a —— oe EDITION Includes a web resource with video clips and worksheets ny ERIC FRANKLIN Scanned with CamSca FRANKL METHO!HUMAN KINETICS WEB KE SUURKCE e supplemental web resource How 10 eee provide access 0.2 web resource that supplements your We are pleased oP ce, Second Edition. This resource offers video clips textbook, Condition ng orci, techniques, and routines described in the book. demonstating Sena pter specific materials 0 help you develop your personal You wi Yo Jitioning plan based on Your personal goals. ‘o access th accessing the web resource is easy! Follow these steps if you purchased a new book: 4. Visit www.HumanKinetics.com/ConditioningForDance. 2. Click the second edition link next to the corresponding second edition book cover. 3, Click the Sign In link on the left or top of the page. 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' Description: Second edition. | Champaign, IL: Human Kinetics, [2019] | Tneludes bibliographical references and index. Identifiers: LCCN 2018002798 (print) | LCCN 2018015486 (ebook) | ISBN ‘9781492559702 (c-book) | ISBN 9781492533634 (print) Subjects: LCSH: Dance. | Physical fitness. | Dance--Physiological aspects. | Imagery (Psychology) jon: LCC GV1588 (ebook) | LCC GV1588 .F73 2018 (print) | DDC 792.8--de23 LC record available at https://lecn.loc.gov/2018002798 ISBN: 978-1-4925-3363-4 (print) Copyright © 2019, 2004 by Eric Franklin All rights reserved. Except for use in a review, the reproduction or utilization of this work in any form or by any elec. tronic, mechanical, or other means, now known orhereafter invented, including xerography, photocopying, and record. ing, and in any information storage and retrieval system, is forbidden without the written permission of the publisher. ‘The web addresses cited in this text were current as of May 2018, unless otherwise noted. 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For information about Human Kinetics’ coverage in other areas of the world, at please visit our website: www.HumanKinetics.com > Scanned with CamSca___Contents Preface v Acknowledgments ix 1 Conditioning Concepts for Body and Mind... 1 2 Mental Techniques for Successful Performance nm 3 Improving Balance and Stability ...2 20) eas 4 Flexibility in the Muscles and Fascia... 3 5 Dynamic Alignment and the Pelvic Floor........... 131 6 Creating a Strong Core and Powerful Abdominal iN Wye!" omouuopdpoooontbdcdcsbonsaeeenoacae 161 7 Conditioning the Muscles of the Pelvis, es Joint, and Knee . : -- 213 8 Creating Stable, Flexible, and Expressive Feet ....... 257 9 Developing Power in the Torso, Shoulders, and AIMS... 0... eee eee eee eee ose 205) 10 Improving Turns, Jumps, and Turnout... . . . vee e307 11 Elastic Band Centre Workout 339 Appendix: Franklin Method Equipment and Resources 373 References and Resources 377 Index 381 About the Author 389 Scanned with CamSca‘onditioning for Dance, Second Edition (@eaaeea scientific and anatorniea| aaa OrYERES of practical oxy mind-body relationships, and conditioning routines this oI practi to dancers while it also offers them ways to create aeate er Hes imme ibility. Many of the exercises in the book are also suited fee UP of streng in improving their overall fitness. The book fondancers who ar and imaging (using imagery), and underst by doing, of the book is to help dancers develop kine: technique in their own bodies. This focus technique, the dancer must build it from and injury-free career. Years ago when I was training to be a dancer, class, He was struggling with what looked like an old bicycle tire My eyes eanete play- ing tricks on me; it tumed out he was in fact using the tire for exercise. He waren, strengthen certain muscles that he didn't think were sufficiently trainedin the caes ee Later I encountered an age-old German invention, the Deuser Band, which was basiealina refined bicycle tire. It was thin and very resistant; you could hardly pull it apart. Dancers were wrapping these bands around their legs to help them: improve turnout. The dancers forced their inner thigh muscles to stretch, assuming a supine position with the legs split apart. This position was quite painful, but many dancers thought the results were more important than comfort or even safety. [decided a better way for increasing turnout must exist, but Thad not yet seen what 1 was looking for—a portable resistance method to increase ‘Tay strength as a dancer. [began to search for something broad and more elastic that I could stretch around my feet to prac- tice pointing them against resistance; the tire simply would not stretch enough. A friend of mine pointed out a store in the center of Ziirich, Switzerland, that sold plastic products. ‘The man who worked there cut a piece of what looked like an oversized rubber band, and suddenly Thad my own complete home resistance exerciser. I started devising a wide vari- ety of exercise routines using the band to strengthen my legs. The band was adaptable in length and elasticity, and it could be attached to the body so that my exercises ae familiar dance movements. Along with the resistance bands, I started using a variety Ee balls to roll around on and balance on, ‘The balls provided a means of releasing tension i increasing flexibility without constantly forcing my body into awkward positions. 1 a tragtice that my lack of flexibility was related to knotty, tense muscles. If] exerci a the balls before my band workout, I felt more limber and was abl to increase my rane meentent, Moreover, [noticed an immediate increase in my strength when dancin sien I started teaching at the American Dance Festival (ADF) in 1991, had “balls. Thadlished an exercise routine using the elastic bands and small, 4-inch (Joss en) ba available geo Nore Fecelved with great enthusiasm by my students at ADP, ane tener ; caste bands and the rolling balls became popular. As the years P ophis- ‘ e ‘more about conditioning and resistance training, I was able to develop more SOP’ a Ee ticated exercises. Based on the pri di dance science, 1 ae orale principles of dance medicine and dai Specific Sted exercises to engage a more compl xf muscles and to meet the sP* needs of dan > complete range of muscle ‘siytes of the ‘ers. Ladapted the exercises to the age, training level, and dance rises, e interested experiencing, key fou OW to create. 4 reat dance iple that rather than force an artistically successful sthetic awareness of hy stems from the princi the inside out to create Tnoticed someone working out before a Scanned with CamScavi | Preface ory to ensure the correct alignment and movernent initia. and included imag partici: achat rs at such diverse places as the Guangdong tion for ev sning routines to dane s Taught my condition ye a thie Royal Ballet School in London. My students kept Moatorn Dance Combi re exercises, 0 I started collecting the exercises in a notebook, Mg me to write about the exercis ; : this book. - which planted the seed for Hh on ofthis book was published, [have had the opportunity ee aaa ‘ence with conditioning for dancers. In doing mast, to greatly expand my tench oot sities around the world, Ihave worked with dancers classes and Tevites, styles, and skill levels teach at the Juilliard School in New York ang from many oul Ores Sejasses atthe University of Vienna, Brigham Young University, the te eee London, the Royal Danish Ballet, and Trinity Laban in London. In addition ree evsented at many conferences concerning dance science and dancer's health, ang Thave contributed to the research published in this fold. ai ‘ are or past 10 years, the repertoire and sophistication of conditioning for dancers ted in the increased size of this book, which greatly increased. This increase is reflect t includes approximately 100 new exercises, 200 new photos and illustrations, new content in every chapter, as well as a new chapter containing information on muscle and fascia in dance and a separate chapter devoted to the dancer's feet. HOW THIS BOOK IS ORGANIZED First, the book builds a foundation for the exercises that are specific to dance technique. Chapter 1 describes the basic principles of resistance training and dance conditioning, such as the principles of specificity and overload, the biomechanical factors that underlie human strength, and the adaptions a dancer may experience from conditioning. In chapter 1, you learn how to use elastic bands as part of conditioning for dance. Chapter 2 focuses on imagery, the mind-body connection, and how to apply those principles to strength and flexibility training. This information helps you get the most out of the rest of the book; most exercises use imagery to fine-tune coordination and increase awareness of the body's movements. Knowing how to set clear goals is a valuable asset in any conditioning routine. Chapter 3 shows you how to improve balance by improving awareness and body coordina- tion and doing playful exercises with bands and balls. These exercises show you how to benefit from honing your proprioceptive skills and improving balance so that the body can adapt to the changes in shape and direction that occur in dance. The exercises transfer directly to dance steps, and you can do them as part of preparation for dance classes. Chapter 4 focuses on how to improve flexibility through stretching techniques, imagery, touch, ee roling ie The chapter includes an introduction to fascia and its role in flex ae lanes, It introduces a variety of techniques to release and balance aeciie aa the body. In chapter 5 you discover the relationship between ene conditioning a a Sees your strength. Good alignment is key in avoiding injury a 7 allgoment aes ally because the loads on the body are inereased. The chapter aaa - res or sect = of the body, such as the pelvis, spine, knees, and important for dancers to 'e anatomy and biomechanics of the core muscles, es = | how to optimize its use ieee. The chapter explores how the core works #5 iy learn how to train a Srabilty, breathing, back health, and movement control i nn inyourhip Tre a Pelvic floor with the added benefit of more stability and !