"Don't let people discourage you. Just fluff out your tutu and dance away." -Unknown
Introduction
In ballet, it's easy to get caught up in the details of your technique. But if you don't know your own anatomy, it can be really difficult to understand how you should be using your body to dance properly. It's always good to learn the names of your bones and muscles and how they work, but here are the most important ones to focus on:
If you can focus on these three groups, learning how the anatomy applies to ballet won't seem so overwhelming. Read on for information specific to how we use each muscle in ballet, and be sure to look at the pictures and diagrams!
- Upper body: arms and back
- Middle body: torso
- Lower body: Gluts, legs, ankles/feet
If you can focus on these three groups, learning how the anatomy applies to ballet won't seem so overwhelming. Read on for information specific to how we use each muscle in ballet, and be sure to look at the pictures and diagrams!
Upper Body
Your upper body involves mostly your back and your arms. For your back, the most important muscles are your trapezius and latissimus dorsi. If you look at the diagram below, you will notice that the muscles run from the center of your back and outward. Remember this visual when you work on your port de bras, since, as I always say, your arm movement originates from your back, not from your arms and shoulders. Your back muscles are set up so that your arms can naturally flow the right way in ballet, so try to tap into your trapezius and latissimus dorsi when you work on your port de bras and épaulement.
As for your arms, the most important muscles include your deltoids, triceps, and biceps. Your deltoids connect your arms to your back, so again, try to lengthen your arms from there so your limbs don't get "stuck" in your shoulder socket. While your biceps are important for strong arms, your triceps are even more important for holding your arms properly, especially in second position. Whenever your forget about your arms and end up with "chicken wings" (i.e. your elbows bend and point downwards), this means that you are not engaging your triceps. If you focus on keeping them lifted and engaged, your lines will look much cleaner.
As for your arms, the most important muscles include your deltoids, triceps, and biceps. Your deltoids connect your arms to your back, so again, try to lengthen your arms from there so your limbs don't get "stuck" in your shoulder socket. While your biceps are important for strong arms, your triceps are even more important for holding your arms properly, especially in second position. Whenever your forget about your arms and end up with "chicken wings" (i.e. your elbows bend and point downwards), this means that you are not engaging your triceps. If you focus on keeping them lifted and engaged, your lines will look much cleaner.
Middle Body
Your middle body is arguably the most critical part of your anatomy as a dancer, since your "core" muscles are located here. These include all of your abdominals and obliques. If you look at the diagram, you will see that these muscles run across your torso in several directions: up and down, side to side, and diagonally across. These creates a very strong package in your center (both on your front and back sides) which helps you stay in control of your extremities as well as finding your center balance. As you engage your core while you dance, don't focus solely on your front abdominals. Imagine your obliques wrapping around to include your back side, and pull your energy inward.
Lower Body
Considering that your lower body supports you while you dance, it is very important to be aware of what muscles are working, how they are working, and when they should be working. The most important muscles of your lower body include your gluteus maximus, biceps femoris, and adductor longus on your back side, and on your front side your quadriceps and gracillis muscles.
As you know, it is important to engage your gluts at almost all times in ballet, and to use your hamstrings (mainly your adductor longus) to lift your legs, instead of your quads. Notice how your adductor longus actually wraps around your leg. Keep this in mind when you visualize your leg driving down into the floor like a screw, or when you raise your leg, following your circle of energy. In both instances, you should imagine your leg lengthening by rotating like a screw. Use your adductor longus to feel that visualization. In this list I included your bicep femoris simply because it is an important hamstring muscle which you should be using to lift your legs.
On your front side, your quadricep is your biggest muscle. In almost all cases, you want to try to minimize your use of it. The main exception to this is jumping. While you should still use your turn out and feel as though your are using your gluts and your turn out to get off the floor when you jump, you will in fact be using your quads to do this. This is inevitable, but focus on relaxing it whenever possible (especially in fondu!) so that you don't over use it when you are jumping. Your gracilis is your "groin" muscle. It is often overlooked in ballet, but it is important to engage this muscle when you turn out, as it will help you hold your turn out. In addition, it will help you hold up your rétiré position and extensions. Whenever you raise your leg, feel (with your hand, if necessary) your gracilis muscle to be sure it is engaged. It can be difficult to find the first time you try, but once you feel it it is very easy to find again!
As you know, it is important to engage your gluts at almost all times in ballet, and to use your hamstrings (mainly your adductor longus) to lift your legs, instead of your quads. Notice how your adductor longus actually wraps around your leg. Keep this in mind when you visualize your leg driving down into the floor like a screw, or when you raise your leg, following your circle of energy. In both instances, you should imagine your leg lengthening by rotating like a screw. Use your adductor longus to feel that visualization. In this list I included your bicep femoris simply because it is an important hamstring muscle which you should be using to lift your legs.
On your front side, your quadricep is your biggest muscle. In almost all cases, you want to try to minimize your use of it. The main exception to this is jumping. While you should still use your turn out and feel as though your are using your gluts and your turn out to get off the floor when you jump, you will in fact be using your quads to do this. This is inevitable, but focus on relaxing it whenever possible (especially in fondu!) so that you don't over use it when you are jumping. Your gracilis is your "groin" muscle. It is often overlooked in ballet, but it is important to engage this muscle when you turn out, as it will help you hold your turn out. In addition, it will help you hold up your rétiré position and extensions. Whenever you raise your leg, feel (with your hand, if necessary) your gracilis muscle to be sure it is engaged. It can be difficult to find the first time you try, but once you feel it it is very easy to find again!