DOCSLIB.ORG

Measurement of Turnout in Dance Research a Critical Review

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Measurement of Turnout in Dance Research a Critical Review Review Article Measurement of Turnout in Dance Research A Critical Review Lowry M. Champion, M.F.A., and Steven J. Chatfield, Ph.D. Abstract procedure for assessing total turnout; rotation. Turnout measurement procedures, adoption of conventions for reporting Dance aesthetics often demand results, and reporting formats vary in data in compatible forms; and the de- what is considered “perfect TO,” with- dance medicine and science research, velopment of normative data sets for out regard to anatomical capabilities making comparisons difficult. It different categories of dancers. and limitations. Perfect turnout re- is agreed that turnout results from quires 90° of external rotation of each summative contributions of the he term “turnout” (TO) is extremity, establishing a 180° angle hip, knee, lower-leg, and the foot- commonly used in dance to between the longitudinal axes of the 1,3,5,8,11,12 ankle complex. However, the most denote external rotation of feet. This is a phenomenon Tthe lower extremities; in particular, that is anatomically and biomechani- frequently reported measurement is 1,12,15 hip external rotation, and even this is ballet uses a foundation of five turned cally uncommon. Of the desired measured in incompatible ways. No out positions of the feet: first, second, 90° of perfect unilateral external 1,2 normative data exist for component third, fourth, and fifth positions. rotation, the research suggests that a and summative measures or for dif- However, the term has many associa- range of 60° to 70° is contributed by ferent categories of dancers, making tions, and an operational definition the hip, while the distal aspects of the screening, clinical assessment, and has yet to be established. Some re- lower extremity contribute approxi- 2,4,12,16-18 research problematic. Thus, there searchers define TO as external rota- mately 10° to 35°. Findings by 19 is a need to standardize component tion of the legs such that the longitu- Hamilton and colleagues and Khan 6 measurements, develop an inclusive dinal axes of the feet establish a 180° and associates support the concept of 1-10 measurement procedure for total angle. One study further defines distal contributions by reporting that turnout, and establish normative data three distinct subcategories: “techni- approximately 40% of TO originates for each measurement and for differ- cally correct,” “functional,” and “com- from below the knee. These findings 1 ent categories of dancers. This review pensated” TO. “Technically correct” emphasize the need for a total TO evaluates the 24 published articles TO is the position, as determined by measurement inclusive of all compo- that have reported original data for dance instructors, in which the hips nents. turnout assessment in dancers. Results are maximally rotated externally and The degree of total turnout (TTO) are summarized and displayed for each weight is centered through the knee accessible during functional move- article. In conclusion, recommenda- and ankle. “Functional” TO is the ment is different between individu- tions are made for: use of selected hip position assumed by the dancer, and als, and is affected by several factors, external range of motion and tibial “compensated” TO is determined by including soft tissue and skeletal 2,5-7,15 version measurements as the most the difference between “functional” anatomy. While soft tissue char- important components of turnout; a TO and bilateral passive hip external acteristics (including ligamentous laxity, muscle stretch, and muscle strength) influence TO, the scope of Lowry M. Champion, M.F.A., is at Stanford University, Palo Alto, California. this review is limited to skeletal influ- Steven J. Chatfield Ph.D. is in the School of Music and Dance, University of ences. Skeletal features influential in Oregon, Eugene, Oregon. TTO include the following: orienta- Correspondence: Lowry M. Champion, M.F.A., P.O. Box 311 Burlingame, tion and depth of the acetabulum; California 94011; [email protected]. shape of the femoral neck; degree of 121 122 Volume 12, Number 4, 2008 • Journal of Dance Medicine & Science femoral version; and degree of tibial determined that there was less agree- external rotation (HER) data reported version. ment with regards to the assessment by 17 dance-specific studies are listed The hip is a ball and socket joint, of turnout than anticipated. It was in Table 1. Table 2 lists data reported the “ball” referring to the head of the presumed that this would be an op- by the 12 studies that assessed non-hip femur and the “socket” to the acetabu- portunity for the international dance components of turnout (NHCTO). lum. Orientation and depth of the medicine and science community to Table 3 lists data generated by the 15 acetabulum influence the degree of reach a consensus on the measurement studies that reported measurements