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Analysis of the aerial and landing phases of the grand jeté.

Conference Paper · August 2004

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 ANALYSIS OF THE AERIAL AND LANDING PHASES OF THE GRAND JETÉ

T. Thomas, J. Murray, L. Stanley, P. Galler & D.G.E. Robertson

School of Human Kinetics, University of Ottawa, Canada

The purpose of this study was to quantify the ground reaction forces, moments of forces and moment
powers during the landing from the ballet jump called the grand jeté. In addition, the flight phase was
examined to determine whether the illusion of linear motion occurred. Laws (2002) has stated that it is
possible for dancers to give the illusion of “floating” or traveling linearly rather than parabolically
during the flight phase of a grand jeté by raising the arms and/or the legs at an appropriate speed.
KEY WORDS: inverse dynamics, moment powers, jumping, ballet, dance.

Introduction
Jumping is a fundamental human movement that requires complex coordination between both
the upper and lower body segments (Ashby & Heegaard, 2002). The grand jeté is considered
one of the most memorable jumps in ballet. The body of a dancer during the grand jeté can
portray elegant grace appearing to glide across the floor and through the air. For this reason,
the study was conducted to examine the dancer’s illusion in the air and the forces endured
upon landing. It is essential to understand how the body lands successive jumps like the grand
jeté to prevent and avoid injuries to the lower extremity. The main purpose of studying the
aerial phase was to determine if the subjects could create the illusion of a non-parabolic
movement. The landing phase was analyzed to determine the force attenuation of the lower
segments.

Methods
Two experienced dancers who were also instructors volunteered for the study. Each subject
was outfitted with 12 reflective markers (Figure 1) in specified locations (ear, greater tubercle,
medial epicondyle left, medial epicondyle right, ulnar styloid process right, ulnar styloid
process right, greater trochanter, apex of head of fibula, lateral malleolus, heel, head of first
metatarsal, tip of first phalange). The subjects were videotaped (60 Hz) while performing five
grand jetés landings onto a force platform (Kistler) using a running start. BioWare software
collected the force platform data at 240 hertz. APAS and Biomech software were used to
digitize and compute segmental and joint kinematics and perform inverse dynamics analysis
and the computation of moment powers.

Figure 1. Stick-figures of a typical grand jeté (Xs identify path of centre of gravity, asterisks
mark path of the shoulder, black lines show ground reaction forces at landing).
Results
The human eye perceives the aerial phase of the grand jeté movement to be horizontal in
nature, however, as expected, the experimental data showed the center of gravity clearly
traversing a parabolic path (figure 1). The dancers extended one leg forward and one
backwards, which resulted in positions where both legs were perpendicular to the torso. The
arm on the opposite side of the leading leg extended forward and reached an angle that was
horizontal to the plane of the jumping surface. Conversely, the arm on the same side of the
leading leg extended backwards and attained a parallel orientation similar to the opposite arm.
This fully extended position was achieved at the peak height of the aerial phase.
The experimental data did not reveal a significant linear phase for the head and
shoulders as reported by Laws (2002) during the flight period of the grand jeté. This suggests
that the limbs did not perform large motions to significantly alter the paths of the head and
trunk from a parabolic path. The majority of the movements involved in extending the arms
and legs in opposite directions occurred just prior to the flight period and were completed
(maximum limb extension; parallel to jumping surface) at the highest point in the parabolic
trajectory.

Landing Phase – Ground Reaction Forces

Figure 2 shows the vertical force histories of the landings of one subject (left pane) and the
ensemble averaged ground reaction force components of the other subject (right pane). In
both subjects, the landing durations were approximately 0.4 seconds. Notice that the forward
horizontal force (Fy, the lower curve in the right pane) was always negative. This large
braking force was necessary to prevent the dancer from slipping during the landing. The force
vectors in figure 1 also show the backwards directed nature of the ground reaction force. The
second subject’s peak vertical forces (Fz) were smaller than those of the first subject partly
due to a smaller body weight (534 N vs 623 N) but was mainly due to the ensemble averaging
process and the fact that the peaks did not occur at the same instant after landing. The average
peak vertical forces for the two subjects were 2790±404 N and 1954±130 N or 4.5 and 3.6
times body weight, respectively.

