Stretching in Dance

Practicing stretching daily is the best way to stay healthy, and when it comes to dance, these techniques become a priority routine. We all know in theory the importance of stretching very well, but not everyone follows it properly. Preparing our body before class is necessary to warm up the muscles, preventing strains and injuries, keeping it flexible and ready to perform harder movements. Although the classical barre is perfectly structured so that the body warms up progressively and works each of its parts, from feet to legs, hips and back, stretching beforehand helps us to awaken our body from the stillness of other daily activities, such as reading or studying, and predisposes us to start the dance class with greater vigor.

When to perform stretching exercises?

Stretching exercises can be performed before the class begins, at the end of the bar and/or at the end of the class. Before class they should be softer and after the bar we can accentuate the stretching and elongation as the body has warmed up. From my point of view, it is better to avoid bouncing movements and stretch each muscle by giving them a few seconds to stretch on their own. In the case of bouncing, it should be done gently and carefully to avoid tearing. Both static and dynamic stretching are valid exercises but we must keep in mind that stretching should be practiced from the lightest to the most intense exercises in a gradual and coherent manner, without incurring in the anxiety of trying to demand more than what is possible. And we have to be patient and constant in order to achieve results without falling into injuries that could cause us to be out of training.

Why stretch?

What is a good stretch for? At a general level, it serves to streamline the actions of movement of any individual, in addition to improving the pace to avoid the slowness that comes with age, expand the range of motion, improves gait, prevents falls and injuries, combats stress and muscle tension and helps us to stay more active. It also improves circulation, and therefore improves physical and mental capacity (as long as we practice stretching regularly).

For a dancer, it is essential before loading the body with more responsibility on the muscles with more demanding exercises and maintaining good form and reaping good results. A plié, développé or fondu depends in large part, not only on practice, but also on a good stretching routine, since it is a flexible musculature that provides the beauty of a linked and harmonious movement.

And the arms, too?

The arms also respond to the grace and perfection of the dance, and we should not think that by themselves they will respond to what we ask. It is very necessary to exercise them, since I have often observed that they are forgotten, focusing all the attention on the technique of the lower limbs. The truth is that even the most beautiful ballet step can fall into disgrace for not being properly accompanied by an efficient study of the port de bras. And for this we reiterate the importance of good stretching to maintain the flexibility of the arms – from the shoulders to the wrists – to improve their support, increase the finesse of the movement and improve the length of the space covered in the port de bras. Nor should we forget that these are tools that we must use to our advantage to promote balance.

Types of stretching.

We can find several types of stretching, on the one hand there are passive stretching, active stretching assisted or fully active. Forever stretching is effective if the tissues are stretched; to be effective, it must be prolonged and continuous, performed carefully so as not to damage the tissues.

The objective of stretching is to achieve elasticity of the retracted tissues without causing any hemorrhage in them. All this is achieved gradually over a period of time and should never be rushed.
When an injury occurs, the muscles may still be very sensitive initially and respond poorly to stretching. This can cause new contractures instead of the desired elasticity. After an injury it is preferable not to proceed with stretching until the appropriate time, it is important to have the advice of a physiotherapist who is an expert in the treatment of dance and sports injuries.

Longer, heavier stretches exercise the elasticity of the muscle connective tissue, muscle fibers, tendon and joint capsule. It is not advisable to perform movements over which you have no control.

The degree of mobility of a joint is restricted by three aspects:

1. Bone and joint structure.
2. The Retraction of the Connective Tissue is the Muscle.
3. Muscle Tension.

The bone structure cannot be modified, but over time the soft tissues can be stretched much more than at the beginning.

Static stretching is an effective type of stretching because it requires a slow movement at the end of the stretch until tension is felt. WARNING! tension not pain, it is necessary to differentiate both terms.
With a time of more than 10 seconds in the stretch, the muscle yields, the tension is relieved and the stretch increases in amplitude.

“The elasticity of the muscles is to beat those discomforts until the final moment of stretching.”

A muscle only increases in length when tension is relieved and it relaxes. Breathing techniques serve to induce a state of mental and bodily relaxation and thus facilitate muscular elasticity. Focusing on the muscles can help to understand and improve stretching; imagining the anatomy of the muscle and the lengthening of the muscle fibers can induce greater elasticity. Muscles and joints work best when they are warm, which is why it is important that you do nothing before proceeding with intense stretching. When muscle and connective tissue have been warmed up, it is easier to induce deep stretching.

The best time to stretch is after a class when the body is nice and warm.

Static stretching and the easiest method of teaching dancers on their own safely knowing the limits their body needs and how far it can go.

Repetitive fast stretching should be avoided, dance movements are fast and explosive in origin. Repetitive bouncing on the hamstrings does not prolong the muscle but rather activates the muscle uses. If the body is cold, sudden stretching can cause injury.

Stretching in case of injury.

For dancers who need a lot of effort to recover. Stretching is believed to inhibit muscle soreness, and should focus on passive stretching, movements that can be performed by a physiotherapist, along with active stretching, which is what the dancer can do on his or her own. Although there is a series of stretches that are called assisted in combining the action of the physical therapist with that of the patient.

Points to keep in mind when stretching.

Dancers should be aware that they can achieve and gain the best form.
There are several essential points:

• The dancer must have previously warmed up
• Gentle stretching should be performed after work. For example, when the barbell exercises were completed.
• Stretching should be continuous and prolonged, never forced.
• Sudden and forced stretching, spasms, bouncing … are counterproductive.
• Transverse movements to the fibers do nothing and can cause tears.
• Stretching of tight areas is often not optimal for apparent tension.

A joint that appears to be tight in one direction may require an individual program of stretching in two or more directions to achieve the desired increase in mobility.

Myths and stretches to avoid.

One of the worst things to see, is a dancer lying in the frog pose with someone standing on their knees trying to spread them apart and hold them against the floor.
Part of the soft tissue damage that has the opening in the frog position was unrelated to the opening in the hips when the legs and hips are extended in the working position.
The other aberration is to see dancers with their forefeet under a radiator or a piano thrown back in order to improve their pointe.

Unfortunately, there are still old-school teachers who claim that this is the only method to improve the bridge.
These two actions are both useless and harmful.

We hope the article has been interesting and has contributed something.