available TTO.2,10,15 A retro-oriented of turnout, with the goal of standard- of TTO, a measurement inclusive of acetabulum results in greater appear- izing assessment in the near future. It both hip and non-hip components. ance of TTO, while an ante-oriented was quickly determined, however, that The names of authors, the year of acetabulum limits the appearance of this was too large an endeavor to be publication, and a brief description of TTO. A shallow acetabulum allows completed at the time. the sample, measurement procedure for greater hip joint mobility, while Ultimately, the task of performing (including type of motion, testing a deep acetabulum provides greater a detailed and critical review of re- position, and instrumentation or cal- hip joint stability and limits external lated literature evolved to the current culation), sorting variables, and results rotation. authors. Searches were conducted of are included in each table. Studies are The length and shape of the femo- internet databases, bibliographies, catalogued in more than one table if ral neck influences hip range of and reference lists for related research values for more than one measure- motion (ROM) by determining the that generated and published original ment were reported. Evaluation of point at which the neck contacts the data on TO measurement in dancers. these reports will proceed through a acetabulum during external rotation.20 Relevant studies of dance screening brief description of each measurement Long concave femoral necks permit and the assessment of tibial version procedure. increased external rotation ROM in non-dancers were also referenced. of the lower extremity before bony Various methods used to assess TO Hip External Rotation: Table 1 contact with the rim of the acetabu- have unfortunately provided incom- Methods of assessing HER varied. lum occurs. Conversely, shorter and patible and sometimes non-applicable Three positions were used: 1. prone less concave necks decrease external data. While it is generally agreed that with hip extension and knee flexion, rotation of the lower extremity by al- TO results from summative contribu- 2. supine with hip extension and lowing less TO before contact occurs tions of the hip, knee, lower-leg, and knee flexion, 3. sitting with hip and with the acetabular rim. the foot-ankle complex,7,8,11,12,19,20,35 knee flexion. In addition, one study Femoral version is a normal twist clinical measurements of TO often described a unique calculation for in the shaft of the femur. The typi- assess only external rotation of the active “external rotation lag.” A brief cal adult human femur is anteverted hip,36-38 despite research indicating description of measurement methods 6° to 15° along the longitudinal significant contributions of non-hip and results follows. axis.2,4,10,12,21,22 Decreased femoral components ranging between 30% anteversion, or the unusual presence to 48%.6,19,39 Prone: Hip Extension and Knee of femoral retroversion, increases the The purpose of this review is three- Flexion appearance of TTO.7,12,20 fold: to catalogue published reports on Nine studies assessed passive HER Tibial version (TV) is a normal TO in dancers and describe methods (PaHER) in the prone position, with twist in the shaft of the tibia along the of measurement; to evaluate and dis- hip extension and knee flexion, while longitudinal axis in a retroverted direc- play the results; and to make recom- none assessed active HER (AHER) in tion.21,23-28 Average values as reported mendations for future assessment and this position. Variable instrumenta- for samples of the general population research. tion was used: 1. standard goniom- range from 10° to 42°.21,22,24,26-31 Av- eter, as suggested by the American erage values of 10° to 28° have been Literature Review Academy of Orthopaedic Surgeons; reported for samples of dancers.19,32,33 At the time of this review, 24 articles 2. standard goniometer, modified However, normal values ranging from that generated original data on the with a level; or 3. inclinometer. Four 0° to 20° have been referenced in the measurement of TO in dancers were studies are described in further detail dance literature.4,12,15,16,18,20 located (additional procedural articles below: the two studies that reported were found, but are not evaluated the lowest and highest values using a Relevance because they did not report original goniometer, the one study that used This review was initiated in response data). A template was devised during a modified goniometer, and the one to an interactive panel at the 2005 the review process to record specific study that used an inclinometer. International Association for Dance information and to manage inconsis- Standard goniometers were used in Medicine and Science annual confer- tencies in the literature (Fig. 1). Re- seven studies to measure PaHER in ence in Stockholm, Sweden.34 On sults were sorted by measurement, and the prone position.1,14,19,36-38,40 Subjects that occasion the panel of experts are displayed in Tables 1, 2, and 3.
