Mobility and flexibility in dance: differences, applications, implications, and more

One of (many) foundational insights from my early dance training is within this moment, this clear memory in my mind: my teacher noted how a competition dancer holding her leg up to her ear (a la seconde) was one thing – but her holding a battement there, unassisted, really impressed her.

This illustrates an (I think) underappreciated concept in dance technique and artistry: how mobility and flexibility are two different things, and have different applications in the art form as well as implications for training and cross-training.

To start at square one, let's define these terms. Flexibility refers to the ability of a muscle to lengthen to a certain point, with assistance from an outside force: be it the floor (for e.g., when moving into and holding a split on the ground) or a limb (as in the above example, with holding an extension with one hand/arm, or guiding oneself further into a forward-folding or side-bending stretch with one's hand).

Mobility, in contrast, refers to the ability of a muscle to lengthen itself to a certain point – without assistance from an outside force. That's what's happening with the unassisted high battement à la seconde that could really impress my former dance teacher. These terms are also key in yoga asana (posture) practice: for example, lifting a leg in a balance (and keeping it there) with support from a prop, bind, or something like a toe lock or without that support.

Any dancer with a split, yet who has a harder time getting the same amount of hip flexion in a devant battement, also implicitly understands how this dynamic also plays out in dance, as well. I'd like to make that understanding explicit here – and therein even more actionable and beneficial.

Mobility and stability applications in dance

That's one place where the need for mobility comes up in dance, in extensions. Consider also leaps – where muscles need to lengthen to a certain degree in order to achieve a given placement and shaping off the floor, and therefore some degree of flight.

The floor does offer momentum in these cases; that's why most of these dance vocabulary elements begin with the brush of the floor in a tendu. Yet from there, muscles are on their own to get there: and stay there for some amount of time. All in all, it's most often mobility – rather than flexibility – at work when we're executing such technique.

At the same time, flexibility also matters, because a muscle cannot lengthen itself to a certain point if it cannot lengthen to that point with assistance. In a certain sense, flexibility has to come first. Yet that doesn't mean dancers should only do flexibility work until they get to a certain point – more on that later. It's not either/or: it's both/and.

In partnering, this all gets more complex (and quite interesting, I think). The dancer being lifted and having a limb held/placed in a certain shape does have the support from a partner. Yet, most often, they can't just release all of their own strength into their partner's support – unless the choreography calls for the qualitative effect that doing that would create. They do need to help their partner help them. It's all a delicate balance between mobility and stability here, one that dancers get more skilled at as they continue training.

Mobility and flexibility in dance training and cross-training

I always believe in sharing actionable information, so what does this all mean for how we train in dance and condition our bodies for dance? The long and short of it is that we need both mobility and flexibility. Too often, I find, it's floor stretching and then right to the technique that calls for significant mobility. Cross-training calls for a lot of aerobic work (which, please don't get me wrong, is also important), but not necessarily strengthening.

Mobility calls for the smooth integration of different muscles contracting and lengthening. We know it when we see it in a beautiful dancer, both strong and long from their bodies knowing how to accomplish that subtle and continuous orchestration. With respect to conditioning, that has to be worked at and challenged in order to develop.

Movement and fitness modalities such as yoga, Pilates, and Gyrokinesis are great for that growth. Let's do that kind of conditioning work just as much, if not more than, we static stretch. Again, we do need that stretching – because, as described, we're not going to get to that mobility we need in dance technique if the flexibility isn't there. Again, it's both/and rather than either/or.

In dance education, I'd advocate for more thoughtful and rigorous (yet adaptable and welcoming) incorporation of exercises that call for mobility – before it gets to going across the floor: for example, slow and mindful developèes or fondus, en croix, in center (off the barre). That doesn't mean never doing these rudiments at the barre, just as I'm not saying that we shouldn't ever static stretch – I'm talking addition and intermittent alternating. I'm talking balance.

When leading such exercises, your dance students might grimace at you (and to be honest, I get it, because that is not easy work). Yet I bet that they'll come to thank you: because of the kinesthetic awareness that they build, the strength and stability that they find, and how their technique advances as a result. In general, the body adapts to the challenges it faces. These sorts of exercises have the potential to, over time, lead your students to find that stable and integrated concert of muscular action that we love to watch in an accomplished dancer.

Mobility, stability, and injury prevention: all about balance

There's also a safety aspect at play here; frequent stretching without strengthening can spell injury. When we stretch, we lengthen muscles and accompanying structures beyond where they were lengthened. If we constantly do that without also building the musculature to ensure stability of joints, there's a much higher chance of joint displacement.

Without even considering how strength is crucial for dancers to reach their technique and artistry potentials, reducing the risk of injury (which can sideline dancers for weeks, months, or even longer) might alone make that strengthening work worth it.

Ultimately, it all comes back to balance: in training, cross-training, self-awareness and self-correction, and beyond. That, in a larger scope, is something that yoga, other mindful movement forms, and meditation/mindfulness can help dancers begin to more highly value. As they find themselves flying high, turning smoothly, and holding high extensions with stability and support, they might just realize that finding such balance has made all the difference.

As always, I share all of this with utmost non-judgment and loving-kindness. Please apply what you find what works for you, and leave behind the rest. In both aspects, that's the yoga way!

I'd also love to hear your thoughts. Let me know in the comments or via email: mindfulmovers5678@gmail.com.

Happy training, cross-training, and all that you do as your awesome dancer self!

Photos courtesy of Canva