NED UNIVERSITY OF ENGINEERING AND TECHNOLOGY

11/11/2015

BIOMECHANICAL
ANALYSIS
OF A BALLERINA

INTRODUCTION:
Biomechanics is the study of the mechanical principles of human movements and then gives data on
muscular function and characteristics. Applying this analysis on the dance routines started back in 1960s
with the contribution of Kneelands work. However, the breakthrough in this field occurred when
research tools and research methodologies were introduced by researchers in 1970, these techniques
are still used today. [1]
The following reports includes a detailed analysis on the following parameters:

PARAMETERS INCLUDED:
1. GRAND PLI
A way to balance the range of motion with strength.
Grand pli is an important part when studying the dance moves. It is also one of the most difficult steps
as it requires a series of complex movements and energy. This step involves a risk to the knees,
therefore the main focus of researchers involve trying to find a way to minimize this damage. While the
grand pli can be used to strengthen the legs, hips, ankles, special training of the flexion of the knee is
required in order to be on the safe side.
One of the steps taken to minimize damage is the use of a barre (a stationary handrail), which reduces
the stress around the knee. If a dancer chooses to work without this barre, it would require a greater
effort by the quadriceps and resulted in ballet dancers exhibiting lower patellofemoral joint reaction
force and unbalanced pressure increasing the risk of injust. This certain step is usually learned when all
the other steps are done so the human body is more adapted to the situation.

2. RELEV
For understanding muscle actions. This action can be understood when compared to a second-class
lever, where the weight of the body is moved around the ankle (fulcrum), by the varying movements of
the lower leg and foot. This can activity can be studied with the monitoring of the triceps surae. When
studies were conducted they revealed a delayed onset of fatigue in the heel-rise test and variation in the
muscle activity in the legs. Pronation in the foot resulted in the changes in the gastrocnemius and
peroneous longus and the risk factor of injury was found out to be a low activity in the abductor hallucis
muscle. This can be minimized by carrying out the step using the dominant leg. [2]

3. JUMPING
There are multiple internal joint moment forces involved when landing from a jump. A higher number of
patellofemoral forces are observed with long jump displacements due to eccentric forces. Also
quadriceps forces also contribute to axial forces and create a shearing force at the ankle and knee. Jump
distance is also directly proportional to the shear forces around the ankles, knee quadriceps muscle
group and the transfer of shear force to the knee joints. The factor of injury here is the continuous use
of quadriceps with an underused hamstring muscles. Studies are being conducted to understand the
take-off and landing phases in order to utilize the whole body instead of concentrating loads on a single
muscle in order to minimize damage.

4.

SEGMENT MOVEMENTS

Most dance movement can be considered as one or two body parts whose movement requires the
support of the entire body. Due to this, even the motion of a single segment effects the entire body.
Some of these motions are also exhibited by motion in the spine, such as grand rond de jambe en lair.
To comprehend these motions, understanding the relation between the gesture leg and pelvis is
essential. The leg has a limit after which if a dancer wants to proceeds, the function of the pelvis kicks in
to facilitate the dancer.
Movements in the front and side direction (devant and la seconde) involving more than the common
90 degrees of flexion throws the pelvis in a three-dimensional movement. When working in the back,
anterior tilting of the pelvis occurs after 15 degrees of hip hyperextension (arabesque). Despite the fact
that the pelvis supports this movement of the hip joint, the overall effect cannot be seen by other
people watching the dancer.

5. VERTICAL ORIENTATION
Balance and counterbalance is possible on due to the workings neuronal and reflex adjustments that are
only polished by undergoing dance training. Dancers have a (subconscious) motor program that helps
them to keep vertical orientation of the head mobile while the leg continues to move. This counterrotation technique is effects the trunk, and the movement of the spine and pelvis around the hip joint
assist the body in keeping it vertical. Postural adjustments also need to be taken care of before going for
voluntary leg movements. The tough training that dancers push their body through actually rewires
multiple motor patterns that keep our balance and limb control in check. The changes in the trunk also
lead to changes in neuromuscular patterns.

REFERENCES:
[1] Donna Krasnow, M. V. W., Shane Stecyk, Matthew Wyon and Yiannis Kuotedakis (2011).
"Biomechanical Research in Dance: A Literature Review." Med Probl Perform Art 26(1): 3-23.
[2] Kwon, M. W. a. Y.-H. (2008). "The Role of Biomechanics in Understanding Dance Movement." Journal
of Dance Medicine & Science 12(3).