Browsing the social media for dance pictures can become a mind-numbing habit, so much as that certain traits start to become a main theme that they are being taken for granted as the “must-have’s” if one is to become a great dancer. One of such traits is flexibility.
Have a look at this Instagram account Godatu Dance (https://www.instagram.com/godatu.dance). While many of the photos show beautiful poses, the majority of the dancers featured are flauting how flexible they are. I can’t help but lament the overemphasis of this quality. True, flexibility does give dance a certain “wow” factor. It is a show stopper. But it is not the only thing that counts when it comes to dance quality. I’m afraid so much of today’s training focus has been put on flexibility, such as the ability to do the oversplit, that the element of grace is being compromised, not to mention that many young dancers have actually sustained severe injuries to their hips or back that would have a detrimental effect on their future career.
Have a look at dance physiotherapist Lisa Howell’s article on this subject:
Here is another very good article about oversplits. Are they necessary? Are they desirable? Have a look.
Because of the overemphasis on flexibility, an occasional sighting of a ballet pose with a low extension done with grace has become extra refreshing. Have a look at this one:
Fredrik Ashton’s choreography is a great example of how ballet can be extraordinarily beautiful and entertaining without the high extensions. Enjoy this delightful Rhapsody pas de deux.
Actually, ballets like Ashton’s are inspiring for us adult ballet students as not all of us can achieve the kind of flexibility and high extensions that are considered ideal. But what we can do is to try and achieve a beautiful line by extending our body to cover as much space as possible. Working with the upperbody using épaulement is a good way to achieve a beautiful line.