by Janine Bryant for The Dance Journal
Photo: ballettuni.com
The activity of turning out or, external hip rotation, is one that is highly desired by dancers of every genre at one time or another, but especially by dancers of classical ballet. Turnout enables efficient weight transfer, greater control and extension, and reduces injury when used correctly. It is this external rotation of the legs, coming primarily from the hip joints, which satisfies the aesthetics of classical dance forms.
The concept of turnout originated in the 17th Century by King Louis XIV. At that time, ballet was performed on raked (angled) stages and the utilization of turnout enabled dancers to better move from side to side as well as balance more effectively on an uneven surface. (Pata et al 2014)
Although dancers are taught to turn their feet out, it is often unclear to what degree and how to properly achieve the desired turnout. The ideal turnout is considered a complete 180° rotation from both hips when dancers are standing in traditional ballet stances such as first, second or fifth positions of the feet. This ideal, however, is rarely attained, as dancers’ available turnout depends on many factors, the individual limitations of which most dancers are acutely aware.
Know your bony parts!
We cannot embark on a discussion about turnout without mentioning the important anatomical structures of the hip such as the acetabulum (hip socket) in relation to the femoral head and neck.
Photo: b-reddy.org
In their review, Champion and Chatfield (2008) discuss a variety of approaches to assess turnout. They report that only 80° to 100° of external rotation are generally attributable to rotation at the hip joints. In addition, Hamilton et al (1992) reported that the turnout of elite professional ballet dancers measured at only 104°. (It should be noted that these dancers were measured whilst in a prone position). This leaves a considerable amount of desired rotation to be made up for, primarily in the knees, ankles and feet. However, the forcing of turnout from the knees, ankles and feet, beyond what the dancer’s anatomy can handle, could cause degenerative disorders and decreased strength. (Grossman 2005)
In addition to the skeletal hip structure, the deep six external rotators (piriformis, obturator internus, obturator externus, gemellus inferior, gemellus superior and quadratus femoris) are largely responsible for rotating the hip joints externally.
Photo: danceproject.ca
By accessing these muscles, as opposed to forcing the feet to the side, dancers are able to externally rotate from the desired location deep in the hip. It may be safe to say that strengthening these muscles and their ability to ‘hold’ the turnout that dancers can safely manage is more the goal as opposed to increasing flexibility. (Grossman 2005, Negus 2005)
Dancers could benefit from building awareness, coordination and strength of these deep external rotators and learning about their individual anatomy and bony limitations. Understanding weaknesses and how utilization of imagery and palpation techniques can increase this awareness is also extremely helpful. If dancers are unaware to what degree they are able to safely turnout, I recommend a functional assessment to determine this and other factors which could increase a dancer’s working knowledge of their own body thereby affecting strength and performance on many levels.
Some specific exercises could help dancers increase individual strength and ability to access and hold available turnout. These exercises can be found in the paper, Improving Turnout in University Dancers (Pata et al 2014). Authors recommend exercises like the Gyro Butterfly or Clam Shell, Passe´ Press as well as hip rotator and extensor stretches. (It should be noted that this discussion does not attempt to address questions such as the age at which turnout training could be expected to succeed, as the cited study was performed on collegiate-level dancers.)
Noted dance anatomist and researcher, Karen Clippinger states, ‘In my clinical experience most dancers improve their use of turnout by 15°-30° through specific strengthening of the deep outward rotators and refined muscle use’. (2005)
Given that dancers are primarily interested in freedom of movement, becoming more aware of individual strengths, limitations and skeletal anatomy could offer dancers the ability to develop this, as well as other genre-specific requirements, safely and effectively.
Until next time, friends, dance healthy and strong!
Janine Bryant
Director of Dance Programs
Eastern University
St. Davids, Pa.
Jbryant3@eastern.edu
References:
Champion LM, Chatfield SJ. Measurement of turnout in dance research: a critical review. J Dance Med Sci. 2008;12(4):121-35.
Clippinger – Robertson K. Biomechanical consideration of turnout. In: Solomon R, Solomon J, Minton S. (Eds): Preventing Dance Injuries (2nd ed). Champaign, IL: Human Kinetics, 2005, pp. 135-150.
Grossman G, Krasnow D, Welsh T, Effective use of turnout: biomechanical, neuromuscular and behavioral considerations. Journal of Dance Education, 2005; 5(1): 15-27.
Hamilton W, Hamilton L, Marshall P, Molnar M. A profile of the musculoskeletal characteristics of elite professional ballet dancers. Am J Spots Med. 1992 May-Jun;20(3):267-73.
Negus V, Hopper D, Briffa NK. Associations between turnout and lower extremity injuries in classical ballet dancers. J Orthop Sports Phys Ther. 2005 May;35(5):307-18.
Pata D, Welsh T., Bailey J, Range V, Improving turnout in university dancers. J Dance Med Sci. 2014;18(4):169-177.
Peterson, Judith R, MD, Dance medicine head to toe a dancer’s guide to health, Heightstown, NJ: Princeton Book Co., 2011, pp. 80-83.
Sherman AJ, Mayall E, Tasker S, Can a prescribed turnout conditioning program reduce the differential between passive and active turnout in pre-professional dancers?. J Dance Med Sci. 2014;18(4):159-168.