198 Dance Anatomy and Kinesiology
classic prone frog stretch (figure 4.32B), many danc-
ers make the error of anteriorly tilting the pelvis,
which slackens the structures that are the target of
the stretch and can put undesired stress on the low
back and knees. The other common error of trying
to force the feet down to the floor in this position can
also place potentially injurious stress on the knees and
is counter to the goal of enhancing external rotation
at the hip versus the knee. For dancers who are tighter
and who experience knee or hip discomfort even
when performing the modified prone frog stretch, the
supine frog stretch (figure 4.32C) provides a gentler
alternative where gravity and gentle application of thehands on the thighs can be used to
carefully apply a stretch.
A sample strength exercise for
improving turnout is shown in figure
4.33A and later described in table
4.5M (prone passé, variation 1, p.
219). However, as with stretches, spe-
cific exercise technique is essential.
Here, it is necessary to focus on using
and strengthening the lower DOR
rather than the gluteus maximus.
Due to the ability of the DOR to pro-
duce hip external rotation in such a
variety of positions and with limited
other joint actions, these muscles
are essential for effecting turnout in
dance movement. In essence, they
are able to produce turnout while
leaving the dancer free to move in
whatever direction is dictated by the
choreo-graphy. Focusing on rotating
(1) “lower,” at the bottom of the but-
tocks, (2) deeper below the gluteus
maximus, and (3) more specifically
but less forcibly can often help acti-
vate the DOR more than the gluteus
maximus. In addition, thinking of
bringing the greater trochanter back
toward the ischium, and palpating
with the fingers to be sure that the
quadratus femoris is contracting
in this area, can help achieve the
desired specific muscle activation. If
the dancer has difficulty adequately
activating the DOR or experiences
knee discomfort, hip external rota-
tion can also be performed side-lying
with the band just above the knee
(figure 4.33B) or prone on a ball
(figure 4.33C, described in table 4.5N
on p. 220).
This use and maintenance of turnout is important
not only for meeting the aesthetics of classical ballet
and various other dance forms but also for injury pre-
vention. Failure to maintain turnout at the hip and
excessive twisting from the knee down are believed
to be a contributing factor to many injuries of the
knee, shin, ankle, and foot.Influence of Turnout on Muscle Activation
When dancers work in a position of marked hip
external rotation, the line of pull of many of the
muscles of the hip is dramatically changed. HowFIGURE 4.32 Sample stretches for improving turnout. (A) Modified prone frog
stretch, (B) classic prone frog stretch with incorrect body positioning, (C) supine
frog stretch.