Emmonsk

The Body of a Dancer

Stretching 1200829

Joints

Main article: Joint

The joints in a human body are surrounded by synovial membranes and articular cartilage which cover, cushion and nourish the joint and surfaces of each bone. Increasing muscular elasticity of the joint’s range of mobility increases flexibility.

Ligaments

Main article: Ligament

Ligaments are composed of two different tissues: white and yellow. The white fibrous tissues are not stretchy, but are extremely strong so that even if the bone were fractured the tissue would remain in place. The white tissue allows subjective freedom of movement. The yellow elastic tissue can be stretched considerably while returning to its original length.

Tendons

Main article: Tendon

Tendons are not elastic and are even less stretchy. Tendons are categorized as a connective tissue. Connective tissue supports, surrounds, and binds the muscle fibers. They contain both elastic and non-elastic tissue.

Areolar Tissue

The areolar tissue is permeable and is extensively distributed throughout the body. This tissue acts as a general binder for all other tissues.

Muscle Tissue

Main article: Muscle

Muscle tissue is made of a stretchy material. It is arranged in bundles of parallel tendons.

Split, gymnastics

Stretch Receptors

Stretch receptors have two parts: Spindle cells and Golgi tendons. Spindle cells, located in the center of a muscle, send messages for the muscle to contract. On the other hand, Golgi tendon receptors are located near the end of a muscle fiber and send messages for the muscle to relax. As these receptors are trained through continual use, stretching becomes easier. When reflexes that inhibit flexibility are released the splits then become easier to perform. The splits use the body’s complete range of motion and provide a complete stretch.

Stretching

Main article: Stretching

Flexibility is improved by stretching. Stretching should only be started when muscles are warm and the body temperature is raised. To be effective while stretching, force applied to the body must be held just beyond a feeling of pain and needs to be held for at least ten seconds. If held too long, the muscle will become too loose and stretchy. Increasing the range of motion creates good posture and develops proficient performance in everyday activities increasing the length of life and overall health of the individual. Dancers perform routine warm-ups before class and rehearsals. They use an extreme range of motion at the hip joint. Dancers born with a larger range of motion have an advantage in later years of their dance careers and adult life.

Dynamic

Dynamic flexibility is classified as the ability to complete a full range of motion of a joint. It also controls movement as the speed increases while stretching parts of the body.

Static-Active

Static-active stretching includes holding an extended position with just the strength of the muscles such as holding the leg in front, side or behind. Static-active flexibility requires a great deal of strength, making it the hardest to develop.

Caroline Zhang Spiral 2008 Skate Canada

Static-Passive

Static-passive stretching is similar to static-active, but one holds a position with help of gravity. Doing the splits is an example of static-passive stretching.

Ballistic

Ballistic is separate from all other forms of stretching. It does not include stretching or any kind of bouncing motion. The actual performance of ballistic movements prevents lengthening of tissues. These movements should only be performed when the body is very warm; otherwise they can lead to injury.

Limits of Flexibility

Each individual is born with a particular range of motion for each joint in their body. Dancers must warm their bodies before stretching to prevent injury and possibly limiting flexibility. In the book Finding Balance by Gigi Berardi, the author mentions three limiting factors: Occupational demands, movement demands and training oversights.

Internal Factors of Flexibility

Movement demands include strength, endurance and range of motion. Training oversights occurs when the body is overused. Internally, the joints, muscles, tendons, and ligaments can affect one’s flexibility. As previously mentioned, each part of the body has its own limitations and combined, the range of motion can be affected. The mental attitude of the performer during the state of motion can also affect their range.

External Factors of Flexibility

Externally, anything from the weather outside to the age of the performer can affect flexibility. General tissues and collagen change with age influencing the individual. Young performers should be aware of over-stretching. Even basic things such as clothing and equipment can affect a performance. Dance surfaces and lack of proper shoes can also affect a performer’s ability to perform at his/her best.

Signs of Injury

Stretching for too long or too much can give way to an injury. For most activities, the normal range of motion is more than adequate. Any sudden movements or going too fast can cause a muscle to tighten. This leads to extreme pain and the performer should let the muscle relax by resting.

