354 Dance Anatomy and Kinesiology
in professional ballet dancers. Table 6.8 provides
two stretches with a straight knee to emphasize the
gastrocnemius (table 6.8, A and B, p. 356) and two
stretches with a bent knee to emphasize the soleus
(table 6.8, C and D, p. 357). In all of these exercises,
particular care must be taken that the foot is paral-
lel (in line with the tibia) and that the foot remains
neutral or slightly inverted versus pronated. It is
also important that the stretch be experienced in
the calf. If pain and limitation is experienced in the
front of the ankle, the dancer should stretch only in a
pain-free range and seek an evaluation from a sports
medicine professional to rule out impingement or
other medical conditions that could be worsened by
forcing this stretch.Stretches to Improve Pointing of the Foot
Adequate flexibility of the ankle-foot dorsiflexors
is necessary to achieve the high ranges of plantar
flexion used in movements such as pointing the foot
and relevés. In contrast to the range for dorsiflex-
ion, range of ankle-foot plantar flexion in dancers
tends to be much greater than found in the general
population. One study of elite professional ballet
dancers showed the mean for female dancers to be
113° (Hamilton et al., 1992), and in another study of
elite advanced and professional ballet dancers it was
97° (Clippinger-Robertson, 1991). These numbers
reflect an extreme deviation from the American
Academy of Orthopaedic Surgeons norm of 50°. Inballet, at least 90° of plantar flexion is recommended
to meet biomechanical and aesthetic demands for
pointe work. Although other dance forms such as
modern and jazz do not require as extreme measure-
ments, high ankle-foot plantar flexion range is still
important for aesthetics during pointing and for
proper placement on demi-pointe. Hence, stretching
the feet to gain adequate plantar flexion is important
for meeting dance demands.
This plantar flexion range is not just from the
ankle joint, but rather comes from a combination
of the talocrural, subtalar, midtarsal, and metatarso-
phalangeal joints. The contribution of these other
joints is often underestimated; and even with the gen-
eral population, 10% to 40% of the range of plantar
flexion comes from joints distal to the talocrural joint
(Levangie and Norkin, 2001). However, as seen from
table 6.7, although increasing this range includes
stretching the dorsiflexors of the foot (particularly
the tibialis anterior, extensor hallucis longus, and
extensor digitorum longus), it also probably includes
stretching joint ligaments and capsules. Hence such
stretches should be done when the feet are fully
warmed, and with very slow and careful application
of stretch in a pain-free range.
Table 6.8 provides two stretches for improving
range in plantar flexion—one performed standing
and one sitting. The standing pointe stretch (table
6.8E, p. 358) offers a stretch that can easily be done
either in class prior to moving across the floor orInfluence of Foot Pronation
on Dorsiflexion Range of MotionBring the right leg back to perform a standing lunge calf stretch with your side to a mirror.- Dorsiflexion range with a parallel foot. Check the back foot so that it is parallel, facing straight
ahead, and in line with the tibia. This position will tend to throw the body weight slightly outward on
the foot and create a locked position of the midtarsal joints (slight foot inversion). Now bend the
front knee, and lean the body forward until a stretch is felt in the back of the calf. Note the angle of
dorsiflexion that can be reached on the back ankle-foot. - Dorsiflexion range with the foot toed out. Now shift your weight forward onto your front foot, and
adjust your back foot so that it is facing slightly outward relative to your tibia. Again, bend the front knee
further, and lean the body forward until a stretch is felt in the back of the calf. Note that the foot unlocks
and pronates, allowing a much greater angle of apparent dorsiflexion than could be reached before. - Relationship to technique. Consider how this undesired use of pronation would influence the
structures being stretched and would relate to dancers with shallow pliés or asymmetrical pliés (with
less dorsiflexion on one side).