Pilates for the Fatigued Dancer

Transcription

1 Pilates for the Fatigued Dancer Kathryn Duran June 22, 2014 Course Year: 2014 Costa Mesa, Ca 1

2 Abstract The average person works behind a desk about forty hours a week. Now imagine working those forty hours by dancing professionally and teaching dance to young students; which entails being constantly on your feet, moving in unusual and challenging ways, for extremely long durations of time, and usually with a smile on your face. It is no surprise that mature and advanced dancers are very commonly afflicted with Fatigue Posture since it takes very little energy to uphold. Fatigue Posture is commonly characterized by the pelvis and chin pushing forward and slouching in the shoulders. With many problems occurring with Fatigue Posture, a holistic exercise program such as Pilates would be a great way to alter these postural deviations. This paper will focus on the Fatigue Posture of advanced dancers, and how a well structured BASI Pilates program can help to restore the balance of ideal posture. 2

3 Table of Contents Title Page 1 Abstract...2 Table of Contents 3 Anatomical Description..4-5 Introduction.6 Case Study...7 Conditioning Program..8-9 Conclusion.10 Bibliography Page..11 3

4 Anatomical Description of Fatigue Spinal Posture The human spine is comprised of thirty-three bones called vertebrae. These vertebrae are stacked upon one another to form a curved column (Isacowitz and Clippinger, 9). The top seven vertebrae are called the cervical vertebrae and are the smallest in size compared to the rest of the spine. The cervical vertebrae are responsible for movement in the head and neck. Below the cervical vertebrae are the thoracic vertebrae which are made up of twelve individual vertebrae. The thoracic vertebrae are located from below the neck down to the bottom rib and are responsible for moving the ribs and upper back. The five largest vertebrae are called the lumbar vertebrae and are essential for moving the lower back as well as supporting the heavy weight of the torso. The lumbar spine extends from bottom of the ribs to the pelvic girdle. Below the lumbar vertebrae are the five vertebrae that make up the sacrum or sacral vertebrae. Unlike the vertebrae of the cervical, thoracic, and lumbar spine, the sacral vertebrae are fused together to form a triangle-like shape. The sacrum is connected to either side of the pelvis, thus providing the pelvis with important stability. The very bottom of the spine, called the coccyx, is comprised of three to five fused vertebrae to be called the coccygeal vertebrae. The coccyx is more commonly known as the tailbone (Isacowitz and Clippinger, 11). In ideal spinal alignment, also known as neutral spine, all natural curves of the spine are present. Natural curves for the cervical and lumbar spine would be concave when viewed from the back, and would be convex for the thoracic, sacral, and coccygeal segments when also viewed from behind (Isacowitz and Clippinger, 11). In the Fatigue Posture the pelvis is pushed anterior to the ankle joint and the plumb line, while the upper body is leaning posterior to the plumb line. The pelvis will have a posterior tilt and the torso will usually be kyphotic (Clippinger, 100). Below is a diagram further describing 4

5 the Fatigue Spinal Posture as well as common muscle imbalances frequently associated with this posture. 5

6 Introduction The Fatigue Posture gets its name due to the fact that this posture takes less energy to maintain than ideal posture. All or of most of the weight of the upper body is resting on the illiofemoral ligament for support without the activation of any muscular support (Clippinger, 100). Requiring a ligament to do the work of many muscles could be detrimental to anyone s wellbeing, but especially that of a dancer. These postural deviations that occur especially in mature dancers with Fatigue Posture, are usually a result of extreme flexibility in the hip flexors and lumbar spine without having enough strength to adequately support the spine and upper body in ideal placement (Clippinger, ). Hence, the collapsing of the upper body and the compensation of the pelvis are done in an attempt to keep the torso upright. Advanced dancers tend to endure this posture as a result of years of stretching the hip flexors to the point of hyperextension (Clippinger, 100). Mobility of the hip flexors are important for such dance positions as arabesque, however, years of working the body in such a repetitious manner will lead to the spine compensating for what it is being asked to do (Clippinger, 100). In order to correct such a posture and bring balance back to the spine, strengthening the upper back and hip flexors, as well as stretching and strengthening the abdominals are suggested to bring the torso forward. In addition, stretching the hamstrings and low back muscles such as the erector spinae and quadratus lumborum are required. 6

