184 Dance Anatomy and Kinesiology
arm of the resistance (weight of the torso) is less and
the stress on the lumbar spine is markedly reduced.Pelvic-Femoral Rhythm
When extreme ranges of motion are required at
the hip joint, movements of the pelvic girdle occur
in a different direction and for a different reason,
that is, to place the acetabulum in a favorable posi-
tion to enhance the range through which the leg
and foot can be moved. This text will use the term
pelvic-femoral rhythm to refer to the characteristic
linking of these movements of the pelvis to the
fundamental movements of the femur at the hip
joint as shown in table 4.3. This term was selected
to reflect its parallelism to the predictable linking of
movements of the scapula with fundamental move-
ments of the humerus at the shoulder joint termed
the scapulohumeral rhythm. However, an important
difference between these linkings in the upper and
lower extremity is that because the pelvis is directly
attached to the spine, movements of the pelvis will
necessitate movement in the lumbar spine as previ-
ously described and listed in table 4.2. In contrast,
movements of the scapulae can occur without pro-
ducing a change in position of the spine.
An example of the pelvic-femoral rhythm entail-
ing linking of a posterior pelvic tilt with hip flexionoccurs when one performs a high battement to the
front. When the constraints of hamstring flexibility
are met, further movement of the leg upward will
create a posterior tilt of the pelvis and a decrease in
the lordosis (or even flexion) of the lumbar spine.
This additional motion of the pelvis and spine will
change the facing of the acetabulum more upward,
which in turn will allow the leg to go markedly
higher relative to the ground. Often, extreme use
of this linked motion is not desirable in dance as it
will distort desired body alignment, but the specific
vocabulary and dance form will dictate the amount
of pelvic motion permitted. For example, an extreme
posterior pelvic tilt causes flexion of the support knee
and spine, distorting the classical desired illusion
of a “lifted” and vertically aligned body. However,
in jazz or contemporary choreography, a high kick
to the front is sometimes purposely performed on
élevé with a bent support leg as shown in figure 4.21.
This bent knee positioning will allow a marked pos-
terior pelvic tilt so that a much greater height can
be achieved with the gesture leg, while extension of
the upper spine can be used to limit “dropping back
and down” of the torso to within acceptable limits of
the choreographer.
While end ranges of hip flexion tend to be linked
with a posterior tilt of the pelvis, other movementsHip Extensor Function in Posture
The hip extensors can also be palpated in their postural role. Placing one hand below the ischial
tuberosity and gluteus maximus and the other hand on one of the buttocks, incline the trunk forward
about 45°, and feel the hamstrings and gluteus maximus contract. Then slowly bring the torso to
vertical, lean slightly back, and feel the hamstrings and gluteus maximus relax as the center of mass
of the torso falls behind the common hip axis.CONCEPT DEMONSTRATION 4.1
TABLE 4.3 Linked Movements of the Pelvis That Accompany Movements of the Femur at the Hip JointMovement of the hip joint Associated movement of the pelvic girdle
Hip flexion Posterior pelvic tilt
Hip hyperextension Anterior pelvic tilt
Left hip abduction Right lateral pelvic tilt (right side lower and left side higher)
Right hip adduction Right lateral pelvic tilt
Left hip external rotation Left pelvic rotation
Right hip internal rotation Left pelvic rotation