ballet technique

The Pilates Method and BalletTechniqueApplications in the Dance Studio

Elizabeth Lowe Ahearn, B.F.A., M.FA

Summary

There are many body therapies from which dancersmay choose in order to gain and maintain strength,flexihility, and balance and to avoid injury or facilitaterehabilitation from injury. The questions are: whichsystem is best for the given student, and how can edu-cators incorporate the many somatic perspectives intotheir curriculums. This article describes how Pilatescan be integrated into ballet technique class. Attentionis given to the potential physical benefits of Pilates,how Pilates mat work can support the movementobjectives of a ballet technique class, and the technicaland anatomical knowledge gained by the instructorand student through the use ofthe method.

Joseph H. Pilates developed "The Art of Con-trology," now known as simply "Pilates," at theturn of the 20th Century.^ Dissatisfied with

existing methods of physical training and desiringto strengthen his own body, Pilates studied Easternand Westem exercise disciplines. He combined whathe believed were the best qualities of each to createa unique and beneficial workout system.

Pilates demands the integration of mental andphysical control, which includes: breathing, flexibility,strength, and precision. This combination—exercising

Elizabeth Lowe Ahearn, B.F.A., M.F.A., is an Assis-tant Professor of Dance, at Goucher College, and ison the Dance Faculty at Carver Center for Arts andTechnology, Baltimore, Maryland.

Correspondence: Elizabeth Lowe Ahearn, B.F.A.,M.F.A., Goucher College, 1021 Dulaney Valley Road,Baltimore, Maryland 21204.

the mind and the body while developing and improv-ing strength, joint range of motion, postin-e, and co-ordination—initially attracted a number of talenteddancers. These dancers included such well-knownfigures as Hanya Holm, Ted Shawn, Jerome Robbins,Rudolf von Laban, George Balanchine, Pearl Primus,Suzanne Farrell, and Martha Graham.^ The Pilatesmethod has continued to grow in general appeal sinceJoseph Pilates moved to the United States in 1926.Over the years, many dance companies and danceschools, such as Ballet British Columbia and TheNational Ballet School, have introduced their dancersto the Pilates method.^ Further, several college andsecondary dance programs such as Goucher College,Harid Conservatory, and York have added Pilatescourse offerings to their curriculvmi.

One ofthe many benefits of Pilates is its versatility.Exercises may be adapted for individuals of all fitnesslevels and age groups from age 12 and up.* Empha-sizing correct breathing, body alignment, and pelvicstability, Pilates uses the ahdominals, lower back, andgluteals as a power center. This enables the rest ofthe body to move freely, creating a healthy, rigorous,and symmetrical workout for all muscle groups. Theresult is a leaner, stronger body and a valuable coreor center. The outcome for dancers is improved align-ment, increased muscle fiexibility and strength, andmore balanced development ofthe musculatin-e.^

Pilates exercises consist of over 500 specificallydesigned low-impact movements performed on eithera mat (the most popular piece of equipment with a rep-ertory of approximately 34 exercises) or on eighteenspecialized pieces of equipment. In order to teach matexercises, instructors need proper training, ideallycompleting a Comprehensive Teacher Gertification

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Journal of Dance Education Volume 6, Number 3 2006 93

with "practical knowledge of the complete exercisesystem and the ability to modify exercises vwthoutlosing their main intent."^

Key Terminology and Six FundamentalPrinciples of PilatesThere are several key terms with which the Pilatesparticipant should be familiar. According to Gallagherand Kryzanowska,'' these include, but are not limitedto, the following:

Powerhouse—the group of muscles that initiateall exercises; these muscles consist ofthe abdomi-nals, lower back, hips, and gluteals.Navel to the Spine—the action of pressing thebelly toward your spinal column, allowing theabdominal wall to flatten while strengtheningand stretching the lower back muscles.Pilates Stance—a slight external rotation of thelegs (not to be confused with first position in bal-let); the quadriceps should be disengaged and thebuttocks, hips, and inner and outer thighs shouldbe engaged. Pilates stance requires the knees andheels to remain in contact at all times.The Box—the lines created from shoulder toshoulder and from hip to hip. The box serves as amental and physical reminder of symmetry.Avoid Hyper-extension—the stretching of thelimbs vdthout locking or hyper-extending them;limbs never should be hyper-extended.Although there are numerous approaches to teach-

ing Pilates, most certified teachers adhere to the SixPrinciples of Pilates: Control, Concentration, Center-ing, Flow of Movement, Precision, and Breathing.^

