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I need to work on my isolation's because at the moment they look too small and you can't really see what I am trying to show with my body so I need to work on making everything bigger.

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Another one of my strenghts is my elovation. However I need to focus on my landing so they I don't land too heavy. I will do this by going through my feet.

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This is the correct way to perform this move. With hands splayed and and my arms straight with no weight in my hands or on my thighs. I am holding my core and elongating my back instead of hunching over.

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Here is a video of the Cecchetti technique.

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Ballet Evolved - Enrico Cecchetti 1850-1928

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A strength of mine in my core techniques is my alignment and extension. I have improved my arm lines so that are clean and strong and my flexibility is also a strength.

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Throughout the years, dance has struggled with a constructed dualism between the ability of the dancer to engage in artistic expressiveness versus his or her ability to perfect technical skills. Similarly, the teaching of dance struggles with this dualism, and dance teachers often make decisions to focus on either expressiveness or on technique, creating an environment where one suffers at the expense of the other. This dualism is expressed well in the writings of Lynn Seymour (2000

Seymour, L. 2000. Ballet education: Are we forgetting fundamentals? Dancing Times, January, 313.

[Google Scholar]

) and Susan Leigh Foster (2003

Foster, S. L. 2003. “Dancing bodies”. In Meaning in motion, Edited by: Desmond, J. C. 235–257. Durham, NC: Duke University Press.

[Google Scholar]

), who both write about dance education – from their own dance training backgrounds as well as from their current examinations of it. Seymour (2000

Seymour, L. 2000. Ballet education: Are we forgetting fundamentals? Dancing Times, January, 313.

[Google Scholar]

) “prefers education to training” (313) as terminology. She believes this education must develop the imagination of the dancer in order to help him or her develop as a sensing, moving being who has the self-knowledge necessary to embody the ideas and concepts about space and music that are integral to dance performance. Foster (2003

Foster, S. L. 2003. “Dancing bodies”. In Meaning in motion, Edited by: Desmond, J. C. 235–257. Durham, NC: Duke University Press.

[Google Scholar]

), on the other hand, sees ballet training as the pursuit of pre-defined standards of perfection that remain outside of the dancer. For her, dance training involves the presentation of imposed “systemic programs of instruction” or “drilling” that is necessary for the attainment of specific “ideal” habits and physical movements (238–40). Morris’ (2003

Morris, G. 2003. Problems with ballet: Steps, style and training. Research in Dance Education, 4: 17–30.

[Taylor & Francis Online], , [Google Scholar]

) research also investigates this dualism and the problems it creates for ballet education. She argues that ballet training is often “prescriptive” and encourages a teaching approach focused “on the mechanical aspects at the expense of the qualitative” (26). In such an approach, “the expressive elements of the dance movement are ignored” and students focus exclusively on “the acquisition of flamboyant skills, and the mechanics of executing the codified technical movements” (18). Spohn, C. (2012). Shibboleth Authentication Request. [online] Www-tandfonline-com.ezproxy.bolton.ac.uk. Available at: https://www-tandfonline-com.ezproxy.bolton.ac.uk/doi/full/10.1080/14647893.2011.651118 [Accessed 3 May 2019].

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Horton, Lester (b Indianapolis, 23 Jan. 1906; d Los Angeles, 2 Nov. 1953)

US dancer, choreographer, and teacher. He studied with Bolm in Chicago but his most formative influences were the Japanese dance actor Michio Ito and the dance of Native American Indians. In 1928 he choreographed the pageant The Song of Hiawatha and moved with the production to California, where he was based for most of his career. In 1934 he formed his own company, Lester Horton Dancers, with which he danced and for which he choreographed many works. Although based on the West Coast the company also appeared in New York and Jacob's Pillow. A neck injury forced him to retire from performing in 1944 but he continued to choreograph, and design, dances for his company and also for film and night-clubs. His distinctive dance style emphasized a powerful stillness in the torso from which radiated asymmetrical movements of the limbs. In 1948 he opened his own theatre in Los Angeles. His best-known work, The Beloved, has been performed by many companies including Ailey's and Dance Theatre of Harlem. Other works include Salome (percussion accompaniment, 1934), Conquest (mus. Lou Harrison, 1938), and Totem Incantation (mus. Judith Hamilton, 1948). He was an influential teacher, his pupils including de Lavallade, Lewitsky, Trisler, and Ailey.
Judith Mackrell, J. (2010). The Oxford Dictionary of Dance (2 ed.). [online] Oxfordreference.com.ezproxy.bolton.ac.uk. Available at: http://www.oxfordreference.com.ezproxy.bolton.ac.uk/view/10.1093/acref/9780199563449.001.0001/acref-9780199563449-e-1213 [Accessed 3 May 2019].

