Dance Anatomy & Kinesiology

The Muscular System 53

For example, an isometric contraction of the elbow
flexors would be operative when one is holding the
dumbbell at a given angle and not letting that joint
angle change (table 2.3B). Isometric contractions are
also used posturally to maintain a position of parts of
the body or the whole body. For example, in upright
standing, the soleus muscle generally contracts iso-
metrically to prevent the body from falling forward.
In dance, isometric contractions play a vital role in
preventing undesired compensations of the body,
as well as maintaining desired positions of the body
and its segments. For example, when the dancer
is working at the barre, isometric contractions are

commonly used to maintain desired positions of the

support leg, torso, and the arm on the barre.

Muscular Considerations in Whole Body Movement

Much of this chapter has focused on principles

related to a single muscle. However, in most func-

tional movement there is well-orchestrated contribu-

tion of many muscles at many joints. When trying

to understand such whole body movements, some

additional important considerations include use

Concentric, Eccentric, and Isometric Muscle Contractions

Perform a very slow développé to the front.

• Analysis of contraction type. Analyze whether an isometric, concentric, or eccentric contraction
  of the hip flexors would be used on the following phases of the movement:


• Up-phase


• Hold-phase


• Down-phase


• Influence of tempo. Perform this same movement more quickly and speculate on any changes
  in muscle action that might occur, particularly on the down-phase.

CONCEPT DEMONSTRATION 2.3

“Release and Recover”

S

ome styles of choreography encourage dancers to “drop” or “release” their body weight and then

“catch” or “recover” the weight to create a pause or change in the direction of the movement.

When the center of mass of a body segment such as the head, arm, or upper torso is moved out of

equilibrium, such as by bringing the segment forward, gravity will tend to make it fall toward the

floor. In dance, this dilemma can be dealt with in many ways. One approach is to use the muscles that

oppose the influence of gravity eccentrically in a constant, controlled manner so that the movement

can be stopped at any instant. Another approach is to momentarily let the body segments “fall” under

the influence of gravity, and then rapidly use the muscles that oppose gravity eccentrically to deceler-

ate the segments in accordance with the desired movement path. Although the look and feel of the

movements are quite different, it is important to realize that muscles are still required to shape the

movement and oppose gravity. So, care should be taken to avoid cues suggesting that muscles are not

used, or that you can move from your bones alone. If we did not use our muscles we would collapse

to the floor and would be unable to get up.

DANCE CUES 2.2

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