Dance Anatomy & Kinesiology

(Marvins-Underground-K-12) #1
The Pelvic Girdle and Hip Joint 203

4 counts (isometric contraction) or taking 4 counts
to slowly lower the leg about 10° to 20° (eccentric
contraction; figure 4.35B) to the level that can be
achieved concentrically. A variation on this approach
is to raise the leg to the front as high as possible with
the knee straight (concentric contraction), bend the
knee to decrease the moment of the resistance, raise
the leg about 10° to 20° higher, slowly extend the knee


as straight as possible without dropping the height of
the knee or creating a sense of excessive muscle strain
at the hip (table 4.5B, p. 213), and hold this position
for 4 counts (isometric contraction) or take 4 counts
to slowly lower the leg (eccentric contraction).
In addition to hip flexor strength and iliopsoas
activation, the height to which the leg can be lifted
can be influenced by hamstring flexibility. When the

Iliopsoas Emphasis in the Front Développé


Perform the following exercises to try to develop a better awareness of and ability to activate the
iliopsoas. After performing the exercise on one side, repeat the same sequence with the other leg.
When good iliopsoas control has been achieved, greater strength benefits can be obtained by adding
resistance from a band (figure 4.34 and table 4.5A, p. 213), ankle cuff (table 4.5B, p. 213), or springs
(table 4.5C, p. 214).


  • Emphasizing use of the iliopsoas with the knee bent. Sitting on the floor with the right leg
    crossed over the left and the torso rounded forward, press the fingertips of the right hand in about
    1 inch (2.5 centimeters) medial to the ASIS, and feel the iliopsoas contracting under the abdominal
    wall as the right knee is lifted toward the chest. Repeat this motion of lifting and lowering the knee
    until more awareness of the iliopsoas is established. Next, try to consciously contract the iliopsoas
    isometrically and then concentrically to lift the leg.

  • Emphasizing use of the iliopsoas with a développé. Return to the starting position, and after
    the right knee has been lifted, extend the knee slowly without letting the knee drop down; then bring
    the leg to the front, and lift it higher three times with the knee straight; finally return to the starting
    position. Use of the rectus femoris can be decreased by using a position in which the knee is bent,
    but the challenge is to continue contracting the iliopsoas to keep the thigh close to the chest (e.g.,
    maintain the same angle of hip flexion) as the quadriceps femoris is used to straighten the knee.
    This is an important skill to learn because the rectus femoris is already shortened across the hip and
    will reach a position of active insufficiency as it is also shortened across the knee, tending to make
    the leg drop in height unless adequate contraction of the iliopsoas is used to maintain hip flexion.
    Initially using a slightly tucked position (increasing the mechanical advantage of the iliopsoas), pal-
    pating the iliopsoas, and using this feedback to make sure that it is continuing to work as the knee
    straightens, as well as concentrating on continuing to bring the thigh slightly closer to the chest as
    the knee extends, can help with the desired iliopsoas focus.

  • Emphasizing use of the iliopsoas with the knee straight. Sitting with one leg to the front, raise
    the leg, keeping the knee straight. First perform this movement with an emphasis on the quadriceps
    femoris by firmly “pulling the kneecap up toward the hip” and thinking of lifting the leg from the knee.
    Then, when you reach a height where you feel discomfort and cannot raise the leg higher, think of
    reaching the leg out, slightly tuck the pelvis, and focus on lifting the leg with the iliopsoas. Optimally,
    greater height of the leg with less sense of effort will be achieved.

  • Applying this muscle focus to class. Some dancers can key in to the sensation of the iliopsoas
    contracting and easily use that for feedback to transfer iliopsoas emphasis to other movements in
    class. However, other dancers have little sensation associated with the iliopsoas, but rather just feel
    that it is easier to lift the leg and that there is less sensation of discomfort in the rectus femoris and
    other hip flexors. Images such as (1) folding the thigh into the chest before extending the knee in
    développé or (2) lifting the thigh with a string, pulling from just below the crease in the front of the
    thigh to the front of the lower spine, can sometimes be helpful.


CONCEPT DEMONSTRATION 4.3


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