Control is the foundation of the Pilates method.While performing Pilates, there should be no hap-hazard or extrEineous movement. Exercises shouldbe executed with attention to detail and muscularcontrol in order to prevent injury and achieve optimalresults. Every part of the body has a function and aplace. For a dancer, control is essential. Without it, thedancer and audience become distracted by unneces-sary movement.^

Concentration is imperative in attaining a con-nection between the mind and the body. In Pilates,the mind clearly leads the body to work properly andefficiently. As Joseph Pilates expressed, "Concentrateon the correct movements each time you exercise, lestyou do them improperly and thus lose all the vitalbenefits of their value."^

Centering refers directly to what many instructorscall the "powerhouse." These muscles include the ab-dominals, lower back, and gluteals. The "powerhouse"or "center" initiates movement, stabilizes the torso,and aids in pelvic stability. It is also an essentialfactor in efficient posture. In ballet the center refers

to a point in the middle ofthe pelvis, approximatelydividing the individual in half °̂ For the dancer, it isessential that the core be strong so that movementcan be performed with proper artistic intent, control,and balance.

All exercises and movements in Pilates, as well astransitions between exercises, are performed with flu-idity or Flow of Movement. There is never any ballistic,static, or jerky movement. As in dance, students mustlearn how to gauge their energy in order to achievecontrol and precision without a disjointed effect.

In Pilates, the focus is on Precision rather thanspeed, and on form rather than quantity. Withoutprecision of movement, students cannot attain flowor control. Pilates works the whole body; therefore,attention must be given to every detail ofthe move-ment and form ofthe body at every moment in orderto derive optimal benefit. Similar to ballet, transitionsare as important as the positions that precede and fol-low them. Ideally, the body should achieve exactnessin movement performed with harmony and grace.

Last, but equally important, proper Breathing isessential. Joseph Pilates incorporated full inhalationsand exhalations in order to energize and revitalizethe body and to allow the muscles to work more ef-ficiently. While performing Hlates, it is important tobe cognizant of one's breathing and how it coordinateswith the movement being performed.

As students begin their studies, they are likely to beoverwhelmed by how the Six Principles transform thebasic exercise system into a complex world of motion.While each Pilates exercise is designed to include allsix elements, it is suggested that pupils attempt oneconcept at a time and add concepts as muscle memoryand technique become more habitual."

Application of Pilates in the ClassroomCollege-level resources sometimes provide the op-portunity for Pilates apparatus courses to become anintegral part ofthe curriculum. Ideally, these classesserve as a complement to the dancers' conditioningprogram, separate from and as augmentation totheir daily technique classes. At Goucher College,students have the opportunity to enroll in one of twoPilates coiirses for either academic or audit credit. Thecourses serve as electives and students are required toattend one apparatus and one mat class per week. Atthe secondary level, this opportunity is seldom avail-able due to limited resources. Therefore, integratingPilates requires creative and detailed plarming.

Carver Center for Arts and Technology, a BaltimoreCounty public school, is a countywide magnet schooloffering college preparatory academic curricula forstudents in grades 9 through 12. Students qualifyfor admission to Carver by competitive auditions.

94 Journal of Dance Education Volume 6, Number 3 2006

The academic program provides a range of advancedplacement, giflted and talented, honors, and standardcourses that are delivered in 90-minute class periods.The gifted and talented dance curriculum provides theresources and schedule parameters for Rlates matto be added to the existing ballet technique classes.The remainder of this article will focus on Pilates asit relates to Carver's intermediate gifted and talentedballet technique classes.

