Using Breath to Enhance Stretching

         "Conscious breathing is my anchor.” ― Thích Nhất Hạnh

          Breathing is a function of the autonomic nervous system and occurs naturally and efficiently without any conscious help from us. However, being aware of our breathing patterns and allowing them to work in tandem with our actions, can enhance our dancing as was discussed in the post, Reminding Dancers to Breathe. Breathing can also be used to help dancers stretch effectively.

          Dancers spend a good deal of time trying to increase muscle flexibility and joint range of motion. There are different ways to stretch, and some are more effective than other as has been discussed in the posts: Stretching - When Not to Do It, Stretching - Working With Your Body Type, and Stretching - Ballistic, Dynamic & Static - Which is Most Effective.

          While dynamic stretching should be used during the warm-up, static stretching can be used at the end of classes, rehearsals, and performances as part of a cool-down and can increase flexibility while releasing any muscular tension that may have developed. Being aware of our breathing and how it affects our muscles, can help us create effective stretching strategies.

          As we inhale, our diaphragm contracts to make room for the intake of air. As the air floods in, our lungs expand, and blood pools there for a short time. Since the blood is pooling and not circulating as quickly, the heart receives a message to pump faster to increase circulation. When we exhale, the blood quickly moves back into the heart. A large amount of blood in the heart means that each heart beat can circulate a substantial amount of blood and the heart can slow down. As the heart rate slows, the entire body relaxes and releases tension. It is for these reasons that when we stretch we should use the inhale to prepare for the stretch and move into the stretch on the exhale.

          As we inhale, we should focus on lengthening and aligning our skeletons, and we should begin to release into the stretch as we exhale. As we inhale again, we should come out of the stretch slightly and re-lengthen before we move into the stretch a bit deeper on the next exhale. This process can be repeated several times to increase the depth of the stretch. By using our breath, we also keep the stretch reflex from occurring.

          The stretch reflex is a built-in safety mechanism that the body uses to help avoid muscles damage. When a muscle is elongated too far, the brain senses it might tear and sends a message to the muscle fibers to contract to prevent the tear from happening. A muscle contraction tightens the muscle and prevents it from stretching any further. By relaxing into the stretch and then coming out of it slightly before stretching deeper, we are able to prevent this reflex from occurring.

          It is also important to be sure we are never holding our breath as we stretch. Holding our breath causes all of our muscles to tighten and contract. If you find yourself holding your breath while stretching, it may mean that you are pushing too far into the stretch for your body.

          Although dancers tend to focus on increasing flexibility and joint range of motion when stretching, they need

to remember that stretching can also relieve tension and relax the body after a class, rehearsal, or performance.

          Being aware of our breathing and using it in tandem with stretching, can help us increase flexibility while relieving muscle tension rather than fighting against ourselves and locking more tension into the body.

Stretching Part 3 - Ballistic, Dynamic & Static Stretching: Which is Most Effective?

“Blessed are the flexible, for they shall not be bent out of shape.”

–     Author Unknown

Truth Number 1 – Dancers must be flexible.

Truth Number 2 – In order to increase and maintain flexibility, dancers must stretch.

So….what is the most effective stretching method for a dancer to use?  Is it ballistic stretching, static stretching, dynamic stretching or some combination of different methods?

Ballistic stretching is characterized by bouncing movements.  The problem with ballistic stretching is that the movement never allows the muscle to pause in a lengthened position.  The constant bouncing moves the muscle between a contracted position and a lengthened position quickly and abruptly.  As the muscle lengthens quickly, the body activates the stretch-reflex.  This reflex is a safety mechanism that protects the body from injury.  The muscle sends a message that it is being forcefully lengthened.  As a result, the reflex mechanism begins to contract the muscle in an effort to prevent tearing.  This lack of lengthening, therefore, does not effectively stretch the muscle or increase flexibility.

Dynamic stretching is a type of stretching that keeps the body constantly moving.  A lot of dynamic stretching exercises are already built into a ballet barre.  These exercises gradually increase in range of motion until the muscle has reached its maximum length.  A gradual fondu exercise that begins with an extension to tendu and progresses to a full extension en l’air would be an example of a dynamic stretch.  Research studies conducted within the last decade show that dynamic stretches increase flexibility and in some cases even improve muscular strength and agility.

