I. BALLET AND PHYSIQUE

Chapter 9. Posture

There is still a last question, the posture of the child. Ideally there should be perfect symmetry of both sides of the body and a good upright stance. Main children, however, have some small degree of asymmetry of the body and would not satisfy this test. One shoulder will appear a little higher than the other, the line of the torso to the waist will not be the same on the one side as the other and the points of the ears and shoulder blades are not level, (figure 21.) There may­be some structural reason for this, possibly one leg a fraction longer than the other, or there may be some irregularity in the vertebrae of the spine such as to produce a lateral curvature. The latter can be checked by asking the child to bend downward as far as possible, head tucked in towards the knees. In this position there should be no sign of a bulge of the ribs on the one side nor any flattening on the other; one shoulder blade should not appear more prominent than the other and there should be no sign of the muscles in the lower back appearing fuller on one side than the other. If the contour of the back, viewed at eye level, not looking downwards from above, appears identical on either side it is safe to say that the asymmetry which is seen in the standing position does not involve the spine to any extent that would interfere with the training, providing —and this is an important reservation—that movements of the hips are equally free on both sides, such tests as grands battements, développés, arabesques forming a useful criterion. It would be unwise to accept a candidate if there is any doubt whatever on the result of this test without a further orthopedic opinion, for anything abnormal in the structure of the spine must handicap the dancer, if not make training undesirable.

The back which shows some asymmetry with no corresponding spinal abnormality to account for it is very common and is con­sidered by modern orthopaedic surgeons to be a failure of the muscles on either side of the spine which are responsible for the maintenance of posture to receive and respond equally to the nerve impulses connecting the brain to the muscles, a failure which may be due to fatigue, too rapid growth or even emotional instability. Certainly one finds this condition in children with excitabe and sensitive temperaments and very often with an insecure background. In such there is a steady improvement as training proceeds and the whole poise of the body is stabilised. By the third year of training
there will be nothing left to see—but not necessarily before that time.

If the asymmetry is due to some slight difference in the length of the legs, it will not disappear, but the body adapts and the mature dancer is able to manage the small problems it creates. They are not of sufficient consequence to cause the rejection of a talented child with an otherwise suitable physique, but there may be a limit to final brilliant accomplishment with this handicap.

There are many other formations of the back which must be considered, the spine which has a longer than normal curve back­ward in the mid-region leaving a short lumbar hollow and sharp angle as it meets the sacrum, a difficult back to alter, since "pulling the tail under" does not plane out the hollow, but only increases the rounding above; the too flat back with a sharp angle at the base and often combined with large hips and stiffness of movement in the lower back, and one in which pulling the tail under is apt to produce a curve backward in the lumbar region. This last irregularity. a spine which shows a curve backward in the lumbar region in place of the normal hollow, was at one time a rarity. Now one finds it too often and the question comes to mind as to whether it is the result of too much interference with posture in young children. The  injunction  often   heard,   "pull  the  tail   under,"   may  be  a necessary correction for a very hollow backed child, but may suc­ceed in reversing the hollow in a flexible child not in need of such a correction. The point is worth considering, for the result is a weak back which tires quickly even in everyday life. We have no record as yet as to what will happen to such in ten or fifteen years' time, but we would hazard a guess that they will feature amongst the slipped discs and sacro-iliac strains when the full work of a stage career overtakes them. Figure 22 shows such a back at 12 years old. In a tunic the posture appears good. Lesser

Figure 21. The appearance of an asymmetrical spine of the type which often has no structural basis. Note uneven level of ears and shoulder line and apparent displacement of the body to the left.

Figure 22. Lumbar Curve Reversed (Compare Figure 4)

degrees are also found, often with some sinking in between the shoulders, but still passing as good stance when clothed.

A  few   candidates   at   auditions   appear   with   the   more   easily recognised types of bad posture—round shoulders, poking head, etc. On the whole one can look to their training to correct this. A test easily made is to ascertain whether or no lengthening the spine improves the condition, the child standing in third position, and making herself as tall as possible. Gentle pressure downwards on the top of the head, to increase the effort of lengthening by pushing upwards, may be a useful expedient and the result will show whether the spine is adjustable and the stance likely to improve.

Shoulder blades in a thin child which stick out and are too prominent at this age may be ignored. They will flatten as time goes on and be less noticeable as they get a greater covering of flesh in the teens: or possibly, in a permanently thin type of physique, they will always be prominent, but do not affect the stance.