Dance Anatomy and Kinesiology
By Karen Clippinger
Reviewed by Joy Held
The word “anatomy” strikes confusion in the minds of many, mostly those whose grade point averages were severally challenged by the study in school. Dancers and teachers deal with anatomy in every class and every injury. A publication finally exists that speaks of anatomy in the language dancers can understand.
Dance Anatomy and Kinesiology written by Karen Clippinger and published by Human Kinetics is an in-depth look at how and why the body works within the specific world of dance. Clippinger successfully takes a complicated subject and presents it as clearly as possible for teachers and anatomy students to understand. Extensive coverage of details, many anatomical drawings, and photographs of exercises make the book long (533 pages,) but the resources and intricate information are necessary to the total picture.
Clippinger explains in the preface that the book’s intention is to be used for university courses but other teachers and students can benefit from the work. The novice anatomy student will need to devote time and energy to understanding the book’s explanations, but the pictures and charts make pages easy on the eyes as well as being very helpful to comprehension. Everyone should take their time when studying this book because the information and suggestions are valuable in the long term. Clippinger’s background in dance and education in exercise science allow her the empathy for students and teachers whether they be in anatomy or dance. It’s very readable from both perspectives no matter how much time it takes.
Compared to previous books on this subject (and there aren’t really many others,) Clippinger succeeds at pinpointing the often unclear verbiage used for generations in dance classes and explains how the words are misunderstood by students and how teachers can better explain things. “Dance Cues” are set apart in each chapter with boxes and teacher quotes such as, “Use the back of your leg,” and defines how a teacher can better guide students to employing the back of the leg. She explains how students might not clearly understand this common directive and how more exact words and exercises can help the student identify and use the back of the leg better. When students understand the use of their hip extensors-hamstrings and gluteus maximus-in unison they can better understand how to use the backs of their legs when necessary. Other books such as Inside Ballet Technique (Dance Horizon Books, 1994) by Valerie Grieg use this same concept for redirecting students’ understanding of common ballet corrections but Clippinger’s explanations are more detailed.
Something teachers will find very useful in Dance Anatomy and Kinesiology are the exercise sections at the end of each chapter on major body areas. Pictures and words clearly describe several exercises that will improve, strengthen, and often times heal areas like shoulders, thighs, and the spine.
As a dancer, teacher, and writer, Clippinger deserves a “Bravo!” for taking a difficult subject, applying it to the unique challenges of dance, and making the information accessible to people who don’t normally study anatomy but should. Now they can—without fear!
Dance Anatomy and Kinesiology, Karen Clippinger, MSPE, Human Kinetics, P.O. Box 5076, Champaign, IL 61825-5076, 800-747-4457, www.HumanKinetics.com.