266 Dance Anatomy and Kinesiology
Considering all these factors, although the recom-
mendations of limiting knee flexion to about 90°
for beginning recreational athletes seem prudent,
another approach is warranted in the dance arena.
One recommended approach would be to use grand
pliés judiciously in dancers with “healthy knees,” with
limited consecutive repetitions and close attention
to technique and appropriate conditioning and
skill level. Appropriate skill and strength should be
present so that the descent and rise are controlled,
the knees go as much to the side as hip turnout per-
mits, and the pelvis stays vertical as shown in figure
5.23A—versus the common error of tilting the torso
and pelvis anteriorly with resultant internal rotation
of the femur and in-facing of the knees as shown in
figure 5.23B. Keeping in mind the dislocating forces
when in full flexion, dancers should be advised to
maintain an active contraction of muscles with a
quick reversal in direction at the bottom of pliés to
enhance joint stability and avoid a position in which
support is provided solely by passive constraints such
as ligaments.
Due to the inherent greater strength and balance
challenges, a more conservative approach can be
employed when a barre is not used for first-, third-,
fourth-, and fifth-position grand pliés, as is commonly
done in modern and jazz dance. Such center floor“Lift Out of Your Knees”
T
he instruction to “lift out of your knees” is sometimes used by teachers in an effort to reduce knee
stress when dancers are performing demanding movements such as grand pliés or movements
involving going down to the floor.
This cue of “lifting out of your knees” is often further explained as “don’t let your weight drop into
your knees.” One could interpret these cues from an anatomical perspective in several ways. One inter-
pretation is that they encourage the use of muscles to control motion at the knee, rather than allowing
excessive momentum and reliance on passive constraints. For example, eccentric contraction of the
quadriceps muscles (in conjunction with co-contraction of many other muscles) can be used to control
the flexion of the knee as the body lowers toward the floor; and when full flexion is approached, this
muscle contraction is maintained rather than the dancer’s relaxing the quadriceps and “sitting in the
plié,” relying on passive tissues such as the ligaments of the knee to maintain the flexed position. Such
an approach is advantageous in terms of creating more joint stability and less ligamental stress.
Another interpretation of this cue relates to contraction of muscles above the knee, particularly of
the hip and torso. For example, using the hip extensors eccentrically and “pulling up” with the abdomi-
nal muscles and back extensors to help maintain desired positioning of the torso relative to the knee
during knee flexion may reduce knee stress. The potential influence of muscle use on forces borne
by the body was demonstrated in one study that included jump technique cueing, which resulted in
greater use of the hamstrings and 22% reduction in peak impact forces (Hewett et al., 1999).DANCE CUES 5.1
FIGURE 5.22 Sample dance movement demanding high
levels of knee flexion, quadriceps strength, and neuromuscular
coordination.
Photo courtesy of Keith Ian Polakoff. CSULB dancer Dwayne Worthington.