IADMS 2007 - Nigel Bristow

?Pulling Up?: Embracing thoracic convexity in the quest for verticality

Humphrey, Jess BFA, University of Utah, Salt Lake City, Utah, United States; and Broekemeier, Amy, DPT, Pinnacle Performance, Salt Lake City, Utah, United States

Classical western dance forms such as Ballet and various traditional modern dance techniques such as the Martha Graham technique, among others, tend to value a presentational approach to verticality that often involves the elimination of the spinal curves toward not only a greater height for the dancer, but also a forward inclination through the thorax. 

I have been dancing full time for ten years, teaching Pilates to dancers for seven years and have worked in a physical therapy clinic for the past two. I have noticed that flattened thoracic curves are very common among dancers. I often begin a session with a dancer by cueing them to pull up, as this is a very common directive given by dance teachers. With few exceptions, I see an anterior shear at the thoraco-lumbar junction and extension of the thoracic spine. I surmise that, after years of holding vertical in this way, many dancers have developed to a skewed perception of neutral spine. 

When I reviewed the research on the thoracic spine, I found that the thoracic is the least studied area of the spine. The studies that I did find were concerned with extreme kyphosis and I found no studies that compared dancers? thoracic convexities with those of the average population. 

The curves of the spine serve important functions such as shock absorption and mobility. The facet joints are shaped so that they only articulate efficiently if the curves of the spine are intact. I want to present a summary of my findings to the IADMS conference attendees in order to shed light on this neglected area of study. I believe that a dialogue must begin that explores what it means to pull up. If the aforementioned, more presentational approach to verticality is necessary to the choreographer?s aesthetic, then what might a dancer do to recuperate from such a practice so that the curves (and, in turn, the health) of his or her spine can remain in tact?