The Upper Extremity 411contraction of the lower trapezius and serratus ante-
rior. When the scapulae are in this position, the arms
will be slightly in front of the coronal plane—that is,
in the plane of the scapula (scaption). For dancers
having difficulty finding this position, strengthen-
ing as well as utilizing cues to encourage use of the
muscles that would correct the deviation can help
(figure 7.34). For example, if the scapulae are exces-
sively adducted, strengthening and developing better
awareness of the scapular abductors (table 7.10K,
p. 440) are recommended.Connection of the Arms to the Torso
This positioning of the arms can also influence the
positioning of the torso and vice versa. For exam-
ple, when the arms are habitually held too far back,
this is frequently accompanied by excessive arching
of the low back (lumbar lordosis) and rib-leading,
as well as excessive scapular adduction (figure
7.34B). Conversely, when the arms are habitually
held too far forward, this is often accompanied by
a rounding of the upper back (kyphosis) and “clos-
ing in” of the chest, as well as excessive scapular
abduction (figure 7.34C). Instead, the goal is to
be able to utilize a neutral positioning of the arms
in which the torso is neutral and stabilized rather
than distorted by arm placement. Then, the arms
can be utilized to enhance the movement (allow-
ing for more revolutions in turns, for example)
rather than throwing the body off center. From
this neutral position, the arms can also then be
consciously utilized in “non-neutral” ways to meet
a given choreographic goal; but it is important
for dancers to know where their neutral position
is, as well as how to make other choices without
throwing off their balance.
Learning to use the arms in a manner that does
not distort torso or shoulder alignment is a complex
matter that incorporates many factors, including
learning adequate torso stabilization, utilizing bal-
anced synergies, and using muscles appropriately
that connect the arms to the torso. In terms of this
latter factor, focusing on using some of the larger
muscles that connect the arms to the torso, such as
the pectoralis major and latissimus dorsi, can some-
times help achieve more of a sense of connection
of the arms to the torso and “center.” As previously
described, the pectoralis major and latissimus dorsi
can be used to depress the humerus. Hence, focusing
on reaching the arm down toward the floor before
raising it forward or back can sometimes help you
find these muscles. Since these muscles are located
lower than some of the other prime movers such as
the deltoids, you can sometimes feel these musclesFIGURE 7.34 Arm placement will vary with the aesthetics
of a given dance form but is generally close to (A) a neutral
position of the scapulae and torso without (B) excessive
scapular adduction and spinal hyperextension or (C) exces-
sive scapular abduction and kyphosis.