• (see Appendix 2) 

• (see Appendix 3)

• (see Appendix 4)

To improve and develop these weaknesses, I responded to the feedback: 

• To improve my second position, I've implemented an exercise Ben Tripe taught me (see Appendix 5) which was useful to widen my understanding, and eventually my muscle memory will retain it.

• To improve my weight and rib placement in passé position, I have focused on using the correct technique (see Appendix 6). 

• As I'd previously been trained to keep both hips facing forwards it was challenging to implement Lisa Aldridge's feedback. What really helped was Lisa held my leg in arabesque so I could focus on letting my hip open whilst pulling the opposite rib back. This really helped me feel and see the correct placement so when I independently practice, I can correct myself (see Appendix 7). 

Something Kane talks about is how the audience should see the music through your dancing, and this is a goal I would like to set myself for all styles as mentioned in Ballet.

Following on from last term's feedback, when focusing on turning our leg out, it's common for people to throw their weight back, making us more aware that we need to focus on placing it forward. Implementing this correction further helped me this term as we began learning pirouettes. Ben talked us through how to perform a pirouette in detail (see Appendix 9). These videos show the improvement of my pirouettes from the first term to now (see Appendix 10 & 11).

As we got closer to the assessment, I wanted to make sure I was fully prepared which pushed me to sing more in class. In an ATS lesson I sang 'Once Upon A Dream' and received helpful feedback.

1:1 lesson:

I sang 'Cockeyed Optimist' and received some useful feedback which I can apply to all songs. A piece of feedback I applied to this song was to begin at a piano volume because it matched my characterisation and gave the song room to build. This feedback made me realise I should always read the sheet music because although I can develop the song in my own way I must also take on board the directions given by the composer.

• Group work

• Spatial Awareness

• Musicality

• Dancing in unison

• Leadership

• Diction

• Characterisation

• Speech quality

• Integrated performance

• Vocal stamina

• Harmony's

• Dynamics within an ensemble

  
  

  From term 1 when I was nervous to sing in front of my peers to now singing a challenging, fast tempo song, with choreography and characterisation to an audience is a huge development (see Appendix 21). 

Appendix 4: https://youtube.com/shorts/im3UpNS9LBo?feature=share

During this project and term, I worked on my feedback.

• In response to feedback 1 I've been striving to integrate performance into my ballet by listening to the music and trying to reflect how it sounds, helping me create more texture, maturity and musicality to my dancing whilst also broadening my dynamics. Developing my performance in ballet made it easier for me to add character to my 21st Century performance when I had to portray someone at an audition.

• After concentrating on the position of my arm in a la second I hadn't realised I was placing it too far forward. Now I know I will focus more in lesson to engage my back muscles and pull my shoulders and arms back. 

• (See Appendix 13) This term's pirouette exercise after working on this feedback.

I wanted to check the improvement of my arabesque and asked Lisa if she would hold my leg in arabesque like she did in term 1. I found it a lot easier to acknowledge the correct technique and did it straight away but still struggled to maintain keeping a pulled back rib, straight knees and being on my leg. I feel this is due to strength which will come the more I practice (see Appendix 14). These are techniques I want to take forward into level 5.

• Making my movements precise, clean and reflective of the music. In the last few rehearsals before we performed, we went through each piece of choreography making sure all our movements were the same.

• Clean spacing - Kane was very clear with this direction especially when dancing in vertical lines because if one person was out of line it would make the movement appear unclean.

Having experienced working as a collective in Term 2 with Kamila had a positive effected on the way I approached this because I was more aware of the skills I needed to use such as spatial awareness and using my peripheral vision to make sure I was in the correct spacing.

I really enjoyed integrating commercial with Musical Theatre because there are so many ways of performing this style it was exciting to collaborate it with acting through song. I loved that I could go from a characterful dialogue section into a commercial dance break and both genres be as strong as each other because of my progression in this style. (see Appendix 18) which showcases my progression from term 1 to now.