Static stretches are very familiar to dancers.  Static stretches are held for certain amounts of time like splits or barre stretches.  Research has shown that for static stretches to be effective at increasing flexibility, they must be held for 30-60 seconds.  These stretches are just as effective at increasing flexibility as dynamic stretches, but they also have an immediate negative effect on muscular strength, power and endurance.  This negative effect has been shown to be present for up to an hour after the stretch is performed.  Executing this type of stretch during class could have a negative effect on exercises like grand battement and jumps.

            Flexibility is a necessity for dancers and all of the research states that both dynamic and static stretching are effective at increasing and maintaining that flexibility.  However, research also indicates that in order for a dancer to have the necessary strength and power to execute center work, dynamic stretches should be done at the beginning of class and static stretches should be saved for after class and rehearsal and used as a cool-down.


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Stretching Is Good for Dancers, Isn't It?

“Blessed are the flexible for they will not allow themselves to become bent out of shape.” – Robert Ludlum

        Dancers need to be able to raise their legs as high as possible, split their legs 180° apart in a leap, and turn them out as far as possible when necessary. When all of that is considered, there is no mystery in the fact that dancers spend an inordinate amount of time stretching, working on flexibility, and trying to increase range of motion in most of their joints.

                        How then, could stretching be bad?

        There is a right way and a wrong way to stretch. Knowing the difference between the two and listening to the body will mean the difference between improving dance performance and setting a body up for injury.

        The dancer’s goal is to stretch muscles. Flexible muscles improve posture, increase a dancer’s ability to move freely, help prevent injuries, and provide increased blood circulation throughout the body. Tight muscles tend to pull on the skeleton and force the body into unnatural positions. Tight muscles prevent movement, and are more apt to tear during quick movements. They also tend to constrict blood vessels and decrease blood flow.

         One important quality of muscles is that they are elastic. When a muscle is stretched, although it becomes more flexible, the muscle fibers do not lose their elasticity and become lax. Ligaments are the fibrous strands that connect bones to each other. In addition to holding the skeleton together in correct alignment, they also prevent the body from moving in ways that it is not designed to move. Unlike muscles, they are not elastic. When they become stretched out, they cannot do their jobs; the body is allowed to move in ways that can cause injuries like bone dislocations, and the body’s alignment becomes distorted. For these reasons, dancers need to be sure to concentrate on stretching muscles and not ligaments.

        Ligaments are found at the joints. Any stretches that pull on the joints or focus on those areas stretch ligaments and could be causing more harm than good. 

The "frog stretch", pictured above, pulls on the ligaments surrounding the hip and the knee and could be setting the dancer up for injury. 

This lunge position which is often suggested for stretching the quadriceps muscle group also pulls on the ligaments of the hip. 

        Dancers need to focus on stretching exercises that stretch the center of the muscles. When stretching correctly, the dancer should feel a gentle pull in the belly of the muscle. If any pulling is felt at the joint, the dancer could be performing the stretch incorrectly, or the stretch may not be a good one because it is stretching parts of the body that should not be stretched and will not increase flexibility.

        The lunge pictured above can be replaced with a lunge with a bent back knee that will focus on the actual quadricep muscles instead of straining the ligaments of the hip.

        Dancers need to be aware of these differences and take time to listen to their bodies. By doing so, they will be able to choose stretches that are safe and effective at increasing flexibility.

The Many Faces of the Healthy Dancer

     Dance is a multi-faceted field - it includes educators, students, performers, dance scientists, dance medicine professionals, and dance therapists.  As a result this blog also has many faces and its mission has many branches.

     Since the new year has attracted many new subscribers and followers who might not have had a chance to read all of my past posts, I thought I would add snippets from a variety of them here so they will have a taste of what my blog is about.

     
When I first began the blog 15 months ago, I wrote a series of posts about flexibility in dancers and stretching.  Stretching is an important part of dance but it's important for educators and dancers to know when to stretch and how to use stretching to improve dance technique and not hinder it.

Stretching Part 1 - When Not To Do It!!
When we consider everything that happens in every system of the body on a daily basis, we begin to realize that the human body is truly a miraculous creation. My students hear me repeat daily that we are only given one body, and it is our job to take care of it. If I had a dime for each time I have heard a dance teacher tell his/her students to go into the studio and start stretching to warm up, I would be rich. Yet, every time I hear it, I cringe. Read more...



