Literature Review A

Ear Training for the Body (A Dancer’s Guide to Music)

(Katherine Teck 1993)

Katherine Teck is a highly experienced dance musician and founder of the International Guild of Musicians in Dance, New York. This book explores the relationship between music and dance, providing the dancer with knowledge of relevant theoretical and artistic musical components. Part one of the book ‘Musicality in The Dancer’s Art’ examines the technical side of music relevant for dance. There are many aspects covered; how to practice musicality in class, body percussion, percussion patterns, muscle memory and the collaboration of music and choreography. The second part, ‘Fundamentals of Music’ relates music theory to movement and examines how choreographers use this in their work. The author collaborates with highly acclaimed dance artists sharing their experiences of developing musical awareness allowing them to achieve greater artistry in performance.

‘The goals are to add expressivity and accuracy to dancers’ technical work in class, to enhance the artistry of performers onstage and to enlarge choreographer’s palettes of musical possibilities for their new works – whether these are full scale theatrical productions or more modest projects for a workshop or improvisational class.’ (Teck, 1993, pvii)

Theories

The author states that learning about music should be parallel to dance education and therefore be a fundamental aspect of the dancer’s training. Teck discusses the value of developing listening skills to identify different layers and textures of sound.  By understanding the structure, the performer can analyse and acknowledge the components they wish to use artistically. By learning music theory and terminology dance professionals can articulate the qualities required from the movement in order to reflect it in performance.

A common phenomenon known to dancers is how music informs muscle memory and can be used to recall choreography. Upon learning choreography, dancers listen to the music religiously to reinforce the connection between music and movement set. Having experienced this, I am aware upon hearing the music the body instinctively knows what to do, similar to how a particular song sparks a memory or a feeling.

Advice on selecting appropriate music for choreography was particularly useful for me as I seem to spend days, sometimes weeks trying to find the right music. As a creative starting point, the music sets the tone and provides the basis for developing choreography. When choosing suitable music for a particular age group or ability it is necessary to consider the complexity, tempo, time signature and relatable feel of the music.

 ‘Anybody who wants to be a dancer should study music. In dance there has to be a harmony. You may know nothing formally about music, but there is still a sense of harmony: You will see that something is happening, and be with it. You have a sense of being there. You are making poetry, almost painting in space.’ (Carlos Orta, p261)

The book gives an account of an experimental workshop, ‘The Carlisle Project’ held in Pennsylvania 1984, for dance artists and choreographers who lacked artistic freedom in their early training. In the workshop, participants were nurtured and encouraged to explore their creativity, the experiment provided evidence of how individuals interpret music differently. During the workshop participants picked out different aspects within the music to base their movement upon, some picked certain instruments and others identified with varying rhythm patterns. They also interpreted the phrasing differently and many began and completed a sequence of movement at varying times. The experiment showed that everyone hears music differently and will therefore interpret it in their own unique way.

‘Those dancers who are open to many styles of music may well be the most likely to appear onstage professionally.’ (p12) Suggests that the awareness and experience of working with a broad spectrum of genre can produce a more versatile and conscientious performer. An intriguing choreographer whose work is heavily influenced by a diverse range of music is Mark Morris. ‘Mr Morris’s musical sensitivity is a fundamental feature of his artistic personality. Not only is his taste eclectic, it is original. In every case the choreography realises the essential character of the music, both structurally and stylistically.’ (Dale Harris, Wall Street Journal p254)

‘Music is a partner; it’s not something that is just keeping a beat for you. The music is swelling: What do you do? Does that make your movements swell? It might. Or are you going to go in contrast to that? If it is an adagio, you might give something very fast against it. But how do you use the music so that it becomes an organic living thing, where the music and dance come together to make one statement? If you take everything away from your dances – costumes, stage, lights, everything (and this has happened to us on tour when the tape machine has broken, or the lights), then you should still be able to have sense of a musical dance. (Carla Maxwell p261) This quote reminds us that music and dance are an artistic collaboration, both of equal importance and even in the absence of music there is still a rhythm to movement.

