Conditioning Myths

決して英語が得意な訳でもない私が、ダンス関係の洋書をチェックするようになったのは、ストレッチや筋トレの用いられ方に疑問を持ったことがきっかけで、当時はその十分な情報が国内では見当たらなかったからだ。
ずいぶん昔のことになるし、その後国内でのそうした情報も充実してきているが、最近(2017年)出版された本にも未だこの神話が載っている…。

Conditioning Myths
As a dancer today, you may have inherited certain myths about supplemental conditioning that are not necessarily true nor helpful. Two main myths in dance are as follows:

The first myth states that you must have extreme hypermobility in order to have a successful career in dance. In fact, you can do more harm than good if stretching goes on too long or too early, before a thorough warm-up. It is important to recognize that hypermobility is often coupled with lack of strength and control, leading to injuries down the road.
Passive flexibility is different than dynamic flexibility, and in the moment of performing a leg extension, you need strength to get the leg higher in the air along with flexibility and coordination of the body as a whole. The desire to get your leg higher in the air will not come by doing a series of floor stretches alone, because they are invariably passive stretches rather than active stretches.
The second myth is that strength training will increase the size of the muscles to a large extent. In reality, the only way in which you will develop massive bulkiness is if you take supplements alongside your training and have a certain genetic predisposition. For women, it is nearly impossible to attain excessively large muscles because of the lack of testosterone in their bodies. In fact, dancers who do strength training can reduce body fat and increase fat-free mass. This clearly discredits the notion that strength training is correlated with an increase in size or bulk. If you fear losing your leaner, smaller frame, this is actually more of a reason to strength train rather than not. Smaller typically means weaker, and without adequate muscular strength, the body will not be able to keep up with the physical demands expected of it.
Another common misconception about strength training is that strength training with lighter weights or no weights, done with high repetitions, is better. Activities such as dozens of abdominal curls will increase muscle endurance, but they will not assist in strength gains. In contemporary choreography, women are often asked to lift other dancers just as often as men. Therefore, strength training for women is essential. As you can see, sometimes ideas in dance that have no scientific basis are taught or passed on.
Working to be hypermobile and avoiding strength training for fear of muscle bulk can predispose you to injuries, and it will not improve your dancing. If you need additional flexibility or strength, you have many excellent and safe ways of achieving these goals.

『Dance Wellness』
(Mary Virginia Wilmerding, Donna Krasnow, International Association for Dance Medicine & Science 著)

 

そして、こちらはオーストラリアのPTの方のページ。
このイラストはかなり風刺的だが(^^;)
オーバーストレッチに関しての2つの記事については日本語のページも用意されている。

私の目指している所は、ダンサーがアスリートとして長く継続して仕事ができ、肉体は磨き上げられて洗練され、究極レベルでのパフォーマンスが出来るように特別に訓練する事です。結果として、彼らはダンサー人生だけにとどまらず、人間として最も機能するレベルに達するのです。これには時間と努力が必要ですが、その努力を無駄にしない結果がでます。

という、ダンスを引退してからの人生も見据えた視点は、とても大切だと思う。

また、この方のコンテンツには、子どもにも親しみやすい絵本のような形や、親向けの本もあるように、子ども自身、そして親もこうしたリスクについて知っておくことが、高度に情報化された現代では必要なのだろうと思う。

 

www.theballetblog.com

 

ハイパーモバイル、ハイパーモビリティ、エーラスダンロス症候群という言葉も知られてきているが、このような記事もあるのでご参考まで。

Teaching the Hypermobile Dancer

 

エーラス・ダンロス症候群 - Wikipedia