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This is the incorrect way to perform a head swing in a plie. Here I am hunched over putting all my weight into my hands and thighs with no posture at all. However if you look at Jazz Picture 2 you will see I have corrected myself.

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This is a video of dancers training in the Horton technique. Here you can see the flat backs and parallel positions.

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When performing Horton excercises in contemporary I become so focused on getting the technique correct that I forget to use my face and can become very serious. As the technique is very controlled my face becomes stiff also. My teacher told me I need to relax my face to make the performance better. I have been working of this because my performance was what brought my marks down in my assessments.

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The Lester Horton technique constructs some of the best human skyscrapers in the dance world. And like good building design, the Horton technique's emphasis on flat backs, pelvic hinges, and "lateral T's" produces a long-muscled, powerhouse dancer.

dancemagazine. (2018). Technique: The Hows of Horton. [online] Available at: http://www.dancemagazine.com/technique-the-hows-of-horton-2306867019.html [Accessed 16 Apr. 2018].

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In this class I was corrected on my fourth position and making sure i knew the correct way to hold fourth. I need to remember that my feet should make a box shape on the floor and not a rectangle. That way I will maintain a wide position where I can get a deep lunge to help prep for my pirouettes. I will practise this by checking my position in the mirror and correcting myself everytime.

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I need to work on my landings when jumping because my teacher told me that I slightly turn my knees in whenlanding which will cause an injury and start bad habits. I will correct this by watching myself in a mirror and concentrating on my landing and making sure I pull up.

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As we are concentrating on the horton technique in contemporary we have a flatback excercise. My teacher corrected me on my flatback because I was bending over too much with my body. I was not aware that I was leaning over too much until I filmed myself doing the excercise. As you can see in the video my back is on a slight angle leaning towards the floor. As you can see in picture 1 I have corrected myself.

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Contemporary PICTURE 1

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One year after his accident, Luigi made it back into the studio, where he developed other exercises that helped his post-injury body. "As I tried to dance again, I fell a lot in the center," Luigi says. "I decided I had to do the same thing away from the barre that I did at the barre. " He began by putting his arms in second position, palms facing the floor, to stabilize himself- as if he were pressing down on an invisible barre. He also incorporated épaulement from his ballet classes. "Épaulement helps you shift from one position to the next, and puts you in the right spot for each transition," Luigi explains. Karin Baker, a Luigi devotee and Broadway veteran who danced in the original cast of 42nd Street, finds that Luigi's use of épaulement "teaches you to connect A to B. He helps you understand how movement flows from one place to the next."

Thanks to his unique rehabilitative exercises, Luigi was soon back onstage. After performing in a Falcon Studio showcase, he was snatched up by MGM scouts and began dancing in movies. (Catch him in classic films like An American in Paris, Annie Get Your Gun and White Christmas.) On set, he met his mentor, the legendary Gene Kelly. Kelly renamed the dancer Luigi ("He told me there were too many Genes! "), and encouraged Luigi to be proud despite residual physical issues. "Originally I hid my face on set because it was still a bit paralyzed," Luigi says. "Gene told me, 'Keep doing what you're doing but lift your face. It's beautiful.' That helped create the carriage I stress in my technique now. It's like you're leaning your face up to feel and see everything you can."
Kay, L. (2009). Luigi's Legacy. [online] Search-proquest-com.ezproxy.bolton.ac.uk. Available at: https://search-proquest-com.ezproxy.bolton.ac.uk/docview/753508072?pq-origsite=summon [Accessed 3 May 2019].

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A major one of my corrections was to focus on tidying up my arms as it could look like I am throwing away movements soemtimes and also to sharpen arm movements otherwise i can look weak and sloppy.

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Here is a video of me kicking in-front of my arm. This was one of my corrections from last year when I was told I needed to stop kicking behind the arm because I causes me to have bad posture.

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In ballet I have been told that I arch my back slightly when Plieing and I need to tuck my pelvis under more so that I have a straight spine which gives me more control and i am able to hold my core better.