472 Dance Anatomy and Kinesiology
for optimal performance of the movement. These
extremes of motion may represent points in the
movement where either inadequate strength or inad-
equate flexibility can prohibit achieving the desired
position. For example, performing the jump shown
in figure 8.5 (sissone ouverte) requires high levels
of hip flexor strength and hip extensor (hamstring)
flexibility for the front leg, and high levels of hip
extensor strength and hip flexor flexibility for the
back leg. This concept is particularly relevant with
multijoint muscles in which active insufficiency or
passive insufficiency can readily limit potential range
of motion or when movements require ranges far
exceeding those used in activities of daily living, such
as in the pictured jump (figure 8.5) or the extreme
ankle-foot plantar flexion desired for pointe work.Identify Any Requirements for Marked
Strength or Power (Movement Specific)
Some movements performed in dance require
marked strength or power (ability to generate a
large amount of force in a small amount of time)
that may limit performance capacity not related to
using extreme range of motion. Examples of dancemovements that particularly rely on lower extrem-
ity strength are movements that involve projecting
the body through space such as jumps and leaps
and movements involving lowering the body weight
toward the floor such as hinges and falls (figure
8.6). Examples that rely more on upper extremity
strength are partnering and movements requir-
ing arm support such as handstands or cartwheels
(figure 8.7).Body Alignment
and Technique Considerations
After determining the joint movements and key
muscles involved in the movement under analysis,
one should look more closely at the performance of
the movement in terms of alignment, joint mechan-
ics, and special dance considerations discussed in
previous chapters on specific joints. For example,
in performance of some more stationary movements
at the barre or center floor, the goal is frequently to
maintain an approximately neutral positioning of
many joints, avoiding excessive pronation of the foot,
hyperextension of the knee, tilting of the pelvis, or
elevation of the shoulders.
However, in more dynamic
movement, some of these
movements naturally occur,
and the concern becomes one
of magnitude. For example,
pronation is a normal part of
walking and running move-
ments that is important for
shock absorption, but exces-
sive pronation can increase
risk for certain types of injuries.
Similarly, some anterior tilting
of the pelvis and increased
spinal hyperextension must
occur with an arabesque in
order to achieve the desired
height of the leg, but excessive
amounts without coordinated
co-contraction of abdominal
muscles can increase injury
risk to the low back and are
considered undesired from
an aesthetic perspective. In
some cases, it may be neces-
sary to obtain an understand-
ing of what “normal” values
are from reading research
studies, observing “correct”
performances of movement,
or practical knowledge gainedFIGURE 8.5 Sample dance movement requiring extreme range of motion of the ham-
strings and hip flexors.
Photo courtesy of Myra Armstrong. Dancer: Lorin Johnson with American Ballet Theatre.