A N A T O MY OF Movement R E V I S ED E D I T I ON Text and illustrations by Blandine Calais-Germain EASTLAND PRESS SEATTLE Originally published as Anatomie pour le mouvement, Editions Desiris (France), 1985. Revised in 1991 and 1999 English language edition © 1993, 2007 by Eastland Press, Inc. P.O. Box 99749 Seattle, WA 98139, USA www. eastlandpress. com All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo-copying, recording, or by any information storage and retrieval system, without the prior written permission of the publisher, except where permitted by law. Publisher's Cataloging-In-Publication Data Calais-Germain, Blandine. [Anatomie pour le mouvement. English] Anatomy of movement / text and illustrations by Blandine Calais-Germain ; edited by John O'Connor and Allan Kaplan. — Rev. ed. / translated by Regine MacKenzie. p. : ill. ; cm. Includes bibliographical references and index. Originally published in French: [Paris] : Editions Desiris, 1985. Rev. 1991 and 1999, under title: Anatomie pour le mouvement. ISBN: 978-0-939616-57-2 1. Musculoskeletal system. 2. Human mechanics. 3. Kinesiology. I. O'Connor, John. II. Kaplan, Allan. III. MacKenzie, Regine. IV. Title. V. Title: Anatomie pour le movement. QP301 .C2313 2007 612.7/6 2006936656 2 4 68 10 9 7 53 Translated by Regine MacKenzie Edited by John O'Connor and Allan Kaplan Cover illustration by Sandy Johnson Cover design by Patricia O'Connor Book design by Gary Niemeier Dedicated to Marie, Patrick, Jacques, Francois Table of Contents FOREWORD ... 3 PREFACE ... 5 INTRODUCTION Anatomical position.. .7; Planes of movement.. .8; Other anatomical reference terms...11; Skeleton... 12; Bones... 13; Joints... 14; Cartilage... 16; Joint capsule... 17; Ligaments... 18; Muscles... 19; Muscle elasticity...20; Muscle shapes...20 THE TRUNK Landmarks.. .30; Movements of the trunk.. .32; Vertebral column (or spine).. .34; Vertebral structure.. .36; Ligaments of the spinal column.. .38; Movements of the vertebrae...40; Pelvis (or pelvic girdle)...43; The two girdles...49; Sacrum...50; Coccyx...51; Lumbar spine...54; Lumbar vertebrae...54; Lumbosacral joint...56; Thoracic spine.. .58; Thoracic cage.. .60; Movements of the ribs.. .62; Thoracolumbar junction.. .64; Cervical spine.. .65; The atlas.. .68; The axis.. .70; Muscles of the trunk and their bony attachments.. .72; Anterior and lateral neck muscles.. .84; Muscles of the thorax.. .89; Diaphragm.. .90; Posterior muscles of trunk.. .92; Abdominal muscles...94; How the diaphragm and abdominal muscles are involved in breathing... 100 THE SHOULDER Landmarks.. .103; Global movements of shoulder.. .105; Shoulder girdle. ..110; Sternoclavicular joint. ..1ll; Scapula. ..112; Acromioclavicular joint. ..113; Humerus. ..116; Glenohumeral joint. ..117; Shoulder muscles with bony attachments. ..119; Scapulothoracic muscles.. .120; Deep scapulohumeral muscles of shoulder joint.. .126; Scapulohumeral muscles of shoulder.. .129 1 2 TABLE OF CONTENTS THE ELBOW Landmarks.. .138; Flexion/extension of the elbow.. .139; Radius and ulna... 140; Joint capsule of elbow... 143; Ligaments of elbow... 143; Bones for flexion and extension of elbow.. .144; Muscles for flexion of elbow... 146; Muscles for extension of elbow... 148; Pronation/supination of elbow and forearm... 149 THE WRIST & HAND Landmarks... 158; Bones...159; Movements of the wrist...160; Articular surfaces of wrist joint.. .164; Movements of the wrist.. .166; Flexors of the wrist... 172; Extensors of the wrist.. .174; Extrinsic flexors of the fingers... 176; Extrinsic extensors of the fingers.. .178; Intrinsic muscles that move the fingers.. .180; Intrinsic muscles of 5th finger... 182; Thumb... 184; Extrinsic muscles of the thumb... 186; Intrinsic muscles of the thumb... 188 THE HIP AND KNEE Landmarks... 192; Movements of hip...194; Femur...200; Hip (coxo-femoral) joint.. .201; Movements of the knee.. .208; The knee joint consists of three bones...211; Surfaces of knee joint. ..212; Muscles of the hip...228; Muscles of the hip and knee.. .238; Muscles of the knee.. .251; Summary of muscle actions of the hip...252 THE ANKLE AND FOOT Landmarks.. .258; Arrangment of bones in foot.. .259; Movements of the foot.. .260; Ankle joint.. .263; Talus and calcaneus.. .266; Ankle and foot muscles with their many bony attachments.. .280; Intrinsic muscles of the foot.. .281; Extrinsic anterior muscles.. .286; Actions of extrinsic foot muscles on the ankle.. .294 INDEX ...299 Foreword Anatomists, for many centuries, were concerned almost exclusively