Turnout for dancers
Hip anatomy and factors affecting turnout
Turnout for dancers
Hip anatomy and factors affecting turnout
Turnout is often treated as a skill that can be trained endlessly. Research suggests anatomy plays a much larger role than effort alone.
Meghan Critchley and Juan Carlos Claudio
Meghan Critchley and Juan Carlos Claudio
This article has been edited for length and summarized by members of the IADMS Research and Publications Committee, Juan Carlos Claudio, PhD, MHA, MFA, Assistant Professor of Dance at Weber State University, and Meghan Critchley, PhD, Postdoctoral Associate at the University of Calgary.
It is based on the resource paper Turnout for Dancers: Hip Anatomy and Factors Affecting Turnout, by Virginia Wilmerding, PhD, and Donna Krasnow, PhD, with the IADMS Dance Educators’ Committee.
Many dancers spend years trying to improve turnout. Ballet training often identifies “ideal” turnout as 180 degrees of outward rotation between both legs. Human anatomy, however, places important limits on how much turnout each dancer can achieve safely.
Understanding the structure of the hip can help dancers work more efficiently, avoid harmful compensations, and develop realistic expectations for their bodies. Research shows that turnout depends on a combination of bone structure, joint design, ligament flexibility, and muscular control rather than training alone.
Turnout is determined by anatomy as much as technique.
Where does turnout come from?
Many teachers encourage dancers to "turn out from the hips." Although useful as a teaching cue, turnout does not come exclusively from the hip joint. Research suggests that approximately 60% of turnout originates from external rotation at the hip, with the remainder achieved through the alignment and rotational capacity of the knee, lower leg, ankle and foot. Because several body regions contribute to turnout, dancers naturally display different amounts of rotation even when training at similar levels.
Figure 1. The hip is a ball-and-socket joint formed by the femur and acetabulum. Joint structure influences the amount of turnout available to each dancer.
Figure 1. The hip is a ball-and-socket joint formed by the femur and acetabulum. Joint structure influences the amount of turnout available to each dancer.
Understanding the hip joint
The hip (Figure 1) is a ball-and-socket joint formed by the head of the femur (thigh bone) and the acetabulum (hip socket). The deep socket creates a stable joint capable of supporting weight-bearing activities such as walking, jumping, and dancing.
Unlike the shoulder, which prioritizes mobility, the hip prioritizes stability. Strong ligaments and a deep socket help protect the joint but also limit the amount of external rotation available.
The hip is designed for both movement and stability, not unlimited turnout.
The muscles that create turnout
Many dancers assume turnout comes primarily from the gluteal muscles. While the gluteals contribute to external rotation, the most important turnout muscles are actually a group of smaller deep rotator muscles located beneath the gluteus maximus (Figure 2). These muscles rotate the femur outward within the hip socket and help maintain turnout during movement.
Research suggests dancers do not need to grip or clench the buttocks to achieve efficient turnout. Effective turnout depends more on coordination and motor control than excessive muscular effort.
Figure 2. Deep external rotator muscles help create turnout by rotating the femur within the hip socket.
Figure 2. Deep external rotator muscles help create turnout by rotating the femur within the hip socket.
Why do some dancers have more turnout than others?
Several anatomical factors influence turnout potential.
Figure 3. Variations in femoral version affect natural turnout. Increased anteversion often limits turnout, whereas retroversion may allow greater external rotation.
Figure 3. Variations in femoral version affect natural turnout. Increased anteversion often limits turnout, whereas retroversion may allow greater external rotation.
Figure 4. The orientation of the acetabulum, or hip socket, contributes to individual turnout potential.
Figure 4. The orientation of the acetabulum, or hip socket, contributes to individual turnout potential.
Femoral Version
The angle of the femoral neck affects the amount of external rotation available (Figure 4). Dancers with femoral retroversion often demonstrate greater natural turnout, while dancers with femoral anteversion may have less available rotation. Research indicates these structural characteristics cannot be changed through training.
For teachers, understanding femoral version can help set realistic expectations for students. Two dancers may demonstrate very different turnout potential despite receiving identical training.
Hip socket orientation
The direction the acetabulum (Figure 4) faces influences available turnout. Hip sockets that face more toward the side of the body generally allow greater external rotation than sockets that face more forward.
Femoral neck shape
The shape and length of the femoral neck also affect movement capacity. Certain anatomical variations create more space for rotation, while others limit it.
Ligaments and soft tissue
Strong ligaments surrounding the hip contribute to stability but may also limit external rotation. Some dancers compensate for restricted turnout by tilting the pelvis forward. Such compensation often disrupts alignment and increases stress on the lower back.
Strength and flexibility
Muscular strength and flexibility influence how effectively dancers use their available turnout. Training can improve muscular support and movement efficiency. Bone structure, however, remains unchanged.
Training can improve how you use turnout. Training cannot change your bones.
Avoiding common compensations
Many dancers attempt to create the appearance of greater turnout through compensatory strategies.
Common examples include:
- Rolling the feet inward (pronation)
- Twisting from the knees
- Forcing turnout beyond available hip rotation
- Excessive pelvic tilting
Although these strategies may create the appearance of greater turnout, they often increase stress on joints and soft tissues and may increase the risk of injury.
Femoral neck shape
The shape and length of the femoral neck also affect movement capacity. Certain anatomical variations create more space for rotation, while others limit it.
Ligaments and soft tissue
Strong ligaments surrounding the hip contribute to stability but may also limit external rotation. Some dancers compensate for restricted turnout by tilting the pelvis forward. Such compensation often disrupts alignment and increases stress on the lower back.
Strength and flexibility
Muscular strength and flexibility influence how effectively dancers use their available turnout. Training can improve muscular support and movement efficiency. Bone structure, however, remains unchanged.
Training can improve how you use turnout. Training cannot change your bones.
Avoiding common compensations
Many dancers attempt to create the appearance of greater turnout through compensatory strategies.
Common examples include:
- Rolling the feet inward (pronation)
- Twisting from the knees
- Forcing turnout beyond available hip rotation
- Excessive pelvic tilting
Although these strategies may create the appearance of greater turnout, they often increase stress on joints and soft tissues and may increase the risk of injury.
Key takeaways for dancers and teachers
- Turnout comes primarily from the hips.
- Approximately 60% of turnout originates from hip external rotation.
- Bone structure influences turnout potential.
- Training can improve strength and control.
- Training cannot change femoral version or hip socket orientation.
- Forcing turnout may increase injury risk.
Summary
Turnout is influenced by anatomy, biomechanics, and neuromuscular control. Hip structure contributes most of a dancer's turnout, while the knees, lower legs, ankles, and feet provide additional rotation. Bone shape, hip socket orientation, ligament characteristics, and muscular function all affect turnout potential. Understanding individual anatomical differences allows dancers to work more efficiently and safely. Rather than pursuing an idealized 180-degree turnout, dancers benefit from developing the healthiest turnout available within their own structure.
Efficient turnout comes from understanding your anatomy, not forcing your body beyond its natural limits.
This article is an excerpt from an IADMS Resource Paper.
All diagrams ©2011 Jake Pett, Stuart Pett
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