teen —Flexion and Extension: Specific Forms
This study picks up from the previous one by stating more specifically how the turning actions are to be performed and by providing accompanying movements. The jazzy character of the music should help to inspire an appropriate mood. To start with, the pelvis rotates from side to side as the body lowers. The right arm then lifts diagonally upward rotating as it goes; during this movement the body will doubtless come up to a comfortable position. The left arm takes over, extending and rotating as the body moves sideward low. The phrase ends with backward circling featuring quick rhythmic turns of the head. In meas. 9 the pelvis is again busy rotating while travelling forward; next the rotation is taken up by the right leg turning first out then in while slightly bent. Chest twists are then accompanied by extension and flexion of the left arm, and lowering takes place while the whole torso rotates. This last example is torso rotation in one piece, not a twist within the torso, so hips and shoulders should turn the same amount. A pattern of accented head turns is combined with travelling backward and followed by arm rotations which start with the arms extended and continue as they gradually flex. Next hopping to the right on the right foot is embellished by flexion, extension and rotation of the left leg. This last pattern is then reversed. Chest turns in which the face is kept looking to the front precede torso twists combined with downward and upward movement while travelling forward. The final phrase of movement is similar to that of meas. 6 and 7 in the previous study, but leg rotation is symmetrical instead of parallel. Manner of travelling and the possibilities for interpretation suggested for Study 36 are also applicable here.