I’m back to bust some more movement myths! So – is it dangerous to let your knees move over your toes?

TL;DR: NO! Knees passing forward over the toes is a normal everyday movement

If you walk down stairs, crouch down to get something out of a cupboard, or kneel on the ground – your knees pass over your toes.

It’s a normal, functional movement pattern. And the knees – like all other joints – are capable of adapting to all kinds of movements, so long as we progress them gradually!

A hinge is a hinge, and a squat is a squat

Sometimes this fear of knees-over-toes (a very natural movement) causes us to change our movement patterns.

I sometimes see dancers teaching strength exercises like a squat with a huge hip hinge. But in the world of strength training: a hinge is a hinge, and a squat is a squat.

Deep level changes with an upright torso:

More similar to a squat pattern

Big hip exterior hip circles where the hips travel back and the knees stay relatively still:

More similar to a hinge pattern

So… What is a hinge and a what is a squat?

In a hinge movement, the hips go backward. By shifting the weight backward, we load the hamstrings and glutes more.

In a squat movement, we sit straight down, allowing the knees to travel forward, and maintaining a relatively upright torso. This allows us to load the quads a bit more, AND to get deeper in a squat (further loading the quads!).

Restricting the knees from tracking forward just redistributes force elsewhere

A study examining the back squat movement found that not letting the knees come forward “may minimize stress on the knees,” but forces are then “inappropriately transferred to the hips and low-back region. Thus, appropriate joint loading during this exercise [the squat] may require the knees to move slightly past the toes.” (Fry et al., 2003).

Knees coming forward over toes may even be a good thing!

This 2023 paper (Illmeier & Rechberger) stated: “…it may be favorable or even necessary to allow a certain degree of anterior knee displacement in order to achieve optimal training outcomes and minimize the biomechanical stress imparted on the lumbar spine and hip. Overall, restricting this natural movement is likely not an effective strategy for healthy trained individuals.”

If you have an injury, of course you should adjust!

When people have knee pain, I often suggest making their bodyweight squats more hingey!

But this doesn’t mean that knees travelling forward over toes is dangerous.

It’s a bit like when you get a sunburn. You don’t want to go out in the sun again right away. You want to cover up and use aloe vera until it’s healed.

Injuries are the samewe avoid certain movements in acute phases, then work our way back towards them as part of the rehabilitation process.

What does any of this have to do with Raqs Sharqi?!

I still see well-meaning dance teachers telling their students to avoid level changes and “save them for the stage” because of a fear of the knees going over toes too often.

You will not tolerate more by doing less.

We would be much be prepared for the demands of our dance if we… prepared for the demands of our dance!

That means slowly building up towards movements we want to carry out on stage, through practising them, and through strengthening the movement patterns (like squats!) similar to the dance movements we want to achieve.

Did you learn something new about movement?

My name is Siobhan Camille.

I’m an exercise scientist and a professional dancer.

I love helping dancers get better, stronger, and more resilient.

If this was helpful for you, please comment, like, share or save, and sign up to my newsletter to get posts like this in your inbox!

There is a common idea that is pervasive in raqs sharqi and fusion “bellydance.” So:

Are “muscular” movements safer than “skeletal” movements?

There is no such thing as a “skeletal” movement!

This fear of what is sometimes called “skeletal” movement demonstrates a fundamental lack of understanding of human functional anatomy.

Muscles cannot push, they can only pull. All movement is created by muscles pulling on bones at the joint they cross. ALL movement involves muscular action.

Muscles also can’t “fall asleep.”

Unless there is a major neurological injury.

A lot of the confusion in the world of raqs sharqi and fusion dance is probably an issue of terminology.

We are a particular kind of movement form in that we sometimes choose to actively contract or flex some muscle groups more than others.

But just because we’re not actively trying to contract a muscle, doesn’t mean it’s not working!

So your “knee” shimmy?

…is also using your glutes, quads, and hamstrings, just like your “glute” shimmy.

We’re just choosing to actively add a little extra contraction on top to change the movement quality. Which is totally valid – but it’s incorrect to say that the other shimmy is unsafe because “the muscles aren’t activated” – they are activated!

If they weren’t, you’d simply fall down!

You don’t need to squeeze everything tight all the time.

You can choose to, of course! And as previously mentioned, we sometimes choose to for certain aesthetic purposes (like creating a belly roll!).

But you’re not making yourself safer with the extra “squeezes.” You’re just changing how the movement looks and feels.

