Approaching Pronation: Training Tactics for the Young
Ballet Student
Introduction
As a university student of dance education, and
a ballet teacher of 4 years, I have become
increasingly passionate about educating
dancers about their bodies, and the most
dynamic, efficient ways to move. In my 4 years, I
have also become increasingly aware of the
diverse needs of each individual in my
classroom. One particular student of mine, Mya
Robinson, especially puzzled me when she first
came into my class. Her body didnt seem to
respond to the standard approaches to
alignment and technique. I soon came to realize
that Mya has very prominent genu valgum
(commonly referred to as knock knee) and
hyperpronation. When her parents approached
me about improving her technique through
private lessons, I was at first intimidated. I
wasnt sure how to strategically prepare lessons
for a body with so many specific and unfamiliar
needs. My desire to discover successful
solutions and supportive exercises for Myas
anatomical challenges fueled this research
project.
Aim of Research
The questions that my research aims to address
are as follows:
1. What strengthening exercises will best support
a student with pronation tendencies?
2. What flexibility exercises will best support a
student with pronation tendencies?
3. What imagery is most helpful for a student with
pronation tendencies?
4. What anatomical alignment adjustments can
be made to enhance capabilities of students
with pronation tendencies?
Kelli Ann Briggs
Brigham Young University, Provo, Utah
Project Description
Pictured above are the photos taken at the
beginning of my research process. Top left:
Evidence of the genu valgumthe medial
condyles of the femurs are in contact, but Mya
is unable to touch her feet together. Top right:
Mya in first position, compensating for the
genu valgum with one bent leg to avoid
femoral collision. Pronation, or rolling
forward, is also present hereseen in the
shadow of beneath the lateral foot and toes.
Bottom left and right: We can see both the
anterior and posterior view of very serious
pronation and improper knee tracking when
Mya is in attitude devant en fondu.
Methods
In addition to bi-weekly group ballet classes, Mya
participated in weekly private lessons with me from
June to August. During this time I sought out
dance research, articles, and exercisesregarding
anatomy, kinesiology, alignment, and imagery
that might be appropriate for her conditions. In
lessons, we explored various strengthening
exercises, stretches, imagery, and specific
alignment adjustments to discover what was most
helpful. Over the summer weeks, I carefully
observed transformations in her approaches to
movement, placement, turn out, and technique in
group classes.
Results
Effective Strengthening
-Inverted Bosu Ball Balances (with emphasis on
correct pelvic placement, even weight
distribution and stable subtalar joint), One Leg
Box Squats (with emphasis on correct pelvic
placement, stable subtalar joint, and proper
knee tracking), Theraband (general foot and
ankle joint strengthening through the demi and
full point, bevel and sickle)
-Effective Stretching
-Piriformis, Quadriceps/Hamstrings,
Soleus/Gastrocnemius
Effective Imagery
- Dont squish the baby turtle that lives in the
cave of your arch and Sending roots down
into the floor with the whole footlike a tree
HIGHLY Effective Alignment Adjustments
-Correcting Anterior Pelvic Tilt: 1. moving the
pubic symphysis to align with Anterior Superior
Iliac Spine 2. Horizontally aligning the anterior
and posterior iliac spines
Conclusions
Over the summer months, Mya improved very
gradually. I noticed that by educating her on
what was occurring in her body and how we
could try to work with it, the lights went on. She
began to understand the sensation of correct
alignment. With many repeated reminders and
gentle touches to the lateral side of the foot, she
began to notice when she was pronating during
ballet class and slowly built the strength to
adjust her posture to its maximum efficiency.
Her muscle memory and consistency of correct
posture (especially when performing more
challenging complex technique) is still
developing, but she has made significant
improvements.
Overall, I have come to the conclusion that
severe anatomical deviations in bone structure
cannot be changed, however, much can be done
to support the body in functioning at its optimal
level. While strengthening, stretching, and
imagery are all helpful in supporting good
technique and preventing injuries to a degree,
the most immediately effective method of
improving technical challenges in the lower leg
is to observe, assess, and correct the alignment
of the pelvis (see Results). With proper pelvic
alignment, the hip joint and subsequent ability
to externally rotate are maximally efficient.
Acknowledgements:
Franklin, E. N. (1996). Dynamic Alignment Through
Imagery (2nd ed.). Champaign, IL: Human Kinetics.
Nowacki, R. M., Air, M. E., & Rietveld, A. (2012).
Hyperpronation in Dancers: Incidence and Relation
to Calcaneal Angle. Journal of Dance Medicine and
Science, 16(3).