Gradually incorporating Pilates exercises prior toballet barre over the course of four quarters seemsthe most beneficial. This allows students to bringtheir minds to class, to find their centers, and to in-crease circulation, all of wbich aid in the warm up oftheir bodies prior to standing work. Ideally, tbe sameteacber sbould instruct botb components of tbe les-son. In tbis way, objectives can be pursued and cross-referenced as eacb unit is introduced, and transferof learning across disciplines is facilitated. Practicalobjectives include:

• Increased awareness of tbe body's capacitiesand limitations,

• Maximized muscle efficiency (strengtb, flex-ibility, control, and stamina),

• Pronounced prevention of injury,• Improved technical ability,• Enhanced dynamic posture and alignment,• Accelerated rebabilitation wben applicable,

and• Longevity of career.Prior to introducing students to tbe Pilates method

kinestbetically, students complete Unit I: Anatomyand Dance Kinesiology, Tbis unit covers basic anato-my A variety of readings get students tbinking aboutstructural differences and limitations, tbe overallpbysical demands of dance, and tbe safe execution ofpbysical movement in space.

Next, pupils complete Unit II: Introduction toPilates, Tbis unit includes readings (see SuggestedReading) on tbe bistory of Pilates and its Six Prin-ciples tbus preparing students for tbe pbysical ex-perience tbat follows in Unit III, Upon completion ofeacb reading, tbe first 10 to 15 minutes of class is usedto discuss exercise details and tbe overall benefitsof studying Pilates, as well as to answer questions.Students can begin to imderstand tbe value of Pilatesand tbe importance of cross-training tbeir bodies forinjury prevention.

Upon completion of Units I and II, students areusually intellectually ready to experience Unit III:Tbe Modified Beginner Pilates Mat, during wbicbtbey begin to kinestbetically leam and perform matsequences. Prior to teacbing tbe first exercise, note ismade of any injuries, skeletal deviations, or muscularimbalances tbat may bave been observed in previous

tecbnique classes so tbat adaptations, if needed, can bemade to tbe exercises. Students' needs vnll differ ac-cording to tbeir strengtbs, weaknesses, past injuries,body build, and level of ability.

Unit III begins by teacbing tbe eight exercises tbatserve as an introduction to tbe Pilates mat, Tbeseeigbt exercises are modified in order to introduce eacbstudent's body to tbe work safely. It is beyond tbe scopeof tbis article to describe tbe exercises in detail or tonote tbe precautions for eacb exercise, but a list of tbesequence, common modifications, and otber pertinentdetails subject for discussion are included in Table 1,Attention is given to proper form and breatbing, per-mitting students to gain strengtb and control wbilecreating a solid foundation upon wbicb to leam tberest of tbe mat system. Topics include detailed dissec-tion of eacb exercise as well as tbe primary benefitsand goals of proper performance. As students initiallybegin to leam tbe basic mat work, tbe instructor willneed to devote class time for exploration and discus-sion. After basic concepts are mastered, and exercisesbecome more familiar, tbe Pilates component of classmay take only 15 minutes.

Upon completion of mat work, tbe transition fromsupine and prone exercises on tbe mat to standingbarre work is particularly crucial, Tberefore, barre isbegun witb a plie combination tbat bas already beenmastered by tbe students, Tbis allows tbe new sensa-tions and knowledge gained from tbe Pilates exercisesto be assimilated into preliminary barre work witb asfew distractions as possible. Students' ability to dancewitb proper use of tbe powerbouse (center), attentionto tbe Six Principles of Pilates, increased awarenessof personal imbalances, and overall knowledge of tbeimportance of anatomical integrity, clearly begins toenbance tbeir studio performance. For example, asplies are performed after completing mat sequences,students are more likely to be aware of eacb body seg-ment and to tbe proper position of tbe back and pelvis.Upon completion of Unit III, as well as all followingunits, students are tested on mat sequence, recom-mended repetitions, modifications, and tbe purposeof eacb exercise, in addition to tbeir knowledge andfamiliarity witb tbe assigned reading.

