Here’s a quick 3 minute clip on a hip flexor bounce… and you’ll get to see my pup, too!
The secret of CHANGE is to focus all your energy not on fighting the old, but on building the new.Socrates
We are at that familiar time where many of us are reflecting upon the past year and pondering how we’d like 2019 to be. It started me thinking about how quickly can change really happen?
Generally, science says a mildly sprained ankle takes 5 days to 2 weeks to heal, and a moderate one from will take 4-6 weeks. A hip flexor strain takes between 1-8 weeks to fully recover. Changing an unwanted habit? Some say 21 days, a research study by Lally said anywhere between 2-8 months to adopt a new habit.
Is it possible to change a chronic injury or unwanted habit even faster than normal?
Science is starting to back up the above Socrates quote. We know that where you place your attention your energy goes. When you or your child is sick at home in bed a wonderful distraction is to pop a favorite movie in to watch. It’s pretty remarkable that for short periods of time they forget they’re sick and get wrapped up in the movie. This concept of where your attention goes your energy flows has been around for a while and is pretty straight-forward but often hard to use deliberately when we are trying to change our flexibility or results or negative patterns.
The major challenge to changing quickly is how our past habits and patterns of thinking, feeling and doing are hardwired in the brain. This is how learning happens. We do something over and over again until we don’t need to even think about it – our bodies automatically get ourselves ready for the day in the same way, we drive to work in the same predictable routes, and generally have the same thoughts and emotional responses to certain people in our life. These hard-wired patterns are not bad – they allow us to get a lot done without much conscious decision-making. Being such creatures of habit does have a downside, though, when it comes to wanting to change something about our life or body.
Awareness and knowledge is key to creating deliberate changes. The first step is to define what it is that you want. The second step is to become familiar with the patterns that are keeping you stuck in the current situation.
For example, let’s imagine a dancer who wants to increase their flexibility. They learn the appropriate stretches necessary to address their stiffness. That’s a good knowledge step for sure. They need to spend time becoming aware of all the negative statements they make about their body and flexibility and catch themselves when they start that self-sabotage loop. This goes beyond deciding on a positive affirmation to say to themselves. It might be a good mantra to say to oneself, “my flexibility gets a little bit better every day” but if immediately after saying that you feel discouragement or add a silent and sarcastic yea… right…, then chances are flexibility isn’t going to change as quickly as they’d like.
There is a concept in neuroscience called neuroplasticity which explains how the brain can hardwire new habits and create change. This short 2-minute video explains it beautifully.
Now getting back to our example of a dancer wanting to improve their flexibility. They need to catch their sabotaging thoughts and behaviors. Thoughts are pretty easy to define but let’s say they become aware that after eating a lot of sugar they feel achey and stiff. Once they become aware of that pattern they have a choice point when contemplating another serving of dessert. No judgment if they choose the extra dessert, but they are simply demonstrating that the sugar habit is stronger than their new flexibility patterns.
Being aware and knowledgeable of their flexibility patterns will streamline the change process. In other words, they need to ‘act as if’ they are already the flexible dancer they want to be… saying the things to themselves a flexible dancer would say, feeling emotionally how grateful they are to be flexible and acting and having the patterns of a person who honors their body’s flexibility. This seems pretty straightforward and simple – but challenging to put into practice.
Dancers are really good on the ‘doing’ part of the equation – but often not so good on the becoming aware of their thought and emotional patterns in response to their doing. There are strategies to help our students learn to become more aware of the complicated interplay between their body/brain and their results and it doesn’t require diving deep into their psyche or analysis.
Exploring the body/brain connection is the missing link in our training of dancers and one that I will be delving into this summer in both the Texas and France workshops. Understanding and exploring anatomy is still the foundation of these workshops with integrating the body/brain knowledge into your teaching.
Happy New Year, everyone! Now… back to journaling about who I want to be in 2019!
To your success,
I came across a clip I took of a dancer sucking in her abdominals to bring herself into alignment and thought it might be interesting to talk about what’s really happening when she does this… Let’s watch a couple for a couple of rounds.