*** chapter includes exercises for the abdominal and back muscles, Scanned with CamScaPreface ty perspective ofbslanced muscle action. Chapter focuses on cong tioning r ee rath and an aesthetic point of view. A brief oversigg th onthe shoulders and arms. These areas have traditionatly you’, Cher 9 ens the because contemporary choreography heavily relies on the use of es in dane isimportant to condition these areas. The chapter includesaconens AN shout forallthe muscles ofthe arm and shoulder. Chapter 10 addresses ee CMtoning wae of dancers—turns, jumps, and turnout—and shows how to use king Mtinconcerna conditioning techniques to improve these skills. ‘The chapter deme thetic awareness and exercise bands as wel as evidence-based imagery to improve the hey ee MOY to we jumps. Chapter 11 introduces two 20-minute band workouts, These tah 2% of our the principles covered throughout the book. They can serve as a warneoe) *OUtS use rehearsal or to condition from both a strength and an aerobic perspesiins eo 888 oF ‘Akey component of conditioning is reducing the rate of injury indance Al contain insights into how to create lifelong dancing skis that give you powers eae rt without hurting your body: These methods illustrate how much more you canna | youallow your body’ intelligence and an understanding of the seience ot contain help you. This book is accompanied by a web resource that presents 22 video clips demonstrating e selected exercises, techniques, and routines described in this book. See the Introduction video in the web resource for an overview of the video clips. Some video clips explain a concept and how it applies to conditioning your body. Other video clips guide you through. the steps to perform an exercise correctly or how to use equipment to strengthen or erthance your performance. The chapter 11 videos present two whole-body conditioning workouts. ‘The web resource also contains chapter-specific materials that you can use to develop your personal conditioning plan based on your personal goals. The web resource can be accessed at www.HumanKinetics.com/ConditioningForDance. TERMINOLOGY USAGE This book uses ballet terms, which provide the most standard description of many basic dance positions. However, readers who are not coming from a ballet background may need some of these terms defined. For example, many exercises start in a ballet first, third, or fifth position. These positions are defined as follows: . In first position, the heels touch and the feet are turned! out, In third position, the feet ate together and one heel is in front of the other. In fifth position, one foot isin fron! the other, and the heel ofthe front foot is at the base of the big toe of the back foot. Perfect fifth positon, the feet touch the inner border of the back foot to the outer bore of the front foot. Fifth position is not part of the modern dance repertoire. i The French word battement means “beating.” In the battement the leg inl | along the floor to the front, side, or back and then extends out in the chosen direst leg then reverses direction and returns to the original position. Different types a tend, oceurin dance, such as battement tenche (often shortened to tendu). In baler ag bal Lib of the foot does not leave the floor after the foot is stretched Out Ts does ee dégagé (often shortened to battement dégagé, oF dégagé) the UPA erement aa re oe floor. A modern dance brush is usually similar in outward Ces in the ang » Starting from first position (turned out or parallel), although di “Nallty and timing may exist between a brush and a battement désasé. WEB RESOURCE ® ally slides Scanned with CamSca1 Preface In battoment fondue Both knees are ent and the gesture foot points in fron g supporting le’s ankle. In baitement fondu développé, both the supporting alge leg are extended to the front, sie, or back. In battement jeté and grand batten eet? gesture legis rapidly swung forward (or tothe side or back) to atleast 80 degrees cee Again, great qualitative and shythi differences exist in these highcle gestures eo ballet, modern, and jaza dance styles. mg Grand batiement développd, or dfveloppé,is also known asthe dancer's extension is performed from fifth position in ballet by slowly iting the turned-out gesture tug a moving the pointed foot up the front ofthe supporting leg. The gesture foot moves throne passé positon with the pointed gesture foot directed at the knee ofthe supporting The gesture leg then extends othe font at aleve of 90 degrees or higher. The geste then returns by lowering to tendu then brushing back to fifth postion. In modern dance and other styles, dancers also perform this movement in parallel. Since publication of the first edition of this book, the knowledge base on how to condition dancers for longer, healthier, and more suc- eBoo cessful careers has greatly improved. The second edition of Condi- avatiante-at tioning for Dance is a state-of-the-art treasure trove of exercises, _Humankinetice com conditioning routines, and mental techniques that contribute to a more successful career within all styles of dance. Scanned with CamSca__ Acknowledgments I would like to thank the staff at Human Kinetics, espera , es Campbell, for helping to make this book possible, A special {pest Bentley anc Den ' Mindy Tucker, and to all the models who worked long hours we v8? the hotogragne book. Thank you to Sonja Burger with whom I created the rag ru the Dhotos forthe eee Ny Wonderful illustrations Scanned with CamScaCONDITIONING co FOR BODY AND NCEPTs IND or many dancers, achieving more turnout is their Prittnaster lasses atthe Julliard Schou! always ner {he beginning ota series improve in their cancing, Invariably, more turnout is on the meng neat t™*S Would ken said that she had tried everything—stretching, massage, foam ror eee ON dancer avail. I suggested trying to embody the very best function in he Mgr oes HE MU do not intially understand what this advice means; generally in deseo Hos dens that more practice means more progress is prevalent. explained that ity 8 way that is contrary to how your body functions best on an anatomikal eugene 8 problems, such as tightness, rather than improve your technique. lexplaiod ge oe of counterbalance and how it is key to creating more flexibility If youare nena ne ward when performing a plié, your femur will naturally turn out, driven by the succes ofthe knee. Ifthe pelvis counterbalances this action, your hip joint wil open up naturals However, if you use muscular action to turn out your pelvic bones (outflare the ils) acy tuck your pelvis, the hip joint locks up as the femur head is pushed forward and sonotne cut ofits socket, This idea may sound complicated, but it is easy and quick toleam. taking less than 5 minutes, After the dancer learned about this function and practiced it he wag astonished to see that her turnout immediately improved. Because the plié was much deeper as well, the hamstrings and quadriceps and other muscles were being used within a new range, and they were being conditioned to support. greater flexibility. Needless to say, this exercise was popular in class; within days, many dancers had fully embodied it. Some dancers remarked that if they had learned it when they started dancing, it would have likely made a big difference in their technique Conditioning the dancer both as an athlete and as an artist isa mind-body challenge. For Successful conditioning to occur, strength, balance, flexibility, alignment, aesthetics, and imagery training need to come together as a balanced whole. Ifthe dancer is able to break the cycle of misaligned movements and strengthen proper ones, he can not only become more skilled but also reduce the risk of injury (by avoiding overloading the muscles, liga- ments, and bones) and avoid overtraining. In order to reap the greatest benefits from and create a clear focus for your dance training, you should follow some general conditioning Guidelines. They are emphasized throughout the book, and they are listed here © Get used to Senses, inform yu) find ‘Ways to iinpe Steat effort to uniearn, re Become skilled i sey Re iene ep working ee ng on thi . a Practicing better ways of doing famitiar movements. Train YO + body about correct alignment and movement initiation, andconsian prove technique, Don't waste your time practicing old habits that v . and feel in your in using imagery