Ribcage Model: A Case Study

Dancers are at risk for this type of strain due to the nature of the move

throughout her lower extremities bilaterally. She has 2+ knee and angle jerks bilaterally. Straight leg raising is accomplished at 90° on the left, however on the right patient complains of low back and leg pain at 60°.

during these movements, the angles of those joints, as well as the muscles involved during the

To a dancer an injury to any part of their body can be critical because they use every body part. Overcoming an injury can give great trouble to the dancer or it gives them great motivation to get back. Copeland, getting as late of a start as she, limited her injuries. She did not suffer from her first injury until she was nineteen years old. Copeland was working with a choreographer when she started feeling extreme pain in her lower back (Copeland 159). She continued to dance through her pain, which in the end made it worse. She eventually got an MRI. From this she found out she had suffered a stress fracture to her lower lumbar (Copeland 160). Shortly after this she got asked to be the lead in the nutcracker production that the American Ballet Theatre was putting on. She had to decline this big role due to her back injury. She had to wear a brace for twenty-three hours a day, in order to recover faster. This injury put her out for a whole year, which in the dance world is a very long time (Copeland 161). During this time her body was developing more because she had more time off (Copeland 165). When she came back everyone told her to lose weight in order to get back to her normal self. This is when her dieting and workout plan started to come into play (Copeland 168-169). Copeland seemed to hit a low point in her career during her comeback. She gained extreme confidence when she was entered into the Princess Grace Foundation contest to win scholarships (Copeland 200-201). Soon after this event she got promoted to a soloist as well (Copeland 231). As a soloist Copeland was offered the role as the Firebird in a major production (Copeland 241). This was a huge deal as she would be the first African American to ever dance this role. Everything was going well until she started to feel pain in her left tibia (Copeland 247). She continued to practice for the Firebird. They then had their first performance at the Metropolitan

A lone performer begins a phrase facing left in a standing position with legs apart, head toward the ceiling, and the left arm extended to the sky. She swings the lone arm with her torso in a circle (clockwise to the observer, counter-clockwise to her); touching the ground and coming back up and around, like the swing of a heavy elephant trunk. The momentum of the swing causes her body to spin clockwise in place with her right leg extended to the rear, but quickly pulled in to a pirouette position as she finishes the turn (an eighth of turn short of facing the audience). The ballet posture quickly disappears as she crouches down, facing the floor with both arms hanging down between her legs. Her head pops up like she’s alerted to danger, followed by a sudden turn of the torso to her left (our right) in a dipping motion. Her right leg is lifted (bent) forward as her arms windmills backwards (like a swimmer’s backstroke) with elbows bent; it looks like a port de bras pinwheel. Her arms pause as her lifted foot lands. She repeats the short torso dip and arm pinwheel motion, but this time her right foot kicks forward to spin her 180 degrees (now facing our left). With her right arm hanging down emulating an elephant trunk again, she turns on the ball of her right foot 3/4 of a turn clockwise (now facing the audience) to swing her “trunk” above her head. This performer was clearly channeling a baby elephant.

I started going to the gym and also using a Theraband to build up the muscles in my arms that I did not have. After going to the gym for only two weeks, I began to notice a huge difference. Not only in my inversions, but also in Chaturanga and downward dog. In class, in was very rewarding to hear from Professor Hapke how well she thought that I have been working on getting stronger in my arms. Working on my hip alignment was one of the major challenges that I faced in both Modern and Ballet last year. I worked extra hours outside of class to improve this and it is still something I am trying to work towards. I felt that I needed extra help after mid-term so that I could decrease the use of my hip flexors. As the end of the year approached, I realized that this is something that definitely has improved. I can tell in class that I am using my lower abs and pulling up in my center more than what I was before. Even though I can tell a difference now, I believe that this is something that I will keep working towards to help the alignment issue that is causing hip hiking. The one goal that I stuck with second semester was to come to class