Let’s dissect what’s happening as she does this. It is a pretty common pattern. A student lifts up their ribs and lengthens the spine almost like they put an invisible belt around their waist. At first glance it looks like they are in proper alignment, albeit with some tension. Notice how tension comes into the neck and throat muscles. It’s as if she is holding her breath… which is pretty much what she’s doing! It’s then a challenge to get a deep breath if you maintain this position. You would need to release the abdominals in order to allow the diaphragm to move downwards to inhale deeply. Remember the role of the abdominals is to create the front of pelvic bowl and keep the organs in place. The abdominals are important to efficient breathing and of course come into play flexing the spine forward like in a sit-up.
So what to do?
I think the trick is to get them to become familiar with the feeling of how the abdominals stabilize the pelvis. Have them find that feeling first lying on their back and lacing the abdominals together while sliding one leg at a time out to straight. They will feel the engagement of the abdominals primarily below the belly button. They should still be able to breath fully and there will be movement of the abdominals during the inhale and exhale – not held. Point out to the students how the abdominal muscles naturally contract during the exhale. (which is why we encourage lifting, etc. on an exhale, to get that extra abdominal support)
Now stand up and draw the front of the pelvis upwards towards the breast bone without lifting or dropping the ribs. They will again feel the effort below the belly button more than above and they still have to breathe! Walk around for 2 minutes keeping the pelvis level and spine elongated.
That’s a more accurate feeling for engaging the abdominals to maintain anatomical alignment! Plus… the goal is to always stand with our pelvis in neutral, instead of just at the barre or in dance class!
To your success,
First… what is fascia?
Fascia is connective tissue that wraps and surrounds every muscle, bone, nerve and organ in the body. It gives separation between these structures and creates a 3-dimensional, interconnected web of tissue through the body.
Imagine an orange or grapefruit that you’ve taken the outmost skin off of. If you could magically make the juice disappear from inside white fibrous webbing that’s left is the fascia. It’s almost impossible to separate the fascia and muscle, for example. That is why a lot of practitioners talk about the myofascia. Myo for muscle and fascia for … well fascia. Some of you may have experience a myofascial massage that focuses on releasing fascial pulls.
What most people don’t know is that fascia is composed primarily of water – approximately 70%. The other 30% is compoased of collagen and elastin and proteoglycans, which are proteins and carbohydrates.
Happy January! I love the first of the year as it is so filled with potential and possibilities and thoughts of change.
As a dancer and dance teacher there have been similar patterns to my thoughts over the years at this time. I vow to decrease my sugar intake, increase my exercise and spend more time with the people I really care about – quality time – not just quantity.
Within a few weeks life gets busy and somehow my good intentions are pushed to the back recesses of my mind. I forget the importance of those simple goals… after all if you aren’t healthy you can’t be at the top of your game physically, mentally, emotionally. When your body doesn’t feel good – you don’t feel good.
It’s a challenge to keep focused on a daily basis and decide that there is nothing more important than to feel good. We know that when we feel good life works better and when we feel badly about ourselves nothing works quite as well. We forget (at least I forget) that no one else is in charge of my perspective besides myself.
I blame life…. if only I had more money… if only I didn’t have to work so many hours… if only I had more time to focus on myself.
I forget that success at anything is an inside job – that then gets reflected into the outer world of my life. It is my commitment to myself to make 2012 my healthiest and happiest year yet. Not a resolution…. a commitment.
Every now and then I’m going to use the blog to update you on my progress. Nothing like public accountability to get the juices going:) I’ve got a few different strategies that I have already begun. One is a new way to do some high intensity fitness training – easily – with my 10 pound kettle bell.
The article that inspired me can be found here. I’m all for ways to exercise and maintain health that are efficient and don’t require an hour or more out of my day. Who has time for that!
After reading the article, come back to read the rest of the post… otherwise it won’t make sense.
Here are the modifications I made since I don’t have a bench to do the various presses that are talked about in this article. I do 3 of the 5 recommended exercises. My modifications for the chest and overhead press are to take my 10 pound weight lie down on the floor for the chest press and do the very, very, very slow straightening of one arm (with weight) towards the ceiling and a very, very slow descent back down. You only need to do 4-5 reps before your arm is very, very tired! (how many times can I use very in this post?) 🙂
Then do it with the other arm.
For the overhead press I do the same thing one arm at a time either sitting or standing, slowly pressing the 1o pound weight towards the ceiling.