with precise descrip tion of the body's structures. Inevitably, they began by treating the locomotor system in the same way as the internal organs, i.e., actual functions were either unknown or described independently of structure. Gradually, around the beginning of the 20th century, anatomists began paying more attention to the actions of muscles and joints. Such functional studies remained at an elementary level for several decades. More recently, some researchers began looking at biomechanical properties (such as elasticity and resistance) of the locomotor system. However, these studies were focused on isolated components in the laboratory, not on how muscles and joints are used in "real life." Functional aspects were often viewed in terms of "efficiency," i.e., how to make the body an obedient instrument of various physical disciplines. In physiotherapy, body movements are analyzed in terms of both neurophysiological and mechanical components, thus allowing better definition of therapeutic effects and the real mechanisms of movement. Many people interested in physical disciplines such as dance, mime, theater, yoga, relax ation, etc. have come to physiotherapy looking for quantitative as well as qualitative analytical studies which would facilitate their practice. In this way, Blandine Calais- Germain began by studying dance and ended up studying physiotherapy. The complementary nature of these two ways of dealing with human body movements is obvious. Blandine quickly realized that dancers could benefit greatly from a better understanding of their "inner" bodies. She devised a novel teaching method to serve this purpose: the simultaneous representation of physical structures and their possible move ments, designed to facilitate actual execution by the dancer. 3 4 FOREWORD Not only dancers, but also professionals involved in other physical disciplines, came in increasing numbers to her classes. The emphasis in these classes (and this book) is on anatomy not for its own sake, but for better understanding of body movements. I have taken great pleasure in witnessing the birth of this concept, the first classes, and now the publication of this book which embodies Blandine's many years of experience as a dancer and teacher. I am delighted that the fruits of this experience will now be made widely available to others. Having worked closely with Blandine when she was a student of physiotherapy, I can attest to her skills as a therapist, her intelligence, and her love for teaching. The drawings in this book are all original, and the emphasis is always on description and understanding of natural postures and movements. The book will be particularly useful to those who, by profession, deal with integrated or complex movements of the body. For those who deal with human anatomy in any way, it will provide a useful and thought- provoking resource. I wish for this book the great success it deserves. Dr. Jacques Samuel Director, French School of Orthopedics and Massage Paris, France Preface I would like to briefly describe the content and organization of this book. This is intended simply as an introductory text. The emphasis is on basic human anatomy as it relates to external body movement. Therefore, we will be concerned mainly with bones, muscles, and joints. There will be no description of the skull, visceral organs, cir culatory system, central nervous system, etc. The book is designed to be as compact as possible, and to avoid repetition. Thus, format may vary from one chapter to the next. Parts of the body that are affected by the same muscles may be described together. Reference may be given to a previous page where a certain structure or function is described in more detail. For consistency and ease of orientation, drawings usually show structures from the right side of the body. Exceptions are clearly indicated. Joints are sometimes drawn without the adjacent bones, so that the articular surfaces can be more clearly seen. Similarly, each muscle is drawn in isolation (without surrounding muscles) to make its function more obvious. Chapter 1 provides basic orientation and terminology, and should be read first. Subse quent chapters are arranged in a logical order (starting with the trunk, moving down the arm, and then down the leg), and I recommend that they be read in this order. However, the reader with previous knowledge of anatomy may start at any chapter. The index will be helpful for locating the page where a particular structure is first men tioned, or described in detail. 5