Evaluation.

PERFORMANCE DAY

The morning of the performance we ran 3 rehearsals. The first rehearsal no one gave there all, the energy wasn't at it's highest and the transitions didn't run smoothly but having said that about the transitions, it was also our first time rehearsing in the actual performance space, so it was difficult getting things exactly right. 
The second rehearsal was the same as the first and no one was really taking it seriously enough, the concentration wasn't there in either rehearsals and it affected the energy and effort put into the scenes. We could of all over come this by being more strict on ourselves and pushing our ability to its highest as if it was the real thing. 
In the final rehearsal I released all would run smoothly and good until we got to the reluctant beauty bit, that's when everybody would kind of hold back and Will could see this so we had to keep on re running the scenes from that bit. In the end we all pushed ourselves and got the whole rehearsal process done to our standards and Will was happy with it.

When performing the piece I think everybody put in effort, commitment and pushed them selves. This was shown by how well the transitions ran and even if the audience didn't get the story they was still engaged because our energy was too it's highest and our faces looked like we was enjoying the show ourselves. I think the performance ran well also because the mistakes we made during rehearsals we all learnt from them and took them on to make them better, we all knew what our weak points where and it wasn't shown. One of my weak points in the rehearsal process was 'the reluctant beauty' bit as it was hard to let my body go without controlling it and pose in deranged shapes trying to be beautiful because in my head I thought people would laugh at me and it's also difficult not controlling what your doing or how you move. But by building up my confidence and watching everybody else, I found it more easy to let myself go and in the performance you couldn't tell that was my weak point.

You could see in the performance how the mood gradually changed, from the begging everything being like a routine and having formations like a military like way, which showed us trying to be perfect and being all the same. Then as the scenes went on and we was more discovering what 'Other' is we more become individuals and done different things too each other rather than doing everything in sync.

One of the challenges we came across during the performance was blocking the audience, for example when we was up on the loft stairs I think I could of bent down lower so the audience could see what I was doing to daisy and see the person infront of me. So we just had to be more aware of where the audience was and sometimes even have eye contact with them when performing, to feel like there included in what's happening.

The strongest scene that was created in the piece would be the grid walking, because the 90 degree turns where sharp and swift and if someone walked into another person by accident they didn't show the mistake on their face, they would either 'jump' or 'wave' then move on. The vocal range was also good as everybody was clear with their dialogue 'ohh ahh' and also Alex and I saying 'Boomba' and 'Gigoo.' When devising that scene Alex and I couldn't remember the words we had to say because it wasn't English, it was made up. So to remind us Hannah being the director of that scene wrote down the words and from each rehearsal the word became familiar and was easy to remember.

The piece was intended to show how people who are different from a stereotypical human being are treated in society. We showed this by reversing the roles and having everybody else 'different' and 'Other' being a typical 'normal' civilian. I thought this was a good concept and way to show how different people may be portrayed because if the roles where reversed then there would be no issue. In the performance you see 'Other' going growing up and being chucked into the everyday life; trying to find a job, being left on her own, people judging her, people interested in her. I feel like what the piece was intended to do was achieved and the audience understood and could view how things look if you look at them from a different perspective. 

 To improve my contribution I would of had more of a voice in class and rehearsals, sharing my ideas more and taking on more of a directors point of view by looking at our weak points and telling my piers them. I also would've pushed myself more when it came to my confidence level.
In the begging of the project it was slightly intimidating with Hannah and I being the only pair and everybody else being in groups, also us being community arts everybody looked to us when it came to community arts questions, but telling hearing what they had to say about it aswel they had a clear understanding. As the lessons went on my confidence did build up but not as much as I knew it could and this was something I wish I had changed. 

Overall the whole community project term was good and as a team the ideas, contribution, skills and different abilities all came together well and our final performance was everything to our expectations.

Devising exercises

Milling - 

Walking at a constant speed, you are in control of the route you take but changing directions persistently.

The objective of milling is to initiate independent of feeling and kinetic group awareness.

Milling should feel light and natural and you shouldn't need to think about it too much.

Passing Diagonals - 

Chose a partner to work with for this exercise, walk towards each other at the same pace confidently, do not stop in fear of hitting one another, before you touch each other pivot your footing so you turn and circle past one another clockwise, this exercise takes a lot of trust and confidence in you and your partner, this exercise will almost feel like you are a magnet, you and your partner are attracting and then suddenly repel.

