Anatomy of a Plie - Essay Sample

Introduction

The skeletal system is central to the execution of the plie. The human endoskeleton is divided into the axial skeleton, made up of the skull, vertebral column, and thoracic cage. The appendicular skeleton is made up of the upper and lower limbs (Kim and Joong-Hwi 223). The lower limbs permit locomotion and constitute the thigh, leg, and foot. Each of the bones associated with the three parts has a special name and function. The thigh bone is known as the femur; the knee cup is called the patella, the leg bones are fibulas, ankle bones are tarsals, while the bones of the foot are metatarsals and phalanges. These lower limbs – thigh, leg, and foot – have thicker bones compared to the upper limbs because they serve to support the entire weight of the human body and withstand all the forces that result from locomotion.

Is your time best spent reading someone else’s essay? Get a 100% original essay FROM A CERTIFIED WRITER!

Order now

Muscular Action

Muscular action in the execution of a demi-plie aims to ensure a perfect posture for power muscle coordination. During a demi plie, movements may occur in any of five primary positions that involve either one or both legs. It entails flexing the ankles, hips, and knees while resting the full foot on the floor. This position helps to lower the center of gravity. It also allows the soleus component of the triceps surae to stretch (Mira et al. 152). The musculoskeletal frame of the human body prepares the dancer for the air work needed to perform a demi-plie.

The abductors, hip flexors, and the external rotators are concentrically contracted. The hamstrings at the knee and the dorsiflexion at the toes and feet also undergo concentric contraction. On their part, the proximal hamstrings and hip abductors undergo eccentric contraction. Other than the rectus femoris located at the hip, all other quadriceps, hallucis longus, tibialis posterior, and peroneus longus also undergo eccentric contraction (Kim and Joong-Hwi 224). The tension applied on the soleus muscle, and the action on the anterior margins of the neck talus' distal tibia determine the depth of the demi-plie.

Movements

The entire action of the body during a demi-plie compares to the movements during the normal dance, sports, or everyday actions. The demi-plie dance action is centered on knee bend. The dancer's jumps and turns allow them to spring and absorb shock. These movements also help to loosen the muscles of the limbs to establish balance. The demi-plie is considered shallow in the sense that the dancer's heels remain on the floor (Mira et al. 154). As a start, the dancer brings their legs into the first position. They then turn the feet, but only as far as is comfortable for them.

Next, they bend their knees slowly and as far as possible while maintaining their heels on the ground. The knees stay directly over the middle of the dancer's feet. As the dancer descends, their lower right arm, starting from the wrist all the way to the elbow, move outwardly, and slightly upwards (Kim and Joong-Hwi 226). These parts should not be higher than the hip levels. The objective of this movement is to create an illusion of a body that is floating. The dancer then unbends the knees and moves back to the initial position and brings their right arm back downwards as well.

The second position begins with the transfer of the body weight to the left side; then, the dancer slides their right foot sideways along the floor. This movement co-occurs with the dancer allowing their right heel to lift to allow the right foot to stay in a sully pointed position and a straightened right knee. The right foot remains turned out throughout the motion so that the right heel stays forward (Mira et al. 155). The right arm is raised as the right foot is pointed. Next, the right heel is lowered, and the weight is transferred evenly to both legs. At the same time, the heels are aligned with each other. The distance between the heels should equal the length of the dancer's foot.

Fourth Position

The demi-plie also involves a fourth position that starts with the dancer pointing their right foot and drawing a quarter circle on the ground from side to the front while maintaining the position of the hips (Mira et al. 155). Keeping the right heel turned, the dancer lowers their right heel ahead of their left then brings their right arm up. The dancer ensures that their body weight is evenly distributed. This motion allows the dancer to transition to the firth position that begins with the dancer pointing their right foot and maintaining it in a turned position. The dancer then closes the right foot ahead of the left foot and gently touches it from toe to heel. They then lift the right arm and open it out. Accompanied by the movement of the right leg is the lifting of the right arm into the second position. In following these movements, the dancer successfully executes the demi-plie with ease.

Total body linkage and synthesis are important during a demi-plie. The dancer has to be healthy, and their body parts are properly coordinated to produce a perfect demi-plie. Reducing the stress on the foot is one of the fundamental elements of a perfect demi-plie. Biomechanics, principles of anatomy, and movement intention all play a part in influencing turns, jumps, and steps that require explosive takeoffs (Kim and Joong-Hwi 225). The proper execution of the demi-plie is a function of proper alignment of body parts and the movement of the musculoskeletal frame.

There is also the need for dynamic alignment. Proper body movement creates a constant muscle chain that interconnects the legs and torso and improves foot biomechanics by aligning the heel bone. The weight supported by the food is equally divided at three contact points, the heel bone, first toe, and fifth toe (Mira et al. 154). This distribution creates an equilibrium that prevents pronation and the raisin of the leg. The dancer sends the force of the plie through the three points on the floor due to the direction of the tubercular. While doing so, the dancer sends the posterior point towards the heel.

Before the dancer initiates an actual knee-bend, the forces directed to the back of the heel should permit the hamstring muscles to engage moderately. This occurrence enables the movement of the plie to flow while maintaining the direction of the force backward and downwards out of the dancer's heels. When the dancer sends their body weight into one foot that is bent at an acute angle, the heel bone is placed into a position that is optimum and establishes a proper rebound quality that is required during a jump (Mira et al. 157). Also, the heel bone spirals and allows the hamstring muscles to engage. Consequently, the pelvis stabilizes using their attachments to the sit bones. The connection between the legs and the torso reduces the potential for bucking motion when the dancers jump or turn.

Conclusion

In conclusion, the execution of a plie requires the full coordination of the musculoskeletal structure. The lower limbs are particularly important in ensuring the realization of an equilibrium, which permits the movements of the upper parts. The process of body conditioning for proper dance requires physical strength that is akin to that of an athlete. Realizing and maintaining razor-sharp conditioning and neurology requires strenuous exercising. A demi-plie is realized through one of five basic positions. Each position requires the dancer to execute some level of external rotation that occurs at the coxcombical joint. The limited range of external rotation at the hip is compensated with the screwing of the knee and the pronation of the foot.

Works Cited

Kim, Min-Ju, and Joong-Hwi Kim. "Comparison of lower limb muscle activation with ballet movements (releve and demi-plie) and general movements (heel rise and squat) in healthy adults." Journal of physical therapy science, vol.28, no.1, 2016, pp. 223-226,
http://www.jstage.jst.go.jp/article/jpts/28/1/28_jpts-2015-737/_pdf

Mira, Natali Olaya, et al. "Study of Ballet Dancers During Cou-De-Pied Derrière with Demi-Plié to Piqué Arabesque." Journal of Dance Medicine & Science, vol. 23, no.4, 2019, pp.150-158,
http://www.doi.org/10.12678/1089-313X.23.4.150.