The Pelvic Girdle and Hip Joint 221Sample strength exercises for the hip are pro-
vided in table 4.5, and a brief description of their
importance follows. Because many of the muscles
of the hip also cross the knee, additional exercises
that also strengthen the hip are described with the
knee in chapter 5.
Hip Flexor Strengthening
Adequate strength in the hip flexors, and particularly
in the iliopsoas, is important for high movements to
the front and side such as développés and extensions.
One study showed an improvement of extensions to
the side (à la seconde) averaging about 6 inches (15
centimeters) following six weeks of hip flexor strength-
ening emphasizing use of the iliopsoas (Grossman
and Wilmerding, 2000). Similarly, the author found
average increases of 6 inches for front extensions and
5 inches (13 centimeters) for side extensions follow-
ing a 14-week class incorporating hip strengthening,
stretching, and technique exercises.
The knee to chest (table 4.5A) and front dével-
oppé (table 4.5C) are hip flexor strengthening
exercises designed to focus on use of the iliopsoas
through the use of a range of hip flexion greater
than 90°, initial use of a posterior pelvic tilt, and
the initial use of a flexed knee as discussed earlier
in this chapter. However, as strength and the abil-
ity to recruit the iliopsoas are developed, exercises
should progress to extending the knee after the hip is
flexed, performing hip flexion with the knee initially
extended (sitting 2 arc front leg raise, table 4.5B),
using a neutral pelvis, and bringing the torso to ver-
tical or standing to better replicate the functional
demands required in dance class and performance.
It may also help to review the procedure given for
palpating the iliopsoas and then focus on trying
to feel the iliopsoas contract under your fingertips
during each of these exercises.
Hip Extensor Strengthening
Developing sufficient strength in the hip extensors
is important to allow the leg to be lifted high to the
back as in a back attitude or arabesque. To achieve
maximum range and the desired dance aesthetic,
particular emphasis should be placed on using the
hamstrings. The back leg raise (table 4.5D) and
kneeling arabesque (table 4.5E) were designed with
this goal in mind. Use the hamstrings to bend the
knee slightly, and then focus on using these same
muscles to lift the leg “from the knee” up toward the
ceiling and higher than the pelvis.
Adequate strength and appropriate recruitment
of the hip extensors are also important for propulsive
movements such as jumping and closed-chain move-
ments such as pliés, or standing on one leg at the
barre or center floor. Bridging (table 4.5F) is designed
to help with this latter postural goal by encouraging
use of the abdominal–hamstring force couple. The
abdominal muscles are used to stabilize the pelvis,
while the hamstrings are used to pull the ischial tuber-
osities downward and lift the pelvis via hip extension.
Other useful strengthening exercises that more closely
mimic the demands of jumping include squats and
lunges described in the chapter on the knee (chapter
5), as well as jumping drills described in the chapter
on the ankle and foot (chapter 6).Hip Abductor StrengtheningStrengthening the hip abductors is key for achieving
adequate height in movements to the side such as
a développé or extension. Elite ballet dancers have
been shown to have significantly greater hip abductor
strength than normal (Hamilton et al., 1992), provid-
ing support for the importance of this muscle group
for ballet. The side leg raise (table 4.5G) and side
développé (table 4.5I) are designed to help improve
the height the leg can be lifted. Strengthening the
hip abductors is also important for side-to-side motion
and stability during standing on one leg. The standing
side leg raise (table 4.5H) is designed to emphasize
this latter stability on the support leg.Hip Adductor StrengtheningStrength exercises for the hip adductors are impor-
tant for muscle balance relative to the often stronger
hip abductors, and a study of professional ice hockey
players found a 17-fold greater risk for hip adductor
strains if hip adductor strength were less than 80%
of abductor strength (Tyler et al., 2001). Strength
exercises for the hip adductors are also important
for optimal placement of the pelvis when standing on
one leg and to help achieve the use of these “inner
thigh muscles” in turned-out positions encouraged
by many schools of dance. The single leg pull (table
4.5J) is designed to encourage use of the adductors
in the final phase of closing into and standing in
first or fifth position. The side leg pull (figure 4.5K)
utilizes a large range of motion so that both dynamic
flexibility and strength are encouraged and pelvic
stabilization is challenged. The wall “V” (figure
4.5L) is an alternative for dancers who do not have
access to the equipment required by the side leg pull.
The wall “V” actually involves horizontal adduction
versus pure hip adduction. However, it was included
because it offers the advantage of working in a large
range of motion.