Caroline Adams, an ex-principal dancer and teacher from the Julliard School in New York coaches students for auditions, through her experience as performer she reflects, ‘I think the music is what dancing is about for me. If I couldn’t make sense out of the movement in relationship to the music, then nothing worked.’ (p257) With regards to her current role as a teacher of up and coming professional dancers, she too highlights the importance of exposure to a wide range of musical genre to establish a connection and create unity with choreography. ‘The dancer who instinctively knows how to find all the room for interpretation within a phrase. Without in any way distorting what is being asked, there is all that space for physical nuance to take place. To find that: to be inside the time and inside the sound; to find that movement range within the sound is really what it’s about. When one sees it, it isn’t something you can verbalise. You are absolutely – ZAP! – drawn to it. It is inescapable. It has nothing to do with being on the beat.’ (Caroline Adams, p260)

Conclusion

Reading this book has broadened my perspective on the many ways we can relate music and movement, I have discovered how individuals pick out certain elements that ‘speak to them’. I have discovered that musical interpretation is individual in artists' use of varying dynamics, highlights, rhythms and layers. I have gained an insight into the work of notable choreographers who utilise widely differing approaches to music. I now plan to research further the work of:

George Balanchine, an iconic choreographer, ballet master and classically trained pianist used music as the influential forefront for his choreography. Balanchine urged his dancers to ‘internalise’ the tempo, his ballets technically challenged his dancers with intricate rhythmical patterns and changes of pace. ‘I think that, with intelligent appreciation, any student can develop certain sensitivities to music that will improve the quality of her dancing immeasurably’ (George Balanchine p1).

Twyla Tharp presented her early choreography in silence ‘music is not always the first ingredient for me’ (p48). Tharp sometimes preferred to use the music as a form of scenery, meaning that she didn’t want to be directed by it and formulate her own ideas. On occasion when she chose to use music, it was more a background as opposed to a motivating force. ‘We rehearsed and performed in silence because music communicates emotion and structure more easily to most people than movement, and it was movement we wanted to explore. Still, many of the questions in our investigation of movement came from lessons I learned in music.’ (p243) I feel this approach allowed the audience to personally interpret what they saw without the musical influence .

Merce Cunningham was famous for adding music on after creating choreography, he believed that the movement should be independent from the music as opposed to a reflection of it. His work was abstract in which he explored non-conventional, alternative approaches using his signature method of ‘chance’. He worked in partnership with composer, John Cage who devised minimal beats, sound effects and whistles to accompany his work.

I would now like to experiment with some of these differing approaches in my own work. Upon learning about ‘The Carlisle Project’ I would be interested to find similar workshops which might provide inspiration for my professional artefact. Through further research I hope to evaluate various choreographer’s opposing methods and sources of inspiration.

Further Questions

How can I educate my students on the theoretical and artistic aspects of musical interpretation?

How can dancers achieve a greater level of artistry through developing music knowledge?

What approaches in choreography and artistry researched can I use to influence my work?


Teck, K. (1995) Ear training for the body: A dancer’s guide to music. United States: Princeton Book Company.

Updates on Inquiry Process

Tutorial 2/3/16

During my first tutorial of Module 3 with Paula we explored the potential areas of artistry to focus my professional inquiry. We discussed the concept of dance as ‘a living art form’ the purpose of which to evoke a reaction in the audience, to make them think and feel. I would like to lay emphasis on Musical Interpretation because it plays a key role in the influence and purpose of a particular piece of dance. It would be insightful to examine ways teachers, dancers and choreographers interpret music and how they have refined these skills. Investigate methods dance practitioners use to explore and develop forms of expression to depict mood, character and simply bring energy and dynamics to a performance.

