Anterior Pelvic Tilt in Dancers

Correct alignment is crucial to dance technique. A common alignment issue in dancers is an exaggerated anterior pelvic tilt - tilting the the pelvis forward. No two individuals will have identical spinal and pelvic alignment, and so it is perhaps useful to think of there being an  range that can be considered optimal rather than one set alignment that is perfect. The anterior pelvic tilt pulls the body out of correct alignment (outwith the optimal range), resulting in flawed technique and impaired performance. Your lower abdomen will protrude and your backside will stick out. Over and above the artistic flaw, anterior pelvic tilt impairs turnout and prevents proper muscle recruitment, can cause hip pain, back pain, knee pain and flat feet.

The hip flexors connect the femur to the hip and lower back; tight, short hip flexors cause the hip to pull forward. Any misalignment of the hips will effect the back, and anterior pelvic tilt will give a pronounced curvature of the thoracic spine. This in turn may then produce upper back pain, shoulder and neck pain, headaches and migraine.

Healthy hips are essential in dance, the turnout and all subsequent movement of the lower body originates here. While pelvic motion is central to many of the basic movements of dance (for example the battement de vant, a la seconde and derrière all display differing degrees of pelvic motion), the body should have a neutral home alignment. The internal rotation of the hip displayed with APT goes on to effect the lower limbs, producing subsequent internal rotation of both the femur and tibia, reducing turnout. This can cause or exaggerate existing over-pronation of the feet, causing foot, ankle and knee pain. Incorrect alignment further predisposes the dancer to injury.

Flexibility training - is it necessary?

Flexibility training can be divisive issue. Even I'm divided on it. On the one hand, you can improve your flexibility levels to a degree through appropriate training (stretching) methods. On the other, the gains you can make are somewhat limited, and I'll often argue largely outweighed by the likelihood of injury (up to 80% of dance injuries are sustained during flexibility exercises. That's an awful lot.).

Having spent the better portion of my life in dance training and surrounded by other dancers, I can honestly say I've seen a LOT of time wasted on flexibility training for next to no gains. 85% of your flexibility is down to your skeletal structure, 5% is down to environmental circumstances, leaving only 10% down to muscular elasticity.  10%. All those hours spent trying to push that little bit further, and the best you can hope for is 10%.

Research Update: Warm Up & Stretching

A new study has been published in the Journal of Dance Medicine and Science looking at the effect of varying stretching protocols during warm-up on dance performance. Warm-up is a much neglected are of dance research and it's great to see work being conducted in this area.

Physiological Considerations with Children

Most dancers work with children at some point, whether it's on a daily basis or once or twice a year; through teaching, outreach or company workshops almost all of us will work with young people on and off throughout our careers. In developing the skills of young dancers it's helpful to have an understanding of the implications of various growth stages on their physical performance.

The rules of supplemental training

Supplemental training will make you a better dancer. There's no question about it. Being stronger, faster, more agile, more powerful, more flexible, generally fitter... all of it will improve your dance performance. But it's no good deciding you're going to push yourself and develop outside of the dance studio if you don't do it sensibly. There are some incredibly simple rules you need to follow if you're ever going to make progress in additional areas you're training, otherwise you're just going to waste your time.

Dance bag essentials - tennis balls

Every dancer should keep a tennis ball in their dance bag, it doesn't matter what style of dance you do, from ballet to bhangra to ballroom, all of you are going to get tight muscles at some point, if you keep something as basic as a tennis ball in your bag you have a way of working on them wherever you are. When I was dancing full-time I think I forgot what it was like to wake up without some part of me aching or feeling tight and it was often at it's worst after a heavy class or rehearsal. Rolling muscles out with the ball became as much a part of my cool down as stretching did and made considerable difference to how long I could last between physio or massage appointments without totally stiffening up.

Stretching

Since I've discussed flexibility and turnout, it's probably worth talking about stretching in a little more detail. We all stretch regularly, whether it's making a concerted effort in class, or for 60 seconds between barre and centre work, it punctuates our days at regular intervals.

How much you get from stretching and how safely you are doing it will vary greatly depending on the type of stretching you do:

Flexibility

I'll be honest, a proper concerted effort to stretch tends to be saved for classes where I'm made to, and moments in front of the TV when I feel guilty for being lazy. Normally after being in the gym,  at training sessions, or going for a run, the last thing I want to do is spend 15 minutes stretching off - if it's not been a straight dance session I'm not the best at making myself commit to it. Hitting the showers always seems so much more appealing. Today, seized by a moment of out of character good sense, I came in from a run and actually made a concerted effort to stretch and have made a subsequent decision to push myself back into good habits.

(Note: a couple of plies and shouldering your leg in front of the mirror does not constitute stretching properly).