Pectoral muscles: location and functions. Movements of the chest Intrinsic muscles of the sternum

In this meditation, it is not necessary to breathe with the stomach; simply, if someone is able to breathe with the stomach, or has such a skill, then they can follow the movement of the wall of their stomach. Otherwise, you can monitor the movements of the chest. When we inhale we say “Forward”, when we exhale we say “Back”. We can say this to ourselves, but we may not say it if the strength of our concentration is sufficient not to be distracted from the process of observation. Also, as an auxiliary method that helps increase concentration, we can count our inhalations and exhalations. We can count each inhalation and exhalation as “One”, then “Two” and so on up to seven or twenty-one times and then repeat this again and again. This is a simple method.


Now we will try to work with them. For meditation it is very important to have fresh breath. You can warm up a little in order to move stagnant energies, otherwise they will later contribute to a loss of clarity and falling asleep. Traditionally, meditation is performed in the seven limbs of Vairocana, Nam nang no dun, which is the root pose of all key points of the body. The legs can be crossed in a “full lotus”, half-lotus, or simply crossed position, the arms are folded under the stomach in such a way that the right palm lies on top of the left. The elbows and arms are not pressed against the body; there should be some free space between the arms and the body. This space does not need to be maintained artificially with the help of efforts - it should be formed naturally when we fold our palms like this in front of us under the stomach. There should be no tension in the shoulders at all. The back should be as straight and straight as possible, the head and neck should naturally be slightly tilted forward. There is no need to hold your neck and head straight, much less tilt it back, as this will interfere with the natural descent of the body into the lower part of the body. Breathing is done through the nose. It is not necessary to close your eyes; you can fix your gaze on a point that is located at a distance of two or three meters or wherever is convenient.

The tongue should lightly touch the front of the palate, that is, approximately as it would lie in its natural position. We focus on our breathing and not on the thoughts that will arise. One of the key points of meditation is not to be distracted by thoughts, but to maintain a state of pure awareness without getting caught up in your thoughts. If we notice that we are distracted by thoughts, we return, as soon as we notice this, back to the object of our meditation, namely, the breath. So we start with the ringing of the bell and end with the same.

When the two thoracic vertebrae extend, they move closer together from behind and compress the back of the disc. At the same time, the disc is compressed posteriorly and expanded anteriorly, and the nucleus pulposus moves forward.

Extension is limited by the articular processes (1) and the spinous processes (2), which, being directed backward and downward, almost touch. The anterior longitudinal ligament (3) is stretched, while the posterior longitudinal ligament, ligamentum flavum, and interspinous ligaments are relaxed.

When flexed, the space between the two vertebrae is open posteriorly and the core is displaced posteriorly.

The articular surfaces slide upward, and the lower articular processes of the overlying vertebrae tend to hang over the upper articular processes of the underlying vertebrae. Flexion is limited by the tension of the interspinous ligament (4), ligamentum flavum, facet joint capsules (5), and posterior longitudinal ligament (6). Conversely, the anterior longitudinal ligament is relaxed.

With a lateral tilt (Fig. 6, rear view), the articular surfaces of the processes of two adjacent vertebrae slide one against the other:

On the opposite side, the articular surfaces slide, as in flexion, i.e. up (red arrow);

On the inclined side they slide, as during extension, i.e. down (blue arrow).

The line connecting the two transverse processes of the overlying vertebra (mm") and the corresponding line of the underlying vertebra (pp") form an angle equivalent to the angle of inclination (i).

Tilt limited:

Contacting articular processes on the side of the inclination;

Tension of the yellow ligament and intertransverse ligaments of the opposite side.

It would be inappropriate to describe the movement of the thoracic spine in relation to only one segment. In fact, the thoracic region is connected to the rib cage, or chest (Figure 7), by numerous joints, and all of the bony, cartilaginous, and articular components of the rib cage play a role in orienting and limiting the movement of the rib cage. In general, the mobility of the thoracic spine isolated from the chest of a corpse is much higher than when connected to it. Therefore, changes in the chest wall associated with movements of the thoracic spine need to be studied.

