strain brought on by the exclusive participation in one activity. Cross-training for Eurocentric dance forms is traditionally Pilates and Gyrotonic. Dancers find com- fort in their dance roots, relation- ships, and specificity. However, when we analyze the forces involved in making the movements in dance, including ballet, we know that the limbs and the body not only cre- ate repetitive acceleration or jump- ing forces but also repetitive land- ing forces. Dancers move and push across the floor. They stabilize and balance in motion. The danc- er’s body has to hold, balance, and move. That level of physical pres- ence—having muscles on, avail- able, and ready to react—doesn’t come with ballet classwork alone. It’s “athletic stuff” and must be specifically trained into the system with complexity beyond simply setting out to “strengthen.” Opti- mized function is the goal. There are
it controls the torso while the legs work and move, sustaining “perfect” posture, without losing proper spine position. The legs are pistons to a fixed torso. This provides extremely effective core activation and stabiliza- tion. Without a solid base and stable link between upper and lower body, it may be impossible to generate force and efficient limb movement. Addi- tionally, the core, especially the spine, becomes vulnerable to injury when not stabilized. While dancers are masters of nuanced and refined movement, it is interesting to isolate the contributing motor units, i.e., movers and stabi- lizers, of a dancer’s body into com- ponent pieces. Breaking movement apart can expose a lack of sufficient activation and use. When not at one's personal full activation and potential, there will be a deficit working not only across a specific joint but for the body as a performing whole. The goal of training must be specific and intentional activation of all tar- get muscles so they can contribute to the entire spectrum of movement and protection. Enhanced durability, sta- bility, and ability are the result. Quite simply, your body feels better, works better, and performs better. LISA GIANNONE is a PT/Kinesiologist and Found- er/Owner of ACTIVECARE/THE GARAGE.She was a UCLA Kinesiology/Biochemistry major and class Valedictorian and completed her graduate work at UCSF Medical School in Physical Ther- apy. Dissatisfied with the traditional approach to sports and dance medicine, Lisa founded her own thriving practice where she approaches rehab as an engineer with an understanding of physiology. She creates specific protocols for bi- otech companies, sports organizations, and her individual patients, who include Olympic, pro- fessional, and collegiate athletes, world champi- on boxers, and professional dancers. They refer to her treatment as the “most specific, precise and effective” they have experienced. She is re- habilitation consultant for San Francisco Ballet, ODC/Dance Company, and Smuin Contemporary Ballet, and conditioning consultant for the SF Ballet school.
in providing shock absorption to the joints, tendons, and ligaments up and down the limb and spine. The better they work the better you can perform. This training is effectively done with your body weight, as that (and at times the weight of another if partnering) is the primary resis- tance that a dancer needs to be able to move. Quads need to have a solid “presence” in the lower limb of a dancer and be able to produce force, stabilize, and sustain over time. Fatigue and weakness are the enemy of both protection and performance as they reduce shock absorption and spring of the lower limb. A dose of parallel squat work in a dancer’s weekly regime prepares the body for optimum functioning. The body weight squat, set up with preci- sion and intention, is the exercise that isolates and works this main player of the leg. It’s a beginner, mid-, and advanced-level exercise depending on how it’s issued and performed, and
powerful means to get strength and enhanced muscular function that don’t involve contraptions, exces- sive load, and “bulking up.” “Training,” then, comes down to two main issues – SET-UP and FIRING. Set-up: establish moves, actions, and positions at angles and in planes so that the target muscle group has the maximum opportunity to work. This is often in parallel and not just in turnout. Firing: bring optimal coordina- tion and awareness of muscle activ- ity, what we call neuromuscular activation, recruitment, or turning the things on that need to be turned on. Learn to fire with intention and focus and keep the muscle on. It’s far more technical than it appears. This is the key, whether applied to rehab, injury prevention, or enhanced ability: look for muscle burn – it’s the body’s built-in bio- feedback to let you know you are
should be the primary tool in the dancer’s training toolbox.
working properly and thoroughly. Obtaining conscious access to mus- cles, or neuromuscular recruitment, is the step BEFORE working on strength, etc. Bodies “try” to do less; we need to make them do more. Acti- vation of muscle, for any athlete, is the primary means through which training gives results. If you can- not “summon muscles” at any given moment, they cannot offer support or direct action at a joint or through a limb. Access and use of the target muscle are the goals – muscles that function better. A ‘Muscles 2.0’ ver- sion without the unwanted “side effects” of building bulk. QUADS As discussed above, dancers lift, lower, and move their torsos with their limbs. They jump and land, and create elegant lines with a straight leg. Your quadriceps mus- cle is responsible for these actions and more. Your quads are central
POSTERIOR CHAIN MUSCLES Additionally, in parallel, one can train the hamstring and superficial and deep (think turn out muscles) glute groups. Despite vigorous daily activity—class, rehearsal, perfor- mance—dancers frequently miss out on specifically targeting and isolat- ing these key “directors” of the hip and limb. In fact, weakness in these groups, and the quads, is a number one finding in the bodies of dancers despite their exquisite skill in mak- ing aesthetic and athletic-looking movement. THE CORE The core is both under- and over- hyped. The core, including mus- cles on all sides of the torso, links the lower and upper body, and is key even when it’s not moving. For instance, during a bodyweight squat,
>> COMMON COMPENSATIONS
Loss of upright posture: head has fallen, gaze is down, which moves body weight out of quads, overloads hip, and can stress spine.
Also a leg position mistake stressful to hips, knees, and ankles; avoid turn out of feet at ankles and the resultant knock-kneed position.
Throwing the weight forward by throwing arms out in front loses upright core-focused posture and significantly lightens load to quad muscles.
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In Dance | May 2014 | dancersgroup.org
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