Dance Anatomy & Kinesiology

The Ankle and Foot 333

of the foot tends to be linked with forefoot adduction
such as in the strength exercises sitting big toe up
and away (table 6.6F, p. 347) and side-lying big toe
up (table 6.6G, p. 347). However, this position is not
commonly used in dance and is considered undesir-
able aesthetically in some dance forms such as ballet
(sickling the foot). The flexor hallucis longus has
been shown to be capable of producing inversion
and forefoot adduction (Femino et al., 2000).
The functional significance of inversion is more
operative when the foot is weight bearing. Here,
the tibialis anterior, tibialis posterior, flexor hallucis
longus, and other inverters of the foot (table 6.4)
can be used to shift the weight very slightly laterally
to create a locked and stable position of the foot,
or to limit pronation, or both. This former slight
lateral shift can be used in certain jumps (as seen in
figure 6.37) to allow a stable base desirable for the
generation of large forces that propel the body in
space, as well as to create the desired direction of
force (ground reaction force) so that the body will
travel in the desired direction and the limb will be
appropriately positioned relative to the rest of the
body. Often, after the push-off phase is completed,
the foot will be adjusted to a neutral or beveled posi-
tion, in line with the choreographic aesthetic. In
contrast, the latter function of limiting pronation is
very important for keeping the center of gravity in
the desired position over the foot so that balance can
be more easily maintained. Appropriate control of
pronation is also important for prevention of injuries
such as shin splints.

Eversion

Eversion of the foot involves lifting the outer border
of the foot. When the foot is unweighted, eversion
is usually combined with forefoot abduction. This
combination of movements is considered a desired
aesthetic in some dance forms such as ballet, and
is often referred to as “winging” or “beveling the
foot” and often encouraged when the foot is pointed
in movements such as an arabesque (figure 4.25,
p. 189) or in strengthening exercises such as sitting
little toe up and away (table 6.6H, p. 348). The pero-
neus longus appears to be particularly important in
creating this combined movement of forefoot abduc-
tion, slight eversion, and plantar flexion (Femino
et al., 2000).
This movement of eversion is also very important
when the foot is weight bearing. Here, the evert-
ers (table 6.4) can be used to shift the weight very
slightly medially to create an absorbent position of
the foot such as in walking, or to create the beveled

line desired by many ballet schools when on demi-

pointe or pointe as seen in figure 6.38. To achieve this

latter aesthetic, the everters can be used to shift the

body weight and position the forefoot and midfoot

relative to the rearfoot while co-contraction of the

plantar flexors and inverters is used to help maintain

balance. The everters perform the important func-

tion of limiting supination of the foot. This latter

function is very important for maintaining balance,

preventing “falling out” of turns, and preventing

ankle sprains.

Key Considerations for the Ankle and Foot in Whole Body Movement

When considering more complex full movements of

the body it is helpful to look again at the role of foot

pronation and supination, as these movements are

not only important for the foot but also serve impor-

tant functions during weight bearing for the body as a

whole. The importance of pronation and supination

FIGURE 6.37 Sample dance movement showing foot

inversion.

Photo courtesy of Steve Zee and Jazz Tap Ensemble. Dancer: Steve Zee.

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