466 Dance Anatomy and Kinesiology
P
rior chapters of this text have addressed the
anatomy and mechanics of specific joints of the
human body. This chapter will focus on looking at
movement of the body as a whole. When we examine
movements used in dance, they generally involve
many joints moving in multiple planes as exempli-
fied by the photo on page 465 involving partnering.
This pose involves an intricate coordination of prime
movers, stabilizers, and synergists at numerous joints
to achieve balance with such limited support, as
well as aesthetic challenges such as the desired lines
and emotive qualities. Being able to analyze such
movements will allow for a better understanding of
the primary muscles responsible for the generation
and control of the movement, potential flexibility
constraints, strength demands, and cues that can be
used to encourage optimal technique and reduce
joint stress. Topics covered in this chapter include
the following:- Anatomical movement analysis of whole body
movements - Other methods for movement analysis
- Research-supported movement analysis
- Optimal performance models
- Movement cues
Anatomical Movement Analysis of Whole Body Movements
A schema for simplified anatomical movement analy-
sis was provided in chapter 2 (table 2.5, p. 64) and
applied in the Study Questions and Applications at
the ends of chapters 3 through 7 for analysis of simple
movements involving a limited number of joints.
Now this schema will be expanded to incorporate
additional elements for use in analyzing movements
that are less isolated and that involve simultaneous
use of more joints of the whole body.Key Concepts
for Anatomical Movement AnalysisWhile the principles used in a simplified analysis
of focusing on joint movements and prime movers
are still operative, the movement analysis process is
often complicated—when we look at more complex
movements—by the involvement of more joints,
more phases, changes in the relationship to gravity,
and intricate technique issues. A brief discussion of
key concepts follows.Divide Movement Into Phases
Divide a movement into phases based on change in
movement direction or different functional goals. For
example, in simple movements previously examined
such as isolation strength exercises or pliés, using
the terminology up-phase and down-phase reflects
a change in movement direction that will facilitate
movement analysis. However, in movements like
walking, the phases have a more functional origin,
with stance phase referring to the phase when the
foot is in contact with the ground and must support
the weight of the body, versus swing phase, referring
to when the foot loses contact with the ground and
moves forward in space to position the foot appro-
priately for the next step. In movements that have
been rigorously researched such as walking, running,
and jumping, there are various standardized terms
that have been adopted for these phases, while for
many other, less-studied movements, analysts are
free to develop their own phases in a logical manner,
generally in accordance with movement direction
or function.
For some movements that have an apparent begin-
ning and end, termed discrete movements, dividing
the movement functionally into a preparation phase,
execution phase, and recovery or follow-through
phase can be helpful (Kreighbaum and Barthels,
1996). Examples of dance movements that can be
effectively divided into these phases include jumps,
leaps, pirouettes, and falls. In contrast, some move-
ments, termed continuous movements, involve
repeated cycles, and these cycles become a functional
unit that is divided into logical phases. Examples of
continuous dance movements that can be effectively
divided into phases within cycles are walks, runs,
triplets, and prances.
In analysis of more complex movements, further
subdivisions may be necessary. For example, with
walking, the direction of joint movement and the
type of muscle contraction of the prime movers
change more than once during the stance phase,
leading to one classic approach of further subdivid-
ing the stance phase into contact, midstance, and
propulsion periods as presented in chapter 6. These
further divisions can be termed phases, subphases, or
periods or just given numbers. Furthermore, in many
movements, the two limbs may not be performing the
same movements simultaneously but rather doing dif-
ferent things within a given phase. In such cases, the
movements of both limbs must be accounted for. For
example, in a fondu développé front (devant), the
support leg and gesture leg must be listed separately
for accurate description of the movement.