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.

Cooling Down After Class - Does It Serve Any Purpose?

"If you don't take care of your body, where will you live?" - Author Unknown

        The broad music begins, the grand allegro has been shown, and dancers begin soaring through the air performing saute de chats, grand pas de chats, and tour jetés.  After traveling across the floor, they return to line to perform the combination once more.  The breathing is audible, and the dancers’ faces are flushed.  Their hearts are beating quicker, they are breathing harder and faster, the increased frequency of heart contractions have pumped blood faster through their arteries, and their blood pressures have risen.

            All too often, class time runs out and movement draws to a complete stop.  The teacher dismisses the class, the students bow, clap, and quickly exit the studio to make room for the next class. 

            In order to stay healthy and minimize the stress on the body, it is important for all dancers to learn about the benefits of a cool-down.  Just as the warm-up prepares the body for what is to come, the cool-down slowly returns the body to the pre-exercise, resting state.

            A cool-down is a gradual decrease in activity that allows the heart rate and the breathing, or respiratory, rate to gradually slow down and return to normal.  As this slowing occurs, blood circulation also gradually slows.  Without this gradual decrease in activity, a quick drop in heart rate will decrease the pressure in the arteries rapidly.  This sudden drop in blood pressure can cause dizziness and fainting.

            A simple exercise performed at the end of class, similar to a reverence, that incorporates a gradual slowing down of the body is all that is needed.  The exercise might include grand pliés in second position, slow head circles, slow reaches or circles with arms and stretching.  A cool-down is an ideal time for dancers to work on flexibility and range of motion.  The muscles are now completely warm and will not be required to perform any more explosive activities, providing the perfect time for static stretches to be held for 20-30 seconds.  While stretching, the internal temperature of the muscles gradually decreases and, therefore, reduces the chances that muscles will cramp or go into spasm upon leaving the studio.  Muscle cramping becomes a bigger concern during cold, winter months when warm bodies move out into the cold air.  Muscles, like everything else, contract when cooled and will do so quicker when moving from one extreme temperature to another.

            The cool-down takes no longer than 5 minutes at the end of class and provides the benefits of decreasing some of the stress exercise puts on the body, avoids dizziness or fainting, assists in developing range of motion, and helps decrease muscle spasms and cramping after class. 

            If time does not allow for a cool-down in class, each dancer should take responsibility for the health of his or her body and perform an individual cool-down, including stretching.  It will take only a few minutes out of the day, but will keep you dancing healthier, and your body will thank you for it!

            

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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