The Smallest Dance: Posture
Analysing posture can help us to identify deviations from optimal alignment so you can refine your technique for greater precision, control and power. Good alignment reduces muscular and joint stress which can minimise overuse injuries that are often associated with dancer bodies (Bowerman et al. 2015). Being well positioned on your axis also supports clear communication of your artistic intent. Consider too the relationship between posture and self perception (Riskind & Gouty 1982 and Lopez et al., 2017) where we see changes in bodily shapes having a feedback role in levels of motivation and emotional regulation.
Understanding biomechanical capabilities and limitations of different postures can inspire the exploration of new movement possibilities while maintaining safe and efficient mechanics. It is important to remember ideal posture is merely a guideline and not an absolute. We can use standard posture as a baseline from which to assess and measure performance. Early research (Woodhull-McNeal et al., 1990) revealed that ballet positions have distinct, standardised alignments, but these deviate significantly from each other. This implies alignment isn't fixed, but varies based on position and intent, from person to person.
Scoliosis, for example, can negatively affect quality of life causing alteration in self perceived body image and identity in young people (Belli et al., 2022) and has been strongly associated with low back, ankle and knee injuries in adolescent dancers. (Wong et al., 2022). However, we need to be careful about over medicalisation and negative narratives surrounding poor posture, we can apply biomechanics to serve as a valuable tool for understanding and optimising movement in dancers while at the same time avoiding over medicalised interpretations of posture. Many individuals with scoliosis experience asymptomatic presentations an even potentially outperform healthy counterparts in certain activities as evidenced by Usain Bolt, the fastest man on earth!
By focusing on functionality, individual variability and a holistic perspective we can empower dancers to embrace their unique movement capacity with confidence and resilience.
References
Belli, G., Toselli, S., Latessa, P., & Mauro, M. (2022). Evaluation of Self-Perceived Body Image in Adolescents with Mild Idiopathic Scoliosis. European Journal of Investigation in Health, Psychology and Education, 12, 319–333. https://doi.org/10.3390/ejihpe12030023
Bowerman, E. A., Whatman, C., Harris, N., & Bradshaw, E. (2015). A Review of the Risk Factors for Lower Extremity Overuse Injuries in Young Elite Female Ballet Dancers. Journal of Dance Medicine & Science, 19(2), 51–56. https://doi.org/10.12678/1089-313X.19.2.51
Lopez, L. D., Reschke, P. J., Knothe, J. M., & Walle, E. A. (2017). Postural Communication of Emotion: Perception of Distinct Poses of Five Discrete Emotions. Frontiers in Psychology, 8. https://www.frontiersin.org/articles/10.3389/fpsyg.2017.00710
Riskind, J. H., & Gotay, C. C. (1982). Physical posture: Could it have regulatory or feedback effects on motivation and emotion? Motivation and Emotion, 6(3), 273–298. https://doi.org/10.1007/BF00992249
Wong, A. Y. L., Chan, C., Hiller, C., Yung, P. S. H., Lau, K. K. L., Samartzis, D., & Surgenor, B. (2022). Is Scoliosis Associated with Dance Injury in Young Recreational Dancers? A Large-Scale Cross-Sectional Epidemiological Study. Journal of Dance Medicine & Science, 26(1), 42–50. https://doi.org/10.12678/1089-313X.031522f
Woodhull-McNeal, A. P., Clarkson, P. M., James, R., Watkins, A., & Barrett, S. (1990). How Linear Is Dancers’ Posture? Medical Problems of Performing Artists, 5(4), 151–154.
Image via Alison Salmond Osteopilates™ © 2024
Image property of author. X-ray image showing scoliotic curve in thoracic and cervical vertebrae.