Load more

Recommended publications
  • Muscle Imbalance Explained (4Pp).Qxp Layout 1 19/08/2014 10:46 Page 1
    DUK Info Sheet 13 - Muscle Imbalance Explained (4pp).qxp_Layout 1 19/08/2014 10:46 Page 1 13 Muscular Imbalance Explained By Kim Hutt, 2014 Muscles are responsible for maintaining Muscle imbalances in themselves are not BOX 1 posture, creating positions, absorbing painful. However, when they reach the shock, producing heat, protecting the point of affecting joint mechanics or 3 Common Biomechanical body’s internal organs and stabilizing altering movement patterns, they can lead Imbalances and moving joints. Muscles account for to injury and pain. It is worth noting here approximately 40-45% of an average that injuries that are not associated with 1 Turnout – holding turnout in ballet for adult’s body mass. They are comprised of muscle imbalance (for example, if you go prolonged periods without including muscle cells, which are the only human over on your ankle and sprain a ligament), training in internal or neutral rotation cells able to produce active tension. may also affect movement patterns in an can often lead to short and tight This means that muscles are able to attempt to avoid pain, and consequently external rotators in the hip and long shorten, lengthen or maintain the same lead to muscular imbalance. Therefore it and weak internal rotators. length against a resistance. For example, is important to highlight that dancing the leg works against gravity when through any pain can indirectly lead to 2 Some dancers, in an attempt to working in the air or against ground muscle imbalance. In short, muscle develop their chest musculature utilize reaction forces when controlling landings imbalance can be a symptom or a weights and overwork the chest from jumps.
    [Show full text]
  • The Psychosocial Effects of Compensated Turnout on Dancers: a Critical Look at the Leading Cause of Non-Traumatic Dance Injuries
    University of Tennessee at Chattanooga UTC Scholar Student Research, Creative Works, and Honors Theses Publications 5-2018 The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries Rachel Smith University of Tennessee at Chattanooga, [email protected] Follow this and additional works at: https://scholar.utc.edu/honors-theses Part of the Medicine and Health Sciences Commons Recommended Citation Smith, Rachel, "The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries" (2018). Honors Theses. This Theses is brought to you for free and open access by the Student Research, Creative Works, and Publications at UTC Scholar. It has been accepted for inclusion in Honors Theses by an authorized administrator of UTC Scholar. For more information, please contact [email protected]. The Psychosocial Effects of Compensated Turnout on Dancers 1 The Psychosocial Effects of Compensated Turnout on Dancers: A Critical Look at the Leading Cause of Non-Traumatic Dance Injuries Rachel Smith Departmental Honors Thesis University of Tennessee at Chattanooga Department of Health and Human Performance Examination Date: March 22, 2018 ________________________________ ______________________________ Shewanee Howard-Baptiste Burch Oglesby Associate Professor of Exercise Science Associate Professor of Exercise Science Thesis Director Department Examiner ________________________________ Liz Hathaway Assistant Professor of Exercise
    [Show full text]
  • Getting to “The Pointe”
    Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADERSHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely B.A., Western Kentucky University, 2003 M.A., Western Kentucky University, 2006 Submitted to the Graduate Faculty under the supervision of Gail F. Latta, Ph.D. in partial fulfillment of the requirements for the degree of Doctor of Education in Leadership Studies Xavier University Cincinnati, OH May 2017 Running head: GETTING TO “THE POINTE” Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADESHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely Dissertation Advisor: Gail F. Latta, Ph.D. Abstract The focus of this ethnographic study is to examine the industry-wide culture of the American ballet. Two additional research questions guided the investigation: what attributes, and their light and dark dimensions, are valued among individuals selected for leadership roles within the culture, and how does the ballet industry nurture these attributes? An understanding of the culture was garnered through observations and interviews conducted in three classically-based professional ballet companies in the United States: one located in the Rocky Mountain region, one in the Midwestern region, and one in the Pacific Northwest region. Data analysis brought forth cultural and leadership themes revealing an industry consumed by “the ideal” to the point that members are willing to make sacrifices, both at the individual and organizational levels, for the pursuit of beauty. The ballet culture was found to expect its leaders to manifest the light dimensions of attributes valued by the culture, because these individuals are elevated to the extent that they “become the culture,” but they also allow these individuals to simultaneously exemplify the dark dimensions of these attributes.
