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Technique: Hypermobility, Proprioception, and Balances

Third in a series of posts on the details of technique that focuses primarily on steps and aspects of dance that I’m struggling with. Take it with a grain of salt.

I find it helpful to write things out in an effort to get a grip on them. These aren’t so much instructions (though if they work for you, awesome!) as observations.

I’ve written a bit before about the often-ridiculous relationship between hypermobility, proprioception, and one’s extremities. In this post, I’ll take a closer look at that relationship—and especially on how it pertains to balances (rather than to balancés).


Remember this shot by Mas? At this angle of articulation, my wrist doesn’t even really feel bent.

To sum things up, proprioception(1) is the vastly under-celebrated sixth sense that tells us, among other things, where in space our body parts are relative to one-another. It depends in part on stretch receptors that hang out in the muscles and joint capsules.

  1. Wikipedia actually has a pretty good article explaining what proprioception does, why it’s important, and how it works.

Hypermobility, meanwhile, is a catch-all term for conditions in which one’s connective tissues are more elastic than average. In dance, this is both a blessing (see: Woot! Extensions!) and a curse (see: OMG WHERE EVEN IS MY BODY RIGHT NOW?!).

This, of course, makes perfect sense if you think about it. Dance demands both a huge range of motion and highly-developed proprioceptive faculties. Hypermobility enhances range of motion(2), but it reduces proprioception(3).

Moar behind the cut, because this is really long!

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