and mental practice. ee you go to ew image—during training. Contemplate an image befor Me ere Sele floating first rib—so that when yousleeD, 19M ay idea and will build the information into your training the Scanned with CamSca2 | Conditioning for Dance sd teacher in dance imagery or somaties, 1 Sook hep from an experience co eee ie rr to dance Bi 80 Now to help your body to a ine ntpatiorns, and think positively. Are your thoughts suy ing your Goals as ioe use positive images and sensations of where you want to be arq recipe for failure. Rather Wt aned with positive expectations and emotions. Seek out th fem jealonioe es ject mentel and physical energy at the service of your best image as a dancer, and watch, yourself progress in leaps and bounds. & Increase your flexibility in a balanced fashion. Remember that an attempt to sain flexibility too quickly may put dancers at a higher risk for injuries. Therefore, discover eiternatives to stretching to improve your flexibility and range of motion, such as imagery training (Abraham et al. 2018). When you do stretch, support balanced muscle action and proceed carefully. ™ Perform strength training routines that are well structured and that engage your muscles in balanced, dance-specific movements. Think of strength training as part of dance training; perform the exercises as if they were a dance. Bear in mind that imagery is a beneficial tool for improving muscle strength. Research has demonstrated that simply imagining movement—even without actually performing it—can improve strength (Fontani et al. 2007; Lebon, Collet, & Guillot 2010; Newsom, Knight, & Balnave 2003; Zijdewind et al. 2003). = Learn how to improve your alignment without increasing tension. Alignment and flexibility skills go hand in hand. Discover how improving your alignment allows you to use your full flexibility and balance potential while feeling relaxed and available. An important tool to help achieve this goal is to visualize your central axis, which is the line that is created when you imagine the median sagittal plane and the median frontal plane dissecting your body. Median planes dissect the body exactly into two halves, The median sagittal plane divides the body into to an equally sized right and left side; it runs through the tip of the nose, the spinous processes, the pubic bone, and the tailbone. The median frontal plane divides the body into an equal front and back part and runs through the ear opening, the top of the shoulder, the greater trochanter, the knee, and in front of the ankle. Most humans are not exactly symmetrical, so the central axis is a generalization meant to clarify spatial relationships in the body. The central axis can help you orient the parts of your body for ideal posture. If the tips of the shoulders are located far in front of the greater trochanter, for example, you have rounded shoulders and a slouched posture. The central axis is a dynamic construct, constantly moving due to the postural sway inherent in human posture. It should not be misinterpreted as a tool to force the body into positions you are not able to naturally achieve that create tension. Simply focusing on the central axis without even actively adjusting yourself can lead to better posture. Choose, Nee with, Flexibility and strength alone do not make you an artist. Dancers may insist that theit technical difficulties with a particular movement come from a lack of strength and that the right strengthening routine is all they need. However, a couple of minutes and alittle Coaching later, they may find they are able to perform the once-difficult step easily and expressively. To improve a movement, a dancer may simply need to learn how to coordinat® Emisand muscles along with anew awareness, a new image, and a clear physical sensatio" teepasizing physical skills at the expense of awareness of space, rhythm, phrasing, # ‘th YOU from arti dinate movement well with your body’s specific structure can distrae artistic expression, making it that much harder to achieve your profession#! Scanned with CamSca | | | |~~ Conditio ING Concepts for Body ang and Ming 3 {que is not an end in itself; it cannot stand a "i a een ‘strength training are just. a part of erforatrthout feeling or express Flext training must include presence of mind and boxy Wok: Tbe eftecine elements, it can help create an inspiring performer wy MS Meludes mficiently and with ease, © can master al the ste people exerse, ey tend to separate sensation from training sre people are watching television sereens or reading books whigs «220 1@ gym where that they don’t seem to be actively engaged in their training acne iM Youll notice a vn how the body Moves, experiencing the way the hey ene emsAse Ent ey bulding a new awareness within the body while conditioning When peop es and Py engaged in their training, the mental and physical processes are ye soe different iat at donot align with each other You benefit most rom exercise when ha ent tracert withthe bods. Fora dancer, this connection isan absolute must A dare eS {o experience each exercise as having an effect on the whole body, not just on the muscle 10 ory area being trained. When you notice and feel the changes an exercise has orig Ghote body, you can make training more effective as well as better absorb and ings wiustie and choreographic ideas and nuances (Johnson 2011) WHOLE-BODY CONDITIONING FOR THE ARTIST Although dancers have a wide variety of dance and conditioning classes available to them, itappears that no consensus exists about what total conditioning for dance entails (Batson 2009; Steinberg et al. 2006; Wyon et al. 2006). Exercises are often based on habit rather than on what is useful for the individual dancer and his skill level. Nevertheless, in most classes dancers get very strong, mostly because they are talented and they fine-tune their bodies to a level that is unheard of in most other movement disciplines. Inaddition, training volume is so high for dancers that performance usually improves even with less-efficient training. Many dance teachers have recognized the need for more bal- anced training and have updated their classes accordingly, combining traditional exercises with current conditioning trends. They recognize that a dancer's specific conditioning needs cannot be met by flexibility and strength training alone. Dance conditioning must include the goal of achieving a highly developed sense of balance, timing, rhythm, and orientation Teantce as well as a measure of cardiorespiratory fitness (Koutedakis & Jamurtas 2004; ‘Yon 2005). The exercises throughout this book develop each of these areas. dance, such the necessary aoe exercise performed in less than 1 minute are considered anaerobic lungaetivity for caer pins: and any other continuons exercise that increases heart and 2018) Den ae minutes or more is considered cardiorespiratory exercise (Bompa ‘ment—and, by itself et ond anaerobic in nature—made up of shorter bursts of move- However, research sugmne, coos not have the cardiorespiratory benefits of aerobic training. ites, depending on eet that dance may exhibit both aerobic and anaerobic character- class structure (Wyo) pod ofparameters, including dance genre, training regimens, and Your dance condition oot 8 therefore advisable to build some aerobic exercises into & Jamurtas 2004; Wye soutine and your warm-up if you do not cross-train (Koutedakis in this chapter) Youre 2225 discussion on warming up and cross-training follows later long rehearsal it you meer ase both mental and physical stamina for a performance of sare Bugera tee Oey conditioned. let dancers tend to ump iat Several world champion athletes, once pointed out that P higher than his track and field athletes, who are much more Scanned with CamSca4 | Conditioning for Dance “The muscle does not help my athletes jump high¢ inser dha doors, “The ew eng sen HH” he sa THs some ae me eevreness during training as well as constant attention to how to dane hares ey rea eres Ne TOWN IME a ea dal A growing number of body connection. Ever since siness instructors are recognizing the imaportance of the mind al Tablcation of Deepak Chopras Ageless Body, Tinets : the Min , \e relat Me an pees ing ane Mi es ey | of the mind and body Nas pet of uke equation. It is often not clearly demonstrated how tg | focused ot tre re ofthe body and enter into a true dialogue with equal emphasis on ae from inind to body and fram body to mind. As early as 1937, Mabel Bisworth the Pata nding this balanced approach in her book The Thinking Body. ‘hat does it mean to incorporate mind-body principles into training? Following are some ways that holistic principles—allowing the mind to connect with the body's move- a oevts and conditioning—can make your training more effective. = Every exercise will affect the whole body, not just the muscle or part you are training. When you notice and feel the changes an exercise has on the whole body, your training becomes more effective. For example, during training you may notice an improve- ment in breathing, posture, and mental state. = All elements of conditioning—alignment, balance, flexibility, strengthening, and cardiorespiratory endurance—are interrelated. Change one element andit