for the older class at the camp. From the video of their piece you can see how I have used formations and level changes to make the choreography look more interesting and also adapted certain steps to suit the ability of the dancers. I feel that all of my rehearsal and teaching experience this year has helped me to do this effectively.

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Dani Dee Studios (2016) Accessible via

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Uploaded by Kennedy Harris on 2016-04-07.

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Into the Hoods Remixed. (2016)

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5 star show, Into the Hoods: Remixed is on tour from 25 Feb - 9 April, before returning to the Peacock Theatre, London in May.

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Insane in the brain(2009)

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Trailer for Insane in the Brain - 2009 UK Tour - by BouncE Streetdance Company

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I watched a performance by bounce dance company in 2009, when I hadn't really done much dancing. The show told the story of 'One flew over the cuckoos nest' using hiphop dance. From then on I was inspired to create choreography with concepts and create movement which tells a story. I have been interested hiphop theatre shows ever since, and since my training, I have a growing interest in contemporary dance and merging the two together to create unique movement. Over the years, I have discovered other companies that merge hiphop and contemporary and seen other hiphop theatre pieces such as Zoonation's 'Into the Hoods', 'Some Like it Hiphop' and recently 'Into the Hoods Remixed'.

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I have spent a lot of time confused about what I want to do after my training and what direction to take when I leave. I have been researching companies and choreographers to see what type of work I might like to do in the future. I am interested in dancers and companies who fuse hiphop and contemporary in their work.

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"Candace Brown is a dancer, choreographer, and instructor with a huge passion for the art of dance. She has taught in Los Angeles as faculty at Debbie Reynolds Studio, Millennium Dance Complex, and Edge PAC. She has also taught around the world in various countries like Japan, Spain, Australia, Russia, Brazil, Greece, Poland, Ireland, and Amsterdam, as well as across the US"  (Broadwaydancecenter, 2016)

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Written in the autobiography, ‘Blood Memory’, Martha Graham is quoted; “I am not out to make a preach about my life. Some of it has been wonderful and I’ve been very, very fortunate. Some of it I regret. The things which are, perhaps, too private to ever reveal—one refuses to reveal.” This quotes is suggestive of the idea that Graham had been through and dealt with experiences in life, which for unknown reasons, she felt she could not express to others verbally.

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“To me, the body says what words cannot.” Graham M. (1985).

“Dance is the hidden language of the soul, of the body. And it's partly the language that we don't want to show.” Graham, M. (1985).

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Inco, G (2016)

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Creative Director Leighton Rees Wall Dancers Leighton Rees Kennedy Harris Yazmin Harcourt Video

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Here is my first dance video of 2016. Creative Director Leighton Rees Wall Dancers Leighton Rees Kennedy Harris Yazmin Harcourt Video And Edited INCO www.INCO.gallery Track by Chase & Status - Pressure You can buy the track here https://itunes.apple.com/gb/album/pressure-feat.-major-lazer/id705169306?i=705169544

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I have found that sometimes, trying to do as much as I can, such as performances, teaching, creating can sometimes get overwhelming and confusing. I feel like in the past I have been able to use dance as a way to deal with stress or emotional issues. Because of this I am interested in Martha Graham as there is a lot of evidence showing that she believes dance can be an effective way to express things you struggle to reveal verbally. I think that putting pressure on myself to become a good dancer is a good thing but can sometimes become overwhelming and I have gone through times where I feel I have lost my passion for it. At these times I have been re inspired by certain teachers or projects. An example of this is taking classes with Candace Brown. After working with her I felt re-inspired to dance again, as I had been lacking motivation for a while beforehand. I need to be able to find a way to motivate myself for any class, but sometimes I feel like something new helps me to do this. I have also found that sometimes I can remind myself how much it helps me by just being in the studio and freestyling or creating, or simply takin a class somewhere I don't normally go. It is important to stay positive and motivated about dance so that I can get where I need to be, and I think all of my teaching and training experiences have started to help me to manage my mental attitude towards dance more.

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Finished this choreo today😊. Never normally upload a full vid of anything but thought I should start doing some things that I don't normally do 💃❤️

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I was asked by a company who runs a creative writing course in Wales, to do a freestyle based on emotional abuse in relationships, for them to merge with a poem called 'It wasn't me' by Zoe Murphy. This was a good experience for me because it was site specific, which is something I am not used to. I think in future, for work like this, I need to ensure that I use my face more, and I need to be aware of the camera more, when dancing on film.  Video: Murphy, Z(2015)

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It Wasn't Me- Collaborative piece by Zoe Murphy and Kennedy Harris.

