Bending backwards for babies and ballet

I currently have three pregnant students, all at slightly different stages, so the following item captured my attention. I think this might also explain why women dancers – not to mention gymnasts – can bend backwards so much further and easier than men.

Nature has a new article detailing the recent discovery that women’s spines have evolved to be more flexible and supportive than those of men to increase comfort and mobility while bearing the weight of a developing child. The adaptations can be traced back as far as Australopithecus, more than two million years ago.

A female australopithecine, like today’s moms, used her spine to support baby’s weight.
John Gurche

Katherine Whitcome and Daniel Lieberman from Harvard University in Cambridge, together with their colleague Liza Shapiro of the University of Texas at Austin, measured the centre of mass of 19 pregnant women and found that they leaned back by as much as 28º beyond the normal curve of the spine, they report in Nature 1. The researchers found this lowers the torque around the hip created by the baby’s weight by roughly eight times.

Exaggerating the curve in the lower back can place more stress on the spine: vertebrae are more likely to slip against each other, leading to back pain or fractures. Whitcome and her colleagues found that a woman’s spine has several features that help to prevent that damage. In women, the curve in the lower back spans three vertebrae; in men, it encompasses just two. The added vertebra helps distribute the strain over a wider area.

In addition, specialized joints located behind the spinal cord, called zygapophyseal joints, are 14% larger relative to vertebrae size in women than in men, suggesting that the joints are well adapted to resist the higher force. The joints are also oriented at a slightly different angle in women, allowing them to better brace the vertebrae against slipping.

A dubious mention

Today’s Business Standard has a short article in the Fitness section about Alexander Technique. Although it talks in only very general terms, its imprecise wording makes me think that the author has not actually experienced lessons. A dead give-away is the reference to AT “therapists”:

An AT therapist starts by observing basic movements like sitting, standing and lying down, to understand where the inefficiencies manifest. Then, by words and gentle touching, the therapist shows where the tension is, and how to release it (called “rising” or “lifting”). For minor problems, in 6 to ten sessions you can learn how to use AT yourself.

Being called an AT therapist makes me groan. And I have never, in 25 years of Alexander Technique experience, heard any teacher refer to releasing tension as either “rising” or “lifting”.

Movement re-education helps drama students improve performance

Elizabeth Huebner teaches the Alexander Technique to Luke Daniels, a drama student in the master of fine arts program.
Photo by Peter Morenus

The University of Connecticut’s Advance web site has a full-page article about Elizabeth Huebner’s work in the master of fine arts program teaching Alexander Technique to actors. It quotes one of her students regarding the effect of the Technique on emotional expression, an effect that we teachers perhaps don’t talk about very much.

An actor wants to be able to play the body of any character, says acting student Chris Hirsh.

“To do that,” he says, “you have to get rid of your habits. If you habitually bend forward at the top of your shoulders and protrude your head and neck forward, you have to understand how to correct that. The Alexander Technique helps accomplish that.”

Hirsh says the technique also “opens you emotionally.

When your body is aligned properly, you become a more open channel to the emotions that may or may not flow out of you. You have fuller freedom of emotional expression.”