affects all the others, just as a change in one joint influences all the other joints. m Your state of mind while you train influences the extent to which an exercise is effective. The same exercise performed with a different awareness—a different mental image or a different focus of attention—has a different effect on the body. For example, if you are worried about an upcoming audition while you are stretching, it will be difficult for you to relax enough to make the stretch effective. Calm breathing is a key to effective stretching, and a relaxed state of mind creates calm breathing. = Mental presence and concentration form the solid foundation of mind-body training. If you are mentally present while dancing, you are experiencing the minute, moment-to-moment changes in shape and dynamics in every part of your body during the whole exercise, Your desire to be mentally present in the movement helps you to create a more efficient movement, because you improve your concentration. This presence increases the awareness of the sensory feedback mechanisms of the nervous system, in turn leading to greater motor control. Motor control is the use of your brain and cognition involving sensory and motor actions to coordinate posture and movement. __™ Your thought patterns are influenced by the physical structures you are identi- Jied with, For example, stress is identified with a certain state of (over-) alertness in the nervous and endocrine systems. Similarly, every thought that crosses your mind during exe" cise becomes a part of the overall mix of your mental training. Therefore, your every though can influence the result of your exercise. Exercising is an ongoing dialogue between mind and body. This communication can manifest itself through sensation, feeling, of image" CONDITIONIN NCEPT: Bef a ; conditonitg © into specific dance conditioning exercises, itis useful to cover some Df ng concepts and terminology. Some of these principles are more relevant that Scanned with CamSca“sri Concepts for Body and Mind 1 others for dancers, but all are good to keep tucked in your ment your mind-body conditioning, Mal dance bag as you improve Principle of Specificity Inconditioning, the principle of specificity states that the ad: ing depends on the type of training you undertake, In oth are specifically working on enhancing flexibility. If you pert barbell to the point of exhaustion, you are maximizing your a lighter barbell until you are fatigued, you are working on gaining im even though both are highly aerobic sports. The runner's endurance skills will eae only partially to cycling. When applying the principle of specificity to strengthening for dance training, youneed touse strengthening movements that are similar to or the same as those of the dance steps you intend to perform. Blastic bands are a good choice for dance-specific strength train. ing (ee chapters 6-11) because you can use them to apply resistance to a variety of dance movemnents. However, when you strength train using free weights or machine weights, you are most often not performing dance-specific exercises (although training in the weight room may have the psychological benefit of making you feel stronger), To benefit most from any conditioning, you must choose exercises that target the muscles you would like to strengthen. Practicing these exercises with increasing levels of resistance and with the coordination and rhythm that you will use in your performance would be a valuable addition to your training strategy. For example, to increase strength for a grand battement (a fast, high leg kick), you must consider three specificities: 'aptation of the body to train. er words, if you stretch, you form repetitions with a heavy strength. If you exercise with 4. The specificity of speed. The movement should be fast. For example, you will need to train the power of the muscles involved in hip flexion. 2. The specificity of muscle group. The movement should work the hip flexors as well as train the stabilizing musculature required for a batternent. 3. The specificity of muscle action. The muscle action needs to be concentric and eccentric (for definitions, see Balancing Muscle Actions, later in this chapter) and performed with the correct alignment. So, considering the principle of specificity, performing an isometric (nonmoving) resistance exercise for the hip flexors will not improve your grand battement, but performing a grand battement using a band for resistance will do so, as long as it is performed at the appropri- ate speed, with sufficiently increasing resistance, and at least twice a week. The following chapters in this book include some exercises that work on strengthening muscles in positions that are not specific to dance. These conditioning exercises balance malay increase awareness of the body, or release tension and improve overall alignment. would ye gtould perform dance movements immediately following these exercises, which rll ge balance and strength into your routine. They also may have a therapeutic this type of conde ously neglected aspects of your dance training. A good example of tee eegendl ining isthe Gxerclse series for the iliopsoas muscles in chapter 7, which : through ene te le ae and hip joint and aligning the pelvis. As you'll learn 7 ioning routine is crucial for improving performance i imal styles of dance, You may find particular exercise ‘onditioning routines 1 as s and ¢ ry pe ince styles and basic challenges facing any ge ind your individual goals. Here are three Scanned with CamSca6 1 Conditioning for Dance 4, The need for macrimal activation (@.9, when lifting a partner over: ‘This action requires maximal strength, usually defined as the maximun ‘a muscle can exert in a single, all-out effort. 2. The need to exert force for a long period (@.9., when running, cycling, bal. ancing on one leg, or performing the same dance step repeatedly during a rehearsal). The type of strength required in this instance is called strength endy ‘inee or muscular endurance. In dance, endurance often combines with the ned, stabilize for a long period of time. To train for endurance, exercises need to be performed with a lot of repetition and little break time in between, 3. The need to be able to perform an action with great speed (og when jumping into the air for a double turn). This kind of eftor, is defined as the muscle’s power, also called speed strength, ‘Your head), 1m force that ‘As a dancer, you usually do not need the maximal strength of aweightlifter, just as you don't need the muscular endurance specific to a marathon runner. However, including an aerobic wae workout three times a week can be beneficial, especially if > you pay attention to alignment and use imagery to guide you Sh with sound biomechanics. (This recommendation is for adults only; training for young children should emphasize improving coordination and flexibility and having fun.) Cardiorespiratory. training is also a good way to balance muscle strength. Swim- ming, cycling, or any sport activity that does not stress joints or is non-weight bearing is advisable. Other good cardiorespiratory training methods are jogging, running, fast walking, cross-country skiing, and hiking. Try a variety of exercises, and choose one that is most suitable for you. Adapt your conditioning routine to exercise and strengthen the movements that are common in the specific form of dance you perform, such as modern dance contractions, high leg kicks in jazz dance, or petit allegro in ballet. If you perform a variety of dance styles and dor’t have time to train specifically for every style, per forma general conditioning routine with a specifie warm-up adapted to the style of the day. If you are unclear about your needs, consult an exercise expert. Generally speaking, developing all the previously mentioned elements of strength, with particular emphasis on musculat endurance and power, is advisable for most dancers; itis discussed in detail in chapters 9, 10, and 11 Principle of Progressive Overload ‘The principle of progressive overload states that in order to improve growth, strength and performance, you must gradually increase demands on the body during exercise. Best conditioning gradually and build slowly, focusing on listening to your body. Easins ee conditioning routine smartly saves you time and aggravation, because you avoid inh that occur from jumping into conditioning programs that your body is not prepar Listen to your body; if an exercise feels wrong or painful, don't do it. __ Any conditioning program should start slowly, but it does need to eventuall intensity. If you do not gradually increase the stress on the musculature throug”) conditioning program, your strength level will reach a plateau. You need to increas in ly increas? shout sor | 2 Scanned with CamScawer time to match the strength and condition; resist et oad you have no training effect. To trai fora Of the muscle With regress increase the distance you run, In danee, this porate, to ogre neuromuscular control, strengthening, and the pester MSY ap increa® vely difficult. dance steps. ance and mastering of progres ean occur in Many Ways. To inerease the loa don amu m ; nent the sume, and the frequency of the