I feel that I could incorporate approaches used by drama teachers in order to develop confidence in artistic expression. In terms of using drama within dance training, Paula suggest I look into the methods of Stanislavski and consider how this technique could potentially be applied to dance. I therefore plan to research his work and discover if dance practitioners use this to develop expressive performance.   

We discussed my Professional Artefact which could be in the form of a lesson plan created specifically to focus on ‘Artistic Development’. I feel that this will allow me to focus solely on musical interpretation as this can become lost within the quest for technical excellence. A lesson plan will enable me to demonstrate ways I could build student’s artistic skills and apply my newly acquired knowledge. This could include devising improvisational techniques, drama activities, exploring and discussing various genres of music. Develop creativity and choreographic skills, explore storytelling, mime and the development of certain roles or characters. It would of course be unethical to film me teaching this class due to parental consent and child protection issues, I will therefore write a concluding evaluation to record my findings.

Discussions

I have been engaging with my special interest group, (The Art of Performance) to determine ways teachers encourage musical interpretation in class. One teacher suggested using part of the lesson to listen and discuss varying genres of music and then perhaps set tasks to explore the expression in groups. Another teacher commented how the use of peer assessment encourages students to identify good performance and apply this to their work. Student’s confidence increases through regular performance experience and also by contributing their thoughts and opinions in class discussion.

By asking, what did you like and why? What might you do differently next time? Can enable the children to consider ways they can progress creatively, this a method commonly used in mainstream education particularly in practical subjects. When teaching key stage one and two P.E (in dance, drama and gymnastics) last year, we often used this at the end of each class to positively evaluate each other’s performance as it is motivational. As a result, I have recently been encouraging competent students to demonstrate positive examples in class, which has proved more effective than when I demonstrate.

A teacher from my professional network highlighted the importance of encouraging expressive performance early on in training to build confidence and shed inhibitions. She also commented that the students who study drama are more expressive in dance performance. We both agreed that particularly young teenagers find dramatic performance challenging and it is therefore important to lay the foundations early on to avoid feeling self-consciousness.

New Ideas

I plan to identify and establish the link between music and dance as I feel this an integral aspect of building artistry. I will be reviewing specific literature focussing on how practitioners develop musical interpretation within dance class. I am currently experimenting with various approaches at Stagecoach where the frame work for classes is free and does not follow a syllabus. I have been working on a ‘Creative Movement’ project to explore their response to music and encourage freedom of creativity without the worry of steps or technique. I have be documenting this project in my reflective journal and will evaluate the outcome at the end of term.

From sourced literature so far, I have discovered that interpretation of a theme is unique in every circumstance and each version individual. To achieve a greater level of artistry requires courage to convey originality and from my own experience as a teacher I am aware that students will perform the same choreography differently. I hope to broaden my student’s understanding of this and make the point that they are not expected to look like clones, they should make an interpretation their own.

I feel that drama training will develop student’s confidence in expression, allowing them to explore human emotion, how we feel, how we look and discover ways to communicate these through dance. By taking dance technique out of the equation this will lay focus solely on the dramatic element in order to apply it to the interpretation of music.

Upon consideration I am drawn to the idea of presenting my professional artefact as an audio visual presentation as I feel that it will be more informative and interactive than a lesson plan. I have not done anything like this before and feel it will enable me to acquire new skills in audio visual, presenting and editing.

My next task is to review some in depth literature, I have created a mind map to help me source publications based around musical interpretation in dance:

Begining Module 3

Beginning Module 3

I found it insightful and enjoyable exploring the subject of artistry in Module 2, however I quickly discovered that it incorporated a vast array of elements, many of which overlapped. I researched several of these and found that my inquiry had potential for numerous pathways. I referred back to my mind map at the start of Module 2 which allowed me to revisit my initial ideas surrounding artistry in performance, through exploration of literature my research presented me with several further areas to consider.