Upon satisfactory performance of tbe modifiedbeginner Pilates exercises, students progress to UnitIV: Tbe Beginner/Intermediate Pilates Mat, and beginto add new mat exercises to tbeir repertory Primarymuscle groups are reviewed, proper breatbing andform are detailed and reiterated, and terminologysucb as fiexion, extension, and rotation are explainedand applied to eacb exercise. Once exercises are mas-tered, new ones may be added to students' repertory.Over time, dancers can gain tbe ability to self-cor-rect errors in placement and performance and, most


importantly, to avert them. They create kinesthetic,visual, and intellectual references that allow themto perform Pilates and dance sequences more effec-tively.

The last unit of study focuses on Pilates and itsrelationship to ballet technique, prevention of injury,and proper placement. Unit V: Pilates, Ballet Tech-nique, and Performance focuses on the students'understanding of Pilates and the method's ability toimprove muscular strength, balance, and flexibility,and mental and physical control that are pre-req-uisites for classical dancers. Students continue toperform Pilates exercises learned to date with greater

Table 1 Beginner Mat Exercises*

precision and coordination. The relationship betweenspecific mat exercises, proper placement, and classi-cal vocabulary performed at barre and in center areemphasized and discussed. By fourth quarter, matexercises are performed twice per week.

Pilates Exercises and Principles for Useby the Dance TeacherBut how does the instructor with limited knowledgeof Rlates incorporate this information and work intoher classroom? Material from Unit I and II can eas-ily be used in any technique class. Instructors canptirchase a variety of texts (see Suggested Reading)

100 • 10 sets • BeginnerSample discussion/topics: keep upper body still while pumping, maintain proper placement ofthe legs, visually focuson navel, keep base of shoulder blades on the mat, use ofthe powerhouse in technique class(3oals: warm-up, circulation, breathingFirst leam with modifications: feet on mat with head down, or soft knees with chin to chest, begin with 20 repetitions(or 2 sets) and gradually increase to 100 (or 10 sets)

Roll-Up • 5X • BeginnerSample discussioti/topics: maintain Pilates stance, placement of arms at 45 degrees over head, no tucking of pelvisGroals: articulate and strengthen the spine, lengthen the spine, stretch hamstrings, work the powerhouseFirst leam with modifications: half roll-up, knees bent

Single Leg Circles • 5/5 • BeginnerSample discussion/topics: proper size of circle, ideal breathing pattern, exaggeration ofthe cross ofthe leg, stableand anchored hips, relationship ofthe exercise to rond de jambe and other rotary movementsCroals: control of hips and legs, stretch hamstrings, articulation ofthe leg in the hip jointFirst leam with modifications: one knee bent with foot fiat on fioor, complete smsJl circles with limited ROM

Rolling Like a Ball • 6X • BeginnerSample discussion/topics: initiation from the powerhouse, proper breathing pattern, placement of hands, shape ofarmsGioals: massage ofthe spine, balance, control, strengthen the powerhouseFirst leam with modifications: soft knees, hands behind thighs, roll down the spine until elbows are straight

Single Leg Stretch • 5-lOX • BeginnerSample discussion/topics: proper breathing pattern, correct knee alignment, keep elbows open and shoulderssquareCroals: hamstring stretch, powerhouse strength, back stretch, coordinationModifications if needed: soft knees, hands behind hamstrings, head down

Double Leg Stretch • 5-lOX • BeginnerSample discussion/topics: ideal placement ofthe legs, proper coordination of arms, maintadn chin to the chest, coor-dination of hmbs and the importance of coordination in technique classGioals: strengthen the powerhouse, stretch the arms and legs, breathingFirst leam with modifications: arms only with head down, add legs with chin to chest when ready

Spine Stretch Forward • 3-5X • BeginnerSample discussion/topics: placement of box: fiexion of ankles, keep arms parallel to fioor, keep legs parallel, weighton the ischial tuberosity (sitz bones). Relationship to alignment at barre and centerPrimary muscles: rectus abdominus, obliques, iliopsoas—also arm fiexorsGoals: articulation ofthe spine, stretch hamstrings and back, breathingModifications if needed: softly bent knees

