IADMS Madrid 2001   [back to the Category]

Dancer’s “pull up” according to the rules of the closed kinetic chain   [read the french version]

Author :   Jarmo J. Ahonen, PT

Thursday 1 November 2001
5:15 – 5:35 pm Room 1

Dancer’s “pull up” according to the rules of the closed kinetic chain

Jarmo J. Ahonen, PT, Finnish National Ballet, Dance Health Finland, Helsinki, Finland

Dancer’s “Pull-Up” has been a well-discussed subject among dancers and dance teachers. It is mainly related to the function of the m. transversus abdominis and m. multifundus, as it is they give good core stability for a dancer. However, there are more muscles involved in this phenomenon and it may be related also to the rules of the closed kinetic chain functions. The purpose of “Pull-Up” is to lengthen the dancer, to give good support for the upright position and most importantly, to unload the joints and help the muscles to work in good balance with each other. It also provides the dancer with a good “placement” and is the base for the perfect alignment and builds the axis for the pirouettes. It helps to work with “rotational integrity” and through finding the strong points of each individual joint.
The total “Pull-Up” should be built from the feet up according to the principles of the closed kinetic chain. Subtalar joint (STJ) hyperpronation as well as hypersupination both shorten the lower extremities by rotating the shaft of the tibia and femur as well. Thus only the STJ neutral may give the dancer the full height of the ankle. In demi-pointe the normal supination and lower extremity external rotation must occur to build a good muscular balance between the tibial muscles (peroneus longus and brevis, tibialis anterior and posterior, toe flexors and extensors). Hyper extension of the knees does shorten the leg thus making the dancer less tall. It also contributes to excessive internal rotation of the leg. This will widen the hips and give less support for the pelvis from the lower extremities. Hamstrings and quadriceps muscles must be trained to maintain a good position of the knees through a normal muscular balance. Muscular balance between the inner and outer thigh muscles must also be built to reach the full height and the strong points of the hip joints. When the deep external rotators behind the hip joints and the inner thigh external rotators are well balanced and coordinated, the legs through the hip joints provide full support for the pelvis and will help to maintain its neutral position.
The muscles of the pelvic floor contribute to the stability of pelvis and low back as well. They help the hip abductors to fire on one-foot stance and also provide a good partnership to the transversus abdominis muscle. M. transversus abdominis is without question the most important of the pull-up muscles together with m. multifidus. When it is working properly it straightens the spine into a neutral position and provides a well-supported base for all the other abdominal muscles. Good balance between the central and global muscles is the goal. Together with m. diaphragm, m. transversus abdominis changes the position of the thorax and helps the spine to maintain its tallest position and neutral curves. All changes from the neutral curves of the spine lessen the “pull-up,” shorten the spine, increase the load on the vertebral joints and make the dancer less tall and less “pulled-up.”
In the neck and head region the highest position of the head is reached by decreasing the tension of the muscles that affect the head and upper neck. To do this the scapulas must be well anchored down to the thoracic spine through the lower trapezius and to the rib cage through the m. serratus anterior. The old saying among the dancers still rules: “muscles down and bones up.”