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Over the easter holidays, I taught at a dance camp for five days. I taught two classes and each had to have a three minute piece by the end of the week. The camp was for five days. After learning from my experience at elevate. I decided to plan the pieces before the camp so that I could teach them more quickly and confidently. I chose songs for each group and also had an idea of what I wanted to do with the formations and structure of the piece. I planned to finish teachin the peices by day 4 and using the 5th day to clean. Sticking to this plan made the rehearsal time much more productive. I wasn't experimenting as much with movement and spacing and because I already knew what I wanted, there was not as much trial and error which takes up more time.  Also as both groups in the camp were of a very mixed ability. This made the experience beneficial to me as a choreographer as I had to cater to everyone in the group and get all the dancers involved in the peice as much as possible. I managed to do this by using formations to create seperate groups within the choreography and creating simpler phrases of movement for different groups in the peice.

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Get a hassle-free browsing experience of Instagram contents with WEBSTAGRAM!

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Throughout the year, I have worked with lots of street dance teams who enter competitions. From creating choreography and attending competitions I have learned how to make my choreo more interesting through using different levels and formations. I have also learned that to do well at these type of competitions, the choreography must include a number of different style. Working with younger teams and beginner teams, has meant that I have had to create simple choreography or adapt choreography to the level of the dancers, which is good experience because, as a choreographer you may not always work with advanced dancers, they could even be actors or singers with little dance experience.

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The studio we rehearsed in for Chads piece was a lot smaller than the stage we performed on at 'Move it'. This meant that on the day we had to adapt to the larger stage in order to fill the space. I think the performance went well overall. After watching it back I think I could have used my face more and been cleaner. To I'm prove on this next time I think I need to work on strengthening exercises so that when I dance full out I am still strong enough to hit clean shaped and lines.

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Get a hassle-free browsing experience of Instagram contents with WEBSTAGRAM!

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For Chad Taylors move it piece, we started rehearsal a few weeks before. I enjoyed the rehearsal process for this peice. I think this is because we had plenty of time to learn all the choreography and clean it. This made the rehearsal process enjoyable as we were not rushing through things. However, most of the time when being a part of dance pieces there is less time, which can be stressful. For the piece we used an umbrella as a prop. We first rehearsed without the umbrellas. When we brought the umbrellas to rehearsal we then had to spacially adapt the piece so that we had enough room. I think working with a prop was definitely beneficial to my growth as a dancer, as I had to be even more spacially aware of where I was dancing and opening and closing the umbrella, in order not to crash into anyone.
Video: Kinsella, J (2016) Accessible via: http://padlet.com/kendy_xx/ab4muprtyoe0/wish/104247868

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Studio 25(2016)

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Studio 25 (2016)

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Barraclough (2016)

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Studio 25 (2015)

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Mannion, J (2016)

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Easter Dance Camp (Older Group) - Rehearsal

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Easter Dance Camp (Older Group) - Rehearsal

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Dani Dee Dance Studios, Wales (2016)

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Dani Dee Dance Studios, Wales (2016)

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Fitness Club Sheffield(2016)
Video wouldn't upload.