Seal • 6X • BeginnerSample discussion/topics: clapping at proper times, transition to standing, clap legs not feet, fiexionGroals: massage the spinal muscles, balance, coordination, loosen hips, cool downPrimary muscles: iliopsoas, obliques, rectus abdominus—also hip and arm fiexorsModifications if needed: clap legs without rolling, clap only when sitting

*Developed by Elizabeth Lowe Ahearn, Pure Pilates, Inc.


for their pupils that introduce basic anatomy andkinesiology, prevention of injury, and overall condition-ing specific for dancers. The information gained fromsuch resources will help students better understandthe correct way to work, and why working correctlyis so important. ̂ ^

There are several modified mat exercises thatare relatively safe for the uncertified teacher to use(Table 2).

Instructors without extensive knowledge of Pilatescan apply the Six Principles to mat exercises as wellas to barre and center work. This dissection allowsstudents to fully understand their value. For example,as Valerie Grieg notes, movement is initiated not inour muscles, bones, or ligaments, but in that part ofthe brain known as the cerebral cortex. ̂ ^ Undeniably,the role ofthe central nervous system is crucial andmust be balanced with the muscular system in orderto properly perform technical skills. To this end theremust be complete concentration during class, for it isin class where we nurture and refine motor skill per-formance." Moreover, center awareness can enhanceperformance. The superficial and deep abdominals

work together with the muscles ofthe hip to establishthe position of the pelvis and preserve its relation tothe rib cage.'̂ The gluteus maximus plays a prominentrole in jumps, battements derriere, and in abductionand adduction of the leg and the gluteus minimushelps to stabilize the pelvis and works to support thebody when dancers are standing on one leg.̂ ^

Furthermore, dancers must strive for flow, not onlyin primary movement, but also in transitions, prepa-rations, and conclusions. Pilates can assist studentsto "acquire an understanding of how much effort isneeded for a particular motion and to leam how toisolate the prime movers fi-om the supporting areas.""Emphasis on precision, rather than quantity, helpsstudents achieve proper muscular strength, control,and coordination without fatigue and injury. GigiBerardi states "it's not how much one trains that'simportant, it's how one trains."̂ ®

Last, breathing and precision in initiation impactperformance skills and lead to better efficiency ofmovement. 1̂ Grieg noted that improper breathingoften "manifests itself in strains and tensions through-out the trunk, most noticeable in the muscles of the

Table 2 Modified Beginner Mat Exercises for Use by the Uncertified Dance Teacher*

100 • 10 Sets • Beginner(1) Begin lying on the back with the knees pulled into the chest and the arms by the side resting on the floor.(2) Pull the chin to the chest and look at the navel. Keep the knees bent, and together, keeping softly pointed toesraised slightly above the knees. The tips ofthe shoulder blades remain on the floor.(3) Begin pumping the arms up and down—as high as 6-7 inches off the floor—^while maintaining long stretchedwrists.(4) Smoothly inhale for 5 counts/pumps and then exhale for 5 counts/pumps for a total of 50 pumps. Increase to 100counts with time and practice.(5) Finish by returning the head to the floor and by placing the feet on the floor with the knees bent and together inpreparation for the Roll-Up.

Roll-Up • 5X • BeginnerThe preparation for the Roll-Up is an introduction to all rolling exercises.(1) Bring the arms overhead in line with the ears keeping the ribs soft and the back long. Reach the arms verticallyto the ceiling with an inhalation as the head peels off the floor and the chin pulls to the chest. Do not let the tips ofthe shoulder blades come off the mat.(2) Exhale to roll back down the spine placing the head on the floor and reaching the arms overhead. If successful,progress to step three.(3) Again, bring tbe arms to vertical and peel the head off the floor. Inhale as each vertebra peels off tbe mat. Continueto roll up to sit on the sitz bones with an exhalation. Keep the chin to the chest and finish with the arms parallel tothe legs.(4) Roll down the spine with an inhalation re-attaching eacb vertebra to tbe mat. As the shoxilder blades make contactwith the floor, exhale to place tbe head on the mat and retum the arms over head. Repeat 5 times.