You can do it with whatever amount of weight seems appropriate to your level of strength – start light – you can always increase. The tempo of the action is more important than the amount of weight in the beginning.
For the leg press I came up with a nifty variation: standing on 1 leg, in parallel, doing the slowest demi plie you have ever seen. It was amazing to me how quickly my thigh muscles felt like they were burning as I did my 4 reps on each leg.
I can then change it up and do a couple of more active interval trainings like jumping jacks as quickly as I can for up to a minute, then walking around until my heart rate has come back down to normal.
I’m curious to hear other’s responses if they try the super slow movement sequences. Feel free to post your comments below. Next week I’ll get back to answering your questions.
Hope everyone is having a good start to the new year!
“Education is the key to injury prevention”
Everybody has their favorite dance blogs that they bookmark and read. Nichelle at DanceAdvantage.net (a wonderful blog) is having a contest for the top 20 dance blogs. I decided to enter my Dancing Smart blog in the Teacher Talk section.
The way this contest works is the blogs with the most comments will win in their category and this is where I need your help! Please comment below this post with a brief comment of either why you like the Dancing Smart blog, or even simply wish me good luck in the contest. Nichelle will check this post by the end of 12/20 – which is tomorrow (I know… I know… I’m slipping in just under the wire – but the end of the semester has been kind of brutal:)
If you can spare the time to comment I would be most appreciative! I’m working on this week’s post which is on what age should flexibility training for splits take place. Watch your inbox over the next few days for when it’s up. Will be a good one!
Thank you in advance for supporting me – together we can spread the word about Dancing Smart and Teaching Smart!
If I make it to the finals – voting will take place after Christmas. I’ll let you know how we do but in the meantime please post a brief comment below.
“Without dance I cannot feel my soul, hear my heart, or see my dreams.” Ninka
“Education is the key to injury prevention”
I am a dance teacher and have been experiencing pain in my sacro-iliac joint on my left side. I figure it may be due to my demonstrating most exercises with my right leg and being supported on the left.
I have been to a chiropractor who helped me isolate the problem, but none of the treatments really helped ease the pain. The next step they recommend is to have an MRI done. Is there anything else I could try or anyone I should see before going through that expense? I’m finding that the pain is getting worse, and all I can figure to do is to ice it during the day.
Just as an added bit of info: I started carrying my bag on a cart this week instead of on my shoulder, and for the first time in a while, when I got out of bed this morning, I didn’t notice the usual pain in my back. Maybe some connection?
You’re the best! Lisa
Lisa, carrying a bag on your shoulder most likely didn’t cause the pain – but it may have been exacerbating it! I’ve seen really interesting connections between movement patterns and shoes, purses, backpacks, bags, you name it:) The challenge with carrying a bag (I’m envisioning a dance bag that hasyour day packed inside of it) is the shift it creates between the torso and the pelvis. Let’s say that you have it slung over your right shoulder or even crossed from your left shoulder to the right hip – automatically the pelvis shifts to accommodate the extra bulk. (See image on the right and imagine a bag hanging on the right side of his hip.) Do you see how the left side of the lower back and pelvis is crunched up?
It’s interesting that you mentioned that you typically demonstrate by standing on the left and having the right leg be your gesture leg. Same pattern of slight pelvic shift left torso shift right. I know it is traditional to always start with the right leg – but it might be good for you and for your students to mix it up every now and then and start off on the opposite leg! Also check when sitting in a chair if you like to cross your right leg over your left more often…. same pattern:)
Now I have no idea if this is your pattern in standing but you can stand facing the mirror and look to see if you have any shifting – and in the meantime, if pulling your bag behind you rather than carrying it helps – keep doing it! The other aspect of SI joint problems besides a pelvic torso shift is looking at whether or not the pelvis is torqued. This can easily happen with a tight iliacus muscle (the ilio part of the iliopsoas muscle)
In the short clip below from Essential Anatomy: A Multimedia Course – I demonstrate how to check for a torqued pelvis. Since I’ve taken this clip out of sequence let me explain that if you feel the bones at the front of the pelvis those points are your ASIS. Ideally those 2 points of the pelvis should be even with each other. When you have a torque, one ASIS will be lower towards your knees (generally on the side where you feel the discomfort in the back). It’s as if one side of the pelvis is being draw forward and down. The torque happens at the sacroiliac joint and can cause pain. The side that has the ASIS that is lower (in the clip the right side of the pelvis) will have more limited hip flexion.
