Ideal Alignment: Execute Movement most Efficiently and Safety

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In dance, the term ‘ideal alignment’ refers to the body at the state of which allows the dancer to execute movement most efficiently and safely. Correct alignment can relieve muscle tension and stress, which can be greatly assisted through imagery. Eric Franklin stated that "Posture reveals our genetic and social heritage as well as the sum of our accumulated mental and physical habits." Posture constantly fluctuates due to one’s psychological state (Franklin, E 1996). As a result, dancers must be able to recognise these postural changes and adapt their movement accordingly. Alignment is divided into two categories: static and dynamic. Static alignment refers to the dancer when stationary; dynamic alignment is the continuous correction of relative alignment when the dancer is in motion. The static alignment should be almost effortlessly poised. If one grips their muscles to force their turnout, it cannot be maintained when they work into dynamic alignment, as they rely on the friction against the floor to maintain their alignment. However, a dancer with perfect static alignment may find it difficult to achieve satisfactory dynamic alignment and vice versa. Posture is assessed to detect the possibility of any weaknesses, muscle imbalances, dysfunctional movement and neuromuscular control and coordination that could potentially lead to injury. A well-balanced, ideal alignment provides one with greater energy levels, a slenderised figure, correct joint positioning, greater range of joint mobility, optimal flexibility, strength, coordination, body cirulation and most importantly, prevention of technique-related injuries. To test ones dynamic alignment, main areas to be examined are the feet and ankles, pelvis girdle and the thoraci... ... middle of paper ... ...core or any either anatomical correctness after training, they should associate an image with the feeling so they can easily find this sensation again (Franklin, E 1996). Once the image has been decided, cues can be used. After practise, the sensation will become natural to the body and eventually be a part of the movement intuition (Franklin, E 1996). Works Cited Clippinger, K 2007, Dance Anatomy and Kinesiology, Human Kinetics, United States of America. Franklin, E 1996, Dynamic Alignment Through Imagery, United Graphic, United States of America. Grieg, V 1994, Inside Ballet Technique, Princeton Book Company, Publishers, Hightston, NJ. Howse, J & McCormack, M 2009, Anatomy, Dance Technique & Injury Prevention, A & C Publishers Ltd, London. Watkins, A & Clarkson, P 1990, Dancing Longer, Dancing Stronger, Princeston Book Company, Publishers, Hightstown, NJ.

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