The bones of the knees are the patella and the tibia (Hall, 2011). The muscle groups for the knees are the hamstring gracilis, and the gastrocemius (Hall, 2011). For dorsiflexion, there are no bones it is the muscles that move bones. The muscles are the tibialis anterior, peroneus tertius, extensor digitorum longus, and the extensor hallucis longus (Hall, 2011). These are the muscles that move the bones so the top foot will move towards the calf of the leg (Hall, 2011).
The next flexion is plantar flexion and this one also deals mainly with muscles than bone. The muscles are the flexor digitorum longus, Flexor hallucis longus, peroneus longus, peroneus brevis, soleus, and tibialis posterior (Hall, 2011). Plantar flexion allows the foot to be able to point and that is an important part of a pirouette. For the forward should flexion the joint is the Glenohumeral Joint. This joint deal’s with the scapula and the humerus and helps provide stability for the dancer (Hall, 2011).
The last flexion in the sagittal plane is elbow flexion. The elbow joint connects to the radius and the ulna (Hall, 2011). The elbow is what allows the arms to bend and form a circle with the arms. This form allows the dancer to stay stable during a pirouette.
In the frontal plane, the depression of Scapula. The joint is the scapulothoracic joint and it can be in the frontal plane or the sagittal due to the movements of the shoulders with the trunk (Hall, 2011). In the transverse plane it is the external rotation of the hip that helps form a pirouette. The muscles are the gluteus minimus, piriformis, superior gemellus, inferior gemellus, obturator internus, obturator externus, and quadratus femoris (Hall, 2011). These muscles are used to help the leg mov...
... middle of paper ...
...legs have time to have a full flexion. The professional dancer is able to complete the leg flexion along with producing the force with their arms. The pirouette is all about balance if a dancer done not have the steps done in the right way it can cause them to become unstable. The ammeter dancer is also producing more force with their upper body then their lower body while the professional dancer is producing equal force (Biringen, 2010).
The ammeter dancer is not lifting their non-dominant foot’s heel off the ground while initiating the pirouette. The professional dancer s lifting their lifting their non-dominant foot’s heel off the ground while initiating the turn. Not having the heel off the ground can cause friction against the foot. The ammeter is dragging the non-dominant foot on the ground while the professional dancer is not drawing their foot on the ground.
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