Firstly I felt it necessary to define the term artistry within dance in order to identify the contributing elements. Through literature and interaction with professional networks I found each individual’s definition to be unique, the explanations collected so far have enabled me to appreciate the necessity of artistry within dance training and performance. I now feel it necessary to focus on one or two specific aspects of artistry and therefore created a new mind map to explain my thought process at this stage, as you can see I have identified the key interlinking aspects:

I now plan to engage with my peers and search for in depth literature on the following:

Musical Interpretation and Choreography

I feel it necessary to explore the musical influence on how choreography is devised and then performed. Through research I plan to identify how practitioners develop their ideas and ways they interpret a particular piece of music, the inspiration behind the choreography, its meaning and how it reflects the subject matter.

I have recently begun preparing for our annual school show case and will be recording evidence of my own creative process throughout in my reflective journal. I am in the early stages of choreographing several Ballet pieces and plan to document the following; why I chose the music, it’s relevance to the story, what I want to get across to the audience and what do I want them to feel. It will be insightful to analyse my thought process and decisions when developing the artistic aspects ready for the performance. I plan to amend my tools of inquiry to include the investigation of this topic.

Drama and Confidence

I explored this aspect to some extent in module 2 and found that many practitioners use drama activities to develop characterisation in dance for a particular role. Upon reflection of my own training I am aware that drama is a vital part of vocational dance programmes. I wish to research the value of implementing drama activities within the dance class to develop student’s confidence in expressive performance. I wish to gain awareness of how practitioners develop such skills and evaluate how confidence and skills gained from this can contribute to a more artistic performance.

I now feel it necessary to ask the following questions:

How does the music influence the way a dance piece is performed?

How can the students’ understanding of the music enhance their performance?

How do teachers and choreographers encourage awareness of musical interpretation?

How can we as dance teachers use drama to build confidence in student’s ability to explore and express emotion?

Critical Reflection of Inquiry Proposal

At the beginning of module two I felt drawn to the topic of performance with a view to discovering how dancers project, express and present choreography. After a discussion in class with my senior students as detailed in my journal, (Appendix – A) I found that developing a sense of performance was a grey area for many. This gave me the initial idea of investigating the many ways we perform and present ourselves in dance performance.

I considered how artistry commonly featured in the literature I had gathered surrounding performance. After a discussion with my tutor and upon reflection of initial ideas, I decided to focus specifically on artistry as the topic of performance would be far too broad. I realised that performance as a whole in fact brings together everything we work on in class to the stage.

I reflected how students, particularly in the early stages of training focus so intently on learning steps, positions, correct alignment and technique, that showing a sense of artistry is often too much to manage. It is not until a level of competence is reached that students are comfortable with adding artistic flair to their work. In class I generally spend the majority of time on technique unless exams, competitions or performances are imminent. I realised that this is to comply with the marking scheme of ISTD exams, as artistry is only worth 10% of the overall mark.

I discovered that in order to express themselves freely and share their work with an audience, dancers must possess a certain level of self-confidence. Through discussions on my special interest group ‘The Art of Performance’ I identified how artistry is the first thing to suffer when performing under pressure in exams, competitions and performances. This therefore led me to source literature on various ways to promote students’ confidence and deal with issues that have a negative effect on artistic performance.

Describing artistry has been a difficult task and it’s hard to put into words, through my research so far I have realised that it means something different to each of us. There are many ways to explain it and many ways to use it, artistry is how we might interpret a piece of music, create a mood, convey feeling or tell a story. We use it to communicate what we are trying to say through movement, and the ultimate aim is to connect with the audience and make them feel something.

I have now come to realise that artistry is personal to each individual, it is something that continually evolves along with competence and experience in dance as well as life. It is therefore up to the teacher to develop their own means of educating and encouraging this aspect of their students training and this is what I plan to achieve through my professional inquiry.

What can affect student's artistry?

