After receiving the stimulus, I first of all researched Atalanta. Using a variety of resources such as and the Internet, I found that Atalanta derived from Greek legend, and was a strong athletic competitor, whom no man could beat at running. This was emphasised in my dance through the use of sustained running movements and the use of pauses to emph

The dynamics which I used were strong in force and weight, thus helping to enhance the aesthetics of movement, which revealed Atalanta's character. The energy was sudden and forceful for example, the turns were quick, using firm weight. I also, made use of the parallels, which were expressed in the pictures, by the three different angles. This was transposed into my dance, through making use of the facings and placing emphasis on the running and changing in dynamics within my motif, for example at first the running movements were fast and sudden and then in the motif development they were slow and sustained. This change in dynamics helped to draw the attention of the audience to the importance of the facings and parallels.

Another problem, which I encountered during the performance, was the difference in proxemics. The dance studio, which the performance took place in, was slightly smaller than the rehearsal dance studio, and this meant that some of my movements such as running backwards, could not have had as much emphasis placed on them as I would have liked. However, due to my strong kinsetic sense, this was not too much of a problem. The dance had to be performed in the dance studio, and therefore this limited by choreography. I had to make sure that the boundaries of my dance were observed in my movements, for example, I could not run too far to the front as this would mean coming too close to the examiner. Although, studio time was available most of my choreography took place in a much smaller space, at home. This created a few problems, as it meant that I was nor adequately using the dance studio space to its full potential and therefore some of the movements had to be expanded and enlarged to fit the proxemics of the dance studio.

The diversity of my precious experience in classical ballet, rhythmic gymnastics and modern and tap dancing have all contributed to my overall dance performance and choreography. The vigorous training involved in rhythmic gymnastics has meant that I have flexible legs. This helped in my solo because it enabled me to sustain high leg lifts and arabesques, for example:

Some topics in this essay:
Atalanta Using, Atalanta Greek, Leaf Rag, , Moulin Rouge”, running movements, movement components, dance studio, Martha Graham, atalanta's character, rhythmic gymnastics, dance music, facial expressions, movements running, strong vivacious, lines indicate, created repeating opposing, ballet rhythmic gymnastics, movements fit timing, movements running movements, proxemics dance studio,