American Circus Educators Magazine Spring 2018 (Issue 1, Volume 12) | Page 28

P o i n t o f // H A N D S TA N D S
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These days, being able to
do a handstand is a goal for
so many people across a
wide range of disciplines.
Handstands have become
a goal for everyone from
circus artists, yogis, and
crossfitters to climbers,
single parents, desk
workers, grandmas…
Elizabeth
Overton
Ok, maybe not grandmas, but there’s so much easily-
accessed information out there that it’s not too hard
for anyone to start learning. However, most of this
information is either unhealthy or not useful beyond
being able to get upside down and not fall for a few
seconds. This misguidance can sometimes lead to injury
and almost always leads to bad habits that need to be
fixed if the student’s goal is to progress beyond a fleeting
hold.
I think social media has been both a cause for this
issue as well as a possible cure. Knowledge spreads
over social media both directly (in posts) and indirectly
(through teachers and teachings becoming more well-
known). As the good teachers and practitioners make
themselves more well-known, the social media culture
of handstands will adapt. Even if teachers don’t want
to or can’t take more students in person, when they
become visible on social media, the average viewer
becomes exposed to the training process and its results,
which spreads better ideas about how handstands are
supposed to look and be trained.
I myself have direct knowledge of only two styles of
handstands: those from artistic gymnastics and circus
handbalancing style taught by Jean-Luc Martin. While
I don’t remember much of how I learned a handstand
in gymnastics at four years old, I do remember that my
hands were rarely addressed by my coaches because
their use was learned through trial and error. Elbows
were expected to be straight, but medial epicondyle
placement was not addressed. Shoulders were expected
to be extended, but external rotation was never
addressed. Rib placement was somewhat important, but
more focus was on correcting spinal alignment.
As long as I wasn’t getting deductions in competitions,
this technique was considered good enough. But once
I gained the goal of holding a one-arm handstand, I
needed more precision. My elbows, shoulders, ribs,
and more had to be addressed by Jean-Luc when our
goal became to have a one arm that I could move freely
within. His program was individualized to me but was still
strict and methodical. While these details may not be
what many average recreational handstanders want or
need, the principles apply and can be taught up to the
level the student wants to work for.
Everyone has a different body, so everyone has a slightly
different ideal handstand line. Once that ideal line has
been established, shapes that work for that body can
be explored. The priority shared throughout different
techniques is to keep the weight from resting in joints
that are not originally intended to bear weight: wrists,
elbows, and shoulders. Holding the weight in the
muscles surrounding these joints will solidify them in
the short term, and in the long term, putting the right
kind of stress (pulling, not squishing) on the connective
tissues will cause them to beef up and make themselves
more prepared to bear weight.
Realistically, anybody practicing circus frequently is at
risk of chronic injury. Muscle imbalances can develop
and connective tissue can tear from misalignment,
or you’ll overtrain or not warm up enough or become
inconsistent in skills while still attempting the hard stuff.
With handstands specifically, if you’re “sitting” in your
PHOTO CREDIT: ELIZ ABETH OVERTON
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