Our Best Tips: Stretch and Strengthen Your Développé Devant

Everybody wants a higher extension, but achieving your best line is a long-term effort that includes both flexibility and strength. Here are two of our best tips on how to improve your développé devant by engaging and releasing the hard-to-find psoas muscles.

Strength

Controlled extensions to the front are not only physically difficult, but they're sometimes hard to understand anatomically. Obviously, you want to work on increasing your flexibility with daily hamstring stretches. But often, the culprit is a weak iliopsoas—a group of deep core muscles that attach at the spine and run through the abdomen to the front of the hip. Your iliopsoas is crucial in lifting the leg, but it's tough to find, and even tougher to activate.

(Courtesy Karen Clippinger)
Try this iliopsoas strengthener recommended by kinesiologist Karen Clippinger, author of Dance Anatomy and Kinesiology: Tie a medium-weight Thera-Band around your legs just above the knee and lie back on your elbows with your knees bent and feet lifted off the ground. Your pelvis should be tucked under at first to help you find your iliopsoas. Pull one knee in towards your chest, straighten the leg without letting the knee move away from the torso (it's okay if you can't fully straighten it) and return to the starting position, repeating six times on each side (eventually increasing to 10 reps). As you gain strength, practice the exercise with a more neutral pelvis, and gradually progress from leaning on your elbows to a more vertical position leaning on your hands.
(Courtesy Karen Clippinger)
Another exercise is to simply place the leg on the barre in croisé devant, keeping the hips square and lifting out of the supporting hip. Rotating from the top of the hip, feel a lengthening, spiraling energy through the working leg and lift it off the barre. Hold for five counts and slowly lower. Don't worry if you can only lift it a few inches—this exercise will strengthen your deep turnout muscles, which will take pressure off the quad and create support from underneath.

Amy Brandt

Flexibility

(Photo courtesy Thinkstock)

If you constantly find yourself reaching for a foam roller, you're not alone. “Dancers' hip flexors are very often tight because of how much they use them every day," says Michelle Rodriguez, founder and director of Manhattan Physio Group. Each développé devant and cambré forward fires this set of muscles, so it's no wonder why dancers complain of the chronically tight spot. Here, Rodriguez offers her tips for a proper lunge that stretches not only the tensor fasciae latae, psoas and iliacus muscles, which all help flex the hip, but also the quadriceps. “Ideally this stretch should be done every day, even on your day off from dancing," says Rodriguez. Save it for after barre when your body is warm, or at the end of class or rehearsal.

Hip Flexor Stretch

1. To set up to stretch your right side, kneel on your right knee. Rodriguez says you can position a towel or legwarmer underneath to cushion it if necessary. Place the left leg in front of you with your knee bent to about 90 degrees. You can place your hands on top of your knee, or hold on to the barre with one hand for balance.

2. Firmly squeeze your lower right gluteals, and zip up your abdominals from your pubic bone to your belly button. “By activating these muscles, you will be able to place your pelvis in the best position to maximize the stretch," she says. You should now feel it in your right hip and thigh.

3. Throughout the stretch, keep the thigh you're kneeling on vertical. “A very common mistake dancers make is to go too far into a much deeper lunge," says Rodriguez. If you use a larger range of motion, you risk getting less of a stretch in the tensor fasciae latae, psoas, iliacus and quadriceps.

4. Once you can maintain the shape with proper muscular engagement, only then should you slowly lunge forward, says Rodriguez, towards the end of the stretch.

Repetitions: Hold for 30 to 60 seconds and repeat on the other side. Do two complete sets.

Madeline Schrock

For more news on all things ballet, don't miss a single issue.

Latest Posts


Gavin Smart, Courtesy ROH

Calling All Ballet Lovers! World Ballet Day 2020 Is on October 29

While very little about this year has felt normal, we're excited to share that one of the dance community's landmark events is returning despite the pandemic. October 29 marks World Ballet Day 2020.

This year's iteration of the annual social media extravaganza features three of the world's leading companies: The Royal Ballet, The Australian Ballet and the Bolshoi Ballet. Additional participating companies, which include American Ballet Theatre, Houston Ballet, National Ballet of Canada and Boston Ballet, have just been announced. Last year's World Ballet Day was the biggest yet, reaching over 315 million social media users around the world.

Keep reading SHOW LESS
Getty Images

Are You Rethinking a Dance Career Due to COVID-19? Read This Advice First

Olivia Duran started ballet when she was 3 years old, and it was love at first plié. From there, "I just kept going," she recently recalled over the phone, "and that was that!" Soon, she found herself at Elmhurst Ballet School, the prestigious training program affiliated with England's Birmingham Royal Ballet. She completed the school's full eight years of coursework, but as she neared the professional world, Duran felt more drawn to life as a cruise performer than as a traditional ballerina. Her final year was marked by audition circuits in London, which eventually landed her a contract with MSC Cruises.

After graduation in 2019, Duran returned home to Hampshire, UK, for a few short months to wait for the contract to begin—but with the onset of COVID-19, cruise ships stopped sailing and the job never came to fruition. Her stay at home became far more indefinite, and she was left to consider a life without dance at its center.

Keep reading SHOW LESS
Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

The corps de ballet make up the backbone of every company. In our Fall 2020 issue, we highlighted 10 ensemble standouts to keep your eye on. Click on their names to learn more!

Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

Cheryl Mann, Courtesy Joffrey Ballet

Wanyue Qiao, American Ballet Theatre

Wearing a powder blue tutu, cropped light yellow top and feather tiara, Wanyue Qiao does a piqu\u00e9 retir\u00e9 on pointe on her left leg and pulls her right arm in towards her.

Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

Gene Schiavone, Courtesy ABT

Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

Amitava Sarkar, Courtesy Houston Ballet

Leah McFadden, Colorado Ballet

Wearing a white pixie wig and a short light-pink tunic costume, a female ballet dancer poses in attitude front on pointe with her left arm bent across her ribs and her right hand held below her chin.

Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

Wearing a blue dance dress with rhinestone embellishments and a sparkly tiara, India Bradley finishes a move with her arms out to the side and hands slightly flexed.

India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

Dressed in a green bell-boy costume and hat, Alejandro Gonz\u00e1lez does a saut\u00e9 with his left leg in retir\u00e9 and his arms in a long diagonal from right to left. Other dancers in late 19-century period costumes watch him around the stage.

Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami City Ballet

Wearing a long white tutu and crown, Nina Fernandes does a saut de chat in front of a wintery backdrop as snow falls from the top of the stage.

Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

Editors' Picks