IADMS New York 2002   [back to the Category]

Biomechanical Survey on Arabesques and Attitude Croisée Devant and Their Influence ....   [read the french version]

Author :   Jarmo Ahonen, PT & Al.

Biomechanical Survey on Arabesques and Attitude Croisée Devant and Their Influence on the Hip Joint and Pelvis in the Open and Closed Kinetic Chain

Jarmo Ahonen, PT
Finnish National Ballet
Helsinki, Finland

Roger Hobden, MD
Dept. of Family Medicine, University of Montreal
Montreal, Canada

Christine Wright
New York, New York, USA

Arabesques and attitude front are basic elements of ballet dance and parts of them set ground for many other dance techniques and disciplines. To execute them well puts high demands on dancer’s skills. These movements give also a good opportunity to study two different biomechanical functions, namely how the body does function in closed kinetic chain on the supporting leg and in open kinetic chain on the working leg. It also gives a good opportunity to study how the spine and back muscles as well as the shoulder girdle are cooperating with the legwork.

In arabesques the supporting leg function varies between the different variations. In Cecchetti the supporting foot is more like in parallel position in I, II and III Arabesques causing no torque on the lower extremity and forming a more linear expression of the supporting leg. However both in Cecchetti and Vaganova in the later variations the supporting leg is in turn out position causing severe torque on the supporting leg. A good hip muscle balance and strength is needed to execute these movements properly without causing any damage to the knee and the ankle-foot complex.

The working leg however, is acting on the hip joint and pelvis in two different ways depending whether the leg is back or front. In Arabesque, already in initial leg movement back the torque of the femur is affecting the pelvis to rotate anteriorly. Since the femur cannot extend in the hip socket while in turn out, the femur movement will also cause the pelvis to rotate around the vertical axis i.e. the working leg side of the pelvis is moving back with the leg. Because it is a question of chained movements connecting different body parts together, the pelvis movement is causing the spine to act. If the pelvis-shoulder square position is emphasized too much while executing this movement the powerful force of the leg is turning the low back in to hyper lordosis, which is compressing the spinal structures and causing posterior arch compression as well as disc irritation.

When taught properly, the Arabesque is a nice and smooth movement not causing any back problems on dancers. The three-axis rotation of the pelvis is joining the spinal movements in to a harmonious chain like movement. It is engaging the deep layers of back muscles to work together with more superficial ones to produce a spiral rotation on the spine. The spinal rotation and extension with slight side flexion makes an illusion of an arch, which is safe and aesthetically beautiful. Since the leg cannot be extended in the hip socket when in turn out the illusion of the open leg is thus done by the leg lift and spine-pelvis rotation. To execute these movements safely there must be a good control on the deep abdominal muscles to give enough support for the sacro-iliac joint and the spinal vertebras. Many out-of –the-studio-exercises can be done to learn gradually to work all body parts together.

In Attitude Croisée Devant the working leg is front. The leg movement is causing the pelvis to rotate posteriorly. The free movement of the femur in flexion is allowing the leg to be elevated without causing the pelvis to rotate around the vertical axis if not wanted. However, the supporting leg is holding one side of the pelvis rotated on transversal axis anteriorly thus causing oppositional rotation between the pelvis sides in the SI-joint. Dancer can be trained to recognize these fine movements in his/her body. By doing so the dancer skill level will be improved and dancing will be safer.