The Spine 101the pelvis may reflect an effort to stabilize the lumbar
spine (McMeeken et al., 2002), which is known to
have marked increased mobility in dancers.
The fatigue posture can often be improved with
strengthening of the upper back extensors (figure
3.28A and table 3.4H [p. 137]), and sometimes the
hip flexors (figure 3.28B and table 4.5, A-C [pp. 213-
214]). In some cases abdominal tightness is also a
factor, and stretching is advised. When rolled shoul-
ders are involved, this must also be addressed. With
some dancers, fatigue posture can actually relate to
overcorrection of lumbar lordosis. Performing lots
of abdominal exercises in short ranges of motion
(e.g., curl-ups) in an effort to correct lumbar lordosis
over a long period of time can sometimes lead to the
opposite imbalance in which the abdominal muscles
are too tight or strong (or both) relative to the back
extensors. This overcorrection can readily be avoided
by including stretches for the abdominal muscles
or full range of motion abdominal exercises, such
as seen in figure 3.28C (and table 3.4C, variation 1
[p. 134]), and spinal extension exercises (table 3.4,
I and J [p. 138]), which will dynamically stretch the
abdominal muscles, in one’s regular routine.
However, as with other postural problems, success-
ful correction of the fatigue posture often requires
changing muscle activation patterns and breaking
habitual patterns. Since the fatigue posture is a pas-
sive posture involving hanging on the ligaments,
muscles need to be activated to avoid this posture.
Use of the upper back extensors will tend to decrease
the exaggerated thoracic curve (kyphosis), while aEvaluation of Standing Postural Alignment
Perform the following observations on another dancer or on yourself (with your side to a mirror) using
figures 3.23 and 3.27 for reference. Observation will be easier if a bathing suit or leotard and tights
are worn. One can devise a plumb line by attaching a piece of string overhead and hanging a plumb
bob or some other small weight from this piece of string. The piece of string should be long enough
that the weight just clears the floor.
General Observation
Have your partner stand upright with the legs parallel and feet under the hip joints. Apply markers
(adhesive dots, small pieces of masking or colored tape) to the landmarks shown in figure 3.27.
Situate your partner with her or his side to the plumb line so that it runs through the ankle marker.
Note the relationships of the landmarks and the curves of the spine to each other and the plumb
line. Attempt to classify this standing alignment, noting the presence of ideal, lumbar hyperlordosis,
kyphosis, flat back, or fatigue posture.
Replicate Common Postural Deviations
To help train your eye and understand the differences, have your partner perform the following maneu-
vers, and note the changes in the spinal curves; changes in the relative positioning of the head, torso,
and pelvis; and changes relative to the plumb line.- Round and sink backward into his or her upper back to simulate kyphosis.
- Tilt the top of the pelvis forward and arch the low back to simulate lumbar hyperlordosis.
- Press the bottom of the pelvis forward and let the upper back relax backward to simulate fatigue
posture. - Tuck the pelvis slightly, pull the abdominal muscles back against the lumbar spine, and lift the
spine upward as much as possible to simulate flat back posture.
Apply to Simple Movement
Repeat the same alignment observation with your partner performing a first position plié and rise
(parallel and then turned out). Note if the general postural pattern observed with standing remains
or changes.