Alternating Areas of Stability & Mobility
Every dancer has felt it: the stubborn hip that won’t release, the stiff upper back that limits your port de bras, or the lower back that always seems tight no matter how much you stretch.
Often, we assume the problem is right where we feel the tension—but sometimes the real issue lies next door.
That’s where the concept of alternating mobility and stability come into play—a principle from movement science that can be a game changer for dancers and dance teachers alike.
The Body’s Design: A Chain of Mobility and Stability
Your body is brilliantly organized into alternating joints that are meant to be either:
Mobile — designed to move freely through ranges of motion
Stable — designed to stay controlled and provide a solid foundation.
This alternating pattern helps you move powerfully and gracefully while staying safe. But if one link in the chain fails to do its job, the joints above or below often pick up the slack—sometimes with unintended consequences.
For example: The thoracic spine (mid to upper back) is meant to be mobile to allow for beautiful port de bras, arabesques, and épaulement.
But if your core isn’t stable, the brain may stiffen the thoracic spine to protect your spine and keep you upright. This can limit your artistry and make movements feel rigid.
In these cases, building better core stability often leads to greater freedom in the upper back and shoulders.
Another common example is having weakness in the foot muscles and having the ankle stiffen up in response.
Or how about the hips? They are a major player in turnout, extensions and countless movements. They’re designed to be mobile. But what happens if the core isn’t providing enough stability to allow the hips to move freely?
Answer: The hips often lessen their range of motion and stiffen up.
Here’s how to put the alternating joint concept into practice:
Stop chasing only the “tight” spot. Ask yourself: Is the joint above or below lacking stability or mobility?
If so... try focusing on that joint for a while and see if movement and/or range improves.
The concept of alternating areas of mobility/stability offers a powerful lens for dancers and teachers.
Instead of endlessly stretching a stubborn joint, consider whether the joints above or below are doing their job.
Because in dance—and in neurology—the whole body truly works as a team.
The next time your hips feel locked or your upper back refuses to bend, ask yourself:
“Is this joint overworking to compensate for instability or stiffness somewhere else?”
That question might be your first step toward more freedom, artistry, and ease in your dancing.
To your success,
Deborah