Sometimes stretching the hip flexors will help to reduce the torque on the pelvis, and often I do a triggerpoint release to the iliacus muscle, which can help a lot. I do teach dancers to release their iliacus triggerpoint themselves, but that is beyond the scope of a blog post. I would encourage you to ask a physical therapist or the chiropractor if they can see if the triggerpoint is sore and how to release it.
Generally, when the release of the iliacus is succesful, the ASIS are even and you can bring your knee more easily towards your chest. When there has been chronic inflammation or strain in an area it can take some time to calm down – but you will know you are on the right path – because it feels better!
Best wishes for a speedy recovery!
“Education is the key to injury prevention”
Before we dive into the question of the week I want to share a link that was given to me by a past student of mine. It is a very thought provoking article about shoes and how they influence our gait. Very interesting! Click here to read it – and thanks, Laina, for sending it!
Secondly I want to acknowledge Hiroyuki Nagaki, a dance medicine specialist in Japan. He is teaching a course for physical therapists on working with dancers and is using my Essential Anatomy: A Multimedia Course as the textbook! I’m so delighted that this information on how to dance smart and teach smart is literally being shared around the world! (Picture on right is being shared with permission by all participants)
That leads nicely into my third announcement which is you have a chance to win a free copy of Essential Anatomy: A Multimedia Course for Dancers by going to the Dance Advantage website (click here) There are free giveaways all week long – my offer goes live this Friday and the way you are entered into the drawing for this product is by answering telling me what you want me to answer in my Dance Myth-busters (working title). I keep hearing things like ‘lift your leg from underneath’ and I thought for once and for all – let’s de-myth and explore some of these corrections we’ve all heard. Let me know what you want included in this next product by leaving a comment at the Dance Advantage give away page! Wait until Friday, and then enter this exciting contest. Check out the other free gifts when you’re there!
Okay….. onto the question
I was wondering if you could offer some advice. I am a contemporary dancer. I spend a lot of time doing floor work. My sitting second position isn’t that great, although I spend lots of time trying to better it. I would like to achieve a wider leg spread and be able to lie with my chest on the floor. What do you think I should I do?
p.s. Love your website.
Kind regards, Miki
Good question, Miki! My answer is going to take several steps. My first question would be about hamstring flexibility. Are you able to sit upright with your legs extended in front of you without slumping or rolling back on your pelvis? If you can’t sit easily upright, then you’ll want to first focus on gaining more flexibility there.
Next check to see how easy it is to stand on one leg and place the other on the arm of a sofa, for example. I almost always encourage dancers to stretch the adductor muscles one at a time, rather than being in second position on the floor. With your leg on the arm of the sofa, knee facing up to the ceiling, press gently down with your heel as you slowly lean forward with a flat back. It will feel as if you are sticking your pelvis out in back. Come back up, then press your heel gently down again into the sofa as you tilt sideways over your leg. Think of dropping your sits bone as you bend sideways.
You’ll feel those 2 variations in different places. Then of course, do the same thing on the other side.
Third question would be to see how easy it is to lie on your back with your pelvis close to the wall and your legs open in the straddle, second position. In this position the back is at rest and elongated, and the focus is on passively stretching the adductor or inner thigh muscles. If you can do that fairly easily and have a good second position in that position, but can’t sit in second position and lean forward, the issue might be in the hip structure.
Leaning forward while sitting in second position requires the hips to easily rotate and turn out. A dancer who has anteverted (the ones who can W sit) will have more problems with this position. They will have a hard time keeping the knees facing the ceiling in this stretch and may or may not be able to do what you are proposing which is placing your chest on the floor while sitting in second.
Hopefully, some of these suggestions will help you improve your second position – and/or help you understand what the elements are that may be holding you back:)
Here’s a quote – author unknown that I will end with …” Dancing with the feet is one thing, but dancing with the heart is another”
Have a great week!
