The Pelvic Girdle and Hip Joint 205external rotation can also allow the leg to be placed
farther to the side and the hips to be more level as
seen in figure 4.37B. Many schools of dance allow the
normally linked lateral tilt of the pelvis to occur in
the later stages of the movement to achieve greater
height of the leg as shown in figure 4.36, while other
schools limit the amount of lateral pelvic tilt.
Whatever the aesthetic of the end position, the
initial stages of the movement should focus on
keeping the hips more level rather than excessively
laterally tilting the pelvis, as seen in figure 4.37A,
and maximally rotating and “dropping” the greater
trochanter so that optimal range and placement of
the gesture leg can be achieved as seen in figure 4.37,
B and C. So, adequate strength and activation of spe-
cific external rotator muscles as well as the iliopsoas
are important for achieving the desired height and
aesthetics in side extensions. The side leg raise with
an ankle weight (figure 4.38A and table 4.5G, p. 216)
or band (figure 4.38B and table 4.5G, variation 2, p.
216) are exercises designed to help the dancer focus
on the technique of fully rotating the femur as the
leg is being lifted. As described with extensions to
the front, as strength and desired activation patterns
improve, progression of strength exercises to include
a more vertical position of the torso, and eventually
standing, will help with transfer of desired improve-
ments in leg height and technique to class. When
progressing from side-lying (with an ankle weight)
to a sitting or standing position, lifting the leg above
90° is now opposed (due to the differing relationship
to gravity) versus assisted by gravity, and most danc-
ers will not have the strength to raise the leg close
to the height achieved side-lying. Initially, using the
hand to help find the desired drop of the greater
trochanter and maintain the desired height of theScreening Test for Hamstring Flexibility
A test is shown for measuring passive flexibility of the hamstrings.
While the dancer is in a supine position, one leg is gently brought
toward the chest with the knee straight (hip flexion) by the examiner
as the other leg remains straight down (B). For a more precise test
for hamstring length, the pelvis is maintained in a neutral position
while the leg is raised to a point of slight resistance but no pain; for a
more functional test of hip flexion, slight posterior tilting of the pelvis is
allowed only to the point where the back of the lower leg still maintains
contact with the table. This latter approach allows the pelvic-femoral
rhythm normally associated with marked hip flexion, such as used
in front développés or grand battements in dance class.
The axis of the goniometer is placed on the greater trochanter,
the stationary arm horizontally along the side
of the trunk and the movable arm along the
outer thigh. A reading of 0° refers to the posi-
tion when the leg is lying flat on the table,
90° when the leg is going straight up toward
the ceiling (A), and greater than 90° when
the leg comes closer to the chest as shown
in B. While 90° is considered normal range
in general populations, the average value for
functional hip flexion for elite advanced/pro-
fessional female ballet dancers was shown
to be 150° (Clippinger-Robertson, 1991). If a
goniometer is not available, one can estimate
the range by visually dividing the upper arc
in thirds (A) and approximating the degrees
of motion.