| ..
The
Next Level
Accentuated
Stretch and Flexibility for Classical Ballet and Martial Arts (Multi-Sport
Olympic Development)
Stephen
M. Apatow, Director of Research and Development, Humanitarian Resource Institute
Humanitarian University Consortium Graduate
Studies Center for Medicine, Veterinary Medicine and Law
*
[Vitae][Email]
* Founder of the Sports Medicine and
Science Institute, Dancescience Development Program, JudoSport International
The study guide "Classical Ballet Based Biomechanics: Orthopedics
101" covers the topic of correct postural alignment and
the mechanical ideal. The general rule is that any movement pattern
outside of correct postural alignment, is stressed and has the capacity
to result in injury. This is a reference point for postural analysis
in dance training and sports specific development programs. In the context
of orthopedic diagnostics, postural analysis is the key to understanding
the mechanism of stress and substantive course of therapeutic action.
Priority
Focus Areas
Hip Range of Motion: Turnout
Many
dance and sports injuries, related to the demands placed on
the body and requirement for flexibility in concert with poor warm-up,
can produce Achilles, posterior tibial, and patellar tendinitis.
Repeated jolts, with incorrect postural alignment, contribute to joint
complex deformation and the mechanism of injury.
Rule:
Correct alignment = non-stressed, Incorrect alignment = stressed.
|
In the turned out position, the weight
should fall from the body to the thigh and directly through the knee and
ankle. This distribution of weight can be achieved if the external
rotation of the lower extremities occurs at the hip.
As a rule, external rotation of the foot should only occur to (1) the
mechanical ability to track the knee cap over the center line of the
ankle and foot and (2) the center of gravity (vertical axis) 2 inches behind
navel, dropping between the heels (1st, 2nd, 4th, 5th).
|
If a child does not maintain correct knee, ankle, foot alignment,
then the bone and articular level will stabilize
into a permanent developmental deformity (knee, ankle, foot complex).
Understanding
the Mechanism of Injury
To achieve
increased external rotation of the lower extremity, students may increase
their lumbar lordosis or "screw the knee." Increasing lordosis
decreases the tension on the iliofemoral ligament allowing increased
external rotation of the hip. However, it will put an excess strain
on the lumbar spine, as much a the hyperextension in gymnastics does.
"Screwing the knee" is done by assuming a demiplie (half knee bend) position,
allowing the 180 degree positioning of the feet to be achieved at the floor,
then straightening the knees without moving the feet. This puts
a great deal of torque on the knees and can produce medial knee strain
and patellar subluxation. "Rolling the foot" can produce posterior
tibial tendonitis and bunions.
Knee
Problems
Medial
knee strain is common in student dancers and presents as pain along
the medial side of the knee with no history of specific injury.
Pain is usually worse after class and gradually decreases if there is
a day or two hiatus between ballet classes. There is no history
of swelling or locking. Physical examination often reveals some
tenderness along the medial aspect of the knee but not specifically over
the joint line or over the medial collateral ligament. No effusion
is present. Ligamentous laxity, meniscal signs, and patellar tenderness
are lacking. Radiographs are not usually required in this situation.
If one finds tenderness specifically along the distal femoral epiphysis
or along the tibial tubercle or patellar tendon, one is dealing with a
different problem. One can confirm the suspicion of medial knee
strain by asking the child to do a plie. An imaginary plumbline
dropped from the knee should land over the second toe. If the plumbline
falls medial to the foot during plie, then the medial knee structures are
seeing increased strain and will gradually respond with pain. Beware
the child who achieves "knees over feet" by assuming a increased lordotic
position.
In the
ballet class, approximately one half to two thirds of class is spent
at barre exercises, most of which include plies in various positions.
In addition, plies are fundamental to initiating jumps and landing from
them. Hence, if one's plie technique is incorrect, musculoskeletal
problems are quite likely. These problems can be resolved by explaining
the proper technique to the child. The best way for finding a child's
proper position using external rotation of the hip is to have the child
stand with his or her legs straight and feet together. Instruct the
child to move his or her legs from parallel to a position of comfortable
external rotation, keeping the back straight and head up. The "turnout"
achieved will be a function of the child's femoral neck-shaft angle.
Keeping the knees straight will ensure that the rotation will occur at the
hips. Once in this position, the child can be instructed to keep his
or her feet at this angle, but assume the various ballet positions.
While performing plies in these positions, the knees should fall directly
over the feet. Most good ballet instructors will accept this variation
in positioning of their students and realize that not all students can achieve
a 180 degree angle of their feet. In addition, good instructors will
teach the children to obtain more external rotation using the short external
rotators of the hip rather then cheating with lordosis of the lumbar spine
or twisting the knee.