With a lateral tilt of the thoracic spine on the opposite side, the chest rises (1), the intercostal spaces expand (3). The chest increases in volume (5), and the costochondral angle of the tenth rib opens (7). On the side of the inclination, the opposite occurs: the chest descends (2) and decreases (6), the intercostal spaces narrow (4), and the costochondral angle becomes smaller (8).

When the thoracic spine flexes, all angles between the different segments of the chest and between the chest and the spine open, i.e. costovertebral angle (1), upper (2) and lower (3) sternocostal angles and costochondral angle (4). Conversely, during extension, all these angles become smaller.

Axial rotation of the thoracic spine

How does the elementary rotation of one vertebra relative to another occur in the thoracic spine? The mechanism of axial rotation at the chest level is different from that at the lumbar level. In fact (front view) the joints between the articular processes have a completely different orientation. The shape of the articular space corresponds to the surface of the cylinder (dotted circle), but the center of this cylinder lies more or less in the center of the body of each vertebra (O).

When one vertebra rotates relative to another, the articular surfaces of the processes slide against one another, which leads to rotation of one vertebral body relative to the other around a common axis.

This is followed by rotation and twisting of the intervertebral disc, rather than displacement of the disc as in the lumbar region. This rotation and twisting of the disc occurs to a greater extent, especially the net rotation of the thoracic vertebra, which is at least three times greater than in the lumbar region.

However, this rotation could be greater if the thoracic spine were not connected to the rib cage. In fact, any movement at any level of the spinal column induces the same movement of the corresponding ribs, but the sliding of one pair of ribs over another is limited by the presence of the sternum, to which all the ribs are attached with the help of costal cartilages.

Consequently, rotation of the vertebra leads to stretching of the corresponding pair of ribs due to their elasticity, especially the elasticity of cartilage.

The following changes occur:

Increased bending of the ribs on the side of rotation (1) and flattening of the bending of the ribs on the opposite side (2);

An increase in the costochondral curve on the side opposite to the rotation of the spine (3), and a flattening of the costochondral angle on the side of rotation (4).

During this movement, the sternum is under the influence of shear forces and moves into an oblique position, as if following the rotation of the vertebral bodies.

This “distortion” of the sternum is very slight and does not manifest itself clinically; It is also difficult to show it radiographically due to the overlap of bone elements on top of each other (superposition).

Mechanical resistance of the thorax therefore plays a role in significantly limiting the mobility of the thoracic spine. When the chest is still flexible, as in youth, movement of the thoracic spine occurs to a significant extent, but with age the costal cartilages become ossified, which reduces costochondral elasticity. As a result, in older people the chest is almost completely rigid, and mobility is correspondingly limited.

Movement of the chest.

During the full and deep breathing that accompanies any rapid movement, it is best to keep your hands on your belt, as shown in Figures 1 and 2. Air should enter and exit the lungs solely due to the expansion and descent of the chest, and not due to abdominal movements. walls or air intake through the nose or mouth. The lower ribs should move apart and the chest should rise upward like an elongated harmonica. The strength of the arms in this movement can be helpful by pressing downward on the hip bones. Due to the empty space created in the chest, air will rush downward if the nostrils are wide open.

Having inhaled, the muscles that expanded the chest relax, and the latter lowers due to its own gravity, expelling the spoiled air from the lungs through the nose. In order to make the exhalation even more complete, it is useful to tighten the lower ribs as much as possible and relax the abdominal muscles.

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Warm-up

As always, let's start with a warm-up. It is of great importance in oriental dance classes. Today we are adding to the warm-up the exercises for the arms that we have learned.

  • Movement of the hips left and right
  • Moving your hips back and forth
  • Circular movements of the hips first to the right, then to the left
  • Movement of the chest up and down
  • Movement of the chest left and right
  • Circular movements of the chest to the right - up - left - down, then in the opposite direction
  • Head movements left and right
  • Tilts the head in the direction to the right - back - left - forward two times in each direction
  • Rotate your head to the right - back - left - forward, and in the opposite direction
  • Stretching. We bend first to the toe of the left foot, then to the toe of the right foot
  • Moving the right wrist up and down
  • Moving your right elbow up and down
  • Circular movements with the right shoulder back
  • Moving left wrist up and down
  • Moving your left elbow up and down
  • Circular movements with the left shoulder back
  • Movements with both hands alternately. IP: We spread our arms to the sides. We make circular movements with the shoulder of the right hand, the elbow of the right hand, the wrist of the right hand, then the shoulder of the left hand, the elbow of the left hand and the wrist of the left hand.

