"Advanced" level technique—Three main areas of focus

Moving into an "advanced" level in contemporary dance can be about picking up more complex material more quickly, and performing material with high levels of control, flexibility & nuance (stylistic detail).

For me, the following points cover the sorts of ideas/approaches that I think "come up" in my dance material

1. Detail/Cross-patterning 
This is about instrumentation, looking at the intricacies possible in the articulation of body parts and their relationships to each other. It is a zooming in to find detail while at the same time keeping the whole body in the picture. It is a consideration of the multiplicity of the micro—the potential to articulate each joint of each finger or to activate subtle shifts of angle and impulse in the spine. I often make phrases that layer and counterpoint upper body and lower body patterns in ways that not only fine-tune the physical instrumentation but also work on neural pathways to improve coordination and memory.

e.g. the "Celestial Gestures" phrase (named for the music Celestial Blues and the incorporation of hand gestures) which will continue to build a gestural language upon the moving foot/floor patterns. It is also a cross-cultural patterning, drawing on Bharatanatyam (Indian Classical Dance) mudras on top of leg work that has more Western hip hop flavour.

2. Phrasing and Musicality 
I am strongly influenced by music and like to draw on an eclectic mix of styles, tempos and time signatures. How we use time can colour the quality, character, dynamic of our moving. Working in irregular time signatures is another cultural education  that can broaden your dancing palette. Amplifying variations in speed can build physical control, the ability to change and shift across more extreme ranges. You've probably already noticed how I will often use musical composition as a visual metaphor—your legs carry the bass line, the foundation; the torso, arms add voices, melodies and harmonies to this rhythm; where you shift your focus or your breath can be an embellishment, a cymbal or a horn blast. In Labanotation, dance notation that is also recorded on a stave, this idea of the layers of the body as parts of a musical composition is echoed.

3. Focus/Performance

This is both about seeing and being seen to, as Deborah Hay says, to "invite being seen."
I suggest that you can consider your focus, where you look and what you are seeing, as another body part that can move out to connect you to a distant part of the space and which falls back into the body as light or information through the lens of the eye (refer to Lisa Nelson article linked below). Here is where my work with video becomes the metaphor—softening or sharpening your focus affects the detail of the facial musculature, noticing how you can see from other angles and distances and considering how you are seen from all angles and in particular frames (i.e. not all the body at once). More than just relating to the face and eyes, how can you activate different parts of your body by considering how a viewer is seeing them? How can your back smile, or your stillness speak?

Lisa Nelson article