Parallel Walking Exercise - 

Get a partner and face side by side, travel across the room, you should be able to move in unison at exactly the same time without looking at one another, keep your focus directly in front of you. Once you have completed this add the objective to care and to rely on , one person is looking after the other person, at times leave your person around the room, how does it make them feel to be left alone?

Hand/Raise/Fall - 

A person puts their hands up and says “Me” they then fall backwards and other members of the group run to catch them. They must learn to do it lightly and allow each fall not to be blip, but to keep the room charged and get on with it after catching someone.

Add 2/3 people doing it at the same time.

Take out the “Me” and just raise your hand.

Small dance - 

Close eyes.

Notice the body’s natural sway with no sight. Gradually start to exaggerate this sway. Explore the full range of your balance, wobble to the point that you lose balance and catch yourself in every direction, front, back, side to side.

Stage balancing - 

Working round a shared centre point in pairs balance the space around you. As if the room is balanced upon a needle through the centre. This exercise will help you become more aware of your surroundings and having to focus on more than one thing at the same time.

Rehearsing

Will taught us some exercises which we then adapted into the performance.

The most difficult exercise for me was reluctant beauty, because it was hard just left your body go without controlling it and making weird shapes which weren't forceful. Doing the exercise over again it became easier to go with the flow and loosen my body posing in deranged ways trying to look beautiful.

Magpie Dance Charity Research

Magpie Dance

May 1985 – Present (28 years 3 months) Bromley, United Kingdom

Magpie delivers over 200 sessions every year for over 200 people. A recent new partnership with Oxleas NHS Health Trust supported by Reaching Communities, Big Lottery to deliver inclusive dance sessions for older people, challenging behaviours and people on the autistic spectrum. 

Magpie dance charity is a contemporary dance company for learning disabled dance. The company is well known for it's inspiring work and inclusivity.

Magpie believe that you can over come any obstacles, no matter if you have a disability or not. They'll try their best to make you feel comfortable and make you bring out the best of your ability. For example; if you was in a wheelchair and can't use your legs or limbs to dance, they'll adapt that and have someone either dance while they're steering you around or jump on top of the wheelchair, if you're comfortable with them doing so and create a movement or shape on top of it.

Funding;

Location;

Astley centre in Magpie hall lane Bromley 

Avril Hitman - Artistic Director

 

Avril Hitman founded the charity in 1985; she has the overall responsibility for the selection and interpretation of the work which will later be performed.

Aswel as being the artistic director Avril also manages the company which a hand full of artistic directors do.

Avril has been in the performing arts industry for 35years, this lead her to start leading and facilitating dance workshops for people with a range of abilities and ages.

Her aim was to help her students gain confidence and dance skills in a 45 minute dance class each week.

Two decades on, the over subscribed classes help around 80 adults and young people every single week, with over 200 scheduled sessions each year.

Interview:

Mrs Hitman said: “What we want is for the charity to be sustainable into the future so that there will be a Magpie here for people who need us.

“It’s been going more than 20 years and we want to make sure it is going to be providing opportunities well into the future for more people with learning disabilities.

“The main thing is getting some sort of financial stability for Magpie, which is important if we are to go on developing what we do.

“The charity has to raise around £250,000 every year and none of that is regular funding. It is quite a challenge.”

As part of our Help Magpie Fly campaign, News Shopper is helping to raise £100,000 for the charity helping people from across south-east London and north Kent.

“I very much see Magpie as an opportunity to open doors for people, to help realize their potential” Mrs Hitman said.

“The creative arts are vital and are a medium for people to get involved.

“It’s a way to channel creative ideas while developing skills.”

The mum-of-two from Chislehurst added: “If you find communicating difficult then dance is a fantastic medium because it doesn’t rely on verbal communication - it relies on you as a person.”

The idea for Magpie Dance came about after Mrs Hitman who had previously taught dance for 12 years, shadowed well-respected practitioner Wolfgang Stange who founded AMICI Dance Company in west London.

“I knew after taking part in the session that I wanted to work with people with learning disabilities”, Mrs Hitman said.