7 Case Study Sara is a twenty-five year old professional modern dancer. She has danced, trained, and performed, in a wide variety of dance styles throughout her life, but currently is a member of a modern contemporary dance company in Southern California. With over twenty years of dance training and education, she is a very experienced mover and thus very aware of her body. She has noticed over the past several years that her relaxed posture is changing and not for the better. She noticed herself in pictures having her pelvis pushing forward, her shoulders slightly slouching forward, and the appearance of her torso leaning back. Now starting to feel the effects this posture is having on her body, she has decided to seek out a Pilates program that will help to strengthen her ideal posture and overall lengthen her career as a dancer. Using the BASI Block System, I have designed a holistic fundamental/intermediate Pilates program specifically tailored to her needs. I will focus on strengthening her upper back extensors and hip flexors, while strengthening and stretching her abdominals to hopefully achieve more ideal posture and overall balance. Sara plans on adding one hour Pilates sessions to her schedule twice a week indefinitely, but I am hoping to see significant results in about six weeks. 7

8 BASI Conditioning Program Warm up Roll down Warm up Series (Cadillac) Roll up with Roll-up Bar Mini Roll-up Mini Roll-up Oblique Roll-up Top Loaded Strong abdominals are important to being able to efficiently supporting the upper body, as well as a safe way to warm up the client. Footwork (Cadillac) Parallel Heels Parallel Toes V Position toes Open V Position Heels Open V Position Toes Calf Raises Prances Single Leg Heels Single Leg Toes Footwork on the Cadillac allows for a good stretch of the hamstrings while the client is able to visually see the cues being given to their footwork. Abdominal Work (Avalon Step Barrel) Chest lift Reach Overhead Stretch These exercises are ideal for helping with Fatigue Posture as they allow the abdominals to be both stretched and strengthened. Hip Work (Avalon Step Barrel) Frog Avalon Openings Avalon Scissors Avalon Helicopter Avalon These exercises help with pelvic stabilization as well as hamstring and hip flexor stretch and control which are all vital to helping with Fatigue Posture especially in mature dancers. Spinal Articulation (Reformer) Long Spine I chose long spine as it requires the use of both abdominals and hamstrings, while giving the hamstrings a nice stretch. 8

9 Stretches (Reformer) Kneeling Lunge Kneeling lunge is a wonderful stretch for both hamstrings and hip flexors. Full Body Integration 1 (Reformer) Up Stretch 1 Elephant Both of these exercises give a nice shoulder stretch which is needed to help with the kyphosis, but these exercises also require shoulder and trunk stabilization. This will help with ideal posture, while also stretching the hamstrings and working the hip flexors in a direction not prominently used by dancers. Arm Work (Reformer) Arm Supine Series Extension Adduction Circles up Circles Down Triceps Supine Arm Series is a safe way to practice having neutral spine, relaxed neck and open shoulders, while holding the legs at tabletop promotes active abdominals and supportive hip flexors. Full Body Integration 2 Not yet integrating this into her sessions. Leg Work (Reformer) Skating Single Leg This exercise promotes pelvic lumbar stabilization to help towards ideal posture. Lateral Flexion/Rotation (Reformer) Mermaid Mobility in the spine is essential to a dancer, while scapular stabilization is important to ideal posture. Back Extension (Reformer) Pulling Straps 1 Pulling Straps 2 I chose Pulling Straps 1 and 2 and both of these exercises strengthen the upper back extensors, a crucial part of correcting Fatigue Posture. Roll Down to Conclude Session 9

10 Conclusion After only a few sessions with Sara, the physical benefits are visible. The kyphosis in Sara s upper back is lessening as her upper back extensors are becoming stronger. Sara says that her hip flexors are feeling much stronger, and that the overall well being of her body is improving. Even after many hours of rehearsals, her muscles are learning to support her more efficiently. Sara is excited by the results, and plans to continue implementing BASI Pilates into her daily life for the foreseeable future. Before she started doing Pilates more routinely, Sara thought that her professional dance career wouldn t be lasting much longer. Sara now feels that she can control and decide the length of her dance career, not her body. Sara is thrilled by the balance Pilates has brought back into her life. 10

11 Isacowitz, Rael. Pilates. Human Kinetics, 2006 Bibliography Isacowitz, Rael and Clippinger, Karen. Pilates Anatomy. Human Kinetics, 2011 Clippinger, Karen. Dance Anatomy and Kinesiology. Human Kinetics, 2007 Body Arts and Science International. Study Guide Comprehensive Course Diagram: 11