Understanding turn out IS the key to strong technique. I often wonder how much stronger I would have been as a young dancer had I known more than just the basics of turning out the leg and had a bit more knowledge in anatomy. As an adult putting what I learned on the subject to use, not only did it improve the successful demonstration of classical steps and movements but it also changed the tone and shape of my instrument for the better.
Now the trick is, for you the dancer to come to the same level of understanding. I have no doubt that you will be met with success. I often talk to students about the domino effect in Ballet. When one thing is misaligned, then it usually leads to other things being misaligned and, consequently, steps not being executed the way they should be. When properly aligned, all of a sudden it becomes easier to hold correct placement further down the line and before you know it, you are achieving the desired movement and placement we are after!
Turn out - what IS IT?? Proper use of turn out varies in every body and unfortunately comes much more easily to some than to others. That being said, I've known many dancers to have spectacular range of turn out in the hip socket but lack the muscular strength and body awareness to put it to good use. I am a firm believer that we should not use the physical limitations we were born with as an excuse but rather work to build the strength and understanding so that every person is using their turn out to its absolute maximum at all times. In its simplest form, turn out means turning the entire leg outwards starting in the hip socket and holding an equivalent range of turn out in the knee, lower leg and foot. Both legs must use equal amounts, otherwise forced turn out is happening in one leg while the other leg is actually turning in on the pelvis. Unequal placement of turn out creates an imbalance in the placement of positions and also effects a square alignment of the whole body. See what I mean by domino effect? And we've only just begun!
For the very novice dancer it is really important that healthy use of turn out is understood right from the start. We must understand that it is easier to turn out the leg when the knees are bent so when finding our range of turn out it must be done with the legs stretched and thighs pulled up. Some people think that good turn out is when the feet in 1st position have the widest angle (sometimes more than 180 degrees). Yikes! This is a complete myth! Proper understanding of a turned out position starts on top of the legs with proper placement of the pelvis. By engaging the abdominals, hamstrings (backs of legs) and gluts we need to find a neutral (level) placement of the pelvis. Imagine if you had a platter tutu on - it would have to be parallel with the floor throughout all movements where the torso is held in an upright position. The abdominals help to hold the hips high in the front and the hamstrings help to anchor the pelvis in the back. Gluts and hamstrings help rotate the thighs but what will make it even easier is if there is also a sense of lift of the pelvis up and away from the legs. If the weight is placed properly with 2/3 on the ball of the foot, then the hamstrings and calves are more easily activated. There are numerous visualizations that one can use to find the correct placement of the pelvis and use of turn out. What is important to understand is that whether in motion or holding a stationary position the use of turn out is always active. Irene Dowd uses the word "spin" to refer to the "visceral spheres" that exist in the head and torso and also to describe the use of turn out in the legs. I think it is the perfect word since it implies a never ending motion that remains in one spot.
Turn out is quite involved but if you are new to dance please don't get ahead of yourself! What I typically expect a novice dancer to understand is level placement of the pelvis and then appropriate and consistent use of turn out in the thighs, calves and feet. Remember how there is more turn out when the knees are bent? The idea in classical training is that we maintain the same level of turn out when the legs are extended or bent. Take a plie for instance, with the legs turned out to the front corners and the pelvis held level, bend the knees and make sure that they stay aligned over the feet. The feet must also remain flat to the floor with the toes long. Do not go into a more turned out position or allow the toes to go further outwards. The domino effect here: if the pelvis is tilted forward, then the knees are more likely to fall inwards and then the feet would pronate or "roll in". This is the obvious way to do a plie incorrectly. However, be aware that it is also common (especially in 2nd position) to have just the foot turned slightly inwards and to have a slight lift on the inner border of the foot. This is a sickled foot without having any stretch to the foot and is a less obvious example of how turn out must extend all the way down to the toes.
So the first step in using turn out is holding the outward spin and level pelvis with the legs extended and bent. Parents of young dancers: you can watch for proper use of turn out by taking note of an upright pelvis and knees and toes always going towards the front corners. When the leg is extended to the front (devant) the heel must point to the ceiling, when in second or to the side the heel must go forwards towards the audience. It is good to think of the heel because it is at the end of the leg. If the heel is free and pointing in the right direction then it means that the rest of the leg must be in the right position (make sure the pelvis is held too and not twisting!) and the weight is forward on the foot.
The next step from there would be to practice the same plie but to actually engage the backs of the legs as the knees bend so that the hamstrings gain strength and actively take the thighs to a more turned out position. Be careful not to lift that inner border of the foot or to change the initial position of the foot. Because we know that it is easier to turn out when the knees are bent, as we stretch up from a plie increase the amount of spin so that when the legs reach their extension, they are turned out to the same or more degree. Suddenly, a plie has become much more than just bending and stretching the legs and is now a tool to strengthen rotators and improve range when the leg is extended. Now think of battement fondu. Here we are doing the same movement only on one leg and training proper use of turn out for take off and landings on one leg. Of course in ronds de jambe a terre the primary focus is turn out and as the dancer gets more familiar with how it is done, the increased hold of turn out becomes more active and challenging as we experiment with changes in weight placement, speed and variations on the standing leg.
At the more advanced level the challenge becomes using turn out to initiate absolutely everything. I am not kidding. You take a step forward and it is led by the stepping heel while the second leg works into that nice fondu position that was rehearsed at the barre. The pelvis remains lifted and square. Seriously. All in one step. And that step becomes proper placement into a 5th position en pointe, a proper preparation into a temps leve or a turn. And the domino effect continues. Turn out is held in the preparation and the steps that follow is more successful thanks to a good preparation and, hopefully, turn out is maintained in the following step and it goes on and on. Turn out is used to initiate changes in alignment, promenades on one leg, it leads the way in pirouettes in both directions, it contributes to cleaner jumps, in particular any beaten allegro movements. It effects everything!
As we venture into the season of resolutions, I really encourage everyone to take a few moments to consider the use of turn out at whichever level they may be and then to take those thoughts (or questions) to class and put them to practice. Continue to consider this concept in all sections of your class and continue to focus on it in every class. Turn out will never go away, will never be fully conquered and will always remain to be something that must be maintained. Though it may seem daunting I promise that the more you work at it the better dancer you will become.
Happy New Year!
Sincerely,
Madame Jete
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