Got to dance

On the 7th Jan 2012, Magpie dance comapny thought it's about time to get there inclusivity and talent out there, so they applied for Got to dance;

http://www.youtube.com/watch?v=WlEt3ZN5h80

Getting all threee gold stars Avril Hitman as the artistic director and founder of magpie dance charity was proud of her work and most of all the passion and commitment which was showed on that stage.

Devising Ideas

As a whole we all looked at the the most interesting and common themes that we got from everybodies research, which we found at croydon library this being; change, crime and attitudes towards disabilities.

We then set off in groups, Raph, Hannah and I looked at the idea of contrasting good and bad. This being someone that looks bad on the outside but in the inside they're good and a kind person, which symbolizes 'Don't judge a book by it's cover.' The contrast of good and bad also represented people who had disabilities and how we judge them without actually knowing there talents, interests and so on.
But thinking ahead we wanted to be more diverse and thought it would be better to get rid of the good and bad person, but to have the cave represent the contrasting. An object being so dull and dark on the outside but as you walk in and get deeper in the cave it becomes more beautiful and bright, this is where the crystals also come in.

After sharing our ideas with the class we moved onto a different task, we was now put into different groups and each group was given a different area in the crystal centre, with the areas we where given we had to think of performance ideas.
Raph, Cassie and I was given the loft trap



To devise this piece we thought it would be a good idea to gain more ideas by actually using the loft at Brit.
At first there wasn't really any discussion and all three of us where lost for ideas, to over come this we decided to actually get up on our feet and each stand on a different level on the loft which worked.
The scene we came up with was mainly around a different individual being inspected by doctors, wondering what she/he is, if she/he is human, why does he/she look that way and just really confused in all.
On each level there would be a different inspection happening, the higher the level gets the deeper the concern and the more tense the investigation gets, for example; level 1 - doctors making he/she cough, looking inside their mouth or even tapping their knee. Level 2 - picking her up, playing with their limbs, tugging at her. Level 3 - opening her/his eye lids, pinching her/his, smelling him/her.
Too add more of a dramatic edge to the scene we also wanted to use a soundscape by either hitting the bars with an object or our hands or using our feet.

Negatives;

As a group we could of worked more as a team and came up with more ideas by pushing one another and not doubting ourselves. We could of also added more detail into our ideas by looking at it from a directors point of view.

Teaching it to the class

When teaching the piece Raph, Cassie and I created to the class, it was difficult as no one was listening and we didn't think of detail as much so it was hard giving directions to the class. It was also a challenge as Hannah, Alex and Saffron had a simaliar idea to ours by using 'giving birth' and the doctors, so we had to re think about our scene and change parts of it to make it different to the second scene.
The first part of the scene was giving birth but we changed this and decided to be more abstract by using the beeping heart monitor as a stimulus by getting everybody to stomp there feet like a heart beat. This idea then changed because it was hard to stamp your feet and walk in neutral, we changed this by giving each person a number, these numbers being 1 or 2. 1s would walk back and 2s would walk forward and each person would repeat the word 'beep beep', this would create the zig zag effect that is on a heart monitor, 'Other' then runs straight through zig zag, which represented a different birth.
We then made a swift transition from the person at the end of the line walking off and everybody following still in a line then into a circle. When in the circle 'Other' is in the middle and everybody else changes into a doctor. When doing this part I found it dull and boring as their was no character given to anybody to act and no sound apart from their feet. So I thought it would be a good idea for everybody to be doctors either writing down something about daisy, scratching their chin, or just showing any sign of interest, when doing these actions everybody will also say 'hmmm'.
After that a lift happened with 'Other' and everybody moved into a open semi circle shape, Cassie then gave everybody a number; 1 - laugh, 2 - revolted (errr), 3 - amazed (aww) or 4 - interested (eyes widen and scratching chin). We decided to do this in cannon starting with ones, to give it more of an affect and tension to the scene.
The final part to the scene was the doctor checks on the chairs, this was the most challenging part as the atmosphere from then just went dull and no effort was put in. Will soon changed this and everything was back up to scratch.

Crystal Centre Road History

Daisy, Amy and I was given the task to find history on St. James road, we had to find this research at 'Croydon Library.'

 

Negatives;

Finding information about St. James road was difficult, we couldn't find any interesting facts or stories about the road in any books and nothing really caught our eyes when we was going through pictures. But as Amy got set up on the computer she found plenty crime statics about the road and from then on everything started looking more positive, we found funny, weird and interesting news article stories which came in handy the most.

