I started exploring the field of fascial research in college, and dove deeper into the Anatomy Trains method through my work at Structural Elements. The idea is, putting it as simply as possible, that when one part of the body moves, the whole body responds because of the fascial connections that reach throughout the whole body. We don’t just look at the individual muscle as a “problem”. We look at it in the context of the muscles around it, the neurological and vascular connections, the entire line in which that muscles resides (including organs), and movement compensations around the joint in question.
The classic kinesiological model of action/origin/insertion is what I memorized throughout my college Kinesiology degree. The problem with this is a very reductionistic view of how the body actually moves, so minimal even that it becomes inaccurate at times.
From a dancer’s point of view, this is a completely obvious concept. For example, the classic kinesiological mechanism would state that in order to get your développés higher, you simply need to break down the biomechanics of the joint action and work with those muscles that complete those actions. So you would need to strengthen the muscles that flex the hip, externally rotate the hip, abduct the hip and extend the knee to développé a la seconde.
If you were in an isolated system or a robot, that would make sense and probably be more successful than in real life application. The Anatomy Trains mindset takes more things into consideration in this scenario: What lines are involved in this movement pattern? Where are the lines short, long, or undifferentiated? Do the fascial lines opposing this movement have the ability to complete this action? Are there any nerves held preventing this movement? etc.
What are the different Anatomy Trains fascial lines?
Superficial Back Line
Superficial Front Line
Lateral LIne
Spiral Line
Arm Line
Functional Line
Deep Front Line
The following are summaries of some of the dance-related problems with each of these lines. These lists are not inclusive, and as you can see there are a lot of cross over between lines. There is a reason that all anatomy is basically taught today in the reductionist model, it is hard to keep it all straight! In breaking it down in a list like this for organizational purposes, I will just trust that you understand that all the lines work together and there isn’t just a clear cut answer to every problem.
Also it really will depend on YOU and your compensation patterns, current movement regime, and injury history. If you are in Texas come see us and share with us your story and we will figure out together what is going on! PLUS! If you become a Patreon subscriber, you will get 10% off your first sesh with me!
SBL problems: Limited plié depth, “tight” achilles, plantar fasciitis, toes “crunching” in tendu/relevés, heel spurs, hyperextended knees, knees rotated in,“tight” hamstrings, SI joint problems, anterior tilted pelvis, posterior tilted pelvis, lumbar lordosis, scoliosis, limited cambré, low arabesque, forward head posture, headaches
SFL problems: Low relevé, high arches, shin splints, can’t straighten knees, low devéloppés, anterior tilted pelvis, posterior tilted pelvis, sluggish digestion, chest dropped, shoulders rolled in, forward head posture
LL problems: flat feet, sickled feet, limited plié depth, X leg pattern, bow leg pattern, “tight” IT band, lumbar compression, ribcage shifted, problems with balancing on one leg, lack of stability in the obliques, limited shoulder mobility,
SPL problems: if you have a good/bad side then you probably have an imbalance with the spiral line, all types of rotational problems, flat arches, “tight” hamstrings, low devéloppés, different leg lengths, “winged” scapulas, rotator cuff issues,
Arm Line problems: anything having to do with the shoulders, arms, wrists, and hands. Usually anything with the arm line comes from a lack of support from the ribcage.
DFL problems: fallen arches, bunions, “tight” calves, X leg pattern, bowed legs, stabilization in the legs, psoas function, snapping hip syndrome, lack of turn out, breathing, deep abdominal stabilization, pelvic floor problems, over-clenching jaw
My next series of posts will be going through each line in detail highlighting some important movements that you should incorporate if you are having trouble with a line in particular. Working with a specific problem? become a Patreon subscriber to view these subsequent posts/videos/discussions over the different Anatomy Trains and what that means for you as a dancer!