    [Show full text]
  • Classical Ballet Classwork & Teaching Suggestions
    Classical Ballet 3 Classwork & Teaching Suggestions for the Ballet Teacher of Intermediate to Advanced Students Ruth H. Brinkerho, B.A. Former Director, Utah Ballet Academy Registered Teacher, Royal Academy of Dance Classical Ballet 3: Classwork and Teaching Suggestions for the Ballet Teacher of Intermediate to Advanced Students By Ruth H. Brinkerhoff, B.A. Former Director, Utah Ballet Academy Registered Teacher, Royal Academy of Dance Copyright © 2016, The Ballet Source Cover design and illustrations © 2016, Eric Hungerford. All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the copyright holder. The Teacher Must Decide The Ballet Arts series of manuals provides information, activities and suggestions for the teaching of ballet to children. The materials in these books have worked well for the author, and for other teachers of her acquaintance. However, the author cannot know what approach or which physical activities will be appropriate and safe for any particular teacher, class, or student. It is the responsibility of each ballet teacher to use his or her best judgment in applying the information and teaching suggestions contained herein, and in using the activities, enchainements, dances and teaching materials contained in the Ballet Arts series from The Ballet Source. Contents Index 3 I. Improving Technique and Artistry 4 Using This Manual 5 Suggestions For Improving Technique and Artistry 10 Correct Muscle Use 17 Warming Up For Ballet 22 II. Classes 23 Sample Ballet Classes 24 To Improve Their Sense of Balance 55 For An Advanced Class 58 Classes With Pointe & Boys Work 61 III.
    [Show full text]
  • Nutcracker Study Guide, 2012 Salt Creek Ballet Page 2
    STUDY GUIDE SALT CREEK BALLET’S PRODUCTION OF EXCERPTS FROM THE NUTCRACKER SPONSORED BY THE ADDISON CENTER FOR THE ARTS A GUIDE FOR TEACHERS GRADES 2-5 ALIGNED WITH THE ILLINOIS STATE STANDARDS Dear Teacher: We know that classroom time is precious, so we thank you for taking the time to use this resource and enrich your students’ experience of The Nutcracker ballet! The purpose of this packet is to both assist you in preparing your students for Salt Creek Ballet’s production of The Nutcracker ballet as well as provide you with several ways in which to integrate the dance experience into your daily academic curriculum. Although the students will only view specific portions of the ballet (the end of Act I and part of Act II), we encourage you and your students to learn more about ballet and the complete story of The Nutcracker ballet by using the pre-performance discussion activities provided below. After attending the performance, you may help the students “dive more deeply” by using any of the suggested post-performance writing or discussion activities provided. TABLE OF CONTENTS Suggested Pre-Performance Activities…….page 2 About Ballet……………………………………………page 2 About the Theater…………………………………. page 4 About the Music……………………………………..page 4 Background Information…………………………page 5 Ballet and Dance Vocabulary……………….…page 7 Creating a Ballet………………………………….…page 8 What Students can expect………………………page 8 Ideas for Curriculum Integration…………….page 9 Selected Bibliography and Resources……page 12 SUGGESTED PRE-PERFORMANCE ACTIVITIES Basic Activities: Read aloud or have the students read the story of The Nutcracker ballet. (A synopsis of SCB’s version of story is included in this packet.) Listen to excerpts from the Tchaikovsky score and notice the ways the music changes with each different scene in the story.
    [Show full text]
  • Effective Use of Turnout Biomechanical, Neuromuscular, and Behavioral Considerations
    Effective Use of Turnout Biomechanical, Neuromuscular, and Behavioral Considerations Gayanne Grossman, Ed.M., P.T., Donna Krasnow, M.S., and Thomas M. Welsh, Ph.D. Abstract the potential for using science and its spin-off tech- This article offers a specific example of the benefits nologies to improve dance training and performance. that might result from integrating scientific princi- In addition to the benefits above, some of the specific ples into the daily practice of dance training. Using performance improvements the movement sciences the mastery of turnout as our focus, we 1. describe may be able to help dancers achieve include higher the anatomy of turnout in terms familiar to the extensions and arabesque, longer leaps, cleaner turns, dance artist, 2. explore conditioning and imagery and more effective use of turnout. Once dancers, and work designed to improve the use of turnout, and those who train them, begin to experience some of 3. outline a practical strategy for helping dancers the benefits of using science to inform the dancer’s use new turnout skills while they are dancing. approach to training the instrument of their art form, the human body, the adoption of science-based ver the past 70 years, our understanding of enhancements is likely to become as popular among the science of human movement has blos- dancers as it is among athletes. somed. In the world of sports, the scientific The purpose of this article is to offer a specific O example of the benefits that might result from inte- method is frequently used to create and inform new approaches to training.
