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What Is Meant By “Pull Up”?

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Teacher article

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The dancer of all styles is encouraged by teachers to "pull up" throughout their training. This can sometimes be a confusing correction for the student and often the students will ask what does pull up mean? The definitions of "pull up" in a dance class are many, however the basic premise of pelvic alignment and control using the major muscle groups is common to all.

Pull up starts with the lift of the pelvis off the legs and continues with extension and elongation up through the spine.

The pull up is the lengthening of the spine using the abdominal muscles anteriorly and the gluteal muscles with erector spinae posteriorly.

Pull up can be defined as an activity of the internal and external oblique (abdominal) muscles and transverse abdominals, working to stabilise the pelvis and the spine.

Without pulling up the dancer will have poor postural control which can make the dancer more prone to injury. Placement of the dancers pelvis directly affects the curve of the lumbar spine, which in turn will affect the other spinal curves, their alignment and flexibility.

If the pelvis is not properly aligned this can also impact the dancers breathing, grace of port de bras and placement of the head.

Position of the pelvis also impacts on the position of the hip socket (acetabulum) and the position of the femur, which will have a direct effect on the placement of the lower limbs, knees, ankles and feet both a terre and en lair.

If control of the pelvis is poor, the pelvis may be allowed to tilt anteriorly or posteriorly. The posteriorly tilted pelvis may come about when a teacher incorrectly encourages a student to "tuck in" the buttocks, or as a result of tight or shortened hamstrings due to poor training or following an injury.

The posteriorly tilted pelvis may have the following effects;

· The exaggerated flattening of the lumbar curve can disturb the normal spinal curves above, which may result in the loss of their shock absorption qualities.

  • Predisposition to injury around the lumbar spine
  • The chin can be pocked forward
  • Increased tension around the neck and shoulders
  • The line of gravity can be disturbed
  • Poor weight placement

If the pelvis is tilted too far anteriorly the following problems may occur;

  • Tightening and shortening of the major hip muscles
  • Distorted alignment of the pelvis from tight ilio-psoas
  • Weakened abdominal muscles
  • Hamstrings unable to function properly
  • Losing control of knee alignment
  • Problems with weight transference
  • Loss of lower limb rotation
  • Rib cage may be thrust forward
  • Dancers breathing may then be impaired
  • Tension around the neck and shoulders
  • Weight placement is disturbed, with weight back on the heels

The pelvis may also be allowed to rotate or tilt laterally as the weak dancer "sits in the hip". If this poor alignment continues certain structures may be placed under stress resulting in injury.

Good alignment produces efficiency of movement, which will assist the dancers performance. The body must be well placed and "pulled up" if the dancer is to maintain control. An informed dancer with a clear understanding of how to pull up and how to align the pelvis will be well equipped for a long and injury free career!

Author

Alisa Finney

Alisa Finney

Alisa Finney re launched the Melbourne Ballet Company in 2007 and she carries responsibilities in artistic direction, programming and professional development for the company. Her successful career as a Principal ballet teacher at Gay Wightman School of Ballet for over 20 years is ably supported with an Advanced Diploma in Dance Teaching from the Australian Ballet School (Distinction), Borovansky Memorial Australian Academy of Dancing Diploma, Australian Institute of Classical Dance Licenciate Diploma, Bachelor of Applied Science (RMIT) and Bachelor of Business Administration (RMIT), plus multiple certificates in pedagogical studies that enhance her career in dance education. As Principal of the Gay Wightman School of Ballet she puts on 3 student productions annually with over 400 performers, teaches the Vaganova based BMAAD syllabus from Pre-Primary to Solo Seal and is a teacher of VCE and VET Dance as well as private coaching. Alisa has developed a 13 level elite student dance program- the Melbourne Ballet Company Coaching School, and she delivers and co- ordinates teachers development days in this system of training. Students are submitted in exams for this through the Australasian Dance Assessment. A vision to create a ballet company has been hers for many years. As a manager of a performing arts organisation she has taken the primary role to initiate and develop the Melbourne Ballet Company, securing its clear direction and future through bringing in key alliances and ensuring a stable management structure for the company. To maintain the momentum of a professional company that is high in integrity with committed and loyal personnel in the competitive environment that is Melbournes arts scene has earned her great respect within the industry and abroad. Now in its fourth year of operation, and with nine successful performance seasons, Alisa has provided a surety for Melbourne Ballet Company’s future.

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