exercise, Cle, You may increase the intensity, Intensity You can increase the een aoe a smaly by heavier dumbbells, or higher-resistance elastic bands. To inere _ etary conditioning you need exercise tat maintains 60 to'77 percent ee pear rat (Hay) for a least 16 minutes. You can calculate your Hitmax by nuts four age by 0 and subtracting that nurnber from 208 (HRmax = 208 ~ (07x your at ‘anotier way to inerease the intensity specific for dance isto increase the challenses 9 your ordination by trying new, more difficult exercises or steps. For example, chapter» x eceribes some balancing exercises that require standing on balls. Any kind o n exercise that increases the activity of a muscle in a systematic way will improve the muscle's performance using resistance from q Volume You can also increase training volume (amount of work) by increasing the number of rep- clitions and sets of an exercise. Generally the higher the resistance (intensity), the fewer the repetitions (volume) you can perform. The more repetitions you require, the lower the resistance. If your aim is to increase maximal strength, perform fewer repetitions with greater resistance; if your aim is to improve muscular endurance, perform more repetitions with less resistance. Once you have performed several repetitions of an exercise, you have completed a set. Experts tout the effectiveness of a well-executed set of an exercise in both. helping the beginner get on board and in maintaining strength among more seasoned prac- titioners. However, exercise researchers generally agree that in order to increase strength, one must increase the number of sets. You may increase the number of sets up to 3 or even 4. The advanced dancer could per- forma maximum strength set in the morning and a muscular endurance set in the evening. Usually if resistance is too high, you end up sacrificing quality; in dance training, quality iskey. Therefore, the exercises in this book emphasize more repetitions with less resistance, and they use imagery to increase the muscular endurance and qualitative movement gains of each exercise, Frequency In onde frequency ae fully from your training, you must train at regular intervals. Exercise dancers often ee titles & Week is sufficient to increase strength and maintain fitness. ison being able nore frequently than that, because the main focus of dance training Movements ore, Perm the complex movements required by choreographers. These ross all genres, includi Modern. In ost easescin ing semiacrobatic, ballet, jazz, improvisation, and ° sts in several chaenwe Not able to try all genres within one class, so they hav e styl ‘asses of different styles. Quite often the only class that teaches compan 7 a eed to practice is hese taught by the choreographer Whose foun 24 they end up ore Many Young dancers try to learn as many dance styles #8 flow Biche and foeys crating, whereas their more experienced colleagues have these Drinciples of ac You will perform better and have a longer career if YoU ‘bles of frequency: Scanned with CamSca8 I Conditioning for Dance B hours a day Limit time spent in dance classes 10 3 Hours a day, ean = Use more imagery, positive self-talk, and self-awareness techniques, = Practice a conditioning routine three times a week Neurogenie Versus Myogenic Change stem increases its eff 7 |, your nervous syst -ases its effort to or Asa mt ea beat and verame Ue retance apse | legs through resistance exercises using an elastic band isnot: Pee of building mare muscle inten, thas more todo with the way the nervous system contolsthe mye ment. This type of change is called neurogenic (caused by mervous syste). Siength training, atleast initially, is the result of an improvement in the way the nervous system controls muscles. The activation of the individual fibers within the muscle is orchestrated with greater precision, and the individual muscles and joints learn how to coordinate in a ent fashion. : "Toa perform resistance training oer along period, especialy at intensities near your maximum strength, you can also create myogenic change (originating in the muscle) ty this type of change, the protein structure of the muscle actually changes, so you build muscle mass. Sometimes dancers are worried that strength training will make them look more bulky, However, the exercises in this book are not designed to create a significant increase in| muscle mass. In fact, the opposite is more likely to happen; the muscles may become thinner | and longer. Muscles make this adaptation to speed up the delivery of nutrients to them, task that is easier when muscles are thinner. Once you have completed the first few weeks of training, your body will most likely look leaner, stronger, and more toned Your conditioning routine will control how. your muscles strengthen and change. For example, in order to increase muscle mass you have to train in a way that stimulates the growth of muscle proteins, a phenomenon known as hypertrophy. Increased muscle bull is generally not what dancers want to achieve. On the other hand, as a dancer, you do want to increase muscle strength. In order to do so, you must do exercises with a significant amount of resistance. For example, assume you are performing biceps curls using dumb- bells. Ifyou can repeat the movement 6 times but find the next repetition too challenging, g s § § 2 » and level of resistance in each exercise, as well as rest periods between exercises, are key ingredients i in achieving your conditioning goals. Rest periods in dance soot to eom, consisting of waiting your turn to go across the flovr in class of ft a achieve, at8e: However, rest periods will have an impact on the results you want Scanned with CamSca~ weuy and Mind 19 Table 1.1. Overview for Achieving Specific Training Out tutcomes ois BUY Alans GUL eR) As fast as pos. sible strength Endurance Moderate Moderate in each phase of the movement—eccentric (lowering the wei wweight), and concentric (lifting the weight). During strength t ahd, isometric (holding the ing, time should be spent in each of these phases. emeent Periodization Aneffective conditioning program requires creating thoughtful training cycles; this, concept. is called periodization. One of the best ways to periodize training is to build a program based ona three-phase system. This system begins with a preparatory phase, and it allows for the gradual progression of overload mixed with periods of rest so that the body is able toregenerate both physically and mentally from the stresses of training. The three phases are summarized as follows: 4. Preparatory phase. During this phase, which can last between 2 and 4 weeks, begin with low-resistance exercise and only light stretches. It is an excellent time to tune in to the body and improve alignment and mental strength according to in- dividual technique and fitness goals. Returning to a full rehearsal schedule or class load on the first day after a break or a vacation is not healthful for a dancer's body. It is understandable to want to get in shape as fast as possible, but a crash course will not speed up conditioning. Build-up phase. During this 3- to 5-week phase, gradually increase the resistance and the number of repetitions you perform for each exercise. 3. Maintenance phase. During this phase, continue to condition to keep what you have gained. Although this phase takes much less work than building strength and flexibility, the duration depends on your activity as a dancer. If you are a profes- sional dancer in a company, the maintenance phase should last as long as your Performing season. If you are in a dance school or college, it should last as long as your semester, E; ; | ine ae Gore three phases includes periods of rest. If you do not allow time for rest, \ overtrained. To full oe diminished or even reversed because the body will become times a year. THis recuperate your body, take a 2- to 3-week break twice or even three {insights into your dances me wasted; in fact, often you come back to training with new rechnique. Just as you build y nae / hen you willbe taking ea aneiné season, you should allow a deconditioning phase lass oF rehearse, but you ak or & Vacation. During this resting phase you may not take Prercises in this book are May continue some conditioning exercises, Just about all the ie 220 to 80 minutes a dee nes 88 Our equipment consists mostly of bands and small i Teduce the duration of the peso Maintain a significant level of fitness that in turn = of the preparatory phase when you return to dancing. Scanned with CamScaIntensive class, rehearsal, and performance schedules can cause overtraining tion. and even depression if you dont, balance them with proper rest and adequ Once you become overtrained, it takes longer to rebuild strength and stamina recuperation and rest periods are a regular part of your routine. During rest, yo ts if wou are not making progress. However, if you do not rest, you will not be from your conditioning routine, dance class, or rehearsal, because the nervous e with new information. ; alae ea aa enhance improvements in technique by taking a day or two off each eek between any regular dance classes or by doing a completely different physical activity, wNehas swimming, to