    [Show full text]
  • Beginning Ballet Vocabulary ​Once Upon a Ballet™
    Beginning Ballet Vocabulary ​Once Upon A Ballet™ While it is up to the school and/or teacher as to how well their students know the French terms of the ballet steps they practice during class, at Once Upon A Ballet, we want to encourage as much use of the correct French terms as possible during class--particularly beginning in Ballet 1. This resource is a guide to the ballet steps learned in Ballet 1 (according to the Once Upon A Ballet Curriculum). Translations and descriptions are provided for each step for teachers. Activity sheets are provided at the end of this guide for students. Several excellent (and free) online ballet dictionaries include: ● American Ballet Theatre’s Ballet Dictionary: ​http://www.abt.org/education/dictionary/ ● Royal Opera House Ballet Glossary: ​http://www.roh.org.uk/learning/learning-platform/unit/ballet-glossary/ ● Royal Opera House Ballet Glossary Video Playlist: ​https://www.youtube.com/playlist?list=PL7E40E6E2DAB561B5 ● BalletHub’s Ballet Term Dictionary: ​https://ballethub.com/ballet-terms-dictionary/ TERMS, TRANSLATIONS + TEACHER GUIDANCE Demi Plié Translation: To bend; a half-bend of the knees Students should be able to do a simple demi plié in 1st, 2nd, and 5th positions while keeping their heels on the floor and backs straight Battement Tendu Translation: To stretch Students should be able to tendu to the front, side and back from 1st position. Tendus should be introduced in a slow tempo with emphasis placed on rolling through the demi pointe. Later in the year, students should also be introduced to tendu front, side and back from 5th position.
    [Show full text]
  • Exit Skills Level 4 2014-15
    Exit Skills Level 4 2014-15 Barre Stance/Aplomb Ability to demonstrate secure verticle alignment through the back of the leg as well as proper weight distrubution (especially on one leg) 2/3 of the weight over the ball of the foot 1/3 over the front of the heel pad. The action of lengthening the lower back and front of the pelvis should be clearly visible. Turnout Student can clearly show stable and neutral pelvis (with abdominal support) while maintaining turn out of both gesture and supporting leg. The muscles of the thighs that sustain this action should be well developed and visible on flat and 3/4 pointe where required. This should be maintained throughout all barre work Plié elasticity Elasiticity in demi-plié and ability to maintain strong back in grand plié (barre and center). Port de bras Well developed sense of breath while executing all port de bras with coordinated head and eyes and appropriate inclinations. Balance Ability to find secure balance on full 3/4 pointe with fully stretched and pulled up legs (1 and 2 feet) in following positions: 1st, 5th, coup de pied and retiré, 45° in arabesque, 45° in 2nd position Fondu coordination Well established co-ordination and alignment in fondu to stretch (on flat and demi-pointe) Dynamics,tracking and isolation Ability to clearly show proper knee tracking in frappé while maintaining turnout on both supporting and gesture leg with strong use of quick twitch muscles and secure 3/4 pointe. Ability to sustain proper alignment in 2nd position en l'air at 90° with a clear understanding of the action of turnout while allowing mobility in the knee joint for both inward and outward action of the lower leg.
