IMPROVING TURNING OUT – part 1
In my last article I explained the mechanics of turning out. While that understanding is clearly valuable, I bet most folks are really interested in how to improve. That is the topic of this article.
There really are two aspects to consider here. First is improving the range of motion in the hip joint, especially external rotation. The second is developing the strength and motor control to actually use that range to dance in a turned-out position.
In this article I will share three exercises that focus more on range of motion. They are not necessarily what you might expect. Think a dance kinesiologist and a Feldenkrais practitioner who happens to dance ballet, had some love children.
- Lie on your back. Bend one knee putting your foot on the surface you are lying on. Reasonably firm is desirable. Keep the other leg long. You will be working to improve your motion on the bent leg. Rest the arm on the bent leg side across your chest. Now without tilting the bent knee toward the inside begin to roll as far as is easy toward the straight leg side and return. Do not try and stretch. Most important is not tilting the bent leg. Repeat several times slowly on each side. Intend to really feel what is happening in the hip joint.
- Lie mostly on your belly head turned to the side you are working with. Draw one knee up so leg is bent to about 90 degrees. Now reach that knee away from you as you roll more fully onto your belly. Your inner thigh should approach the surface you are lying on. Do this slowly several times on both sides. Again, the intention is to sense what is happening in your hip joint.
- This last one will work best if you have a chair that swivels or better yet a rotating disc. Sit with legs about hip width apart and feet parallel. Imagine that each leg is in a narrow track. Working slowly alternately reach one knee forward with the thigh staying in its track, allowing the rest of you to accommodate as it does. Then reverse reaching the other knee. Alternate moving slowing bringing attention to what is happening in your hip joint. If you don’t have a swivel seat, this should work on a smooth chair if you wear a relatively slick fabric.
What I particularly like about these exercises is that the movements are quite novel. My experience is that at least sometimes limits to range of motion are the result of unconscious habits of muscle tension. Novel movement is an excellent way to address this.
In my next article I will explore strength and motor control so that you can actively use your range of motion when you dance.