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Studio 25(2016

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Throughout my training, I have found it hard to commit myself to the course due to outside factors. In terms of training I have felt unsure of how to sell myself as an individual dancer. My short term goals are to continue training, teaching classes and creating choreography to find myself as a dancer.  Throughout the course I feel that I have focused on trying to be a certain way, or comparing myself to other dancers and doubting whether my choreography and the way I dance is 'right' or 'good enough'. However, recently I have been trying to take more classes outside of the course. I think I sometimes feel less pressure to be a certain way when dancing in a different environment and being around different people. I have also learnt from watching how others move and how they make choreography their own by adding style and dynamics. This has helped me to accept that although it is important to deliver what the choreographer asks and to be a clean dancer, every choreographer/dancer is different and that it is okay to be individual. Although I have missed a lot of classes since being on the course, I feel like all of the experiences I have written about, have helped me to become clear about what I need to do to move forward as a dancer. I think because of a lack of self confidence, my choreography has lost meaning, and I also lost my ability to perform and use my face. I feel that I have focused on things that I don't really feel comfortable doing and started to change my own style and work, to blend in with what everyone else is doing. At the moment I have realised that this is the opposite of what I need to do in order to improve. I need to explore my own style of movement and choreography and develop it further, which will allow me to become a better dancer by taking my own path instead of following others. Since realising how much I need to gain confidence in my own style and movement, sometimes I like to create my choreography based on my own diary enteries, or even art work I have produced. This way the work will always be personal to me, so I can ensure that I stay true to myself. I need to continue my technical training as much as possible, as I have missed a lot, I feel that this is my weak point. However, I am aware of this and feel that it is something I can continue to work on after leaving. I am interested in hiphop theatre companies and choreographers who fuse different styles together to create theatre shows and dance peices with concepts behind them. When I leave I plan to learn styles such as hiphop, popping, locking, house and waacking after being inspired by companies such as Bounce, Zoonation and Boyblue who use these styles to create theatre shows. . I like to use dance as a way to express things in a non-verbal way, basing my choreography on  issues that are important to me. I feel that, although it is important to have technique and the ability to execute clear shapes, sometimes to make this effective and create a clear picture of the emotion or story you are trying to express, movement needs to be distorted from set technical steps you learn in classes. I believe that because sometimes situations are not everyday situations, that to express a story about them effectively to an audience, the movement should not always look, perfectly placed or 'pretty'. In some cases I feel like the more distorted and unusual the movement is, the clearer the story or emotion is potrayed. I am interested in hiphop theatre and companies and choreographers who fuse different styles such as Avante garde.  I also want to fuse my contemporary and jazz training with these styles, so that I can move and create dance in my own unique way. In the future, I plan to continue to teach and eventually create my own company which will fuse contemporary and hiphop to communicate dance pieces with concepts to tell stories, aimed at dancers who want to use dance as a way to deal with emotional stress or to express themselves in a healthy artistic way.

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-Adigun, T. (2015). About Avante Garde Dance. Available: avantgardedance.com. Last accessed 08 April 2016.

--.Atmosphere (2016). (2015). Kenrick Sandy. Available: http://www.atmosphere.uk.com/artists/Dancers/Kenrick-Sandy/34. Last accessed 08 April 2016

-Chapman, R. (2010). Networking. Define Network. Available: http://www.dictionary.com/browse/networking. Last accessed 08 April 2016.

-Clarke, E (2015) Accessible via:https://www.youtube.com/watch?v=ICPKpB-oL7c&nohtml5=False

-Green,D. (2016). Contemporary Fusion. Available: https://www.dabble.co/chicago/dance/classes/contemporary-fusion-movement-individuality-with-joseph-hutto-damon-green. Last accessed 08 April 2016.

Freedman, R (1998). Martha Graham: A Dancer's Life. -: Houghton Mifflin (Trade). 10-23.

-.Gumbs,M (2016) Accessable via: https://www.instagram.com/p/BCG0VOdvSRb/

-.Henninger, B.H, 2012. BOOK DANCE JOBS: The Ultimate Career Guide For Professional Dancers. 1st ed. UK: N/A

-.Phillips, V. (1991). Martha Graham’s Gilded Cage:Blood Memory—An Autobiography(1991). Blood Memory—An Autobiography(1991). 1 (1), 63

-Salazar, A. (2016). Us Them Mission Submit | Profiles Playlists Reviews Commentary Topics + The Food: FKA twigs – “Good to Love” . Available: http://stanfordartsreview.com/the-food-fka-twigs-good-to-love/. Last accessed 5th Mar 2016.

-Saxelby, Ruth (25 September 2013). "Interview: Young Turks’ FKA twigs". Retrieved 12 November 2014.

- Soopanatural (2009) Accesible via :https://www.youtube.com/watch?v=8JzgyewNUcY

-Stephens, D (2016), Easter School Reference.

--.Smith, M/Jeanne Segal, J. (2016). Domestic Violence and Abuse. Available: http://www.helpguide.org/articles/abuse/domestic-violence-and-abuse.htm. Last accessed 08 April 2016.

--.United Dance Organisation. (2015). Team Rules 2015-2016. Available: https://gb.udostreetdance.com/sites/default/files/Team%20Rules%202015-2016%20Final.pdf. Last accessed 08 April 2016.

-. (2016). Boy Blue Entertainment. Available: http://boyblueentertainment.bandcamp.com/. Last accessed 07 April 2016.

-. (2015). Elena Gilbert. Available: http://vampirediaries.wikia.com/wiki/Elena_Gilbert. Last accessed 08 April 2016.

-. (2011). Emotion Suppression: Effects on Mental and Physical Health. Available: http://www.mysahana.org/2011/05/emotion-suppression-effects-on-mental-and-physical-health/. Last accessed 5th Mar 2016.

--. (2016). Faculty, Hip-hop, Candace Brown. Available: http://www.broadwaydancecenter.com/faculty/bios/brown_candace.shtml. Last accessed 07 April 2016.