rest dance-specific muscles. Alternating dance with another activity (cross-training) helps the body to adapt and make progress because it gives the nervous system a rest from the usual activity patterns. A dancer's performance year should also include a few weeks of complete rest. Constructive rest, as described in Dance Imagery for Technique and Performance, Second Rdition (Franklin 2014), during midday or in the evening is also an excellent way to recuperate while reorganizing the body for improved dance technique. In constructive rest you use imagery to relax your breathing, release tension, and reorganize the muscles, helping you expendiess energy during class, rehearsals, and performances. Many of the exer- cises in chapters 3, 4, and 5 can serve as miniature break periods for rest and regeneration, USING BANDS FOR CONDITIONING In conditioning classes, using a combination of small (3-4 in./~7-12 cm in diameter) balls and bands is effective for performing hundreds of exercises that train every muscle in the body. Using balls and bands means that all of your equipment, can fit neatly into a backpack and weighs only a pound. Your conditioning is not limited to the movements of a machine. With the balls and bands you can perform creative, even choreographed movernent that simulates your style of dance and provides the proper resistance. Because most of the exercises in this book use bands, this section focuses on their use. Franklin Method elastic bands are approximately 6 inches (~15 cm) wide and come in various lengths. They were created for training strength, flexibility, and relaxation. When you move your arm against the resistance of an elastic band for several repetitions, it feels much easier to lift your arm after the band is removed. This feeling of ease is caused by the interaction of opposing muscle groups—the actively working muscles, called agonists, and the opposing muscles, called antagonists. During exertion the agonists send a reflexive signal to the antagonists to release tension. When you train with a band you need to either hold it in your hands, attach it to a part of the body (such as under the foot), or attach it to an external fixture (such as a secure ballet barre). You can use the band to perform resistance exercises in these three Ways: > exhaus. ate sleep, han when nu May feel efit much system will 1, Attach the band at a right angle (perpendicular) to the moving limb (figure 1.1a).. This configuration creates a great resistance to movernent and is optimal for gait ing strength because the force of the band can be fully exploited to create resis- 2. Position the band parallel to th resistance to movernent is mi tone by stimulating pressur es for improving alignment 1.1c illustrates an example body while deepening the 3. Align the band on the sam ure 1.1d). If done with rel this application can relea: the limb, and pull it inward (figure 1.18). In this case inimal, but this kind of pull increases a limb’s muscle e receptors in the joints. It is most often used in exercis- and in cases of hypermobility (excess flexibility). Figure of the band being used to increase tone for the upper plié and increasing stability using balls. 'e axis as the limb while pulling away from the body (fig- laxed breathing and a slight shaking motion of the limb, se tension in muscles and joints. | | | Scanned with CamScaFigure 1.1. Three ways of using bands for resistance exercise: (a) attach the band Perpendicular to the limb, (b and ©) position the band parallel to the limb and pull inward, and (d) align the band on the same axis as the limb while pulling away from the body, Choosing the Proper Length When you are exercising, the angle of the band relative to the moving limb changes con stantly and you rarely exp ee e erience the clear-cut scenarios just described. The limbs do not Move |i Jus the rein iene Space; they move in a curved path, Arms and legs are attached to joints that create an ral joints like the circling oT planets around ee arcing movement of the peripheral joints li tuscles ca ise Ud offers a lot at norte to about half their length. Itis unwise to perform an exercise that eCaUSe at that mance When muscles have reached their maximal shortening capacity When they are sligheie CeoY ave little strength. Most muscles have maximum strength Your muscles te ny longer than their medium length. Ideally, this is the point at which Oreanizing the length a weet the most resistance. You can come close to this point by the deltoid musclesin ee the band during an exercise. Use a band to try this exercise for (the muscle surrounding the shoulder): Scanned with CamSca42. | Conditioning for vance: 4. Place te foot frmiy on one end of the banc, and Hold the other end with hep etched to the side. - 2, Adjust the length of the band s0 that it has no slack and is not overly tight, 3. Lift the arm (figure 1.2). You will most of resistance when the arm is diagonally 4. Notice how the deltoid has to work hard while iti already shortened considerably. This kind of tris, tends to cause the muscle to cramp in an effort tae, ate maximum force when itis already shortened," 5. Try the movement again, but start with ing down at an angle of 45 degrees, 6. As you pull upward and the band begins to streteh, you will feel significant resistance by the time your arm is parallel to the ground. This position is much better training for the deltoids. You start feeling resis. tance earlier in this exercise because the length of the band you are using is shorter to begin with. likely feet a ly upward, the arm poing. Most of the exercises in this book were created using a band of about 3.5 yards (3.2m) long. To find the ideal length for you, place the band over your head and have the ends of the band touch the floor on both sides of you. You can also do some of the exercises with a lighter-resistance band that is shorter (1.5 yards/~1.3 m), especially when exercising your feet and toes, as shown in chapter 8, Ideally, have two bands Figure 1.2 You can easily determine the ap-_fordaily use—one thatis shorter and used for shorter, lighter. "propriate length of the band for a particular _—_—resistance movements, and one that is longer with stronger exercise by adjusting it during the exercise. resistance for whole-body exercises. Choosing the Proper Resistance In addition to the length, you need to choose the correct resistance for specific exercises. Several factors influence the resistance of the band, The longer the band, the less resistance ithas, because more elastic material is available to stretch and adapt to the movements of the body. Bands differ in resistance according to their color. The dancers shown in this book use green (heavy resistance) and blue (extra-heavy resistance) Franklin Method bands. Start with a green band on any given workout, and gradually build up toa biue band over 6 weeks. When using bands, you have two options for varying the repetitions and sets \o achieve the desired type of workout, For the strength set, perform fewer repetitions using a shorter band (tighter hold) to increase resistance; for the muscular endurance sel, Perform more repetitions with a longer band (looser hold). For the power set, use eithet™ band and simply move faster. ; Ifyou are using the band for long-term conditioning, increase the number of sets. a band exercises in chapters 6 to 11 are specifically suited for complete exercise sets: ea exercises outlined in those chapters can also be performed as a circuit without any it - a Tareas the individual exercises except perhaps to adjust the position nat flows into the nex ers Dectically appropriate for dance training because one oral a Next, which is similar to performing a dance combination. Chapte! ntain suggestions for circuit training for dance conditioning. Scanned with CamSca-~y anu Mind When creating a conditioning program, itis helpful ty are organized, the types of fibers in muscles, and the understand the basics, of} This information will help you choose effective exe = Various acti ions that Cises to meet your con Motor Units and Muscle Fiber Types Muscle fibers are organized into motor units, A the skeletal muscle fibers to which the motor n. Large muscles usually have motor units tha muscles have motor units with few muscle fiber thousands of fibers per motor unit, whereas each of the eye muscle Meee MUI has fewer the fibers per motor unt, the more precisely you can control the sues 2% The Muscles include two main types of muscle fibers in differing proportion their performance, Slow-twitch oxidative (type D) fibers have ahigher densi of yet more myoglobin, and more mitochondria per cell, enabling a high resistance to fatigue Tr increased amount of myoglobin makes them appear red in color. Typical muscesersnige’s mostly type I fibers are the soleus and the postural muscles of tie back s Fast-twitch glycolytie (type IL) fibers can produce energy faster, but they are less resis. tant to fatigue. They develop tension at two to three times the rate of type I fibers, which increases their capacity for force production. Type II fibers are larger in diameter than type I fibers, which means they contain more muscle proteins (myofibrils), making them stronger. The