On the track of the ideal turnout: Electromyographic and kinematic analysis of the five classical ballet positions

The turnout of the lower extremities is the major component of the classical ballet positions (CPs) and correctly is initiated in the hips. The aim of this research was to determine the differences in the electromyographic and kinematic variables in the five CPs in ballet students with greater and lesser amount of passive hip external rotation (HER). A group of 14 female pre-professional ballet dancers 11–16 years of age participated in the study. Based on the amount of passive HER, participants with higher values made up greater rotation group (n = 7) whereas those with lesser values formed lesser rotation group (n = 7). Electromyographic activity of 14 muscles from right side of the trunk and right lower extremity was recorded with the surface electrodes while subjects were standing in all five CPs (CP1-CP5). The external rotation of the hips, knees and feet were recorded with the motion capture system. The kinematic differences between the groups were revealed in asymmetric positions CP4 and CP5 where foot progression angle was significantly lesser in forward than backward setting only in lesser rotation group. In lesser rotation group the ankle and back muscles were more engaged in CPs while abdominal and hip muscles less when compared with greater rotation group. This finding suggests that in the group with lesser passive HER the mechanism of forced turnout was employed. The most remarkable finding in our work was that various electromyographic patterns can be observed between groups in all CPs, while kinematic differences may be marked only in asymmetric positions.