    [Show full text]
  • Ballet Moves and Mimes
    plié reverence split grand jeté pirouette battement arabesque pointes fish dive attitude swan royalty beautiful I love you I swear Swan Lake Ballet Moves Flashcards - Text and Symbol 1st 2nd 3rd 4th 5th position position position position position arabesque attitude grand jeté plié reverence Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 1 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text and Symbol pirouette split turnout pointe pas passé grand fish dive on the sideways battement spot Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 2 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text and Symbol travelling unison canon Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 3 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text 1st 2nd 3rd 4th 5th position position position position position arabesque attitude grand jeté plié reverence Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 1 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text pirouette split turnout pointe pas passé grand fish dive on the sideways battement spot Widgit Symbols © Widgit Software 2002-2018 This resource was created with InPrint 3 Page 2 of 3 Find out more at www.widgit.com Swan Lake Ballet Moves Flashcards - Text travelling unison canon Widgit Symbols © Widgit Software 2002-2018 This resource was created
    [Show full text]
  • Chapter 9 Ballet Edited.Ppt.Pdf
    C H A P T E R 9 Ballet Chapter ?? Chapter 9 Ballet Enduring understanding: Ballet is a classic, Western dance genre and a performing art. Essential question: How does ballet help me express myself as a dancer? Learning Objectives •Recognize major ballet works, styles, and ballet artists in history. •Execute basic ballet technique, use ballet vocabulary, and perform barre exercises and center combinations. •Apply ballet etiquette and dance safety while dancing. •Evaluate and respond to classical and contemporary ballet performances. Introduction Ballet began as a Western classical dance genre 400 years ago and has evolved into an international performing art form. The word ballet comes from the Italian term ballare, meaning to dance. Chapter 9 Vocabulary Terms adagio allegro à la seconde à terre ballet ballet technique barre center derrière stage directions Devant turnout en l’air Ballet Beginnings Ballet moved from Italy to France when Catherine de’ Medici married the heir to the French throne, King Henry II. She produced what has become known as the first ballet, La Comique de la Reine, in 1588. Ballet at the French Court Louis XIV performed as a dancer and gained the title The Sun King after one of his most famous dancing roles. A patron of the arts, Louis XIV established the Academy of Music and Dance. In the next century the Academy would become the Paris Opéra. Court Ballets • During the 17th century, court ballets were dance interludes between dramatic or vocal performances or entire performances. • Sometimes ballets were part of themed balls such as pastoral or masquerade balls.
    [Show full text]
  • Biomechanical Considerations for Turnout
    Biomechanical Considerations for Turnout By Nancy Romita and Allegra Romita Co-authors of Functional Awareness: Anatomy in Action A Practical Guide to the Body To be released in 2016 by Oxford University Press Interviewer: Laura Di Orio of Dance Informa http://danceinforma.us/ Why is turnout important for dancers, particularly ballet dancers? What does it help them achieve? Nancy and Allegra: Turnout or lateral rotation of the hip is a discipline at the heart of the ballet aesthetic as well as many world dance forms—just as the contraction is a central principle in the Graham aesthetic for movement. Turnout is not necessarily important in all dance. Many forms use it in expression. Slightly turning out the hip can provide a more stable base of support through the feet. What percentage of turnout is genetic or are you born with, and what percentage of turnout is learned or acquired? Is there a certain limit of turnout for each dancer? Nancy and Allegra: There are many considerations when it comes to improving turnout—some are structural and some are functional or related to habitual use of the body. Skeletal factors include the structure and facing of the acetabulum, or hip socket, the length, shape, and angle of the femoral neck, and the elasticity of the iliofemoral ligament. Although these factors cannot be improved, tendon and muscle structures can support one’s lateral rotation to maximum advantage with training. Imbalanced pelvic alignment can restrict lateral rotation and can limit the muscular support and mobility around the joint. Anterior tip of the pelvis will decrease turnout.
    [Show full text]
  • Ballet Vocabulary – Intermediate Dance • Adagio
    Ballet Vocabulary – Intermediate Dance Adagio: a series of slow, controlled movement Arabesque: to fully extend the working leg while balancing on a fully extended supporting leg Assemblé: to assemble; legs come together to land at the same time Attitude: a position in which the working leg is bent at 90 degrees with the knee higher than the foot Battement: to fully extend the working leg from the hip Chainé: A traveling turn done on the balls of both feet at the same time. Legs are in first position while turning. Chalkline: the imaginary line along the floor that lines up with the midline Changement: to change the position of the legs in the air Coupé: a position in which the working foot connects at the supporting ankle Degagé: to lift the working leg approximately 6” off the floor Demi: a small movement Developpé: to unfold Echappé: a jump in which the legs open to 2nd position in the air En dedan: to move toward the supporting leg or midline En dehors: to move away from the supporting leg or midline En l’air: in the air Epaulment: placement of the neck and shoulders Fondue: to melt Glissade: a traveling step executed by gliding the working foot from 5th position in the required direction Grandé Allegro: a series of large, fast movement Grandé: a large movement Jeté: a jump (of varying sizes) in which the legs are extended Par terre: on the ground Pas de bourrée: changing on the toes; a transitional step involving three small weight shifts Pas de chat: “step of the cat”; a jump in which both legs move through passé Passé: a position of the leg in which the working foot connects above the supporting knee Petite Allegro: a series of small, fast movement Piqué: A traveling turn done on one leg.
    [Show full text]