Resistive Stretching, Strengthening, and Conditioning

Resistive stretching is a relatively recent flexibility technique that in our experience warms up the stretched muscles much quicker.  In some of the variations, it also strengthens and conditions (e.g., when applied to arabesques or developpes).

A good example of assisted resistive stretching is for "Supine Leg Extensions" (which we call "Leg-Ups").  This is one of our dancers' favorite stretches!

Assisted Supine Leg Extensions (Standard)
1. Stretcher lies down on her back, on the floor (or on a mat) with legs facing partner.

2. Making sure that the leg to be stretched comes up straight over the torso, partner gently pushes leg towards head until finding the "point of tension" (the point at which significantly increased resistance is felt).

3. Partner asks stretcher to resist by pushing against the stretch (using the leg only) while partner maintains the stretched position firmly.  Hold for 8 or 10-count.
4. Rest for 8 or 10-count.
5. Perform steps 3 and 4 for three iterations.
6. Partner tells stretcher to relax and not resist while partner pushes leg toward floor as far as it will go (or until stretcher says "Stop").

7. Repeat for other leg.

NOTES
a. Alignment is very important; keep body straight and stretch leg over front of body, not sides.
b. If the initial "point of tension" is too close to the head (i.e., if the stretcher's leg can go all the way down to the floor when "cold"), this exercise will not be very productive (see advanced variations of this exercise below).
c. Always start with the weaker leg ("bad side").
d. Partner should use one hand to keep other leg down and in proper position, if necessary.

Advanced Assisted Supine Leg Extensions (Variation-1)
1. Stretcher lies down on a raised bench with hips at the end (so that lower leg can angle down towards floor).  The more flexible the stretcher, the larger the angle.
2. Follow the instructions for the standard exercise above.

Advanced Assisted Supine Leg Extensions (Variation-2)
1. Stretcher performs splits on the floor, in front of partner.
2. Partner firmly holds front leg by the ankle and lifts until "point of tension" is found, making sure stretcher's torso remains in contact with floor, hips are squared, legs straight.  Note that this exercise can be performed for either front or back leg.

3. Partner keeps stretcher firmly in "oversplit" position and asks stretcher to resist by pushing down (with leg only) for 8 or 10-count.
4. Partner allows stretcher's leg to return on the floor (normal splits position) for 8 or 10-count.
5. Perform steps 2 to 4 for 3 iterations.
6. Partner tells stretcher to relax and not resist while partner lifts leg until stretcher says "Stop".

7. Repeat for other leg.

Resistive Stretching and Strengthening for Developpes and Arabesques
The following details steps for developpe to the front, but same principles apply to side developpes and arabesques.

A. Resistive - Positive
1. Stretcher stands at barre with one hand on the barre, facing partner.
2. Partner lifts leg as high as possible until the "point of tension" is reached.
3. Partner holds leg in place (stretched position) while stretcher pushes leg down for 8 or 10 counts.
4. Stretcher rests leg for 8 or 10 counts.
5. Repeat steps 2 to 4 for 3 iterations.
6. Partner tells stretcher to relax and not resist as partner lifts leg as high as possible (until leg touches touches wall behind stretcher, or stretcher says "Stop".
7. Repeat for other leg.

B. Resistive - Negative1. Stretcher stands at barre with one hand on the barre, facing partner.
2. Stretcher lifts leg as high as possible (where she can hold for 3 seconds).
3. Partner gently pushes down on leg while stretcher tries to lift higher for 8 or 10 counts.
4. Stretcher rests leg for 8 or 10 counts.
5. Repeat steps 2 to 4 for 3 iterations.
6. Repeat for other leg.

Movement and Progress Assessment Using Video

My objectives were to record and analyze dance movements, such as leg extensions, kicks, jetes, and penches.  At the end of about every other class, we capture videos of the students going across the floor, usually ending with static and dynamic arabesque penches.  We also periodically take image frames from these videos to chart progress over time.

I used to own Sony camcorders, which cost over $900 not too many years ago.  Today, I use a cheap (around $100) Kodak Camcorder, which measures about 2.5" x 4.5" x .75" and records1080 HD on SDRAM cards.  I chose this particular "flip" camcorder for its 720 at 60 frames/second mode, which is necessary for clear frame-by-frame analysis of rapid movements (such as jetes). 

 
A significant drawback is the limited 3X optical zoom, which does not support wide-angle views.  This is very constraining when attempting to record group pieces in a classroom.  The 5MB photo mode is nothing to brag about either.  However, the video quality in 1080 HD mode can be breathtaking in good lighting, and rival far more expensive camcorders.

One technique I use to show progress, or to combine multiple captures for a session, is to overlay images by cropping, cutting and pasting in transparent mode.  This can be done even in MS Paint.

 

Next time, I will discuss some of the considerations in improving certain types of stretches, such as splits, straddles, developes, and arabesques.

Exercise Sequences and Variations

While there are no hard-and-fast rules governing the order/sequencing of exercises in our Flexibility Circuit Training, we do encourage the stretching of opposing muscle groups when applicable (such as back bends followed by front bends or hamstrings followed by quads).
Left to their own devices, the starting point may happen to be either the stretcher's favorite stretch, or a vacant spot within talking range of a friend.  If left up to us, Karen and I would start each dancer out on the stretch we feel needs the most improvement.