Patellar
Tendinitis
Patellar
tendonitis, often a part of the presentation of Osgood-Schlatter
disease, is seen in both the young dancer and gymnast. Patellar
tendonitis is also called "jumper's knee" because it is commonly seen
in athletes who jump often. These athletes have pain in the patellar
tendon unit, either at the distal pole or the patella, along the patellar
tendon, or on the tibial tubercle.
On physical
examination, one will find very specific point tenderness at the site
of inflammation. Often swelling will be present in the infrapatellar
bursa. The child also may have pain when extending the leg against
resistance. Usually jumping activities are the cause.
In addition, Micheli (Micheli, L.J., and Rosegrant, S.: Boston
sports medicine: Helping the young athlete. Phys. Sports med., 9:105-107,
1981) feels that the "overgrowth" syndrome contributes to the
prevalence of Osgood-Schlatter disease in the 11- to 13-year-old age
group. Although children are assumed to be naturally flexible,
poor flexibility and inadequate warm-up were factors in over half the
injuries seen in Micheli's clinic.
The treatment
for patellar tendonitis is rest. The child may do any activities
that do not aggravate the problem. Generally, forceful kicks,
jumps, and plies must be temporarily avoided. Ice massage over
the tendon area will often decrease the pain as well as the inflammation.
In resistant cases, a jumpers knee brace, a knee sleeve with a pad over
the patellar tendon, will decrease the forces applied to the tendon by
the quadriceps muscle and relieve the pain. Exercising the quadriceps
muscle is to be avoided initially because it will aggravate the problem.
However, when the pain has decreased, one should initiate stretching and
strengthening of the quadriceps. Symptoms generally resolve in
three to four weeks.
Excerpts
from Sports Medicine Concerns in Dance and Gymnastics
Carol C. Tetz, M.D. Assistant Professor, Orthopedics, University
of Washington, Seattle, Washington
Pediatric Clinics of North America, Vol. 29, No. 6, December
1982
Clinics in Sports Medicine, Vol 2, No. 3, November 1983
Part
II: Accentuated Stretch and Flexibility Exercises to Increase Turnout
Most
dancers and athletes don't know that a lack of turnout or hip range of
motion could be caused by soft tissue restrictions, which can be addressed
with an accentuated stretch and flexibility program.
I
personally began dance training in my early 20's, as an athlete training for international
competition in cycling, skiing and rowing. Dance training was pursued
to optimize balance, economy and leverage mechanics for skating techniques
in cross-country skiing. In conjunction with my sports specific training,
my first 3 years encompassed intensive modern, jazz and ballet (Lee Lund:
Jaime Rogers). In 1987, I progressed to the study of the Soviet System
of ballet training at the Nutmeg Conservatory for the Arts.
My background in studies in sports medicine, exercise physiology and
biomechanics, helped with the analysis of the physical demands of the dance
training, leading to the development of intensive spine and extremity flexibility
programs. In the context of turnout, by the time I reached Nutmeg Conservatory,
I had more turnout that 95 percent of the students in the development program.
I had a chance to integrate this work with dancers preparing for international ballet competition,
in an experiment that yielded immediate functional improvement of flexibility
(turnout, shoulder complex, spine, extremity) and technical performance.
Shortly thereafter, a general stretch series was developed for all
levels, pre-ballet through upper level.
Hip Turnout 101
Programs that do not operate with
students from a one out of a thousand selection process, need to focus optimization
of the correctable functional limitations. The conventional approach
is to throw all children into the same training, without regard for their
lack of prerequisite flexibility, allowing them to advance (in many cases
deform) to meet the physical demands.
During international summer programs,
upwards of 90 percent of older students (14-17 years of age) could not parallel
plie, with correct alignment of the kneecap over the centerline of the
ankle and foot. This was due to articular stabilization of the ankle/knee
complex from poor training. The inability to maintain correct alignment
in the parallel, meant that they were not capable of working in any turned
out position without risk of injury. The majority of these students
work with perfect turnout of the feet in the technique classes, via complete
disregard of the alignment problem by instructors.
The following general stretch sequences
are classical ballet specific and a fundamental prerequisite for a warmup
progression. Our focus for this stretch series is integration, for a minimum
of 30 minutes before every classical ballet technique class.
Note: Pilates and Yoga do not accomplish the
joint rage of motion needed for the correct execution of classical ballet
specific training. Stretches must be classical ballet alignment
specific.
All advanced movements are to executed
under only under supervision of a trained professional.
The Turnout Stretch
Following a slow progressive warm-up,
all
basic stretches are to be done slowly, below a threshold of discomfort.
Photo Credits: © 2010 Stephen M. Apatow
Legs at 90 degrees, ankle on top of
lower leg (do not sickle foot). From a seated position stretch forward,
flat back (as turned out femur moves toward the center line, this represents
your front extension with a turned out leg). Lying back encompasses
your range of motion in a standing turned out position (as the turned out
femur moves toward the centerline, this represents your 5th position).
