Hadia's International Belly Dance Academy

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I would like to introduce myself to the readers of DiscoverBellyDance.com. My name is Hadia and I have been an Oriental dance artist, instructor and choreographer since 1972. After completing my degree in Theater and the Performing Arts, I devoted my life entirely to dance until undertaking a second career in massage and manual Therapy. I completed my training in Vancouver Canada, at the West Coast College of Massage Therapy, I was trained in a wide variety of manual therapy techniques and through this training, I began to understand the internal, anatomical nature of my external movement patterns.

For example, what a dancer calls a Sohair Zeki side lock became to me a combination of concentric contractions of ipsilateral external/internal obliques, transverse abdominus, quadratus lumborum, serratus inferior, lattisimus dorsi and erector spinae, which is resisted by eccentric contractions of contralateral latissimus dorsi and lumbar erector spinae; supported by concentric contractions of ipsilateral hamstrings, adductors and gluteus medius/minimus.

I also learned that our joints are designed to perform certain movements, while other movements may injure them. For example, the facet joints of the lumbar (lower) spine are designed to permit flexion, extension and side bend, but they resist rotation. Therefore, our twisting rotational movements of the hips should be assisted by flexion of the knees and a slight pivot on the ball of the foot, while the thoracic (upper) spine relaxes to absorb the rotation.

This new understanding of body bio-mechanics has not only refined the quality of my own dance and facilitated my teaching skills, but has allowed me to prevent dance-related injuries in myself and my students.

This is the first in a series of articles wherein I will share some information and offer suggestions pertaining to dancer’s anatomy and injuries.

I.  The Lower Vertebral Column — The Lumbar Spine
The Vertebral Column consists of 3 segments with a total of 24 vertebrae. These 3 segments are as follows:

1. The Lower or Lumbar Spine
2. The Middle/Upper or Thoracic Spine
3. The Neck or Cervical Spine

The entire spine contains three natural curves with the lumbar section curved into a hollow posteriorly, the Thoracic rounded slightly posteriorly and the neck copying the lumbar with a hollow posterior curve. This “S” design allows the spine to act like a large spring to absorb the body’s shocks. Also, in this orientation, the weight of the upper body is distributed evenly between the main anterior body of the vertebra and it’s two posterior facet joints. This tripod distribution of weight lends enormous stability to the entire spine.

Often, these natural curves become exaggerated in oriental dancers with the pelvis falling forwards, the buttocks protruding and the upper back slumping anteriorly with the shoulders rounded. Another variation is to have the upper body hanging backwards off of the lower lumbar region. Not only are these positions aesthetically unflattering, they also hinder the correct execution of technique and may seriously and irreversibly damage the spine and it’s delicate structures.

In the lumbar spine this exaggerated curve causes the weight of the upper body to shift away from the vertebral body and to rest on the small facet joints. The small muscles surrounding these joints will then go into protective spasm to prevent excessive friction and injury. This, in turn, hinders the movement of these joints, causing the larger superficial muscles to overwork and tire easily. This would be like opening a door with a rusty hinge. Also, if these joints remain compressed, the spaces between the vertebrae decrease. The spinal nerves that exit from these spaces become compressed, causing muscle spasm, pain, numbness, tingling etc. through the buttocks, thighs, groin, legs and feet (e.g. Sciatica).

Therefore, in order to safeguard against such consequences, Oriental dance students can take the following precautions:

1. Develop an awareness of correct posture and alignment. The knees should be very slightly flexed, with the lower back relaxed and open to allow the buttocks and pelvis to hang between the hips, while gently engaging the lower abdominal muscles.
2. If a dancer wants to occasionally perform a backbend, the lower back can be protected by bending the knees, tightening the anterior thighs and abdominals and then lifting and opening the chest, while releasing the head.
3. It is also imperative to choose instructors who exhibit correct posture and alignment, both while teaching performing. Bad habits are very difficult to unlearn.

If, however, you have already developed such postural deviations, they can be corrected by using the following program:

1. Stretch the muscles of the lower back for at least 5 minutes, 3 times per day. One easy way is to extremely contract the lower abdominal muscles, as though trying to push the navel through to the back wall. Hold for 2 minutes, relax and repeat twice. If you have a theraball (a , lay face down on it, with arms and legs open for balance, and relax.
2. Stretch the muscles of the front and inner thigh (quadriceps and adductors), as these muscles can pull the pelvis forward.
3. Stretch the iliopsoas, (the deepest anterior abdominal muscle) especially if you have a job that requires long hours of sitting. The easiest way to do this is a lunge position on the staircase with the upper knee bent, the lower leg stretched and the groin as close to the stairs as possible. Hold for at least 2 minutes.
4. After following the above stretch program for several weeks, you can begin to strengthen the lower abdominal muscles. Slow, self-resisted pelvic rotations and undulations are wonderful, especially if we concentrate on an internal lift of the pelvis towards the navel. These movements will also alleviate chronic lower back pain.
5. Crunches should be done with the hips flexed to avoid working the iliopsoas and the knees should be raised and lowered, while the upper body remains on the floor. This will strengthen the lower abdominals and avoid needlessly stressing the neck muscles.
6. Finally, stretch then strengthen the hamstrings. They can become shortened from working in a flexed position and are always weaker than the powerful quadriceps.

This program should decrease an excessive curve in the lower back. However, it is important not to adopt a position of excessive pelvic tilt. This will flatten the back, rendering the shock absorption “S” design useless, while also placing excessive pressure on the vertebral bodies and disks. This can eventually lead to a ruptured or herniated disk, which is a very painful and serious condition.

In my next article, I will continue with the Thoracic and Cervical Spine.

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