ASDR

• Flexed feet and hips create a distinct body position.

  Return of some rooster and grooming gestures from LRR

  Lots of small hops and jumps are used to travel.

  Hip leads the travelling.

  Use of clapping to show music.
• SPACE

  Generally the dancers us the centre and Left sides of the stage.

  The man is exited SR by the male ensemble lifting him away.
• DYNAMIC

  Bouncy and staccato with a sense of fluency. 

  The syncopated accents in the music are accented in the movements with hip twists  or accented gestures.
• DEVICES/ RELATIONSHIPS

  No Unison! This is very much a duet.

  There is similarity in the movements of the transition where dancers ‘freestyle’ off stage.

  Repeating motifs reflect the musical structure. 

  Clear action reaction, creating the playful atmosphere.
• FORMATIONS

  Duet  - the facings change so the dancers are not always facing each other, but still create a clear relationship between them
• COSTUME

  As LRR and LJ sections.

  Reflection of the time period and clearly delineating gender.
• LIGHTING

  As with LJ there is a general blue wash that lights the whole stage.

  There is a fade used at the end of the section -
• LINKS TO SUBJECT MATTER

  Sense of courtship.

  Energetic use of popular dance moves reflects the historical time period and dances of Bruce’s youth. 

  The lighting fade reflects the lyrics and fact the women has been left/forgotten by the man.