Get More Flexible With Safe Stretching and All Natural Nutrition

Here's an article about all natural nutrition and how to get more flexible.

Ballet Warm Up Exercises For Your -Position To The Front

If you are a beginner in ballet classes, adult ballet classes, or with a cheer leading team, safe stretching is an important factor in your training. Following are some safe easy at home stretches with which you can become more flexible. Whatever aspect of ballet/sports/fitness you participate in, these stretches will help for ballet warm up exercises.

Being able to kick, or lift your leg to the front, side, and back, enables you to move more freely and maybe eventually do the splits. You need a daily routine of stretches to become more flexible. You also need to understand a few principles of working safely.

Don't skip a warm up. If you haven't had a class or any other kind of exercise on a day where you decide to stretch, walk on the spot for at least five minutes, swinging and moving your arms freely. This will boost your metabolism and get your muscles a little warm.

For becoming more flexible to the front position, you need to engage your core muscles and lengthen the hamstring muscle(s) that run from your butt bone to the areas around your knee. There are two ways I recommend for this. If you are not able to lift or kick your leg to the front without the movement causing a change in the position of your hips, here's a great exercise. Stand in front of a chair. Lift one leg up and place it on the chair. Bend the standing leg, keeping your pelvis upright and your back straight. If you feel tension down the back of the leg on the chair, stop there. Very slowly lean forward, back still straight. You may only move a quarter of an inch, this doesn't matter. Don't let your back round. Hold this position for 15-30 seconds. That's your stretch. No bouncing or pulsing. Release up a little, then repeat. Change legs. As you get used to this you can do more repetitions on each leg. You want a stretchy feeling, but not pain.

You will feel a place where the muscles will let go a little, allowing more of a stretch. This is the "stretch reflex".

If you can already easily lift or kick the leg to over 90 degrees, or above your hip height, you can put your leg up on a ballet barre or counter top, keeping your hips facing to it. Maintaining a straight pelvis/back, lean over the leg slightly, while pressing the leg down. Hold 15-30 seconds. At some point you will feel the stretch reflex, maybe not on the first repetition. Do the same number of reps on each leg.

After a class or workout is an ideal time to stretch, but sometimes that's not possible. Always warm up for safe stretching.

With these ballet stretches, you will become more flexible for your ballet moves or cheer leading choreography.

Get more ballet warm up exercises, with the fast download The Ballet Bible.

Avoid Knee Pain And Understand Overpronation With Flat Feet

How To Avoid Knee Pain

Over-pronation is the inward roll of the foot while standing, walking, running or dancing. Allowing the foot to roll inwards causes noticeable internal rotation of the lower leg and knee and can influence the body's posture.

This can result in extra strain on the lower body and can cause foot pain of the arches, heels and ankles, knee pain, leg pain, and lower back pain. A ballet student only needs to understand this, and can correct flat feet by developing the sole of the foot muscles.

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Studying ballet without correcting pronation can lead to

• Knee pain

• Shin splints

• Arch pain

• Overall tension in the lower leg

Flat feet may be flexible and may show a curve when pointed, but on the floor, they still need to be supported properly.

Rolling ankles, with the lower leg internally rotating inwards, and the thighs turning out, can eventually lead to a twisting of the knee joint with irritation, inflammation, and pain.

Excess wear on the inner sides of the street shoes, is an obvious sign of over-pronation.

If you can get a parent or a fellow dance student to take a picture of your flat feet standing in parallel, (from the back) you'll see if you are rolling in from the heel, with your arches mushed on the floor.

See if your heels lean inwards and if your kneecaps turn inwards while standing.

This would be in a relaxed position, not holding your thighs in any particular way.
You'll see that if you then turn out, your feet may adjust somewhat, with the heels pulling up straighter, and the arches maybe lifting a little.

This will definitely help avoid a knee injury.

However, holding your turnout is not enough to correct this. Also, just lifting the arches up by rolling outward is not a good correction.

Locating and strengthening the tiny foot muscles (demonstrated in The Perfect Pointe Book)is your best bet to not compensate for flat feet in the wrong ways and then send the feet's workload up into the calf and shin muscles.