Key

Today we will look at one of the main belly dance movements, which is called the key. The key is hip movement.

Almost all hip strikes are performed using the knees. Therefore, be sure to ensure that the knee is straightened as much as possible. In this movement, you must simultaneously tighten (tuck) your stomach.

1. Simple key

  • IP: We stand sideways, raise our right hand up, and move our left hand to the side. We move our shoulders back, raise our chin, and watch our posture. We place our left foot on the toe, thereby lifting the left thigh up. The supporting (right) leg does not bend.
  • One: leaving the left leg on the toe, bend it at the knee, lower the left thigh down.
  • Two: Straighten the left leg - the hip rises up again.

We repeat the movement several times.

  • We turn on the other side, raise our left hand up, and move our right hand to the side. We move our shoulders back, raise our chin, and watch our posture.

We repeat the same movement now for the right leg.

2. We complicate the key by adding a leg lunge to it

  • IP: We stand sideways, raise our right hand up, and move our left hand to the side. We move our shoulders back, raise our chin, and watch our posture. We place the left leg bent at the knee on the toe.
  • One: straighten the leg, pulling the thigh up.
  • Two: lower the hip down.
  • Three: lift up.
  • Four: lower your hip down, throwing your leg forward - lift your toe off the floor and stretch your leg forward in front of you.

We turn on the other side, raise our left hand up, and move our right hand to the side.

We move our shoulders back, raise our chin, and watch our posture. We repeat the same movement now for the right leg.

3. Let’s make the key even more difficult by adding a squat to it.

This movement will be included in our dance.

  • IP: the same, starting with the left leg. One: lift your hip up.
  • Two: lower your hip down and at the same time sit down on your supporting leg, bending your knee slightly.
  • Three: Stand up, straightening the knee of your supporting leg and lifting your left thigh.
  • Four: lower your hip and throw your leg forward.

Repeat the same movement for the right leg.

Bunch. Key + chest movement

Let's look at the combination, which includes the key with squatting and throwing out the leg and moving the chest.

We start with the right thigh.

We do the key with squatting and throwing out the leg. We turn straight, move both arms to the sides and move the chest up and down 2 times.

Then we turn with our left side, make a key with our left thigh with a squat and throwing out our legs, turn straight again - arms to the sides, move the chest up and down 2 times.

Don't be discouraged if something doesn't work out for you right away. Continue to persistently perform simple belly dance movements, collecting them into learned patterns, and victory is just around the corner.

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Belly dancing continues to enjoy enormous success, both in its homeland and abroad. Russia did not stand aside in terms of the number of bellydance fans, occupying one of the leading positions in the world. Given the popularity of the dance, we continue to analyze the basic elements of the direction. Today we will focus on chest movements such as twisting and skewing the chest.

Chest twisting

This movement is not distinguished by complex technique, so once you understand its essence, learning the element will not be difficult. When performing a chest crunch, only the chest is in motion. All other parts of the body do not move; the head, hips and arms are in a stationary position. The movement begins with the rotation of the chest around the axis of the spine, while remembering that small movements or too fast a rhythm will not allow you to perform the trick correctly. As a result, you will perform one type of shaking, but not twisting.

Skew

The skew element also does not require extraordinary talent, but it will require a lot of practice to perform well. The movement occurs due to the movement of the shoulders and, as a consequence, the resulting distortion of the chest. First you need to raise your left shoulder, while lowering your right one. Simultaneously with the movements of the shoulders, the chest is distorted. As in the previous element, the hips, head and arms must remain motionless when performing the trick. If you perform this movement at a fast pace, the distortion will not work; the trick will resemble shaking. Two elements are easy to learn, but they will require you to spend a lot of time to perform them automatically.
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