A typical sequence may consist of the following:
A. Hamstrings

 

B. Splits/Oversplits
  

C. Back Bends
  

D. Forward Bends
   

E. Straddles

 

F. Arabesques

 

G. Developes


Next time, I'll discuss the video capture of static and dynamic kicks, jetes, and penches, as well as the charting of progress.

Circuit Training Setup and Class Format

Every Wednesday at 6:30 p.m., my wife Karen and I conduct the hour-long Academy Stretch Class (a.k.a. Flexibility Circuit Training) for V and T Studios in Laguna Hills, California.  We use Studio-C, one of 3 very large and well-lit classrooms with fixed ballet barres on 3 sides.

Setup includes lugging 2 full-sized stretch gym units into the room and putting them in 2 configurations, as shown below.  A stretch ladder is clasped on one end of a stretch gym to convert it into a "Stretch Station" (left picture).  The other unit is set on its end in the "tall configuration" for arabesques and leg stretches.

The Academy-4 (ages 11 to 14) students trickle in after their 5:30 class ends, and we start them in various stretches, such as hamstrings, straddles against the wall, isolation back bends, etc.  A little later, the older company-level students start coming in; they are always late, because Tatiana's pointe class usually runs over, and they have to take additional time to take off their pointe shoes (and spray their feet).  No time is needed for cardiovascular warmup, because all the students have just taken classes.

The regular older students know the routine well, and require little prompting in starting the initial exercises.  We make sure that the younger students keep their socializing to a minimum, and concentrate on the next stretch.  It takes at least 20 minutes to complete a circuit of stretches, but due to a late start and reserving additional time at the end for strengthening and conditioning (and occasional filming of progress), we never get more than 2 rounds per class.
Each exercise in a circuit typically has a few optional variations.  For example, a back bend can be performed as isolation over the top bar of the stretch ladder in both standard and tall configurations, as well as on the ground under the stretch ladder, or "walking" backwards from a standing position in the tall configuration.  A few of the exercise variations are better suited for either the beginning or ending circuit, based on the degree of stretch.

A popular variation of several stretches involve applying resistance with controlled stretch tension.  For example, a variation of the splits is the assisted "leg-ups", in which the stretch lays on her back and Karen or I take the leg being stretched and push it towards the head.  We start with the "bad" side, and find the "point of tension", where muscular tightness becomes significant.  At this point, I hold the stretched leg in place, while the stretcher pushes back (resists).  This is held for 10 counts, then followed by 10 counts of rest, and repeated performed 3 times.  After the 3rd time, the stretcher is told to relax while I push the leg down until the leg touches the floor or the stretcher says "stop".

Even though the previous assisted exercise sounds and looks pretty extreme, several of our students are so flexible that they can easily do this by themselves when "cold", and there is no "point of tension", because the leg can be pushed all the way to the floor too easily.  For these girls, a more advanced assisted variation starts out with the stretcher in a splits position.  I lift the front leg up until the "point of tension" is detected (from a few inches to over a foot off the ground), then keep the foot in the "oversplit" position as the stretcher resists by pushing her leg down.  The dancers find the assisted resistive stretching to be effective, and Karen and I find that we also get a workout (especially with the taller and stronger dancers).

In the next blog, I will be describing how we sequence these exercises, with photos illustrating the optional variations for some of the exercises.

Introduction and Overview

About a year-and-a-half ago, we started a small side business to develop and sell "stretch gyms" for maximizing flexibility and range of motion.  The website is still available at:
http://www.stretchgym.com/.  We found that we had a unique niche, were able to get to the top of the major search engines, had over 100K hits on YouTube, but could not make these cheaply enough (or in sufficient quantities).  It's difficult to turn down a continuing stream of purchase orders/requests, but while this business is dormant for now, we did learn quite a bit in the process.

The new V and T Dance studio in Laguna Hills provided a great "proving ground" for our equipment, which we donated in exchange for the opportunity to test our equipment in conjunction with compatible stretching techniques, such as PNF and "resistive stretching".  We started with a "Movement Analysis and Custom stretching" class, which achieved enough positive results that we started conducting the regular weekly stretch class for the academy.  In the process, we transformed it into a "flexibility circuit training" class, which is now nearing its 40th session.

We've just launched an HD YouTube video for V and T Dance, which can be viewed at:

http://www.youtube.com/watch?v=MkdZ8z69O3E.  We are very proud of this studio, founded by Victor and Tatiana Kasatsky, well known Russian master teachers of the Vaganova style.  Our 2 daughters (ages 12 and 8) take daily classes, and we almost live at the studio.

There are many reasons why I use the term "distinguished", and many factors that contribute to the quality and uniqueness of their dance instruction.  I will delve into these in later posts for the benefit of parents that may be searching for a dance studio.  For this first post, I just want to mention one: most of the Academy 4 and company-level dancers (ages 8 to 16) are very flexible, which is due in part to emphasis, and (hopefully) in part due to the special stretch circuit training lab we've established.

In upcoming posts, I will describe in illustrated detail how we set up the circuit training, some of the exercises and techniques used, what we learned along the way, and some before and after results.