Anatomy of a Figure 8
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The movement which we call the Figure Eight is smooth, sensual, serpentine and perhaps the most popular and most accessible of all slower movements in the oriental dance repertoire.
There are many physical benefits to be enjoyed by performing our figure 8 movements.
Because this movement focuses primarily on the pelvis and hips, we must keep the ribcage and shoulders motionless by using isometric contractions of our upper and mid-back, as well as our shoulder blade muscles. This type of contraction will gently and safely strengthen these muscles, which play an extremely important role in maintaining an elegant, upright posture by preventing round shoulders and a slumping chest.
The main movements of the figure eight combine a right and left twist of the pelvis with a half circle motion of the hips. Both of these movements work mainly on the internal and external oblique abdominal muscles to strengthen and tone them, creating a firmer, more shapely waistline. If the movements are performed in a slow and controlled manner, the transverse abdominus is also strengthened. Strong and toned obliques and transverse abdominus muscles can prevent and diminish existing lower back pain and may even help to heal pre-existing injuries.
Another benefit that we can enjoy from performing our figure eights is to create and maintain suppleness of the lateral aspect of the hips particularly the gluteus medius and minimus muscles, through the repeated slow and gentle stretching which occurs during the half moon phase of the movement. These muscles are often overly tense because they are required to stabilize the pelvis during normal standing and walking.
The adductors of the thigh are strengthened by the regular, repeated shifting of the hip from back to front. These very large and powerful muscles play a major roll in keeping the pelvis stable and correctly aligned. This is especially important for belly dancers, because of the fact that our beautiful movements and masterful isolations do have the tendency to make our spinal, pelvic and hip joints slightly hyper mobile.
Technically, the horizontal Figure 8 will also prepare our muscles for more complex movements like the jewel and Zohair Zeki style lateral pelvic shifts and torso locks.
There is no question that we enjoy many ‘physical’ benefits from studying and performing belly dance. However, there are also very many psychological and emotional rewards to be reaped from this very feminine and sensual art form. I have taught thousands of women all over the world for than 30 years and I can say that our figure eight is perhaps THE movement that most spontaneously inspires women to take a chance and begin to explore and express their feelings. As they slowly stretch their muscles through the curving lines, they can not help but begin to connect with the feelings which I believe are contained within the movement itself. Where other dance forms speak of Body Mind Connections, we get to explore the Body Heart and Soul Complex!
Although this essential eight has a thousand and one variations, all of which are a delight to perform and to watch, we will first look at a horizontal, Egyptian style variation.
To begin, the feet should be open to shoulder width. To ensure that you are moving in the correct direction, make sure that you are tracing the eight-pattern around and outside of each foot and hip, crossing directly through the middle between your feet.
The shoulders and rib cage remain immobile, by stabilizing isometric contractions of the right rhomboid, middle and lower trapezius and latisimus dorsi, (diagram 1) while the right hip twists to the front by a shortening concentric contraction of the right external obliques and left internal obliques, (diagram 2), assisted by a concentric contraction of the right adductors of the thigh (diagram 3). As this hip reaches the front, the right hamstrings (diagram 4) contracts concentrically, causing the right knee to bend. Then the right adductors and internal obliques contract and pull the right hip forward, while the weight shifts onto the right foot under the right hip and the right leg straightens through a concentric contraction of the right quadriceps. This causes the abductors (gluteus medius and minimus) (diagram 4) to stretch in a controlled, lengthening or eccentric contraction over the right hip. Then the right lower lumbar erector spinae muscles and left internal obliques shorten in a concentric contraction to pull the right hip from front to side and eventually around to the back in a half circle pattern, until the left hip is twisted forward.
During this half circle part of the movement the weight remains on the right foot. Then the left knee bends from the contraction of the left hamstring, the weight shifts forward and onto the left foot and the left leg straightens as the left adductors and obliques contract. This is controlled by an eccentric stretch of the left gluteus medius and minimus and goes through the lateral half circle on the left until the left hip shifts forward. Then the left lower lumbar erector spinae muscles and right internal obliques shorten in a concentric contraction to pull the left hip from front to side and eventually around to the back in a half circle pattern, until the right hip is twisted forward.
The entire sequence begins all over again.
If we want to perform the half circle portion of the movement more slowly, we can tighten our external obliques on the side of the half circle using our “lengthening” eccentric contractions, while we shorten the internal oblique on the opposite side and compress our transverse abdominus in an isometric contraction. These lengthening contractions allow us to control the rate and texture of our movements by letting us create our own resistance to the movement. When all of the layers of the abdominals work together at the same time in such movements, they also have the added advantage of forming a muscular girdle which develops and maintains core stability in a fun and artistic way.
Happy and Safe Dancing from the Land of 1,001 Muscles!
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