“Education is the key to injury prevention”
I don’t know if you can help me but my question is mainly about my knock knees. I have been dancing all of my life, and now into college, I would love to perform in a Company someday on a more professional level, I feel like I have hit a wall in my improvement and training, It’s almost like no matter what I do I cannot improve on certain things because I continually have received the same corrections and no matter how much I work on it, nothing seems to change because of my anatomical alignment from my knock knees. I feel as though I am no longer able to improve at the rate I would like to be.
Since anatomically my knees do not align over my toes, it makes balance and maintaining the proper stance in the correct alignment with Ballet and modern and everything else I do difficult as well as maintaining my turn out especially when dancing in center and moving across the floor, not really the barre work.
I hope you are understanding what I am trying to explain, I mean Ive done pretty well so far dealing with my knock knees, but I seriously feel like I am being held back at this point, and I am getting the same corrections about my alignment all the time when I try so hard to correct it. I don’t know if you have experience working with dancers with anatomical things such as knock knees or bow legs, etc, but do you have any advice for me? or any excercises or things I should be doing to help with my knock knees?
Recently I have researched and found out that there is a surgery that can be done to correct knock knees, but it takes about a year to regain full strength and mobility after the surgery, and since I am not someone to want to take that time off from dancing especially in the junior year of school, that would be something I would have to think about maybe later in my future, and I don’t even know if that would be a good idea to do anyway. All I know is I want to find out what I can do to make my last two years of college ones I can really get somewhere with my improvement even though I have knock knees, You seem so knowledgeable about everything, so any help or suggestions would be soooo wonderful! sorry for the long e-mail!
Thank you Thank you Thank you!!! Angelica
Angelica… your question is a bit hard to answer because I’m not clear with how knock kneed you are. You are accurate that it does make it impossible to get your hip/knee/ankle in a straight line, and that is also true with a dancer who is bowlegged. How far apart are your feet when your knees are touching? It may be very helpful to go to a physical therapist that works with dancers to have the different elements of your technique looked at. For example, being knock kneed doesn’t have to influence your turnout, so you’ll want to see what the hip structure is like. Is it possible that you have a hip joint that structurally turns in some? (called an anteverted hip) I would address the hip joint separately at first from the knees.
Here’s a very short clip showing how anteversion (being structurally turned in) or retroversion (being structurally turned out) would test at the hip joint. (The 2 clips are taken from my new Essential Anatomy: A Multimedia Course for Dancers and Dance Teachers)
Moving down to the feet – the goal is to be as even as possible between the three points of the feet. With knock knees there is a strong tendency to pronate, or roll in. Training your balance on one leg would be key. Try standing on one foot and tossing a pinkie ball in the air for up to 3 minutes. Notice what area first gets tired. That is an area of tightness or weakness. Often dancers will find the outside of their hip on the standing leg getting sore first, and I encourage them to do more pinkie ball release around the pelvis and outside of the hip if that does happen.
What I want you to focus on is the fact that you have danced all your life and you continued right into college! And you don’t mention that you’ve had any significant injuries – a definite good sign. With knock knees the goal is to keep the muscles as balanced as possible from the hip down. There isn’t any exercise that will ‘cure’ the knock knees since it is a structural issue except surgery – and I’m not sure I would recommend it, especially if you are fully functioning (meaning moving without discomfort or pain).
There are certain types of dance that may be easier on your body than others, and you’d know what those are by just doing them. I’m not encouraging you to change forms – but to just explore. I had a student at Oberlin who had pretty significant knock knees, and she ended up competing nationally on the swing circuit!
My point is you obviously love dancing, and you want to improve – I got it. I want you to focus on improving the balance of all the muscles around the hip joint first. Test your turnout – look at the balance between the quads and the hamstrings – as well as the outer hip muscles and inner thigh muscles. Get them as flexible and strong as possible. Focus on your feet and improve your balance by balancing in as many different ways as possible, on your bed, on a soft pillow, standing on one leg with your eyes, closed, etc. You’ll be focusing on what you can do to improve, rather than being so aware of your knees, which you can’t structurally change.
At the college is there anyone that teaches a dance kinesiology class that you could meet with to muscle test you? That might help guide you where to focus your efforts on bringing balance to the muscle groups – the same focus that every dancer should have.
I’ve seen lots of nontraditional bodies moving in beautiful ways.. I don’t want you to give your dream up of continuing to have dance in your life after college.
warmest wishes for a great junior year at school!
“Education is the key to injury prevention”