Sometimes if we have a specific pain or injury, it can be helpful to avoid certain movements for a while. But it doesn’t mean that movement or way of moving is inherently dangerous. Human bodies are great at adapting to stressors.

Did you learn something new about muscles? I’m glad!

My name is Siobhan Camille.

I’m an exercise scientist and a professional dancer.

I love helping dancers get better, stronger, and more resilient.

If this was helpful for you, please comment, like, share or save! And sign up to my newsletter to get blog posts like this in your inbox.

Looking to get your isolations sharper, your figure eights and circles smoother, and your quality of movement crisper and cleaner? It’s all about practice! However, the way we practice can have an effect on what we get out of that practice. Mindful drilling trumps mindless drilling, so here are three tips to strengthen your belly dance isolations!

1. Know what you’re moving, and how you’re moving it

Hip locks. Well, we’re moving the hips right? Sure, but what’s the driving force behind that movement? We know we need to alternate straightening and bending the knees, so have you taken the time to notice if one leg is working more than the other?

First, start noticing what your default pattern is. Film yourself and watch it back, or ask your teacher or mentor to help you identify what’s driving your movement.

Then, it’s time to get a little nerdy. What muscles can you choose to activate a little more to emphasise the hip lift? (Side note: Muscles are always working – there’s no such thing as a skeletal movement, so here it’s more about what you’re actively choosing to contract a bit harder for emphasis!)

Are you feeling contractions in your glutes (butt muscles) or obliques (side abdominals)? You may be choosing to contract (or unconsciously using) one muscle group more than another. I cover some of the ways I use my obliques for hip movements in the free tutorial below on Bigger Hip Shimmies, and I also have an an exclusive video on improving Oblique Strength for Stronger Hipwork just for my newsletter subscribers.

It’s really helpful to learn what muscles could be driving the movement, and get an understanding of how privileging one muscle group over another could change the movement quality of that isolation.

I cover some of the ways I use my obliques for hip movements in this free tutorial on Bigger Hip Shimmies

2. Strengthen those muscles!

We’ve gotten nerdy, we’ve started to think about the muscles involved! Now what? Easy – strengthen those muscles. Interested in how you can get your obliques to play a part in increasing the size of your hip lifts and drops? Start strengthening them. Plus, there’s the added bonus of a decreased injury risk when our muscles are stronger.

(Don’t know where to start with strength training for raqs sharqi and fusion dancers? Siobhan offers the Dance Strong Challenge several times a year!).

3. Slooooooooow it down…

…. Then speed it up, but don’t cheat! Slowing down an isolation can help you to feel and see the “sticky” parts. When you take your hip circle, maya, or hip lock at a slower speed, you’ll be more able to see differences in size and symmetry. If you’re more aware of these differences, you’ll be more able to work on them. When we’re learning or perfecting a skill our brain has to be involved in doing the work. So slow it down, notice what you want to change, give your brain time to process, and keep at it. When you’re ready, increase the speed. Find where you’re comfortable, then get to that “sweet spot” that’s just out of reach – when you’re not flailing and getting too frustrated, but where you’ve gotta work and reach to get and keep that technique strong and even! Playing with speed is not only a good way to identify how we can improve our quality of movement, but also great for challenging our current level of technique.

Interested in putting some strength and technique work into practice? Register for the Greenstone Dance Arts semi-regular newsletter. You’ll be rewarded right away, with an exclusive video on improving Oblique Strength for Stronger Hipwork, and a mini lower body strengthening workout designed for belly dancers!

One of the biggest mistakes I see dancers make when it comes to training is ignoring the concept of progressive overload.

What the heck is progressive overload!?

Progressive overload refers to gradually (the key word here!) increasing the amount and/or difficulty of your training over time. In both the rehabilitation and athletic performance spheres, we use progressive overload to safely and effectively improve strength, mobility/flexibility, and conditioning status (cardiovascular fitness).

Learn more about progressive overload, and how to tell if you’re increasing your (dance) training load too quickly!

I see dancers make two big mistakes when it comes to progressive overload:

Not acknowledging (or perhaps understanding) where they currently are NOW.

I see so many dancers injure themselves (or just make themselves so sore that they NEVER want to train again!) because they set a goal that is too lofty for their current fitness levels. Lofty goals are fun, but you need to progress towards that goal over time. Just because someone else can run 5km right now, doesn’t mean you can right away, especially if you’ve never run before!

The next most common problem I see is:

Building up to a certain level…. And then never changing anything!

