408 Dance Anatomy and KinesiologyHorizontal adduction refers to bringing the arms for-
ward toward the midline from a horizontal position
(90° abduction) and keeping the arms at shoulder
height throughout this motion. An example from
ballet is bringing the arms forward from second
position to the front. When the torso is upright,
the horizontal adductors—including the anterior
deltoid, pectoralis major, and coracobrachialis—can
produce this movement, while the shoulder abduc-
tors (supraspinatus and middle deltoid) are used to
maintain the arms at shoulder height. If you wanted
to strengthen these muscles with weights, lying
supine would provide a more effective position for
gravity to resist horizontal adduction (e.g., supine
fly or bench press). Shoulder horizontal adduction
tends to be linked with abduction of the scapula
(serratus anterior and pectoralis minor).
Horizontal abduction refers to the opposite
movement of bringing the horizontally placed arms
back away from the front of the body while keeping
them at shoulder height, similar to the movement
of bringing the arms from middle fifth to second
position or accompanying some spinal hyperexten-
sion movements commonly used in African dance or
jazz dance. When the torso is upright, the horizontal
abductors—including the infraspinatus, teres minor,
middle deltoid, and posterior deltoid—can produce
this movement, while the shoulder abductors are
again used to maintain the arms at shoulder height. If
you wanted to strengthen these muscles with weights,
lying prone on a bench would allow a more effective
position for gravity to resist horizontal abduction
(e.g., prone fly or row with elbows out). Shoulder“Hold Your Shoulder Blades Down”
T
he directive to “hold your shoulder blades down” is sometimes used by teachers in response to a
student who excessively lifts the shoulders as the arms are raised overhead. As just discussed, one
desired anatomical interpretation of this cue is to emphasize using the scapular depressors (particularly
the lower trapezius and serratus anterior) to neutralize the undesired elevation (particularly of the
upper trapezius). However, this cue is sometimes misinterpreted to mean that the scapulae should be
fixed in place and not allowed to move. To fix the scapulae is counter to the normal scapulohumeral
rhythm and the desired upward rotation of the scapulae that accompanies overhead movements of
the arms to the front or side. Focusing on the bottom of the shoulder blade (inferior angle) initially
pulling slightly down and then out (scapular abduction)—well below the armpit—as the arms are
raised can sometimes facilitate desired recruitment of the serratus anterior. Alternatively, thinking of
the arms initially reaching slightly down and then out as they approach second position can sometimes
help counter the habit of excessive scapular elevation.DANCE CUES 7.2
FIGURE 7.31 Sample dance movement showing shoulder inter-
nal rotation.
Photo courtesy of Keith Ian Polakoff. CSULB dancer Holly Clark.