FLEX YOUR KNEES



(By Norma Westover)

Last month, we began 2004 with a new series of articles detailing the body mechanics involved in bellydance. Interested readers may want to check out January’s feature, Tuck Your Hips, to keep the information in order of relevance.

This month’s feature follows the sequence to focus on the very important function of the knees in our dance. Since “bad” knees are such a common problem, we’re going to take an in-depth look at what we should and shouldn’t do with them in order to make the most of our bellydance experience. Again, this may seem like making much of a small issue, but, the mechanics involved are so critical to the health and satisfactory performance of the dancer, that time spent to achieve thorough understanding is a very wise investment.

In many dance forms popular in the western hemisphere, strong linear statements are a large part of the "vocabulary" spoken by a dancer’s moves. Some common examples include the Classical Ballerina on her toes, the quick jabs and scissoring of Celtic step dance, and the ever popular Broadway Chorus line. Danse Orientale, however, is based almost exclusively on curving trajectories (the arms, legs, and head) turning around a central fulcrum (the navel). Because of this, any posture that inhibits the full range of motion of any of the body’s parts is counterproductive. Tucking the hips allowed us to free up our spine; now, flexing our knees adds three more important functional options to our posture.

First, flexed knees liberate the up-and-down motion of the hips and eliminate the stiff, linear look so antithetical to bellydance. If you doubt it, stand up and try a "hip bump" or "hip drop" with knees locked, then flexed. You’ll quickly note the superior range of motion and fluidity afforded by bent knees.

Next, flexion of the knees allows us to create dramatic effects within standard movements by varying our height. Try a series of "body waves" or "camel walks" with and without your knees locked. The dancer whose knees remain in the flexed, dynamic position simply has more options for visual excitement at their disposal.

Last, but definitely not least, properly flexed knees prevent bone and joint injuries by serving as nature’s little shock absorbers. Many dancers fear injury of their knees, or have had knee problems prior to trying bellydance. Since the flexed-knee motions involved in bellydance closely resemble the dynamics of a weight-bearing squat exercise, we’ll take a look at some simple ground rules for keeping our knees healthy in a squat-type movement.

Keep your toes in line with your knees: Since squats subject the knees to heightened pressure, dancers with weak or injured knees should keep them aligned with the direction of the toes. Ideally, your toes should be pointed slightly outward; for optimal patellar tracking (kneecap movement), an angle of about 10 to 15 degrees is generally best. While it is true that some bellydance steps almost require a pigeon-toed or splay-footed stance for maximum effect, a dancer whose knees pose a challenge should limit those movements to occasional accents, bearing as little weight as possible on the knee joints at all times.

Don't push your knees forward: A good rule of thumb is to avoid allowing your bent knees to travel significantly past the tip of your toes. As you descend into a squat, patellar compression forces turn into shear forces. Under normal circumstances, these forces are well tolerated by the knees. However, if your knees move out too far forward of your feet, the shear becomes excessive. This can overload soft tissue structures, possibly leading to strains or tears of the tendons and/or ligaments associated with the patella. To avoid this fate, sit back into the movement instead of pushing forward. The back bend and most floorwork falls into the category of movements that involve significant risk of shear.

Don't lock out your knees: All too frequently, the novice dancer will completely straighten the knees when rising out of a lowered posture. However, not only does this take stimulation and toning benefits away from the thigh muscles, it also places a great deal of stress directly on the joints. When the knees are rigidly locked, there is bone-to-bone contact between the femur (thighbone) and tibia (shinbone). To avoid potential tissue destruction, always stop just short of lockout, keeping continuous tension on your thighs at all times. Your moves will look great, and you’ll reap the added bonus of shapelier thighs from "exercise" that’s so much fun, you won’t even think of it as work!

Dancers with very weak or injured knees may want to begin a daily, gentle squat-type exercise routine for a period of time to help build up the muscles and bones of their knee joints. Always consult your physician for individualized instructions! Remember, the dance should always be a challenging but pleasureable experience; committing these simple basics to memory will help insure it stays that way. Have a great month!




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KEEP YOUR RIBCAGE LIFTED!
Copyright 2004 Helena Vlahos all rights reserved