 

As a dance educator, I firmly believe in the value of dance in everyone's life.  Dance is a powerful tool for enriching learning and one that should be made available to every child.



The Case for Dance in Public Education
Each day students enter schools, sit at desks and get ready to learn. They read, they write, they use computers, and they take standardized tests that are used to determine the effectiveness of the educational system. They are told things like, “You can’t think while you’re moving,” or “You’ve got to be still to learn things.” In walks the dance educator, the radical thinker, who actually believes that movement aids learning and encourages higher order thinking. Read more...

February is National Eating Disorder Awareness month. Having seen and worked with several dancers with eating disorders, I believe that education is indeed the key to prevention and wrote several posts on healthy eating, eating disorders, and body image in dancers. Last year nutritionist Nancy Clark donated a copy of Nancy Clark's Sport Nutrition Guidebook that we gave away in a contest. This year the month of February will include another giveaway related to healthy eating. 

          Dancers and Body Image

Dancers are given the opportunity to observe themselves daily in full-length mirrors while wearing only tights and a leotard and must learn to live in harmony with their bodies. They, unlike other athletes, are constantly faced with the challenge of developing the muscles required to perform well while making certain that the lines they produce are clean and aesthetically pleasing to the audience. Additionally, dancers are in constant competition with their classmates for the teacher’s attention or for a coveted role in a performance.  Therefore, it is not surprising that dancers judge themselves harshly and are extremely critical of their bodies:  their legs are never long enough, their feet are never arched enough and their stomachs are never flat enough. In a 2010 interview about body image, Pilobolus’ Jeffrey Huang said, “Criticizing our bodies is second nature to dancers.” One need only mention the possibility of wearing white unitards to a group of dancers to hear groans and observe the, perhaps subconscious, movement of arms being placed across abdomens to hide stomachs. Read more...

     Dance science is a fairly new field of study, and although it has presented many ideas that make sense and are backed by scientific evidence and research, these ideas often challenge dance traditions.  Because of this, it is imperative that these ideas continue to be presented and dancers are encouraged to think about how to improve their technique in ways that keep them dancing longer, stronger and healthier.

Forcing Turnout: Is It Really That Bad For You


Turnout is an integral part of ballet technique. It involves externally rotating each leg 90° so that the inside of the leg is visible from the front.
Since few dancers are born with an ideal body structure for turnout, ballet dancers often feel the need to force their legs to rotate more than is anatomically feasible. Dancers bend their knees, outwardly rotate their feet and then force the body to hold that position while they straighten their legs. It is quite easy to spot the dancer who is forcing turnout. Teachers need to check to see if the dancers’ kneecaps, or patellas, are facing the same direction as their toes. If they are not, the rotation is being forced and the dancer is probably struggling to hold the position. Read more...

The Barre: Why It Might Be Time To Step Away...

There are few absolutes in the world, but every dancer who enters a ballet class knows that he or she should claim a space at the barre because barre work is the first part of class. It is at the barre that muscles warm-up, stretching begins, new movements are introduced, dancers acclimate to the space and neurological pathways, that will be called upon in the center, are established or reinforced. Therefore, barre work is an excellent way to prepare the dancer’s body for work that will be done in the center, isn’t it? Read more...

If you enjoy reading posts on this blog, please help The Healthy Dancer become one of the Top 10 Dance Blogs of 2013.  Simply click on this link, (it will bring you to a post about the contest), scroll down and leave a comment on the bottom of that post letting me know why you enjoy this blog and that will count as your vote!

Caring for Muscles During the Performance Season

            "Take care of your body.  It's the only place you have to live." - Jim Rohn

          With the Nutcracker performance season upon us, dancers will be spending extra hours in rehearsals, numerous hours in theaters, and will be expending tons of energy entertaining countless audience members.  While performing is the ultimate goal of dance training, it still takes a toll on the body.  My last post addressed the risk of injuries that result from overused and fatigued muscles.  Over the long term, cross-training and periodic training can help prepare dancers for the stress of performance, but it is also important for dancers to know how to care for their muscles during the performance season.