St. Giles

Today the art students and my class visited St. Giles. St. Giles is a school which educates children with cerebral palsy. We visited the school to meet the children and bond with them to gain some ideas for our performance. The children at St. Giles had created some wonderful art pieces based around crystals which they shared with us, and the art students had also done the same. These art pieces for the performers will help us gain some ideas and find a stimulus for the final performance.

St. Giles artwork;

Looking at the images each of them where colourful.

After we looked at there pictures and took photos of them, we moved on to doing a task with the children. The art students had a sheet of paper which had diamonds on it, after you coloured in the diamonds you then could cut it out and make the diamonds into a big one. We all scattered are selves around the room helping a child with there diamond.

Hannah, Jiselle and Me 

Jiselle loved art and her mum is an artist, therefore her diamond was very creative and she mixed colours in each diamond with the top bright and the bottom darker, which turned out very good.

Diamonds Completed;

Site Specific Performance Positives and Negatives

Positives;

• Found the space we wanted to perform in without any hassle and was all happy with it
• Worked well as a group
• Ideas came together and fitted well
• Objective was handle well with great energy and commitment

Negatives;

• Making sure the audience was able to see everything that happened
• Combining the history of the site with the performance

Having had information now on the space we chose to perform in, we found it difficult combining dance and the use of the TVs as neither of them had a connection to each and we as a group wanted to include the TVs, it being the main object in the room. By sitting down and talking about the situation together, we over came this obstacle by using our actions in a routine like way having; different dynamics, using cannon, doing things in unison and using our bodies and actions to tell the story rather than speaking.

Evaluation of Site Specific Performance

Megan's Group

I chose to evaluate Megan's group as I found there performance was very adventurous and well acted. I liked the fact they had a tour guide to keep the audience alert and still interested in what was going on, I also enjoyed that the tour guide kept the same emotion throughout the piece, even when she was telling us about hell and asking us about our sins, because it added humour to the performance. 

My favourite part in the performance was how they split the audience in half basing it on how bad there sins where, taking one half to hell and keeping the other half where they where to go to heaven. As this happened I was with the half that went to hell, the tour guide then made us stand outside a wardrobe and spoke to us about where we was going, making sure we where not aware of the wardrobe that much and someone then jumped out of it and took us in the wardrobe one by one and told us to scream making the performance still exciting. This was my favourite part because it involved the audience and made you want more.

Brit School Mini Site Specific Performances

Will put everybody  into groups of 4 or 5 and asked us to look around the school until we found an interesting place to perform in, when we found this place we had to ask a teacher or anybody who knew about the area we had chosen the history of it. What was there before? what was it used for? how long ago was it changed into what it is now? and then create a performance based on its history.

My group chose the TV room in the library, as it was closed off from everything else and seemed like a nice enclosed area to perform in.
We asked Amanda (library teacher) what was the TV room used for before, and we found out that the whole of the library used to be a dance studio. Taking this into account we decided to create a performance piece which was kind of like a routine, doing things in cannon, in sync with one another and then have our own soul parts.
Looking at the space we thought it would be a good idea to have our audience watch through the window into the room which we was performing in.

Sitting in the TV room we thought of 20 words which described the room;

• Trapped
• Animalistic (being an animal watched)
• Plain
• abandoned
• outcasted
• alone
• empty
• watched
• disowned
• different
• enclosed
• perfect (trying to be perfect)
• clean
• ordinary 
• incomplete
• independent 
• crazy
• mental (mental hospital)

Taking the words we came up with on board we looked around the room and wanted our piece to be based upon the television screens, we decided to get 4 different DVDs and act out the key actions in each film.

Romeo and Juliet - Held hands to symbolize family

Beauty and the beast - Picked flower to symbolize love

Titanic - drowning to symbolize the end scene

Despicable me - running around to symbolize the hyper minions and fun

While we done these actions the films would be playing and we would be doing these actions sitting underneath the table of our screens.

In the beginning we decided to do our different actions at the same time and then went in order doing each others actions together, to keep the routine idea still there. When rehearsing we realized we didn't know when to do the next action in sync with one another, so Nora came up with the idea to knock on the table which meant to change actions. 

To end our piece we all thought it would be a good idea, to in cannon get up eject the DVD and hold the case up onto the window with no emotion, to symbolize that when alone we have no character.