You don’t need to always aspire to stronger, faster, more flexible (although, I truly believe that stronger is better in lots of ways for our bodies – but that’s a discussion for another time). But our bodies are REALLY good at adapting to stressors. Exercise is a stressor. We need a certain amount of consistency for our body to adapt, but once the body is used to something, we need to change it up to keep ourselves seeing the same benefits of training. This can be as simple as changing the type of exercises you do every 4-6 weeks, or adding weight or resistance to the exercises you’re doing.

Progressive overload is not just important for our strength, conditioning and mobility work. It’s also important to consider when planning our dance practices.

Consider this common scenario:

You’re going to a belly dance festival for the first time in a long time (especially after the last 2.5 years of most things being online!). You’re usually dancing for 45 minutes, three times a week. But you’re so excited to dance again, and all the workshops look SO good (sound familiar?). So you’ve signed up for 8 hours of workshops this weekend!

Jumping from 2.25 hours of dance in a regular week to 8 hours (or 10.25 if you also did those standard regular classes) is a big jump in load for our bodies. This can be one of the reasons you might be more likely to sustain an injury at a dance festival – it’s a huge jump in loading that your body is not used to.

But don’t just take my word for it – let’s use a simple method to assess this jump in dance volume:

The acute-to-chronic training/workload ratio (ACWR)

Sounds complicated already, I know! But I promise it’s not, and for this simple method, you can even find a calculator online. I use a slightly more involved version of this method, but this basic method is a great way to get a snapshot of whether you’re increasing your dance and/or training volume too much.

The acute-to-chronic training/workload ratio (ACWR) compares your mileage (for activities like running, cycling, and swimming) or duration (for activities like dance) from the last week to your average weekly mileage/duration for the last four weeks. Week 4 is last week, Week 3 is the week before it, and so on.

When you do an ACWR calculation, you’ll end up with a number at the end. Here’s what the numbers signify:

<0.8 = danger zone; undertraining which can lead to injury risk (yes, we also don’t want to DROP our training amounts too much from week to week if we want to avoid injury!)

0.8-1.2/1.3 = sweet spot; optimal workload and lowest relative injury risk

1.3-1.5 = increased injury risk

>1.5 = danger zone; significantly increased injury risk, highest relative injury risk

So let’s revisit our dance festival example:

ACWR Example: Dance Festival

Week 1 = 135 mins (3 weeks before the festival: your standard 3 x 45 minute dance sessions)

Week 2 = 135 mins

Week 3 = 135 mins

Week 4 = 615 mins (The week of the festival: Your standard 3 x 45 minute dance sessions, plus your 8 hours of workshops at the festival!)

To calculate your ACWR, add up the minutes from each week:

(615 + 135 + 135 + 135) = 1020 mins 

Then, divide that number by the number of weeks (this is standardly measured in 4 week blocks):

1020 / 4 = 255

Then, take the amount of load (in our example, in minutes) from the most recent week, and divide it by the average of the last four weeks (the number we just calculated above):

ACWR = 615 / 255 = 2.4

In this example, your ACWR would be 2.4 → You’re currently in the “danger zone,” the highest risk category for injury because of how fast, and how unevenly, the load has been ramped up.

This is just one of the reasons why we want to progressively overload all of our training – dance, strength, conditioning, mobility or otherwise. We want to progressively build up overtime to reduce our chances of injury.

Have you got any questions about progressive overload for me? Leave me a comment below!

Want to create the strength, mobility, and metabolic conditioning you need to be the dancer you dream of? Siobhan Camille writes personalised strength and conditioning programs for dancers, and regularly hosts online and in-person dance-specific workshops. Find out more about what Siobhan has to offer here, and sign up for semi-regular newsletter here to get all the knowledge delivered right to your inbox!

In addition to being the founder and director of Greenstone Belly Dance, Siobhan Camille is a Rehabilitative Exercise Specialist and Strength & Conditioning Coach. Siobhan Camille has an extensive background in exercise science with postgraduate level degrees in Exercise Prescription and Rehabilitation Science. She takes a particular interest in the safety, strength, and performance of dancers, and has conducted formal research on injury incidence in belly dancers. She draws on this background to emphasise safe dance technique and teaches her students how to find and activate muscles to create clear movement.⁠

Thrilled to be back on the Yallah Raqs podcast, this time talking about shimmies and strength! In this podcast episode, we discuss shimmies and the role strength plays when it comes to shaking those hips. There’s always something more to learn, layer, or experiment with when it comes to shimmies, so give it a listen. 🥰

Listen to the podcast here or click the image below.

Siobhan Camille chats all things shimmies on the Yallah Raqs Podcast!