In the seated position the upper leg
can be stabilized with a wrap, to assist with a slow progressive stretch
in the lying back position. This represents your standing turnout.
Incorporating turnout into functional
extensions
Photo Credits: © 2010 Stephen M. Apatow
Hips square, allowing pelvis to stretch
toward the floor. In the front split, each leg would extend with full
turnout or femoral rotation.
Photo Credits: © 2010 Stephen M. Apatow
Hips square, extend the back leg to
arabesque, then rotate the leg through to the a
la seconde position. Smooth
transitional movement encompasses the range of motion needed for grand
ronde
de jambe en'lair at 90 degrees.
As a strength exercise, when warm, lift the leg off the ground (arabesque, a la seconde) and hold it there through the sequence.
Next Level
Photo Credits: © 2010 Stephen M. Apatow
The next sequence is extension of the
legs into the a la seconde or straddle split, flat back forward,
then rotation through to front split (hips square) on both sides.
Advanced Sequence
Photo Credits:
© 2010 Stephen M. Apatow
The next level of strength conditioning
includes splits between chairs, and duplication of the extension sequence
(increasing the distance between the chairs, lowering pelvis to the floor).
Martial Arts Specific
JudoSport International
"Kokoro"
is a martial arts training system, developed by Stephen M. Apatow, that
integrate classical biomechanics into judo,
ju_jitsu and mixed martial arts disciplines.
Classical choreographic training
used for Olympic development programs in skating and gymnastics, provides
the foundation for skill development. Martial arts provides a pathway
for teaching classical alignment training for sports and Olympic development
programs.
Postural Alignment of the Shoulder Complex and the
Mechanism of Joint Stress and Injury
Postural
alignment of the shoulder complex is one of the most neglected areas,
second to hip turnout, in classical ballet training.
Photo Credits: © 2009 Stephen M. Apatow
|
Port de bra demonstrating upper extremity
alignment where (1) the shoulder complex is held back and down, (2)
head of the humorous stabilized as far behind the clavicular head as
possible, (3) major muscle groups include concurrent contracture of the
pectoral and latissimus muscles to stabilize the shoulder complex and
stercliedomastoid muscle for the cervical spine.
The flat back position (non-winged scapulas),
encompasses optimal connection of the arms to the upper extremity.
|
Shoulder
Stretch
Photo Credits: © 2010 Stephen M. Apatow
Range
of motion of the shoulder complex is crucial for correct alignment of
the upper extremity. Holding a rigid band, rope or pole, position
the hands in a position wide enough (elbows rotated up in port de bra
position),
then progress to a smooth transition overhead. As the range of motion
opens, bring the hands closer together. Olympic swimmers possess close
to the mechanical ideal, with hands at shoulder width.
Note: The arms must be held straight, with all movements executed below
a threshold of discomfort.
Mechanism of Injury
The functional
arc of elevation of the shoulder is forward with impingement occurring
predominately against the anterior edge of the acromion and coracoclavicular
ligament. 1 As the head of the humorous
bone shifts anterior to the clavicular head, discomfort may be noted
after the exercise and progress to pain during the exercise resulting
in tenderness over the anterior acromion and greater tuberosity.
The dancer or athlete also has a painful or uncomfortable abduction arc
and positive impingement signs. If the bicipital tendon is involved,
there will be (1) tenderness over the bicipital grove, (2) positive straight
arm raising, (3) resistive forward flexion at 80 degrees with the elbow
extended, and (4) positive resisted forearm suppuration.
The differential
diagnosis of impingement syndrome includes (1) acute traumatic bursitis
(caused by a direct blow) (2) primary acromioclavicular pathology (acute
tenderness), or a (3) cervical disc (neck symptoms and nerve involvement
beyond the elbow).
The complaints
related to the shoulder complex and bicipital tendon are generally
responsive to a restriction in activity accompanied by oral anti-inflammatory
agents.
Ruptures
of the bicipital tendon have been reported in gymnasts, 2
frequently occurring as a degenerative problem or as a consequence
of sudden unexpected stress applied to the contracted biceps. Symptomatic
bursa formation about the scapula raises the traditional question of
osteochondroma and need for x-ray films to rule out this rare entity.
3
Thoracic
Outlet Conditions
In thoracic
outlet conditions, the neurologic examination is negative and radiographs
normal with the structure involved difficult or impossible to identify.
It is assumed that the ligamentous support structure or the joints
between the articular processes have been injured and occasionally,
a symptomatic muscle may be indicated.
Treatment
is tailored to the severity of the problem with analgesic, anti-inflammatory
agents, and possibly a soft collar until there is full, spasm-free
range of motion. In some patients, a specific neck complaint is
accompanied by intermittent numbness, tingling, heaviness, and fatigue
of an upper extremity, which suggests a thoracic outlet syndrome.