--. (2016). Into the Hoods Remixed. Zoonation Dance company. Available: http://www.zoonation.co.uk/. Last accessed 08 April 2016.

-. (2016). Welcome - Move it. Available: http://www.moveitdance.co.uk/. Last accessed 08 April 2016

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In my opinion, it is most likely for a person to supress their emotions when they have experienced multiple traumas, or emotional stress. Suppressing these emotions enables us to prevent our selves from getting into the same situations again. A desire to avoid feeling emotional pain, relates to the fear of getting into similar situations, that the individual may have been in prior to their difficulties. People who may have been in abusive relationships may avoid building intimate relationships with people, due to the fear of experiencing the same thing they experienced in the past. People who have been let down by people they have trusted, may then begin to avoid trusting people. I think that this can become obsessive and the person may feel that they need to be alone in order for them not to experience the emotional stress that they have in the past, despite wanting to build relationships with people they may find themselves unable to relate to people, as they are held back by the fear of bad things repeating in their lives.

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Song Choice. The song is what made me look into the idea of suppressed emotions and the lyrics relate directly to the issue.
" I like to experiment with sounds, generating emotions while putting my voice on certain atmospheres"

" All the while, “love” takes on a range of meanings beyond romance: love is religion, love is pain, love is addiction. Love is multifaceted and temporary, easy to lose and near impossible to get back. Chorus after haunting chorus, “Good to Love” gets at the tragic paradox of heartbreak with Barnett’s gorgeous, delicate vocals: it stings, but damn, does it feel so good to love." (Salazar, A. 2016).

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Sometimes when we are faced with difficult situations, such as  violence or abuse or trauma,  our minds may decide to protect us, by suppressing strong negative emotions.

Emotion suppression, is the avoidance of experiencing an emotion, and often acts as coping mechanism that enables, people to continue with their lives at difficult times or to be seen as able to cope.

Signs and behaviours which indicate that some is suppressing their emotions include:
- Distracting yourself from the problems.
- Avoiding conversation.
- Avoiding places or people which may relate to the problem.
- Using substances to forget or numb emotional pain.
(Salazar, A. 2016).

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The story of Elena Gilbert - 'The Vampire Diaries' and the multiple reasons why her humanity was switched off.

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Vampire Diaries Last-Ever Comic-Con Interview

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The Story Of Elena Gilbert | The Vampire Diaries

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Please watch in HD! Collab with the amazingly talented Alex! https://www.youtube.com/user/OfficalTVDNTv Okay so Alex's parts are just breathtaking oh my god I am so in love with them, just the way he edits is so gorgeous and I am just so honoured to have done this with him.

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Easter Dance Camp (Younger Group) - Rehearsal

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Easter Dance Camp (Younger Group) - Rehearsal

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I have learnt from working with young children that you need to be encouraging. I think sonng choice makes a big difference to how they remember and perform the movement. Sometimes I think that young children tend to be able to relate and remember movement better when dancing to songs they know. I tried to keep the peice upbeat.
Dani Dee Dance Studios(2016)

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I am currently creating a piece for a performance in Wales. my work placements, along with rehearsals and training, have enabled me to gain a clearer understanding of how I want to dance and what I want to do. For this piece I feel like I can now apply everything I have learn from these experiences to make the process easier and more effective, and also to create a piece which will communicate what I want to say more effectively than work I have created previously. The piece is based the idea of supressing emotions. I took inspiration from the TV series 'The Vampire Diaries,'. The characters are able to switch off their humanity, meaning that they are unable to feel any emotion. Many of the characters turn off their humanity switch, after experiencing trauma, or to suppress the guilt they feel for killing humans, due to the blood-thirst they experience as vampires. My piece focuses on the idea of blocking out emotions and wanting to let them back in but being too scared of experiencing pain.

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UDO 2016

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I created a collaborative piece with my peer Michael Lowry, for a performance in Sheffield. We used five dancers for the piece, including ourselves. We created the piece a week before the performance and found it difficult to fit rehearsals around our timetable. Also because we danced the piece as well as creating it, it was hard to direct the dancers as well as learning the piece ourselves, especially because we did not have much rehearsal time. Due to the time restrictions, I think collaborating choreography with someone was difficult and creating choreography took longer than normal. Although I found this process difficult, it was definitely beneficial to my development as a dancer and choreography as working with limited time is something I would have to get used to if working in the industry as a professional. When we got to the venue the stage was very small. We had to change the spacing of the peice to give us more space. Although was stressful, it also benifitted my growth as a dancer/choreographer as I have now experienced having to adapt choreography and work under pressure.