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Musculo-skeletal [back to the Category]
The Cervical Region of the Spine [read the french version]
Docteur Anne Thiescé
The Cervical Region of the Spine
Cervical pathologies in ballet differ little from those found amongst the general population. A loss of physiological lordosis is common. Fig 1.
The morphology of the dancer sometimes makes it difficult for the dancer to tolerate the exercises for the cervical region of the spine that exist in certain types of dancing. Furthermore, all cervical pathologies can hamper balance exercises.
The proprioceptive system of the cervical region of the spine is constantly linked to the ocular and vestibular systems which explains its participation in the control of cervical and general posture as well as movement co-ordination for the four limbs. All cervicodynia, or pain in the cervical region of the spine, whether it be post-traumatic, micro-traumatic, postural or degenerative, can, thus, hinder balance and perturbthe dancer when he turns.
Postural cervicodyniae are characteristic of longilineal, slender neck, morphologies which are especially common in ballet. They can be made worse by more acute injuries and repeated bouts of torticollis. These incidents are more likely to occur in jazz and contemporary dancing, during fall, imbalance and "rond de tête" exercises and in hyper-flexion and hyper-extension movements of the cervical region of the spine.
Re-education or initial specific muscular strengthening exercises help to alleviate these problems. In fact, cervical musculature must, at the same time, cope with a dynamic function: cervical mobility, and a static function: posture control and an anchorage point for the scapular girdle. It is crucial that proprioceptive exercises accompany these muscular exercises.
Re-education using oculo-cervical linking can greatly help dancers having difficulties in carrying out turns following cervical trauma or cervicodynia.
Bibliography :
Nixon J.E: Injuries to the neck and upper extremities of dancers. Clin.Sports Med. Vol.2, N°3, Nov 83, p459-472.
Revel M., Andre-Deshays C., Mayoux-Benhamou M.A., Buades C., Block de FribergC., Dupuy G.: Techniques de rééducation de la musculature cervicale. IIIèmes Ateliers de Rééducation de Cochin Paris 88.
Sabourin F.: Rachis et Danse. Abstract Rhumato. N°137, Sept-oct 95, p23-25.
Cervical pathologies in ballet differ little from those found amongst the general population. A loss of physiological lordosis is common. Fig 1.
The morphology of the dancer sometimes makes it difficult for the dancer to tolerate the exercises for the cervical region of the spine that exist in certain types of dancing. Furthermore, all cervical pathologies can hamper balance exercises.
The proprioceptive system of the cervical region of the spine is constantly linked to the ocular and vestibular systems which explains its participation in the control of cervical and general posture as well as movement co-ordination for the four limbs. All cervicodynia, or pain in the cervical region of the spine, whether it be post-traumatic, micro-traumatic, postural or degenerative, can, thus, hinder balance and perturbthe dancer when he turns.
Postural cervicodyniae are characteristic of longilineal, slender neck, morphologies which are especially common in ballet. They can be made worse by more acute injuries and repeated bouts of torticollis. These incidents are more likely to occur in jazz and contemporary dancing, during fall, imbalance and "rond de tête" exercises and in hyper-flexion and hyper-extension movements of the cervical region of the spine.
Re-education or initial specific muscular strengthening exercises help to alleviate these problems. In fact, cervical musculature must, at the same time, cope with a dynamic function: cervical mobility, and a static function: posture control and an anchorage point for the scapular girdle. It is crucial that proprioceptive exercises accompany these muscular exercises.
Re-education using oculo-cervical linking can greatly help dancers having difficulties in carrying out turns following cervical trauma or cervicodynia.
Bibliography :
Nixon J.E: Injuries to the neck and upper extremities of dancers. Clin.Sports Med. Vol.2, N°3, Nov 83, p459-472.
Revel M., Andre-Deshays C., Mayoux-Benhamou M.A., Buades C., Block de FribergC., Dupuy G.: Techniques de rééducation de la musculature cervicale. IIIèmes Ateliers de Rééducation de Cochin Paris 88.
Sabourin F.: Rachis et Danse. Abstract Rhumato. N°137, Sept-oct 95, p23-25.
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