If you already have ankle, lower leg or knee pain, see a chiropractor, physiotherapist or a podiatrist. You may need orthotics (supportive shoe inserts) and even a heel counter (an insert in the heel of your shoe that stabilizes your heel position) in your street shoes.

This heel counter should fit well to prevent extra movement and twisting ankles.

Morton’s foot (big toe shorter than second) can cause a slight roll inward when the foot moves upward to rise or take off for a jump. Even though weight goes off the foot in many of these movements, just try counting how often in a class that happens - and imagine the uneven pressure on the feet muscles and bones.

Having the weight spread evenly from the center of the heel, big toe joint and little toe joint, is your foundation. It gives the level base, just like the platform a house is built on, for your skeleton to stack up above.

Understanding flat feet, over-pronation, and the possibility of foot/calf/shin/knee sprain, will help you prevent dance injuries.

THE PERFECT POINTE BOOK will help you avoid knee pain.


D. Buxton is a writing partner with Vone Deporter, of The Sedona Series, about a surfer girl in pointe shoes.

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The Care Of Shin Splints - Or Prevent Shin Splints By Building Strong Foot Muscles

Understanding shin splints requires knowing how to use your foot muscles properly.

This affects all your ballet positions and movements. Even more basic, is understanding where your weight should be on your standing foot/feet.

If not drawn back too much on the heel, the calf muscles and tibial (shin) muscles do not have to strain even before you've made a move.

source.

 To avoid shin splints altogether, check how you're standing in parallel, and how your feet are positioned on the floor.

Ideally, you have arches that don't flatten on the floor when you are standing, and also don't hold an arch shape with a rigid locked position.

The front of your ankle is relaxed because your weight is on the middle of the heel, the outside of the foot at the little toe metatarsal joint, and the inside of the foot at the big toe metatarsal joint.Think "tripod".

The rest of your body is stacked upward from ankle to knee (if your knees are hyper-extended you have been shown how to hold them in a straight position) to hip, through the natural spinal curves to your head.

Imagery-wise, your head floats above all of this. Realistically, you work with your rib cage held but not clenched down, so your neck does not have to compensate with a chin pulling up and forward, eliminating the natural curve.

And all of that has to do with how your feet rest on the floor.

If your feet are flat and soft, standing correctly, turning out correctly and getting the weight distributed on the foot (picture a triangle or tripod) is going to activate the sole of the foot muscles but NOT activate tibial (shin) and/or calf muscles that will strain if your weight has sunk inwards. Dancers call it rolling ankles.

Having the weight a tad forward (isn't that nice and scientific) feeling ready to move into a tendu and take the weight on the standing leg, is an activated but not tense or clenched feeling in your legs and core muscle area.

So even though shin splints are usually associated with jumping on hard floors, or overworking through long rehearsal days, shin splints can start with a lack of understanding just how to stand on your feet - and also not understanding what type of feet you are standing on.

It doesn't MATTER what kind of feet you have. It matters that you know how to use them and improve them, way before you get into pointe shoes.

A foot that is arched but rigid in the mid section can be loosened up with massage, warm foot baths, and regular ballet strengthening exercises.

A soft flat foot can be strengthened and activated properly on the floor.More about that HERE.

A hyper-mobile highly arched foot can be strengthened and controlled by the intrinsic (sole of the foot) muscles.

A less flexible ankle can be stretched properly, starting with relaxing the shin muscles.......that may be strained by weight drawing back on the heel, as mentioned above.

Ideally you prevent shin splints.

If you are past that, you practice good care of shin splints with massage, ice, perhaps rest, and applying all of the above.

Swelling and inflammation of the tibial muscles can get extremely painful, and severe pain should be addressed by a ballet/sports/fitness physiotherapist or chiropractor. There may be a stress fracture present, so it's good to know exactly what you are healing.

Take a look at your parallel bare feet position in the mirror and get your weight placed properly.  

Women and men in sports/fitness/ballet can learn to prevent shin splints with The Perfect Pointe Book exercises and improve reflexes and fine balance, for all dance and sports.

Ballet Pointe Shoes and How to Control Your Professional Footwork

To prepare your ballet footwork for pointe shoes, concentrate on the single factor which will make up for perhaps not getting exactly the right fit with your first pair of toe shoes. It is not the ballet shoe ribbons or the toe padding that you use. It is not your teacher, or the type of dance floor at your ballet studio. It is something you own, and it cannot be taken from you. It is the strength in your tiny foot muscles.