Single Leg Circles • 5/5 • Beginner(1) After flnishing the preparation for the Roll-Up, retum the arms to resting by the sides. Knees remain bent withthe feet flat on the floor and the knees together(2) Tbe right leg extends to the ceiling in a Pilates stance. The left leg maintains its position with tbe left foot flrmlyplanted on the floor.(3) Inhale as the right leg creates a small circle across the body to the left shoulder, down, around (in Une with theright shoulder), and then exhale as the right leg circles back to center witb a strong accent. The circle must be per-formed with stable bips.(4) After 5 repetitions, clockwise and counter-clockwise, repeat the exercise with the left leg.


Table 2 (continued)*

Rolling Like a Ball • 6X • BeginnerRolling Like a Ball is an exercise for the powerhouse and serves as a massage for the spine. Be careful not to rollonto the neck or to allow the head to be thrown back during the exercise.(1) After finishing the Single Leg Circles, roll up to sitting, place the hands on the fioor next to the hips, and lift thebottom toward the feet.(2) Hold trader the thighs and shift back to balance on the coccyx. Pull the chin into the chest and lift the elbows upto the sides. Try to create a letter C with the spine. At all times the feet should be off the fioor and the heels shouldbe pulled toward the buttocks.(3) Maintaining the shape ofthe body, inhale to roll back until the tips ofthe shoulder blades touch the mat and thenimmediately roll up to balance on the coccyx. Repeat 6 times.

Single Leg Stretch • 5-lOX • Beginner(1) Upon completion of Rolling Like a Ball, place the feet on the fioor and the hands by the hips. Lift the buttocksaway from the feet, roll to the back, and draw the knees into the chest.(2) Pull the right knee into the chest as the right hand grabs the right ankle and the left hand grabs the right shin.Simultaneously stretch the left leg vertically to the ceiling.(3) Without disturbing the torso, switch the legs and arms to bring the left knee into the chest to perform the otherside. Alternate the legs and arms for approximately four sets. Keep the head on the mat until coordination is achieved.Slowly increase repetitions to 10 sets.

Spine Stretch Forward • 3-5X • BeginnerConclude mat exercises with the Spine Stretch.(1) After performing the Single Leg Stretch come to sitting with the legs parallel in front ofthe body and open oneinch wider thsin shoulder width. The knees can be softly bent in order to maintain an erect spine.(2) Inhale as the ankles fiex and the arms extend straight in front ofthe body parallel to the legs.(3) Exhale as the chin falls to the chest and roll down the spine attempting to put the crown ofthe head on the mat.Preserve the position ofthe pelvis.(4) Inhale to roll back np the spine to vertical, maintaining equal weight on the sitz bones to sit tall with correctposture. Repeat 3-5 times.

*Developed by Elizabeth Lowe Ahearn, Pure Pilates, Inc.

shoulder girdle, neck and jaw, but probably the mostessential ingredient is correct alignment ofthe trunk,especially the ribs and pelvis."^" These alignmentdiscrepancies can be immediately addressed and cor-rections may be transferred to standing work, such asplies, facilitating efficient breathing and allowing thedancer to exhale more fully during the descent oftheplie and to inhale on the ascent. This rhythmic breath-ing minimizes tension and facilitates

