Dance Anatomy & Kinesiology

412 Dance Anatomy and Kinesiology

working more if you think about using the muscles

lower, by your armpit, rather than just on the upper

shoulder.

Partnering and Arm Support

A lot of strength and proper mechanics are required

to lift another dancer, to execute the partnering cor-

rectly and prevent injuries. In classical ballet schools,

young men who are in the middle of growth spurts

and not fully mature are often required to partner

young female dancers who may be almost as tall or

taller than they are. In many dance forms such as

modern and jazz, contemporary choreographers may

have women partner other women or men who may

weigh more than they do. Many contemporary chore-

ographers are also utilizing positions and movements

requiring that the body weight be supported by the

arms as in handstands, cartwheels, or back flips.

The type of strength needed for such movements

far exceeds that needed in a traditional dance class,

and it is highly recommended that dancers perform

supplemental upper extremity strengthening exer-

cises, particularly for the shoulder flexors, extensors,

and abductors (see table 7.10, p. 434). From an

injury prevention perspective, it is also important

to include exercises for the rotator cuff and muscles

of scapular stabilization. The importance of these

smaller muscles can be seen in figure 7.35; here

the scapular muscles must be used to establish the

scapulae as a stable platform in order for the other

upper extremity muscles to effectively support the

weight of the body.

Other Joints of the Upper Extremity

Distal to the shoulder joint are the elbow joint, joints

between the radius and ulna, wrist joint, and joints

between the various bones of the hand. As these

joints are discussed, consider the similarities and

differences in relation to the comparable joints of

the lower extremity.

Elbow Joint Structure and Movements

The elbow joint is composed of two different

articulations (figure 7.36). More specifically, the

distal end of the humerus widens and forms bony

prominences—the medial epicondyle and lateral

epicondyle. Between these epicondyles are a medial

articular surface called the trochlea and a lateral

articular surface called the capitulum (little head).

The spool-shaped trochlea of the humerus articulates

with a concave area on the proximal ulna called

the trochlear notch (semilunar notch) to form the

humeroulnar joint, while the spherical capitulum

of the humerus articulates with the flattened proxi-

mal end of the radius, called the head, to form the

humeroradial joint.

Due to ligamental binding of the radius to the

ulna, the humeroulnar and humeroradial joints

function together, and the elbow joint as a whole is

considered a hinge joint. Its axis runs through the

middle of the trochlea and capitulum, allowing only

the movements of flexion and extension (figure

7.37A). The trochlear notch of the ulna terminates

inferiorly and anteriorly with a small prominence

called the coronoid process, and superiorly and

posteriorly with a prominent process called

the olecranon process. When the elbow is fully

flexed, the head of the radius and the coronoid

process fit into small indentations on the ante-

rior humerus (radial fossa and coronoid fossa),

while the olecranon process can be palpated as

the “point” of the elbow. The olecranon process

comes in contact with the table or floor when you

lean on your elbows with the elbows bent and the

forearms approximately vertical. Sometimes when

you bump your elbow you get an odd tingling

sensation running down to your little finger; this

sensation is due to pressure on the ulnar nerve,

which runs in the groove between the olecranon

process and the medial epicondyle. When the elbow

FIGURE 7.35 Sample dance movement with body weight sup-
ported by arms, requiring high levels of upper extremity strength
and scapular stabilization.