Dance Anatomy & Kinesiology

448 Dance Anatomy and Kinesiology

advisable until there is a better understanding of the

potential relationship between shoulder range of

motion and shoulder instability (Rodeo et al., 1998;

Sauers et al., 2001). Some other dancers may have

tightness in specific areas that require supplemental

stretching to achieve the desired ranges for dance. A

few areas that are more frequently tight and that are

particularly important for dance are described in the

remainder of this section and in table 7.12.

When one performs these and other stretches for

the shoulder area, it is very important to stabilize the

torso. When the arm approaches the end of its range

in a given direction, it is easy to adjust the torso to get

more range of the distal end of the arm, reducing the

effectiveness for the targeted shoulder muscle.

Shoulder Flexors

Adequate flexibility in the shoulder flexors is

important for allowing the arm to be brought back-

ward behind the body (shoulder hyperextension).

If inadequate flexibility is present, the shoulder is

often rounded forward with the scapula elevated,

an undesired aesthetic in dance, in an effort to get

more range. The arms back shoulder stretch (table

7.12A) is a stretch for the shoulder flexors that can be

performed with a bar, dowel, ballet barre, or towel.

Shoulder Extensors

Adequate flexibility in the shoulder extensors is

important for allowing the arms to be brought fully

overhead or even slightly past overhead, necessary

for movements such as partnering or ballet port

de bras. If inadequate shoulder flexibility is pres-

ent, the back is often arched (hyperextended) to

allow the arms to be moved farther back. This can

put undue stress on the low back as well as disrupt

the desired aesthetic or “line.” One can quickly

evaluate the flexibility of the shoulder extensors

by bringing the arm forward in flexion and check-

ing that it can reach an overhead position without

distorting torso alignment, as seen in Tests and

Measurements 7.2. Two stretches for the shoulder

extensors are provided in table 7.12. The kneel-

ing arms overhead shoulder stretch (table 7.12B)

is a stretch that can be performed with a chair

or ballet barre, while the sitting arms overhead

shoulder stretch (table 7.12C) can be performed

sitting upright to work on maintaining correct torso

positioning or sitting with the back supported by an

exercise ball to provide a position in which gravity

will assist with providing a stretch to the shoulders

(table 7.12C, variation 1).

TABLE 7.11 Normal Range of Motion and Constraints for Fundamental Movements of the Shoulder

(Non-Dance Populations)

Shoulder joint

movement

Normal range

of motion* Normal passive limiting factors

Flexion 0-180° Joint capsule: posterior portion

Ligaments: coracohumeral (posterior band)

Muscles: shoulder extensors and external rotators

Extension 0-60° Joint capsule: anterior portion

Ligaments: coracohumeral (anterior band)

Muscles: pectoralis major (clavicular portion)

Abduction 0-180° Joint capsule: inferior portion

Ligaments: glenohumeral (middle and inferior bands)

Muscles: shoulder adductor muscles

Adduction 0-45°** Apposition with trunk

External rotation

Arm 90° abduction

Arm by side

0-90°

0-60°

Joint capsule: anterior portion

Ligaments: glenohumeral and coracohumeral

Muscles: shoulder internal rotator muscles (subscapularis,

pectoralis major, teres major, and latissimus dorsi)

Internal rotation

Arm 90° abduction

Arm by side

0-70°

0-80°

Joint capsule: posterior portion

Muscles: shoulder external rotator muscles (infraspinatus and

teres minor)

*From American Academy of Orthopaedic Surgeons (1965).

**From Gerhardt and Rippstein (1990). This measure allows the arm to pass in front of the body.