The Benefits of Pilates on BalletTechnique and PerformanceFew sports can compare with dance in terms of thetime and technical demands placed on the mind andbody.̂ ^ Further, the dancer must seek optimal re-sponses from the body to meet aesthetic demands.^^According to Solomon, it should be "the main businessof dance technique classes to eliminate the tendencieswhich lead to inefficient and deleterious movementand get the students working in a more effective man-ner."̂ ^ However, regular technique class, by itself, doesnot always provide a sufficient conditioning programfor the prevention of injuries or skeletal imbalancesoften associated with the performance and rehearsal.As muscles are overused, misused, under-trained, or

insufficiently stretched or strengthened, structuralproblems occur.̂ * Injuries, such as stress fractures ortendonitis, can soon follow, and other muscles takeover in order to alleviate pain or to compensate for theinjury. As compensating muscles get stronger, the bodyis further pulled from ideal alignment. Pilates, as withmany active exercise regimens, balances the skeletalmuscles ofthe body that may have been neglected oroverused in class or on stage. It works both on themuscles that move the limbs and other parts of thebody, as well as the muscles that stabilize the trunkand limbs. Without stability and mobility, the dancercannot move the body efficiently or satisfactorily.^^

At Carver, we have found that many students en-ter our dance program with postural and alignmentproblems, muscular inequity, lack of strength, or in-sufficient muscular flexibility. Fortunately, evidenceindicates that good posture and proper body align-ment can be learned or releamed through trainingtechniques.^^ Research concluded that Pilates-basedtraining resulted in dancers having better expres-sivity, intention, and body alignment during dancesequences.^'' Moreover, Fitt found Pilates-based train-ing resulted in dramatic improvements in body align-ment.^' One can assume, from the modest research to


date, that Pilates can be used to improve posture andincrease muscular strength and balance. The additionof Pilates has allowed many Carver dancers to detectand correct errors on their own and eventually leamto avoid them. Furthermore, the weekly regimen cre-ates references (recall and recognition schemata) ofcorrect alignment that can be used during executionof movement in ballet class.̂ ^ For example, studentswith the tendency to hyper-extend, develop a greaterawareness of this habit and the strength to controland address it.

The movements performed in a Pilates class sup-port the movement objectives of a ballet techniqueclass. Like dance, Pilates uses all the planes ofmovement exclusively and concurrently in flexion,extension, rotation, adduction, and abduction. Theconcentric and eccentric muscle contractions andthe promotion of flexibility provide both stretch andstrength, reducing the risk of injury, as dancers' bod-ies are brought to a physical state of balance. Injuries,therefore, are less prevalent.

Pilates also prevents de-conditioning during theheaUng process by allowing dancers to continue tomove through an injury. Modiflcation of mat exercisesaflbrds dancers the opportunity to retum to the studioand the stage more quickly, while reaping the overallbeneflts of exercise. Because Pilates emphasizes the"total integration of the body, it is ideally suited touse with dancers in the rehabilitation of an isolatedjoint."^^ In summary, Pilates gives dancers pertinentinformation about their bodies and how their bod-ies need to perform in order to improve technicallywithout injury. It can serve as a source for dancers toutilize in order to meet their performance goals. Theneuromuscular patterning resulting from precisemovement pattems and coordinated practice duringmat sequences produce heightened balance, muscularcontrol, and overall improved technique.

Knowledge Gained throughIncorporating Pilates into the BalletCurriculumPilates mat exercises allow the teacher to perceivealignment inconsistencies in both the lower and upperextremities. Technical faults, areas of weakness, andanatomical discrepancies can be easier to recognizein students lying supine than in students standingin flrst position at the barre. For example, as legsextend into a Pilates stance in preparation for theHundred, discrepancies in leg length may be noticedor neck tension may be recognized. Injury preventionis largely dependent on both teachers' and students'abilities to make informed movement choices, evalu-ate technical movement errors, and make correc-tions or adapt movement to work within individual

capabilities.^" Pilates, partnered with signiflcant andinformed knowledge of ballet technique, can be usedby the teacher to detect inefficient movement pattemsand to increase the awareness of the body, allowingthe teacher to develop dancers who are less proneto injury and able to engage in dance activities foryears to come.

ConclusionThe Pilates method has been in existence for almost90 years.^" Its effectiveness has been recognized byphysicians, physical therapists, chiropractors, sportsand fltness trainers, choreographers, and performers.Pilates is ideal for retraining, rehabilitating, and re-educating dancers' bodies. It allows teachers to expandand enhance their roles as facilitators and studentsto become more adept self-evaluators, resulting in theoverall enhanced performance ofthe pupil.