The advantages of developing your intrinsic foot muscles (the ones that are in your feet and are not extensions of leg muscles) are:

* your calf and tibial (shin muscles) will not over work and hold extra tension because of weak foot muscles

* your Achilles tendon will not be prone to dance injuries due to tense calf muscles

* your reflexes will develop in your ballet footwork, giving the needed control and balance

* you will able to use the full depth and power of your demi plie

* you will be able to secure your weight properly on your feet, in the 'tripod' or middle of the heel/at the little toe metatarsal joint/at the big toe metatarsal joint

When you cannot get the exact fit in pointe shoes, compensations can be made with toe spacers, gel padding, heel grips, and sewing wide elastic across the vamp for extra support. These are many methods that dancers use to make their pointe shoes more comfortable.

However, you gain an extra advantage over the availability - or lack of - the specific ballet shoes that you want, when your feet are really strong.

Another wonderful quality you gain from developing the right ballet muscles in your feet is a more relaxed, elegant upper body, helping you attain the impression of effortlessness that every ballet dancer strives for.

When you get into a ballet partnering class (Pas de deux, French words for 'dance for two"), you rely less on your partner for control.

You will also have more of a cat-like quality simply walking in your pointe shoes, not to mention performing difficult classical dance movements requiring finer ballet footwork.

Doing ballet in pointe shoes is not difficult if you are prepared. You'll become the dancer you want to be with strong professional footwork.

Great Reading For Understudies....

http://balletbusiness.blogspot.com/2008/11/being-understudy.html

I just found this article on the blog "Ballet Business". It is good advice!

Ballet Shoes and the Perfect Pointe Muscles

Both young and adult ballet beginners wonder when they can dance in pointe shoes. The process of training foot muscles begins in your very first ballet class.

Learning accurate ballet technique from day one is your best way to get into pointe shoes faster. The Perfect Pointe Book is the best manual I know of to get the best ballet tips.

The proper use of foot muscles begins even before you pointe your foot. Here is a quick review:

Your street shoes! Do you wear supportive shoes generally? If you alternate between pointed toe high heels and flip-flops, you may decide to make a lifestyle change to help prepare your foot muscles for dancing ballet in pointe shoes.

High heels are usually pointed, angling in the big toe. This strains the soft tissues around the toe joint, and ultimately can lead to painful bunions.

High heels will usually throw your posture out of a neutral spine position - which means, that when neutral, all your natural spinal curves are in place, with no unnecessary tension compromising your neck/shoulder/spinal/hip joints.

With all those with neutral spinal position in high heels please raise their hands...you get the idea that this would be rare.

High heels throw your weight forward off the "tripod" platform of even distribution from the middle heel point, to the point at the big toe metatarsal joint and the little toe metatarsal joint, thus the tripod metaphor.

This will affect your posture and muscle tension required to go about life.

Flip-flops force the muscles in the sole of the foot (the exact muscles that ultimately allow you to control your positions and movements in point shoes) to clench, just to keep the shoes on!

You get used to this, but it is a contraction of the foot you would not normally need if you were wearing supportive shoes.

While foot massage, proper stretching, and other foot pampering can partly compensate for flip-flop wearing, would all those who wear flip-flops who daily massage and stretch their foot muscles please raise.....

Worn out oxfords and sneakers (for you men in ballet) will also compromise the daily use of your foot muscles. Your feet have to do what the shoes cannot.

In your first ballet class you will learn how to stand in first position. Here it will most likely be mentioned that your feet should be flat on the floor, foot muscles not clenched in any way. Thus you achieve the tripod weight distribution.

If your feet pronate (ankles/arches dropping inwards) or supinate (rolling outwards) hopefully your teacher will notice and address your posture - spine/hips/knees/ankles, and locate the source of the pronation.

Weak muscles will strengthen, and eventually you can remedy improper foot placement on the floor.

So you see, before you do your first demi plie as a young or adult ballet beginner, you can do a lot to improve your perfect pointe muscles .

D. Buxton is a writing partner with Vone Deporter, of The Sedona Series, about a surfer girl in pointe shoes.

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