 
 

As a student I commonly experienced intense anxiety when taking my graded dance examinations, disallowing me to perform at my best. I would worry so much about doing everything correctly that I would forget simple exercises I had practised hundreds of times. This crippling pressure to get good results and do everything perfectly lead to performance worse than me on a bad day (I am overly self-critical), so frustrating when I knew I could do better. Little mistakes on things I knew so well left me feeling angry and disappointed with myself, I would often walk into the exam and suddenly forget the plies, the exercise I should know the best! I’m sure I’m not alone in remembering that feeling of dread when the examiner would announce it was time for the rhythm section in Modern or Tap, why is it that I have suddenly forgotten how to count up to eight?!

Such pressure I feel particularly affected my level of artistry, that final layer of presentation and personality that gives life to movements through expression. With such focus on remembering the exercises and demonstration of good technique even smiling was hard as my mouth would shake with fear. Throughout the barre section of ballet exams (what a cunning invention, so thankful to have something to hold onto!) I would feel the initial panic disperse as I made my way through those familiar exercises I had spent months perfecting. However throughout the exam anxiety would cause tense shoulders and shallow breathing, making it impossible for me to dance with my usual softness, poise and expression.

I have taken many exams over the years as a young student, a vocational student and then as a teacher, I don’t think the exams I took as a dancer ever got any easier as the higher the exam, the greater the pressure. My practical teaching exams – ISTD Foundation in Dance Instruction and Certificate in Dance Education (Imperial Classical Ballet, Modern Theatre and Tap Dance) actually did get easier over time. I took a total of six exams altogether as well as a practical teaching assessment with an outside moderator (very scary).

The night before my first practical teaching exam (FDI Imperial Ballet) I had trouble sleeping with so much information whizzing round my head and the anticipation of what I could potentially be asked. I think my biggest worry was that I would walk in and suddenly forget my own name! This of course didn’t happen, the examiner was perfectly lovely and did her best to relax and encourage me. I found that the exam was more of a formal professional discussion alongside demonstration of syllabus knowledge and skills in choreography. My final exam (CDE in Tap) I don’t recall being nervous at all as I knew what to expect having been through the process many times I was therefore calm and confident.

Now that I am a teacher I try to reassure my students as best I can, I tell them that the hard work is done and to enjoy showing it off, the examiner is on your side and nerves help you do your best. I find myself feeling nervous for them as I don’t want them to be overly self-critical as a result of nerves, you can guarantee afterwards they will list what went wrong rather than what went well. It is reassuring and makes a big difference for the students when the examiner is particularly bubbly, smiley and encouraging as it can be quite a daunting experience for the children.

Excessive anxiety and perfectionism causes the individual to make unrealistic demands and expectations of themselves. Dance is both popular and highly competitive, it is also a very unnatural art form and often feels like we are continually attempting the impossible. Training is a lifelong commitment, there are not many professions you begin training for at preschool. Unhealthy competition and comparison with others overloads the student with negativity which will in turn affect their ability to do their best.

I did not experience overly critical self-analysis when I was attending dance lessons as a child, however I suffered a great deal at vocational college and I see it a lot as a teacher among my students. I think it is important to encourage our student’s self-belief and self-esteem as the negative impact can impair not only performance but also overall wellbeing. During teacher training we were taught the importance of giving constructive criticism, praise and encouragement to our students, I am a diligent advocate for this as I know the smallest hint of negativity can manifest itself.

I feel it therefore necessary to promote student’s understanding of the learning process, how we essentially get things wrong in order to get them right, to be patient, diligent and persevere. To focus on themselves as opposed to others, to ask for help when unsure, evaluate areas for improvement and how to learn from fellow students and role models.  ‘As dancers we are constantly failing and failing and that is all part of discovering how to master the body so it will do what we want when we want. That out of every failure comes a new discovery that we can use to make us stronger and better.’ (http://blog.discountdance.com/helping-your-students-overcome-their-insecurities/ Accessed 27.12.15)

Further Investigation

It would be beneficial to find ways to deal with such issues to ensure student’s artistry does not suffer under pressure. I plan to look for literature and raise discussions with my professional and online networks to investigate this matter.