The outlet
syndromes are related to lower elements of the brachial plexus from
C-7 to T-1. X-ray films may reveal a cervical rib with greater suspicion
attached to the incomplete or short cervical rib due to the congenital
ligamentous bands coupling coupling the cervical rib to the first rib.
Brachial
Plexus Injury
Upper
extremity weakness as a consequence of participation in contact sports
has been associated with injuries to the upper branch of the brachial
plexus as a probable causative neurologic injury. The is occasioned
by downward force upon the shoulder and deviation of the head and neck
backward or toward the opposite shoulder, suggestive of traction on the
brachial plexus. The distribution of nerves from the upper trunk
includes (1) superscapular (supraspinatus and infraspinatus muscles),
(2) upper and lower subscapular (subscapularus and teres major), musculocutaneous
(coracobrachialis and biceps), (4) axillary (deltoid and teres minor).
Spontaneous
serratus anterior paralysis is a relatively rare condition. A
common cause is backpacking 4 or a brachial neuritis. The
nerve is the most prominent over the second rib and may be injured by the
undersurface of the scapula with forceful pulling of the arm. It
has also been suggested that injury is due to traction between the point
of proximal fixation, the scalenus medius, and its point of distal fixation,
the superior serratus anterior. 5
Neck
Injury
Barre
described a syndrome with symptoms of headache; retro-orbital pain;
vasomotor disturbance of the face ; recurrent disturbances of vision,
swallowing, and pronation due to alterations of the blood flow within the
vertebral arteries; and associated disturbance of the periarterial nerve
plexus. The syndrome is one not frequently expressed in "whiplash"
injuries.
Cervical
spondylosis in the middle and distal thirds of the neck is thought to
be the usual provocative cause of irritation of the vertebral arteries.
Limousin has pointed out that in young individuals, congenital abnormalities
of the posterior arch of the atlas, the arcuate foramen, man produce the
symptoms. 6 The possibility can be tested for by placing the head
in a slightly extended position and firmly gripping the chin. Firm
pressure is then exerted between the thumb and finger, in a gripping action
just below and lateral to the occipital protuberance, at the level of
the lateral masses of the atlas. Pain may be produced by the pressure
accompanied by conjunctival injection and the shedding of tears. In
some cases there will be a feeling of vague faintness.
Since
many of the patients are young anxious and impressionable, assurance
and conservative therapy are generally all that is necessary. Many
of the symptoms are somewhat confusing and suggest a supratentorial origin,
nevertheless, they should be investigated. Occasionally, more
particularly with additional complaints of dizziness or staggering,
some disturbance in the vestibular aspect may be established by nystagmography.
7
References
1. Neer,
C.S., and Welch, R.P.: The shoulder in Sports. Orthop. Clin. North.
Am., 3:583-591, 1977.
2. Del Pizzo, W., Norwood, L.A., Jobe, F.W., et al.: Rupture
of the biceps tendon in gymnastics. Am. J. Sports Med., 6:283-285, 1978.
3. McWilliams, C.A.: Subscapular extosis with advetitious
bursa. J.A.M.A., 63: 1473-1474, 1914.
4. Ilfeld, F.W., and Holder, H.G.: Winged scapula: case occurring
in soldier from knapsack. J.A.M.A.., 120:448-449, 1942.
5. Gregg, J.R., Labosky, D., harty, M., et al.: Serratus anterior
paralysis in the young athlete. J. Bone Joint Surg., 61A: 825-832, 1979.
6. Limousin, C.A.: Foramen arculae and syndrome of Barre-Lieou.
Int. Othop., 4:19-23, 1980.
7. Toglia, J.U., and Ronis, M.L.: Electronytagmograhpy in
clinical and medical legal uses. trans. Pa. Acad. Ophthalmol. Otolaryngol.,
22-23-27, 1969.
Selected
Bibliography
Agrippina Vaganova,
Basic Principles of Classical Ballet, Dover, 1969
Alfred A Knopf, The Classic Ballet, New York, 1984
Clinics In Sports Medicine, Injuries to Dancers ,Saunders
1983
White-Panjabi, Clinical Biomechanics of the Spine, J.B. Lippincott,
1978
Rosse-Clawson, The Musculo-Skeletal System in Health and Disease,
Harper & Row, 1970
Stanley Hoppenfeld, Physical Examination of the Spine and
Extremities, Appleton, 1976
|
Aspirations
to achieve top level performance requires detailed attention given
to each aspect of the training program. Every day, our diet, strength,
speed, flexibility, postural alignment, mental preparation and technical
training all relate to the factors upon which our bodies will adapt,
to yield our potential performance. -- Stephen M. Apatow
|
|