Fun Friday Reflection
Dancers know that turn-out comes (or should come) from the
rotation of the femur in the ball-and-socket joint of the hip. But do they
actually do it? Sadly, the answer is often no.
This is because it is so tempting to look at the feet and see
“flat” turn-out. And it’s relatively easy to do by twisting the lower leg and
forcing the feet into position. But this cheat doesn’t develop true, workable
turn-out. It is a quick fix, and often one that produces long-lasting injuries.
It take longer to develop true turn-out, and that is why
forcing the feet is so tempting. It looks like the turn-out is there right away. Only when the dancer starts
to move or jump is it revealed that the turn-out is merely window dressing. It
is important to remember that true turn-out is a tool – an essential part of
technique that makes things work.
The feet should be a reflection
of what is happening above – in the hip socket – and not the place where
pseudo-turn-out is presented.
From the Big Blue Book of Ballet Secrets:
Secret #3q:
“The feet are simply a reflection of turn-out in the hip socket.”
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