Effective strengthening and stretching exercisescan be incorporated into technique classes in a waythat reinforces the central goal: to dance.̂ ^ It is the re-sponsibility of technique teachers to develop students'skills and capacities with the best means possible andto prepare them for dance or dance-related careerswhen they show interest. The resounding problem ishow to balance the artistic and scientiflc aspects ofdance and to find ways that dancers can healthfullyparticipate in dance.̂ ^ Ideally the preference is fordancers to have separate conditioning programs aspart oftheir curriculum. Eealistically, however, thereis often neither time nor resources. "Time spent inclass must primarily be used to perfect the pattemsof coordination that produce dance movement, as wellas reflne the artistry of performance and communica-tion."̂ ^ Pilates provides many effective tools for deal-ing with this often difficult balancing act by providingstudents with both exercises and knowledge of thebody that can complement their technique classesand enhance their general performance for prolongeddance careers.

Suggested Reading

Unit IPaskevska A: Both Sides of the Mirror: The Science and Art of

Ballet. Hightstown: Princeton Book Company, 1992.Grieg V: Inside Ballet Technique. Princeton: Princeton Book

Company, 1994.Watkins A, Clarkson P: Dancing Longer Dancing Stronger.

Hightstown: Princeton Book Company, 1990.

Units II, II, and IVSeiler B: The Pilates Body. New York: Broadway Books,

2000.Gallagher S, Kryzanowska R: The Pilates® Method of Body

Conditioning. Philadelphia: BainBridgeBooks, 1999.


Ungaro A: Pilates Body in Motion. New York: DK Publish-ing, Inc, 2002.

Videos by Classical Pilates, Inc. can be found at www.clas-sicalpilates.net

References1. Seiler B: The Pilates Body. New York: Broadway Books,

2000, p. 2.2. The Great Balancing Act: Elle, October 1991, pp. 110,

116, and 120.3. Crowell T: No pain, no pain. Dance Connection, Sum-

mer 1993, p. 26.4. Gallagher S, Kryzanowska R: The Pilates® Method of

Body Conditioning. Philadelphia: BainBridgeBooks,1999, p. 16.

5. Parrott AA: The effects of Pilates technique and aero-bic conditioning on dancers' technique and aesthetic.Kinesiology and Medicine for Dance 15(2):54,1993.

6. Brown S: Where are we now? Journal of Dance Medi-cine and Science 6(4): 109,2002.

7. Gallagher S, Kryzanowska R, 1999, pp. 13-27.8. Gallagher S, Kryzanowska R, 1999, pp. 12-13.9. Menezes A: The Complete Guide to Joseph H. Pilates'

Techniques of Physical Conditioning. California:Hunter House Publishers, 1998, p. 19.

10. Arnheim DD: Dance Injuries Their Prevention andCare. Princeton: Princeton Book Company, 1986, p.20.

11. Ungaro A: Pilates Body in Motion. New York: DK Pub-lishing, Inc., 2002, p. 13.

12. Watkins A, Clarkson P: Dancing Longer DancingStronger. Hightstown: Princeton Book Company, 1990,p.x.

13. Grieg V: Inside Ballet Technique. Princeton: PrincetonBook Company, 1994, p. 5.

14. Paskevska A: Both Sides ofthe Mirror: The Science andArt of Ballet. Hightstown: Princeton Book Company,1992, p. 146.

15. GriegV 1994,p.31.16. Paskevska A, 1992, pp. 45-46.17. Paskevska A, 1992, p. 42.18. Berardi GM: Finding Balance: Fitness and Training

for a Lifetime in Dance. Princeton, NJ: Princeton Book

Co., 1991, p. 31.19. Brodie JA, Lobel EE: Integrating fundamental prin-

ciples underlying somatic practices into the dancetechnique class. Journal of Dance Education 4 (3): 2004,pp. 80-87.

20. GriegV, 1994, p. 68.21. PaskevskaA, 1992,p. 55.22. Berardi GM: Dance perfonnance and training. Kinesiol-

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