The "cambré"
The "cambré" is common in ballet and is performed at the barre. The dancer
becomes aware of good back posture. Hyperlordosis of the lumbar region is
avoided through the extended contraction of the abdominal muscles and by using
the glutaeus maximus muscles, dorsal extension is pushed to its limit. The dancer
does not "break", he "stretches".
The "cambré" is often made easier by the joint use of the humeral and dorsal
muscle insertions, when one or both arms are in the "en couronn
e" position.
The "cambré" also paves the way for the "arabesque" exercise.
The classical "arabesque" is an extension-external rotation -adduction of the thigh,
knee straight. However, there is an anatomical limit to the lifting of the thigh which
dancers push out to about 40°, using stretching exercises for ligaments and
anterior hip muscles (rectus femoris, tensor fasciae latae, pectineus, gracilis). A
rocking of the pelvis controlled by contraction of the abdominal, glutaeus maximus
and quadratus lumborum muscles, allows the leg to be lifted beyond this limit. In
the classical "arabesque", the dancer must put his torso in a vertical position by
rocking his pelvis and using maximum hip extension: "lift your leg, pull in your ribs,
lift up your chest, stretch your back". It must also "flatten the hip" by maintaining
the contraction strain of the external hip rotators and, thus, avoid lateral rocking of
the pelvis which pulls both the vertebral axis and the shoulders out of line.
Therefore, there is a specific change which causes an increase in trunk extensor
strength and extension flexibility; this must be taken into account in the various spinal
pathologies encountered, especially in re-education techniques.
Bibliography :
Maya Cale, Mark Albert, Alan Grodin, Lynda D Woodruff, Isokinetic Trunk Muscle
Performance Characteristics of Classical Ballet Dancers.
JOSPT. Vol. 15. Number 2. February 1992
Thiescé A., Le geste dansé et ses conséquences en rhumatologie
Ed Laboratoire Ciba-Geigy 1996