The dancers run out onto the stage and form two straight lines consisting of three girls in the front and three girls in the back. As the piece progresses this formation does not vary other than to switch lines. Once on stage, the music finishes the introduction and the happy, lively, carnival type music begins. The dancers throw confetti onto the audience members and begin their variations of shimmying, hip thrusting, being overly dramatic and movements that were highly sexualized. Each movement seems as though it was choreographed in order to make the dancer’s body shake specifically within the bosom and the buttock. The dancers’ facings were both front and back displaying the entirety of the female body. Within the clip at 28 seconds the camera focuses only on the female’s buttock as it its shaking from side to side in time with the music. By 37 seconds colored streamers fly down from the stage as the dancers walked dramatically in unison

Jane Doe is sedentary healthy, and based on her evaluations she falls under average or above average on almost all categories.

Due to the high physical demands of the entertainment industry, dancers are prone to suffer from many different types of injuries – many of these injuries are more commonly found in dancers than in the general population. Among the most common of spinal injuries is Spondylolysis; this condition can be caused by a number of dance steps and also has many different treatment options.

Motor skills are mostly affected performance skills that A.K. is suffering from. For example, posture, mobility, coordination, and strength/effort are areas affected. A.K. shows spasticity in her lower extremities and trunk. Her legs show substantial spasticity in movement and joint range of motion. A.K. requires assistance with upholding a secure seated position in the bathtub as well as getting and in out of the tub.

Within my performance I was lying on my back, facing the ceiling, I activated a gentle heal rock movement within my heels. The main focus and the initiation would be on the core as well as the hills. Rocking forward and backwards realigning the spine for optimal spinal movement and spinal rotation.

Having started dancing much later than the average dancer, I came to DeSales with one very broad, very vague goal for myself: to grow. I wanted to learn anything and everything as quick as possible. I did not just want to know what things meant, but how to embody them as well. In the past two years here my ultimate goal has not altered much; however, it has indeed become for specified. I now am aware of my weaknesses and strengths, as opposed to when I first began and considered everything to be a weakness. This semester I wanted to set obtainable, yet challenging goals that I look forward to watching myself work towards. I was able to narrow it down to three main areas that I would really like to focus on; pirouettes, petite allegro, and improving on and obtaining the proper alignment of my ribs and lower abdominals.

On March 3rd I went to my sister's gymnastics meet where they stretched, warmed up, and, practiced. first when they stretched they did simple things like Heel to butt, toe touch, and lots of other stretches. when they started to warm up they got on the balance beams and walked back and forth to get ready to practice. some of the other kids Suede back and forth on their hands. finally, when they started practicing they started doing some of the things they learned throughout the season. this the season was balanced beans they had to know how to walk backward on the balance beam and how to stand on one foot on the beam. the component of fitness in gymnastics Is flexibility, muscular endurance, And muscular strength. I was at this event for

In the beginning of the year, from week one to week five, we began learning some of the warmups and getting our body used to dance. I have never taken a dance class before so when I first entered the classroom, I was a little intimidated. One of the first things we learned was a warm up combination. The first part of the combo was where we had our right foot go forward, back to the other foot, side, back to the other foot, back behind us, and then back to the original position while clapping at the end. Then, we would repeat this process on the other side while trying to make your body not so stiff but free flowing. Next, we repeated these two steps fastly and then turn after your foot would return with the other foot. After that, we ran forward, lifting our arms and right leg up “neighing”, and then repeated on the other side. We repeated both sides twice. Next, we went to our right side lifting our right leg up and down on the floor while clapping moving sideways. After a few counts, we woulds lift our arms diagonally to the floor, and fall back to the left side. We would repeat this process on the other side as well. Additionally, we would do the octagon with our feet going back and forward. Once that was done, we would run to the right side and then run back to do the other side again. Lastly, we did the octagon dance again, running, and instead of turning back, we would go into the retire position and turn slightly to the front of the room. Last, we would repeat on the

Breathe in, while slowly lifting your lower back, middle back and upper back off the floor. Gently roll in your shoulders. Touch your chest to your chin without bringing the chin down. Support your weight with your shoulders, arms and feet. Feel your buttocks firm up in this pose. Both your thighs should be parallel to each other and to the floor.