gastrocnemius, the biceps brachii, and muscles of eye movement consist mostly of these fibers. Ifyou want to get better results from your conditioning, you should know how the motor units of muscles behave when you do resistance training. When you push against a band or lift a dumbbell, the smaller motor units of a muscle will be recruited first, while the larg- est ones are kept in reserve and are recruited last. The heavier the weight you are lifting and the faster you lift it, the greater the number of motor units that are recruited and the greater the role the larger motor units play in increasing your strength gains. If you train with a low resistance and at low speeds, your strength gains tend to be limited, because you never recruit a lot of large motor units. That is why you may sometimes feel that you are not getting much stronger from your dance training even though you are dancing a Jot. You may be getting better but mostly because your nervous system is becoming more skilled at controlling your movements. For low-force activities, such as holding a book or even a pencil, you do not need to recruit type II fibers. For these kinds of activities the body uses type! fibers; they can get the job done and have the advantage of not tiring out very quickly. They are aerobic, which allows plenty of time to do the job. During aerobic exercise, also known as cardio, you rely on oxygen to generate the energy needed to adequately perform the exercise. Type I fibers have smaller-diameter alpha motor neurons, which have a lower threshold for recruitment than the bigger ones. If the resistance increases, the muscle adds more motor units. You may require 10 motor units to lift a book; but then you need 20, then 50, then 100 motor units when you start lifting and continue exercising with a dumbbell. You will eventually exhaust the type I motor units, Because the threshold for recruitment of the type II motor Units is higher, they only come into play when you need to exert a lot of force. As the inten- sity of your exercise increases, you use the type II motor units, which are larger. For these “resistance and more explosive activities, you use the bigger alpha motor neurons. ‘ow Muscles Scles ean conditi a Conditioning need Motor unit. consists 'S of a motor new peur innervates opps wih ea on many muscle fibers, whores rs. For example, thy ceps muscle ha Scanned with CamSca14 | Conditioning for Dance Balancing Muscle Actions Muscle actions are classified as concentric, eccentr and isometric (See figure 1.3). In the concentric care the muscle develops tension while itis shortening th tgs eccentric case, the muscle is forced to lengthen (becaine ofa weight or gravity) while itis trying to shorten, Finale in the isometric case, tension is developed in the muscle with no change in length at all. During a movement, any one of these actions ean occur in differing proportions in y muscle or muscle group. Depending on which muscle action are involved in what proportions, different types of training effects can occur. If you emphasize the eccentric phase of muscle action, you are training for endurance. If you move with an even rhythm, the results tend to be focused on strength gain. During power training you simply move as fast as you can. A classic example of power training is the leg kick in which you aim to accelerate your leg as high and fast as, you can. In that sense, a lot of Michael Jackson's dancing was power training. You can enhance dance training effects with a mixture of eccentric (lengthening), concentric (shortening), and isometric training. A muscle is able to produce more force in an eccentric contraction. For dancers, it may be benef cial to emphasize eccentric training at times because of the strength, endurance, and even flexibility gained from them. ‘Thisis especially true when the eccentric action is performed slowly, as in the iliopsoas exercises in the following chap- ters. In general, eccentric training strengthens the muscles more than concentric and is a more efficient use of your Figure 1.3 Muscle actions are concentric, eccentric, or isometric. Use the following tips to guide you in applying resistance bands for the greatest effect (view video 1.1 in the web resource). ™ Before you start exercising, check your band for cuts, broken edges, and holes. If your band snaps apart while you exercise, it can be painful, not to mention danger- ous ™ Maintain the width of the band throughout the exercise. Keeping it flat can depend on how you tie the knot and how you loop the band around your body. If the band rolls up, it slides on your body and may feel as if itis cutting into your muscles. ™ If you have hair on your legs, wear long pants and socks for most exercises so that the band does not catch and pull hair, which can be painful. ™ Attach the band in such a way that it does not constrict blood flow. "= If you attach the band to an external fixture, such as a handrail, pipe, or bart ‘make sure that the structur fe cannot move. Never attach the band to a heater of any type, because the heat will weaken it. " Avoid getting the band wet. It wil be sticky and useless unless thoroughly dv Scanned with CamScamuscles, When moving downward in plié you are tray Sally: wl training you, eecentrically: when moving back up, you are training eset Uticeps, — grand battement for their students using the cue Up yy tally. Whee ou? Of muse, many teachers are infact teaching them eccentrie aime "°°, strain, foo many eccentric contractions consecutively. Aw is nota feather one Sood idea G can tell you why; your quadriceps feel sore because they pon? NS htked doen? Perform ° aa . ” are require; ountz hnundreds of times in a row: Isometric contractions ouevicta dance wo eerk ec erieal limb ina certain position, such as in extensions, When you are holdin Ba IMPORTANCE OF WARMING UP. AND COOLING Dow class, rehearsal, or conditioning session should begin gradually ¢ rs time to adapt. A good warm-up will slowly increase Your hear atte body ae breathing, and increase the circulation ofblood to your muscles. ewilalsoneee ee SO you for your class or rehearsal. The temperature of your joints, muscles any 1 PePare Ussues will se allowing for the interfaces between the muscles to become mise fee and for the joints to better absorb force. You can compare this to cold honey aad gn honey, Honey stored in a cold place will be rather stiff, and you can hardly nine yan spoon. But as soon 2s you warm it up, it becomes fluid and Hows easily. Without aprons ‘warm-up your sensory organs will be less prepared as well, increasing the chance of injor A warm-up should include some mildly aerobic, large-body movements such ae the shoulder band workout detailed in chapter 9, the band centre barre described in chapter 11, warming up your feet as shown in chapter 8, or the combined ball and band exercises in chapter 8. Beneficial warm-up exercises raise the pulse rate gradually and warm up and lubricate the joints to make them more fluid. A warm-up should be appropriate for the type of movement you are about to do. In other words, whether you are getting ready for a hip-hop class, a tap class, or a ballet class should affect the kind of warm-ups you choose. In general, a warm-up should include weight shifts and elements of the basic locomotor patterns that exist in dance. This will help prime your nervous system for the strength and speed demands of the upcoming class. Iremember being surprised at the nature of my first warm-up with a professional dance company in New York. I was expecting the usual straight-into-a-hamstring-stretch-on- ; the-floor routine; instead we were told to jog in a circle and do jumping jacks. This was a __ Straightforward way to accelerate breathing, increase blood flow, raise tissue temperatures, and simply wake up and become alert. However, if the warm-up does not include any move- ments similar to those used in the class, the dancer will probably not be properly warmed Up for the class, ie steps ina class, rehearsal, or performance require one side of the podrinbe ee He while the other is stabilized, the warm-up should include at = meee up should ineh naa Ifthe steps emphasize a diagonal action through the bo« b orepirals, the warm-up shout aes movement patterns. If a dance includes er eas on the hands, The was de similar movements, Some dance styles require a n Your hand, t™-up for these dances should include preparation for put patie nds. If the warm-up closely matches the dance step, , is and collea, . gues (201 mh? these three phases, “Celt a 1) suggest that in sport, you should divide the Wat Physiological) and Setting the - ing the body ready (physiological), getting a feel (ps¥Ch? mind ready (psychological)” (p. 78) Scanned with CamSca46 | Conditioning for Dance “gota fee!" isto become aware of your body each day. Generally, dancers oe asthe bol Trond to day art even hour to hou experienced iid be skilled in using this awareness and adapting to it accordingly. Fee example, tne hip joints fee tighter today than they did yesterday, you know you should spare ae time warming up the hip area today. it may be helpful to begin the mental part of your warm-up on the way to dane cag by tuningin to the body and