Zach, Daisy, Nora and I wanted the piece to be far from linear as possible which we succeeded in doing.

Audience placement..

We placed the audience outside to look through the window into our performance, to give it the affect that were at the zoo and there pedestrians looking in at our cage fascinated on what were going to do next.

Performance opportunities...

• TVs - your emotion, character, stimulus - can be visually seen on the screen
• Under the Desks - trapped, scared, sounds, scene can happen
• Transparent Window - Audience
• Chairs - levels(hierarchy), transport (getting around the space) 

Sounds...

• People outside the room
• Silence

Overall my group's performance was far from linear, there was no begging, middle or end and we wanted to make our piece as abstract as possible. Doing so this worked very well with our audience and even though they said in our feedback they didn't really understand anything that was going on in the performance, they said it was very engaging and had you still interested and awaken by what was happening.

Crystal Centre - Site Specific

Interviewing the site..

What are some important properties about the site you might use when devising?

• Fire escape stair case
• Red fencing
• Doors leading outside
• Wall of stones
• Grass
• Wall of vine
• Concrete wall
• Dividing fence
• Stairs leading into a ditch

What performance qualities could the site have?

• Good view for the audience
• Different levels (hierarchy)
• Dividing fence - split scene or something abstract (angel and demon)
• Mirrors - how you view yourself, image, morals
• Doors - artwork, knocking, sounds
• Trampoline - jumping into scenes

How does the site create meaning?

• Safe feeling
• Security
• Dull
• Not well funded
• soul less
• Fire escape - nanny state (affecting your freedom)
• Trapped

Write down any immediate dangers concerned with the site..

• Fall/Slip down fire escape 
• Area too busy - trip over toys
• Blocking fire exits

Audience stand in grass area, inside the red fencing

Split scene - abstract work

Family Tree

Vine - Fantasy/Fairy tale

Fire escape - performance is based on

Fantasy, Monstrous fencing 

Stone Wall - Adventure, Tough lifestyle

Audience can sit inside and watch performers outside 

Animalistic ditch, danger, trapped, no way out, outcasted

Mirror - image

Performance Ideas - Based on the site 

Cassie, Jake, Nora and I where put together to come up with ideas based around the crystal centre

 Looking at the performance space I was really attracted to the tree and got an idea of looking at the tree like a family tree, by having the main character up in the tree and having her/his family surrounded it, symbolizing 'you can't chose your family' 'stuck in society'. We also gained more knowledge about the tree and was told it might be an apple tree which was even better, as we thought it could also symbolize 'the apple doesn't fall too far from the tree'.
The performance being site specific we had to look at every area and we was all drawn to the wall next. The concrete wall we thought would be good to have all her/his family members lined up against the wall and train them in an army military like way, which would show her/him  trying to change them into the perfect family.

Having chosen where to set our performance we thought it would be good to have the audience placed up where the stairs where the wooden wall is.

Arts in the Community

What is community arts?

Community arts is about coming together with people fortunate and less fortunate in performing. With different social and cultural backgrounds, it is a time to mix people together to make them realize they have similar interests and that they aren't as different to each other as they think they are.

Community arts is a learning process, you learn skills in performing and even unlock some talent which you never thought you'd have, it makes people become more confident with in themselves. But most importantly its a learning process for you aswel, you learn from your clients each time you facilitate or teach as they have a great impact on you as you do on them. You learn how to deal with different situations in society and gain more knowledge on the different people and  how inclusive you can make things in the community.

By running workshops or creating a piece of material you give your clients a different outlook on life and also make citizens have a different outlook on there lifes, I.e; people with disabilities or youth offenders. Making people see that they do have talents and are able to put them to work and create amazing performances which they never themselves even thought they could do.

It is by - working with a client group to help them perform their own piece, for - to perform for your client group, this can be interviewing them to get memories or events that's happened in their life and perform it to them i.e; reminiscent theatre and with - working with your client group to create a piece together.

 

Community arts is all about believing that performing means more than just performing, you believe that performing can help you and those around you.

Using my own experience in community arts looking at the skills, rolls and responsibilities needed to run a project. One of the projects I had done was based at 'Age UK Thornton Heath.'

First of all to break the ice and to not patronize our clients by jumping straight into the performing sides of things, we sat down 5 facilitators to each client and spoke to them introducing ourselves and getting to know one another. 