Components of Performance Part 1

I wanted to consider further the various components of performance, I created the above mind map and looked into my personal experience of these. I found upon analysis that each component overlapped with another, I therefore grouped some of the similar titles together. I hope the following will bring about further questions to ask as part of my inquiry.

Influence and Meaning of Movements

From my own experiences of creating choreography and watching dance performance I feel that the movements should embody the emotions the dancer, the movements initially created by the choreographer. I plan to discover how choreographers explore human emotion and the influence upon the movement which is created. I feel awareness and appreciation of meanings behind movement will enable the dancer to cultivate expression and develop their own creativity, versatility and chorographical skills.

Below is a clip of contemporary choreographer and director Akram Khan discussing ‘Dust’ a piece created for English National Ballet commemorating the centennial of the First World War. Here, Mr Khan discusses how he considered words surrounding death - Life, Death, Absence and Memory, which originally came from a poem. This interview is evidence of how much research, thought and meaning is behind this piece of dance, he describes how he created movements have to utilise the classical dancers effectively.

Akram said: “The piece is inspired by two things. First, the concept of a trench, of the young men and old men all going into trenches, and disappearing. The other substantial part was inspired by the women. In WW1 there was a huge social shift towards women. They needed weapons made for the war, they needed a huge workforce. I felt this shift in role was interesting. They knew they would be letting go of fathers, husbands, and sons; they might lose them. Yet they were making weapons that would kill others’ fathers, husbands, and sons. It didn’t matter which side you were on – they both felt loss and death. But in order for someone to live someone else was putting their life on the line. That cyclical thing was what I wanted to explore.”( http://blog.ballet.org.uk/lest-forget-akram-khan-tamara-rojo-perform-together/ 15.11.15)

In the following clip we see how Mr Khan has explored this powerful concept through movement

https://www.bing.com/videos/search?q=akram+khan+interview+lest+we+forget&FORM=VIRE1#view=detail&mid=87839F9A162DB329661987839F9A162DB3296619 (15.11.15)

Music Genre

The genre of music will of course influence the style, feel and subject of the dance, it is usually the starting point when creating choreography. When studying to be a teacher we were taught the importance of using a broad spectrum of genres in order to develop student’s versatility in style and expression. We were also encouraged to educate our students on the history and origins of a particular genre.

I remember having a lengthy discussion in class on the subject of Blues, we talked about how the slaves had created a genre based around the rhythm of the train, helping them along with their work to boost morale. We discussed how they would be feeling working long hours in the heat, innocent, desperate and longing for freedom. We put these thoughts and feelings into the choreography our teacher had created, the discussion informed the expression of the movements to bring it to life. We used visualisation throughout practising the choreography given by our teacher, she created a story on which to base the expression and quality of our movements. I am hoping to interview this particular teacher (who has since become an ISTD examiner) as I found her ideas and teaching so inspirational and effective in my own practice.

When studying for my ISTD CDE teaching qualifications I worked part time in an independent record store, one of the last few. I credit this experience with a positive influence on my teaching as it enabled me to explore new artists and genres of music. It opened my eyes to an eclectic array of music and it was delightful spending my days surrounded by friends who were as passionate about music as me. Each member of staff was employed based on their prior music knowledge and individual taste, it meant that we could each have a specialised area and we could also learn from one another. It was especially helpful to have my employer recommend music for my practical teaching examinations and classes. Although the shop is now long gone and I am teaching full time, my former colleagues and I keep in touch via Facebook sharing new findings of albums and songs we think each other might like.