            It is extremely important for dancers to warm-up before all rehearsals and performances.  Warming-up increases blood flow to the muscles, which ensures the delivery of oxygen and fuel, and raises the internal temperature of the muscles, which leads to the increased flexibility necessary to perform beautiful grand jetés and développés.  Most companies will hold a formal warm-up class before rehearsals and performances, but if there is not one available, it is each dancer’s responsibility to take the time to sufficiently warm-up his or her body to reduce the risk of injury.

            After the warm-up is complete and while the dancers are waiting for their turns on stage, is the perfect time to don all those fashionable sweaters and leg warmers that dancers always carry around in their bags.  Many dancers mistakenly wear these clothes at the beginning of class and peel them off as the body grows warm.  Their intended purpose is to keep already warmed-up muscles from growing cold while waiting.

 

            Drinking water is also a necessity to keep muscles working well.  Hydration is extremely important when trying to avoid muscle cramps.  Muscles are 70% water, which is why the fibers can move freely against each other.  When muscles are dehydrated, the lubrication decreases and movement becomes painful.

            Muscles should definitely be stretched once a performance and/or rehearsal are completed.  Static stretching in the wings before an entrance will not help a performance.  Instead it may hinder it!  My post on different types of stretching will help you understand why static stretching before a performing may actually decrease a muscle’s ability to contract efficiently.  When static stretching follows a performance, however, it is a valuable part of the cool-down that keeps dancers flexible and allows time for the internal temperature of the muscles to gradually decrease.  Stretching and cooling down reduce the chance that muscles will cramp or go into spasm when leaving the studio or theater.  Being sure to wear warm clothes over dance clothes  will also help keep muscles from cramping when dancers leave a warm studio or theater and move out into colder air.   

 

            Finally, a snack that is high in protein will help repair any minor muscle damage that might have occurred while dancing and help ensure that the muscles will be ready for another several hours of rehearsing and/or performing the following day.

            

What to Do About "Shin Splints"

“Pain insists upon being attended to.” - C.S. Lewis

            “Shin splints” are a common complaint among all different kinds of dancers that can lead to other complications like fractures, if not properly treated.

            The real name for “shin splints” is tibial stress syndrome and occurs when the muscles of the lower leg become swollen and irritated and stress and irritate the periosteum of the tibia.  The periosteum is a sheath that encases bone and has many nerve endings.  As the muscles pull on the periosteum, microscopic tearing occurs, and the nerve endings signal the brain that something is wrong, and we feel pain.

            Those experiencing tibial stress syndrome, will complain of a dull aching pain in the lower leg along the side of the tibia, or shin bone.  This condition most commonly occurs in the tibialis anterior muscle but can also occur in the tibialis posterior, the flexor digitorum longus or the peroneal muscles. (Fitt, 1988).  It is a chronic condition, meaning that it develops slowly over a period of time and then lingers.  Unlike an acute injury, like a fracture of sprain that occurs in an instant and then heals, this condition dissipates slowly and can recur over and over again.

            Tibial stress syndrome is classified as an overuse injury that can be caused by a sudden increase in training or bouts of excessive jumping, but can also be caused by other factors like dancing on a hard surface such as concrete, improper foot alignment which can lead to feet rolling inward when landing from jumps, improper weight distribution in the feet, or muscular imbalances in the lower leg.

            The treatment for tibial stress syndrome involves rest and a break from all jumping.  Ice will help decrease the inflammation of the muscles and the periosteum and will alleviate the pain as will taking an anti-inflammatory.  Gentle stretching can also help.  The muscles along the front of the shin can be stretched by pushing forward on the arches while either standing or kneeling, and the calf muscles can be stretched in exercises described in last week’s post about tight calf muscles.

            Although rest, ice, anti-inflammatories and stretching will alleviate the symptoms, it is important that the dancer determine the cause of tibial stress syndrome to prevent it from constantly recurring.  A physical therapist who is well versed in dance medicine will be able to do a screening to determine if the condition is being caused by muscular imbalances and/or misalignments that can be corrected through strengthening and stretching exercises.

            It is important that dancers do not ignore the pain and continue to dance, in spite of having “shin splints”, because of the additional damage that can be done.  Paying attention to the body’s signals and seeking treatment immediately will shorten the recovery period and keep the dancer healthy.

                                                                                                             

Fitt, S. (1988) Dance Kinesiology.  New York, NY: Schirmer Books.