Amy Raymond

Period Duration
Week 43-50
Block 2, 60 hours Year 2


Over an eight week period, the classes will be focusing on deepening one’s awareness and efficiency in certain movement essentials that are key to the mastery of the classical ballet technique. These essentials are posture, clarity of weight shift, clarity of direction in space, clarity of position and description of movement, clarity of musical phrasing, and practical application of epaulement. The first part of the class will start with the application of the Hino Theory of movement control, developed by Martial Artist Akira Hino. Hino’s exercises involve accurately feeling vital parts in the body and testing whether you feel and move those parts efficiently with a partner. The kyokutsu point which is heart of Hino’s movement theory and key to full body movement and power generation will be emphasised and studied. Each day we will pick just one part of the body to study and use it to approach each ballet exercise. The second part of class will follow the traditional structure of barre and centre but with emphasis of the movement essentials described above. The dancers will have to then combine both the awareness and feeling work of the body with the movement essentials in ballet. Amy will be drawing from her experience of learning and performing the ballet repertoire of the 19th and 20th centuries. Her work of both dancing, staging, and teaching the works of William Forsythe, and her 15 year study of the Hino Method of Body Control, developed by Martial Artist Akira Hino.

Class Set Up
15 minutes Hino Excercises, 45 minute barre, 45 minute center

Learning Goals:
technical, explicit:
clarifying posture
clarity of weight
shift clarity of direction in space
clarity of movement description/position
Clarity of musical phrasing
Practical application of epaulement
Openness to learn
Dealing with difficulty and uncertainty
Analytical thinking
Work ethic/attendance
Curiosity towards oneself and others
Applying feedback

Working Methods
Used I will be drawing from my 18 years of experience of teaching ballet, improvisation, and choreographing. I have honed my skills through being exposed to various dancers of different capabilities both within the ballet world and contemporary world. My biggest influences comes from the work I have done with William Forsythe and Martial Artist Akira Hino.

William Forsythe Improvisation Technologies, A tool for the Analytical Dance Eye !22 Don’t Think Listen to the Body! Introduction to the Hino Method and theory of Human Body and Movement Control

Study Material
Notebook, pencil /pen Mobile phone, for recording oneself

Feedback in studio
Evaluation on how suggestions/ corrections are applied

Learning Goals in the class contribute to the overall development of the competency indicators 1.1,1.2,1.4,1.8, 2.1,3.1,3.2,3.3,3.6,4.2,4.3,4.4,4.5