Keeping the Spine in Alignment

           “A man is as young as his spinal column.” – Joseph H. Pilates

         It is impossible to discuss proper body alignment and healthy dancing, without writing about the spine.  The bones of the spinal column, or vertebrae, house and protect the body’s life line, the spinal cord.  Attached to the spinal cord are the nerves that carry messages between the brain and the rest of the body.  Additionally, when the spine is aligned correctly, it supports and stabilizes the body, allows movement of the torso, and acts as a shock absorber.

            The tailbone, or coccyx is at the base of the spine and is several bones fused together as is the next section of the spine, the sacrum.  The sacral spine is made up of five vertebrae that are fused together and is responsible for distributing the body’s weight evenly to the pelvis and hip joints.  Balancing the body on top of the sacrum are the 5 lumbar vertebrae, which are the largest vertebrae and support most of the body weight.  The 12 thoracic vertebrae are stacked on top of the lumbar spine, and they allow for the movement of the torso and connect to the ribs.  Sitting on top of the thoracic spine are the 7 cervical vertebrae.  This portion of the spine is very flexible, makes up the neck, and supports the skull.

            In between each of the vertebral bones are the intervertebral discs.  The discs are composed of cartilage and contain a fluid-like substance.  The discs serve as shock absorbing cushions during activity and allow the vertebral bones to move in different directions without grinding against each other.  As gravity pulls us down during the course of a day, the discs flatten a bit, making us shorter at the end of the day than first thing in the morning.  A gradual flattening of the discs during a lifetime is what is responsible for people shrinking as they grow older.

            The spine’s natural ability as a shock absorbing mechanism is a result of the natural curves that occur in the vertebral groups.  The cervical and lumbar spines curve toward the back of the body while the middle part of the spine, the thoracic spine, curves toward the front of the body.  The curves allow the spine to act as a spring rather than a solid structure when walking, running, dancing, or jumping and allow for spinal flexibility.

            When a dancer does not pay careful attention to spinal alignment, several problems can occur.  When lengthening the body, it is important that the dancer not think about only “pulling up” from the front of the body.  The dancer should lengthen the torso equally in front and back, trying to create as much space between each of the vertebrae as possible.  Additionally, a dancer should never try to eliminate any of the spinal curves.  Tucking the tail under to artificially increase turnout or achieve greater height when raising the leg causes the lumbar curve to disappear and tips the pelvis backward.  A backward tilted pelvis causes tightened hamstrings and overstretched quadriceps muscles, creating a muscular imbalance.  An opposing muscular imbalance will occur if the lumbar curve is exaggerated if a dancer sways his or her back.  Similarly, dancers who round their shoulders or push their chins forward change the curve of the cervical spine and cause similar imbalances in the muscles of the upper torso and neck.

            In addition to creating imbalances which cause the body to compensate in various ways and can lead to injury, exaggerating or increasing the curves of the spine places the intervertebral discs in unnatural positions and creates unnecessary pressure.  Resultantly, these discs may slip out of position or rupture and leak fluid.  Either of these problems will put pressure on the surrounding nerves and cause extreme pain.

            If taken care of and kept in correct alignment, the spine will allow dancers to flex (bend forward), hyperextend (bend backward), flex laterally (bend sideways) and rotate while also providing necessary protection and weight distribution.  However, the instant the alignment of the spine is ignored or altered, a dancer begins to compensate and starts down a road toward the possibilities of pain, muscular imbalances, and injury. 

The Rond de Jambe

"It is not so much upon the number of exercises, as the care with which they are done, that progress and skill depend. "
                                                                       -August Bournonville

            A turned out rond de jambe may indeed be one of the most difficult things to teach correctly in dance.  It involves the muscles of the working hip moving together in harmony while the muscles of the standing hip isometrically hold a stable, turned out position and support the weight of the body.

            The literal English translation of rond de jambe is circle of the leg.  Although the working leg does not create a full circle, it does move in a circular pattern and creates a half circle or the letter “D”.  This one simple exercise involves all of the muscles of the hip.  The hip flexors, adductors, abductors, extensors and outward and inward rotators must all be involved in order for the pattern to be completed.  Since so many muscles need to be activated during this exercise, it is very easy for the dancer to grip the muscles rather than concentrate on the length created by the leg. 

            A rond de jambe should only be performed by the leg, therefore, the dancer must be taught to isolate the movement of the femur, or thigh bone, from the movement of the pelvis.  During a rond de jambe, the pelvis does not initiate any movement and should only move as a result of accommodating the circular motion of the leg.

                             

            

           Dance educators tend to describe and teach rond de jambe en dehors to students by speaking of it as a tendu devant (front)  that is carried à la seconde (to the side) that is carried to tendu derrière (to the back) and closes to a position.  This type of description, although accurate, omits two very important positions that should be focused upon in this exercise.  In between the tendu devant and the tendu à la seconde is the écarté devant position, and in between the tendu à la seconde and the tendu derrière is the écarté derrière position.  By focusing on these positions, the dance educator will encourage the lengthening of the leg rather than the gripping effect on all the muscles as they try to work simultaneously. 

           

            Trying to attain both écarté positions will also encourage the dancer to maintain maximum turnout in a rond de jambe for as long as possible.  When the foot moves from à la seconde to derrière, it is very easy for the dancer to begin to inwardly rotate the hip.  Focusing on the écarte derrière position helps decrease that tendency. 

            When performing a rond de jambe en dedans (from back to front), dancers often wait to turn out the leg until the foot arrives à la seconde.  Forcing the dancer to think about the foot moving through the écarté derrière position, will encourage outward rotation to occur sooner.

            The same ideas of attaining the in between positions and lengthening the working leg can be used when the leg comes off the floor in a grand rond de jambe.  When moving the leg à la second to derrière, students tend to drop and rotate the leg inward.  By emphasizing the écarté position and encouraging the students to reach through the working leg and send the energy out through the toes, the teacher will help the dancers maintain turnout and avoid the dropping of the leg.  The same is true when performing a grand rond de jambe en dedans.  Reaching out through the leg will result in the leg turning out as soon as the movement begins and the leg lifting rather than dropping.

            Rond de jambe is a difficult exercise to execute correctly, and it is a good bet that if a dancer finds the exercise to be an easy one, he or she is performing it incorrectly.  Whenever something is difficult, dancers tend to hold their breath, tighten muscles and keep their energy bound.  By thinking about rond de jambe in a different way and urging students to make each rond de jambe larger than the one before, educators can encourage the muscles to lengthen, decrease tension held in gripped muscles, free bound energy, and teach dancers to enjoy what they are doing and achieve efficient, beautiful results.

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