"I used timing and dynamics in my performance of the set phrase Shift. These technical skills helped make my performance look accurate."

"In Shift I used dynamics — at the start the movement was strong and tense, but later it became softer and more flowing. I also used timing by trying to land on the correct counts in bar 2. These technical skills helped the phrase look more accurate."

"I performed the AQA set phrases Shift and Breathe. Dynamics were important throughout Shift — in bar 1 I rose into a high release with a strong, tense quality on count 1, then released my arms into a soft, flowing gesture on counts 5 and 6. Without this contrast between sudden and sustained, the phrase would have lost its light and shade. Timing was crucial in bar 2 — the step-hop on count 4 lands with the right toe to knee on the &. Hitting this count accurately gave the sequence its sharp, clean quality and kept me on time for the rest of the phrase. Moving in a stylistically accurate way required the grounded, weighted quality of contemporary technique — in bar 5 of Shift on counts 7 and 8 I let my weight sink and my spine spiral as I lowered to the floor. This was important for the style and for getting to the floor safely. Space was tested in Breathe through the constant direction changes — entering from centre stage left and running on a diagonal toward downstage right on counts 1 and 2 meant the whole stage was used and gave the audience a clear direction to follow. Rhythmic content was important in the moments of stillness in Breathe — hitting the holds precisely created phrasing; any delay would have broken the visual impact of the phrase."

"I used space in my performance of the set phrase by moving in different directions and using different areas of the stage."

"In Breathe I used a diagonal pathway, running from centre stage left toward downstage right. In Shift I also changed levels by going from standing down to the floor in bar 5. These uses of space helped make my performance look more varied."

"I performed the AQA set phrases Shift and Breathe. Pathway was tested in Breathe from the very start — I entered from centre stage left and ran on a diagonal toward downstage right on counts 1 and 2. Using this clear pathway was effective because the audience could follow a clear direction and I used the full stage. Levels were important in Shift — on counts 7 and 8 of bar 5 I moved from standing height all the way down to the floor. This change of level created a strong visual shift in the phrase and was important for getting to the floor safely and with control. Size of movement was needed in bar 1 of Shift — the gesture on counts 5 and 6 reached wide through the arms to full extension. The full size was effective because it filled the stage space and made the moment feel open and confident. Direction changes were constant in Breathe — I started facing stage right, pivoted to face front, then made a sharp head gesture to stage left on count 4. Moving in the correct direction throughout was effective because it kept the phrase visually active and showed the audience different parts of the stage."

"I moved in a contemporary style in my performance of the set phrase, which is the correct style for this work."

"In Shift I used features of the contemporary style such as floorwork and using my centre to initiate movement. I tried to make the floorwork feel weighted and low rather than tense and controlled. This helped my movement look more like the contemporary style."

"I performed the AQA set phrases Shift and Breathe. Moving in a stylistically accurate way required the grounded, fluid quality of contemporary technique throughout — in bar 5 of Shift on counts 7 and 8 I lowered to the floor by letting my weight sink long and low rather than holding it back. This was important for the style and for getting to the floor safely and smoothly. Use of centre was crucial in Breathe — the contraction on the & count came from pulling inward through the core rather than just curving the back. This was effective because it gave the contraction real depth and made it look like the movement came from inside the body. Spiral was used in the floor transition in Shift — my torso rotated as I descended, keeping the movement continuous. This was effective because the spiral made the transition feel connected rather than a sudden stop. Tilt was needed in Breathe at the side lunge on count 2 — I let my torso tip sideways off the vertical rather than staying upright. This was effective because the off-balance quality gave the moment a sense of risk and communicated the contemporary style clearly."