Cambré: Part 2
Dancing Smart Newsletter
October 28, 2005
Announcements
No new announcements this week. Let's continue the dialogue from last week's discussion on back flexibility and the cambr é.
Question of the Week
Question from last week...
As a lyrical and ballet teacher I am often choreographing a layout/cambre (deep bend of the back) into my routines. I am finding that some girls are not able to them as well as others. In fact, I have one dancer who cannot seem to bend that way at all with her back. My question - is there any way to safely increase the flexibility of the back so as to increase the degree of the layout achieved? Are we all born with a different amount of flexibility in our backs that cannot be changed, or is it like a dancer's turnout that can be worked on and in using the right muscles and techniques, can be increased? Also, what is the safest way to actually do a layout? We do all kinds - some with just the upper back, mid-back and even the full-back. They are so beautiful when done well but I certainly don't want to compromise any of my dancers' health for the sake of a dramatic dance move.
Thanks for your help. I love your book!!!
Laurel
Deb's Answer
In last week's newsletter I talked about increasing and maintaining full rotation of the spine as a way to enhance spinal mobility. This week I want to discuss ways to enhance the upper back cambré, as how a dancer executes that high arching movement will determine how they execute a deeper low back arch.
A typical pattern of the spine is to have weak abdominals and slightly weak extensors of the spine. We know how easy it is to 'slump' and round forward from between the shoulder blades. Pulling the shoulder blades together doesn't correct this problem, but adds a layer of tension to the upper back. The trick is to lengthen the spine, not lift the ribs!
Try this: Lie on your bed, face down, with your shoulders, head and neck over the edge. Bring your hands behind your head, loosely clasping the fingers together and elbows gently stretching towards the side. You want to go from this slightly rounded forward position resting over the side of the bed, to straight, keeping your head in line with your neck, which means your face will stay looking towards the floor. Round down, then lengthen your spine as you come up to straight. You'll feel this between your shoulder blades. It isn't a hard movement, but is a nice way to activate the extensors of the upper spine. You aren't lifting high enough to go into the lower back. You are just focusing on the upper back.
I learned another way to explore the back cambré, from Jacqui Haas, ATC, this past weekend. Holding both ends of a theraband that is at least 5 foot long, stand in parallel or first position on the theraband. (The theraband will be in the shape of a V) Gently opening the arms to the side, (it will be a small movement,) so you'll have some resistance from the band, lengthening as you arch your upper back. Come up from the arch by focus on lengthening your spine as you continue stabilizing with the abdominals. Having the extra support from the theraband is a wonderful tool for dancers to lengthen and stretch away from the floor.
Deep, full cambrés back require a lot of core abdominal strength. This is where I notice the most difference in flexibility. I wouldn't ask a young dancer to do a full back cambré until they had demonstrated they had the abdominal control, and a clear understanding of lengthening as they go backwards, instead of dropping all their weight into the lower back.
Last note – check the tightness of the iliopsoas as lack of flexibility in that very deep postural muscle will deter your flexibility. It's simple enough to do acambré, stretch out your iliopsoas through one of the many variations on lunging, and repeat the cambré, noting any changes.
Have a great week!
Deborah