In different groups we ran workshops, these being; a dance warm up, vocal warm up, a short performance piece which would later be adapted towards the big performance at the end and another dance warm up.

Having in mind that our clients where the elderly we had to take in consideration that some of them would not be able to stand for long and be able to do certain things others can do, so we made sure we was flexible within our workshops. In the dance warm up we adapted it by asking if anybody would like a chair, so they could do the warm up sitting down. While showing everybody the dance warm up examples, we would then afterward show another way to do the move in a more subtle manor which would be more easier for them. By not being bias and thinking that every old person could not do the same things that we could do, we would ask them instead of tell them, so they could have the chose to do it either the original way or adapted way.

After 4 sessions with the clients we finally came to the final workshop; the short performance piece. We decided to do this workshop last because performing is about confidence, working together in a group to get ideas and knowing what each others good at. So we done the warm ups first so we could gain more of a relationship with the clients, not pressurizing them into doing anything they didn't want to do.

We got given newspapers which we would then read to get a story from for our stimulus, not forgetting our client was there we asked her/him if they felt this was a good story to use or not. Having got our story we shared ideas and treated our client like one of us to make them feel more comfortable and like they wasn't put on the spot, but remembering that they was still our client. With all the ideas intact we got up on our feet and start rehearsing our piece and bringing our ideas together, seeing if our client wanted to be in the limelight we asked her/him if they wanted to be the main character or if they was too nervous to do so which was fine, making them have a choice rather than us giving them a role without seeing if they was happy with it or not. 

After completing all workshop tasks and gaining a good relationship with our clients, we started the process of our main performance piece (reminiscent theatre).

First of all in the same groups we was in for our 'short performance pieces' we had to interview our clients on there childhood memories, and also ask them questions on how they think things have changed from back in there days to now. Making sure no one hit a nerve or asked too much of a deep question, we made sure we had our questions ready a week before hand in lesson, making sure they where appropriate to ask.

When we finished the interview process we went away for 2 weeks not seeing our client group, to rehearse our pieces. As our piece was based on their memories we had to make sure the way we performed it didn't look like we was taking the mick and look as if were not taking it seriously enough. It was hard to do so but in the end when we showed our client groups our performances they loved it and was laughing all the way through.

Working with age UK I learnt a lot; how much the elderly is actually able, how to use my voice not to be patronizing, how to present myself in a manor where I seemed polite and confident and how to teach the older generation with having the same knowledge to respect my elders and to take in consideration that they are older.

When I worked with age UK I worked for and with.

Cerebral Palsy.

What is cerebral palsy? 

Cerebral palsy is a impairment of muscular function which is usually caused by an injury to the brain either before, during or after birth. Cerebral palsy is not progressive therefore the injury to the brain does not change however the effects may change for better or worse.

Possible Causes of cerebral palsy...

• Infection in early pregnancy
• A difficult or premature birth
• Bleeding in the babies brain
• abnormal brain development in the baby

Cerebral palsy is caused by damage to the brain, which normally occurs before, during or soon after birth. 

Symptoms...

• Epilepsy
• learning difficulties
• incontinence
• visual impairments
• difficulties speaking or understanding other people speak
• delayed growth
• curved spine
• drooling

How common is cerebral palsy?

1 in every 400 children in the UK are diagnosed with this condition. Approx 1,800 babies are affected by cerebral palsy a year.

Cure...

Cerebral palsy is not a progressive condition. It will not get worse as the child gets older, however it can put a great deal of strain on the body, which can cause problems in later life.

There is no cure for this condition, but a range of treatments can help relieve symptoms and increase a child's sense of independence and self-esteem. These include; physiotherapy, occupational therapy and medication to relieve muscle stiffness and spasms.

3 Main types of cerebral palsy...

Spastic Cerebral palsy (bilateral spasticity) -  Is the type of cerebral palsy where muscle tightness is either the dominant or exclusive impairment present, and is the most common type of cerebral palsy.

Dyskinetic/Athetoid cerebral palsy - Is a movement disorder where damage is taken to the brain in the form of lesions during brain development. Physical therapy and drug therapies are used to treat the symptoms

Ataxic cerebral palsy -  Patients experience problems in coordinating muscle movements and balance. Ataxic cerebral palsy is known to decrease muscle tone.