As a dancer, teacher and music lover I am constantly on the lookout for unique pieces of music for my students. My personal music taste explores a huge range of styles including; Rock, Hip Hop, Funk and Soul, Blues, World, Electro and Classical. During my time at the record shop I discovered that many genres continually cross over thus creating new sounds. This concept has influenced me to experiment particularly with Ballet, allowing me to explore the modernisation of this, a trend currently emerging in commercial theatre. Through the exposure to diverse genres and the encouragement of student’s awareness, I feel that the teacher can encourage a diverse ability to express.

A particular song can be deeply meaningful for one individual but not for another, I feel that each individual will relate to songs differently and will therefore express their feelings and dance in their own unique way. Choreographing and indeed dancing to a piece of music you love is far more joyful than being forced to use a piece with which you cannot relate. This thought has influenced me to investigate; can music preference influence a dancer’s ability to perform effectively? Can a greater awareness of influence encourage a greater sense of performance?

Influential Performers Part 3

Bob Fosse (1927 – 1987)

One of America’s greatest choreographers also a performer, director, screen writer and actor, winner of eight tony awards famous for his productions Chicago, Cabaret and Sweet Charity. He was responsible for creating the traditional Jazz and musical theatre we know and love, performed with signature props such as Bowler hats, white gloves, canes and chairs. His distinctive style influenced generations to come, the hugely popular music video for ‘Single Ladies’ by Beyoncé in fact features Fosse inspired choreography.

In his early career he performed tap dance in seedy backstreet strip clubs, it was this experience that influenced his unique, burlesque style of choreography. At 19 he made his debut on Broadway and later moved to Hollywood with dreams of becoming the next Gene Kelly. He became a huge success and was responsible for producing many hit films and musicals.

This is a sophisticated, sassy style performed in heels and fishnets, only the more experienced, confident and mature dancer can do it justice. When I was working as a performer, Fosse numbers were always my favourite as I felt empowered, glamorous and strong dancing in this style. I feel that my classical training enabled me to achieve the elegant yet dynamic movements it required as well as the confidence to execute the strong performance element.

‘I see my style based on my own physical limitations and I’ve developed from them, a style because I’ve been dancing since I’m nine. So my style is kind of – I’ve stolen things from people, I’ve been influenced by people. I’ve been forced to dance in a certain way because I tend to turn in more when I’m dancing. I’ve never been a bravado person so a lot of things I do are very tiny and small. So it’s a maze of various influences.’ (Gottfried 1998 p81)

Fosse was a jack of many trades, he was a charismatic character and did not allow his technical limitations get in the way of his performing career, in fact he utilised his faults in order to create his unique style. He built this on his own quirks and idiosyncrasies - rolled in shoulders, turned in legs, small gestures of the hands and shuffling steps are signature moves, it takes a certain type of dancer to perform it with dynamic conviction.

Anna Pavlova (1881 – 1931)

Most famous for ‘The Dying Swan’ a solo created especially for her, set to the music ‘Carnival of The Animals’ Pavlova won over audiences with her sincere and delicate nature. When watching this solo you can see how much Ballet has evolved over the past hundred years. Despite her lack of refined technique she has gone down in history as a result of her emotional and heartfelt expression. If you can get past the turned in legs and rapid arm movements you can see something very pure and honest.

https://www.youtube.com/watch?v=QMEBFhVMZpU 27.11.15

In class when attempting Legnani’s famous 32 fouette turns she was instructed by her Ballet master at the time:

"Leave acrobatics to others. It is positively more than I can bear to see the pressure such steps put on your delicate muscles and the severe arch of your foot. I beg you to never again try to imitate those who are physically stronger than you. You must realize that your daintiness and fragility are your greatest assets. You should always do the kind of dancing which brings out your own rare qualities instead of trying to win praise by mere acrobatic tricks." https://en.wikipedia.org/wiki/Anna_Pavlova 27.11.15

I feel that Pavlova is a rare artist who has gone down in history purely on the basis of her performance skills. This is not something one would get away with today as standards and expectations are much higher.