3500 2000
Trial1
3000 Trial2 Fx
Trial3 Fy
1500
2500 Trial4 Fz
Trial6
Force (N)

2000 Trial6 1000

Force (N)

1500

1000 500

500
0
0 0 10 20 30 40 50 60 70 80 90 100
0 0.1 0.2 0.3 0.4
-500
Time (s)
Time (% stance)

Figure 2. Left: vertical ground reaction forces of one subject’s six landings from a grand jeté.
Right: ensemble averages of ground reaction forces (Fx, Fy and Fz) of another subject’s
landings from a grand jeté (n=5).
Landing Phase – Inverse Dynamics Analysis
Figure 3 shows the moments of force normalized to body mass (left pane) and their associated
powers (right pane) for subject 2.

Hip. The hip extensors contracted eccentrically before foot-strike (FS) in preparation for
landing. After FS the flexors dominated producing a very high moment of force of about
300 N.m or 5.5 N.m/kg. Initially this activity did negative work but quickly became positive
work producing a peak power of 700 watts.

Knee. There was a flexor knee moment of force prior to landing that did negative work but
after landing (FS) the knee moment became extensor. The knee extensor moment during first
2/3s of the stance phase performed negative work to cushion the landing. This moment was
also very high peaking at about 275 N.m or 5 N.m/kg. The peak power during this phase
exceeded –1000 watts. There was a final burst of positive power prior to toe-off to assist with
extending the knee for the next jump.

Ankle. Prior to FS the ankle moment of force was essentially quiet. During the stance phase
the plantar flexors dominated throughout with a relatively small peak moment of force of
about –100 N.m or –1.8 Nm/kg. The plantar flexors acted eccentrically for the entire stance
phase with a peak power output of approximately 1000 watts.

6 1600.
Moments (N.m/kg) Power (watts)
800.
Hip
3
.
Flexor Hip 0.
0.
-800.

-3. Extensor Knee

800.

3. 0.
Extensor Knee
0. -800.

Flexor 800.
Ankle
3.
Ankle 0.
Dorsiflexor
0.
-800.
Plantar flexor FS FS
-3. -1600.
0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.0 0.2 0.4 0.6

Time (seconds) Time (seconds)

Figure 3. Left figure shows net moments of force (normalized to body mass) at hip, knee and
ankle. Right figure shows powers produced by the moments of force. FS indicates instant of
foot-strike (start of landing phase).
 Discussion
Future avenues of research could possibly test the enhanced floating illusion created by a
more dynamic motion. If the arms and legs were to extend past the horizontal during mid-
flight, there could be a significant improvement in the floating illusion thereby augmenting
the impression that the dancer was traveling more horizontally, as opposed to the actual
parabolic motion.
Moment power analysis revealed that the largest negative work was done by the knee
extensors, followed by the ankle plantar flexors and the hip flexors. The largest moment of
force was found at the hip flexors, followed closely by the knee extensors, and then the ankle
plantar flexors. Thus, training of muscles associated with these moments is recommended. In
the case the knee and ankle extensors eccentric training was indicated but both concentric and
eccentric training is needed for the hip flexors.
An explanation for the large moments of force about the knee and hip could be the
sheer magnitude of the jump but may also be due to the stiffness of the laboratory surface.
Dancers usually perform on a floor with some shock attenuating properties and therefore do
not require footwear with much cushioning. Force platforms are usually mounted in very rigid
structures and have very stiff surfaces themselves. This undoubtedly increased the shock
experienced by the dancers in the laboratory setting. Nevertheless, it is clear that dancers must
be very cautious whenever performing on surfaces similar to this laboratory setting since the
magnitudes of these ground reaction forces are likely to cause injury.

References
Ashby, B.M. & Heegaard, J.H. (2002) Role of arm motion in the standing long jump. Journal
of Biomechanics, 35:1631-1637.
Laws, K. (2002) Physics and the Art of Dance. New York: Oxford Press.

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