scanning for tense areas that could use some coordinatog SS extra attention, Use a favorite image to prompt your body to function optimally. Imaging willalso increase your mental alertness. If you are an experienced imager, you can reaige your pelvis while walking down the street. Imagine the movement of the pelvic bones’ the lengthening of the hip flexors as the leg swings back and helps to lift the front ofthe, pelvis. Don't forget to pay attention to the street! In previous generations, stretching was deemed to be the core component of t warm-up. More recent evidence indicates that you gain most flexibility by combining mit stretches with activity that raises the body’s temperature. Static stretches should be eliminated entirely as part of a warm-up. Instead, dynamic stretching with bands and dynamic activities are much more beneficial, These stretches raise body temperature tg help lubricate the joints and warm up the connective tissues and muscles. Some research even suggests that stretching weakens muscles and their ability to contract rapidly (Samuel et al. 2008). Most of the elastic band exercises described in the following chapters both warm up and stretch the muscles of the body. Ideally, you should use a low-resistance band for warming up and a higher- resistance band for conditioning. ‘The standing-on- ball exercise series in chapter 8 addresses balance, and the exercises in chapters 7 through 10 include many dynamic warm-up options using elastic bands. You may also choose to do some iliopsoas and pelvic floor. exercises (See chapter 5) as part of your warm-up Young children require a warm-up before a dance class, even though they may be excited about getting into the dance immediately. Finally getting a chance to move after sitting in a class- room for hours, they will practice difficult steps the minute they walk into the dance space. Quite often this causes them to overstretch muscles. Some- times children do not report muscle discomfort to their teach- rs, but if they are educated to be sensitive to something being “off,” they will likely have fewer injuries later in their careers. COOLING DOWN Just as it is not a 800d idea to start exercise suddenly, it is d us to stop exercise abruptly, Some dance suddenly, it is dangerot a tudents or dri ing home less than ie and professional dancers are already on the subway it nutes after a class is over, This abi itch from exercise (0 sitting position causes bi over hia abrupt swite ms lood to pool in th ll body syste Slow down too rapidly, eo te 'e lower limbs, and the heart and al ‘ins accumulated by the muscles during exercise are not he dance Scanned with CamScazasily removed from the tissue in the abse fired muscles, achy joints, and less overall tami gee 4™N Phase, Th A proper cool-down may consist of recapitulatinn Wing day Te taught in cass, but ina more leisurely manner ene S28 of the body has slowed down, itis also beneficial iat wie down nuscle groups that were used during the exercise ay Heteh should not ignore their intuitive sense of what museles rect lS o renee Main they should be welinformed about the most important cues eee ciched aa class ns Chapter 4 illustrates stretches that are essential to coolin, ae for their ‘individual toe Deep stretching isnot advisable after class, because the tM ae oan ee ae following a period of intense labor. Posty be one deep str scles need time to we has ended. Waiting an hour may be inconvenient, ire pee Jeastan’ houraftercige” ness the nextday. As an alternative, do low-resitance pang ye oe muse est exereses can be performed with great specificity, and they ance os Mtr class. These at improving flexibility. fective as stretching In particular, you should use cool-down time to anchor ings and technical insights gained during a class. The cook-dowe pega Pst el to get dances to tap into the long-term memory loop Ino techno cs were gained from class ota conditioning routine, dancers should uec tho having them in the future, Expectation isa powerful pat of ment tan time you take to notice the positive changes inthe body, the more pect a happen because the mental focus is reinforced. Use the final part ofthe cool-down time fora brief const 2014). Because the nervous system is alert after trainin, larly well at this time There may be times during a rehearsal when you have nothing to do but sit o le on the floor. This may be problematic, because you need to remain physically ready to dance and this readiness is lost after a short period of inactivity. During these times, youshould stay mildly active with active stretches or nonstrenuous conditioning exercises The te! dancer may prefer to rest, but suddenly starting and stopping activity causes mote stress on the nervous and cardiorespiratory systems than when the dancer maintains a certain level of preparedness with some peaks of activity. SETTING PERSONAL CONDITIONING GOALS Setting precise goalsis useful for health, movement, and motivational. improvement. Numer- olis studies demonstrate the effectiveness of goal setting. Even if you have the underlying talent to potentially achieve a goal, goal setting gives you the focus and aim that you need in order to accomplish the task. SMARTis a classic framework used to set goals. The acronym stands for Specific, Mea- rable» Achievable, Relevant, and ‘Timely. This approach to attaining your goal allows YoU to work at a pace that is right for you, letting you design individualized challenges to complete your objective, SMART framework is as follows: ft 1. Set specific . goals. Yo achieve. Creating specific i & What is your goal Why do you wa i tivates nt to achiew toyou? What: You to attain it? e this goal, and why is it important to yt a chance tic insights to imagine The more ‘anges will tructive rest session (Gee Franklin 8, constructive rest works particu- u should have a clear idea of exactly what you want to Soals entails reflecting on a number of questions. Scanned with CamSca48 I Conditioning for Dance Which resources o-you need ae achieve this goal? Envision the thi you will need (equipment, time, ete)- verequired to be involved for You toattain your goat? f Whoarahenene rior etal ptt ant tose 2 ae ‘vill you do what you need to do to achieve your goal? Make sure that you tase regular access tO RIS BAC : : vasurable, When constructing measurable goals, quest ot ea nang” should be kept in mind, Having goals that are tor eae a clear method of tracking improvement. For instance, i you ae trying to abe iy ina given part of your body, you would want to doa variety of physica, arovegery exercises every day and keep an eye on your Progress regularly. Or, if yoy aac range perease arm strength, you may track yoOUF progress by comparing how rach Jou were able to lift a month before beginning a certain exercise to how much you can jift now: Journaling can help you keep track of progress. Regularly jot down the steps eer have taken toward your goal. Your journal will help Keep you organized and wit be a source of encouragement. 3, Set moderately difficult but achievable goals. Your goals should be attainable. your goals are too easy, you wil not grow; if they are too difficult, you will get frustrated ghd give up. It may take some trial and error on your part, but eventually you will be able fo strike the right balance and come up with goals that are both challenging enough and achievable. Ifyou keep in shape by running 9 miles a week, adding an extra2 milesa week may be attainable, Running 16 miles a week would most probably not be a reason- able short-term goal. 4, Set your goals yourself'so that they are relevant to you. This guideline is espe- cially important because your goals are personal; you know better than anyone else what, you want to achieve. In addition, nobody knows the natural talents and limitations of your body as well as you do. 5. Goals should be timely. Give yourself target deadlines for long-, mid-, and short- term goals. If you have a deadline for your goal, you are much more likely to attain it A deadline motivates you to work toward your goal and keeps your focus on the task. Deadlines provide you with some anxiety, but motivational anxiety can help you prog- res in your Jourey. Som a Your goals can be quite challenging, Dont let these go they rs eenerabe ti long ri. Re any reminding yourself of your long-term goal will rare You to continue working tovard it. It helps to think of short-term and midterm eee vable steps toward the more challenging long-term goals. of setting your goals, think of the following questions: & When do you want to achieve your long-, mid-, and short-term goals? . ie short-term steps can you take to achieve your mid-term goal? . ae aie goals will help you eventually attain your long-term goal? ms ime frames such as the following: = es can you accomplish today (short-term goal)? can You accomplish in 2 months (mid-term goal)? Can you i Temeuten aa your goal in 6 months or a year (long-term goal)? achieved only by seting tom ae Ultimately accomplish (large, long-term goal) will and mid-term efforts, ‘ation and building on it incrementally with your shortte"™ Nas that In addition to the S) MART goals, keep the following strategies in mind: 1 ‘ a comin eee Scanned with CamSca