Conditioning

Conditioning involves balance, care of the body, and the process of training specific parts of the body. Conditioning, if done correctly, can also be used to prevent injury using strength and stamina. It is the first step to training a specific part of the body and stretching specifically, enhances one’s flexibility. It would benefit dancers to pick strengthening movements that are similar to the type of dance steps they are learning and performing. Flexibility, strength, and stamina all need to be balanced though. The dancer must take care of their body. Strapping, wrapping, and padding assist in protection and the healing process of injuries if applied at the appropriate timing. A conditioned body heals quicker than one poorly conditioned.

Gymnast jumping on beam

Technique

Dance classes teach basic physical movements. If these steps are performed correctly, the dancer will:

• Obtain a better balance
• Be able to turn faster while staying in time
• Incur less injuries
• Lengthen their career

In order to perform steps correctly, the dancer must be using good alignment and be fully engaged.

Risk of Injury

Pediatric Emergency Care shared an incident of a cheerleader. While doing the splits, a cheerleader, who had performed the splits many times before, did it just like any other time and heard a pop. Exaggerated forces were applied to the muscle-bone junction when the splits were performed. Afterwards she walked with a limp and had pain in her gluteus maximus. Gigi Berardi mentions the art of dancing has no pads like in football. The floor is hard and dirty. A dancer’s schedule is tightly booked and their eating habits are poor.

Treatment

Inexperience can lead to injury or hazardous situations like the cheerleader experienced. Learning to work with restrictions and limitations will minimize injury. Usually, dancers define an injury as something that keeps them from practices and rehearsal. Performers need to pay attention to any feeling, including a burning or tingling sensation, that is out of place and have it checked out right away. They must be familiar with their own body and its range of motion. They need to be cautious and deliberate with good techniques as a foundation and make smart choices about conditioning, eating habits, and safe and effective training. Using the correct techniques will help prevent and treat performers.

See Also

• Dance
• Physical Exercise

References

Bibliography

• Arnheim, Daniel D. Dance Injuries: Their Prevention And Care. 3rd ed. Princeton, NJ: Princeton Book Company, 1991. Print.
• Ashley, Linda. Essential Guide to Dance. 2nd ed. London: Hodder & Stoughton, 2004. Print.
• Barratt, Marcia, et al. Foundations For Movement. Dubuque, IA: Wm. C. Brown Co., 1964. Print.
• Berardi, Gigi. Finding Balance. 2nd ed. Routledge, NY: Routledge, 2005. Print.
• Blakey, W P. Stretching Without Pain. Canada: Twin Eagles Educational & Healing Institute, 1994. Print.
• Como W. Raoul Gelabert’s anatomy for the dancer with exercises to improve technique and prevent injuries. New York: Danad, 1964; 51-57.
• Dilmen, Nevit. Stretching. 2009. Own Work. Wikimedia Commons. Web. 4 Dec. 2010.
• Franklin, Eric N. Conditioning for Dance. Champaign, IL: Human Kinetics, 2004. Print.
• FvS. Split, gymnastics. 2005. Own Work. Wikimedia Commons. Web. 4 Dec. 2010.
• Liedarback, “General considerations,” p.59.
• McCharles, Rick. Gymnast jumping on beam. 2008. http://flickr.com/photos/71035721@N00/2972933329. Wikimedia Commons. Web. 4 Dec. 2010.
• Pare, Caroline. Caroline Zhang in 2008 Skate Canada International. 2008. http://everythingskating.com/. Wikimedia Commons. Web. 4 Dec. 2010.
• Reinking, Ann, and Linda Szmyd. The Dancer's Workout. London: Bantam Books, 1984. Print.
• Ryan, Allan J., and Robert E. Stephens, eds. The Healthy Dancer: Dance Medicine for Dancers. Princeton, NJ: Princeton Book Company, 1987. Print.
• Stuart Wright, Dancer’s Guide to Injuries of the Lower Extremity (New York: Cornwall Books, 1985), p. 14.
• Swischuk, Leornard E. "Doing the Splits: Heard A Pop--Cannot Walk." Pediatric emergency care 23.11 (2007): 842-3. Web. 8 Sep. 2010. <http://ovidsp.tx.ovid.com>.

External Links

• <http://www.med.nyu.edu/hjd/harkness/patients/injuries/hip.html>
• <http://www.cmcrossroads.com/bradapp/docs/rec/stretching/stretching_1.html>
• <http://www.mayoclinic.com/health/stretching/HQ01447>
• <http://www.youtube.com/watch?v=BaDXNjFjjnU>
• <http://gymnastics.about.com/od/trainingadvice/ss/frontsplit.htm>