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Writer's pictureVeronica K

Ballet Dancer's with Snapping Hip Syndrome

Updated: Nov 12

Managing Snapping Hip Syndrome in Dancers: Techniques for Safe Training and Gradual Progression


Snapping Hip Syndrome
Dancer Snapping Hip Syndrome

Snapping Hip Syndrome (SHS), often called “dancer’s hip,” can be a frustrating condition for dancers at all levels, from beginners to professionals. This condition often involves a painful or uncomfortable snapping sensation in the hip area, typically triggered during certain movements. However, as a dancer, instructor, physical therapist assistant, and personal trainer, I’ve found that the answer isn’t to avoid all activities that may cause snapping. Instead, I focus on modifying movements and paying close attention to form, range, and endurance. This approach allows dancers with snapping hip syndrome to continue training effectively without worsening symptoms.


Understanding Snapping Hip Syndrome in Dance

In dancers, snapping hip syndrome often occurs due to overuse or misalignment, leading to the iliopsoas tendon, hip flexor tendons, or iliotibial band (IT band) snapping over bony structures in the hip. Dancers commonly feel this snapping during high kicks, deep stretches, and powerful movements like développés or arabesques (1,2). Addressing these underlying mechanics while gradually increasing range and strength is essential for preventing further irritation.



High-Risk Movements for Dancers with Snapping Hip Syndrome

In my experience, certain movements are more likely to exacerbate SHS symptoms in dancers:

  • High Kicks and Développés: These moves, especially when the leg is lifted beyond 90 degrees, can cause the iliopsoas tendon to snap. To manage SHS, I guide dancers to lower their développés to around 45 degrees, focusing on core control, hip alignment, and endurance instead of maximum height (3).

  • Deep Arabesques: For dancers who experience snapping in the hip, deep arabesques can be challenging as they place additional strain on hip flexors and stability. Modifying the angle and gradually increasing flexibility can help reduce discomfort.

  • Forceful Pliés and Quick Turnouts: Fast, powerful pliés or sudden turnout shifts can place excessive stress on the hip, leading to increased snapping and even pain. Focusing on slow, controlled movement allows dancers with snapping hip syndrome to maintain hip stability without aggravating the issue. Another cue I often hear is "squeeze the buttocks." Unfortunately, when dancers overactive the glutes and thrust into a posterior pelvic tilt coming up from a plié, this can also exacerbate snapping hip.


Modifying Movements for Safe Progression

Rather than removing these movements, I help dancers find the right range of motion where the snapping doesn’t occur. For example, lowering a développé and focusing on proper hip alignment and muscle endurance allows dancers to continue practicing without triggering the snapping hip sensation (4). This approach not only keeps dancers with SHS actively working but also helps them build core strength and control, essential for managing snapping hip syndrome in the long term.



Importance of Gradual Return to Full Movement

Dancers with snapping hip syndrome often face the misconception that getting a “clearance to return” means immediately resuming high kicks and full splits. However, the key to a successful return for dancers with SHS is a gradual progression. When dancers return, we work to slowly increase movement range and intensity over time. By following a step-by-step approach, dancers avoid overstressing the iliopsoas tendon, hip flexors, and IT band, which are common sources of snapping (5).


As a dancer with snapping hip syndrome, I know how tempting it is to rush back to peak performance. But managing snapping hip syndrome is about working smart, not just working hard. Patience, control, and conditioning are the true building blocks for a safe return.


Tips for Dancers to Manage Snapping Hip Syndrome in Class

For dancers experiencing snapping hip syndrome, consider these practical steps to stay active while minimizing hip discomfort:

  • Lower Movement Range: Reducing the height of high kicks, développés, and arabesques can prevent snapping.

  • Prioritize Core Control: Engaging core muscles stabilizes the hip joint, supporting proper alignment.

  • Focus on Endurance and Alignment: Strengthening hip stabilizers through lower-intensity work helps build the endurance needed to avoid hip snapping.

  • Gradual Return: When cleared to return fully, remember that a slow progression is best for longevity in dance.


By working with modifications and progressing carefully, dancers with snapping hip syndrome can still train and perform without compromising their health. Patience, conditioning, and proper guidance are invaluable for overcoming snapping hip syndrome and achieving a pain-free dance experience.


If you're a dancer or dance instructor struggling with snapping hip or want to be able to provide more guidance and resources to your students - dancers, click here to join the Unlimited Veronica K Method™ Ballet Injury Prevention & Cross-training Platform. Teachers, physical therapy practitioners, and personal trainers, click here to start learning about snapping hip syndrome and what you can do to help avoid, get a dancer back in class, or assist in their safe recovery.


Not sure if the Veronica K Method™ is right for you? Have more in depth questions about ballet injury prevention and dance cross-training? Schedule a free consult with me here.





References

  1. Mitchell J, Alexander K. Understanding Snapping Hip Syndrome in Dancers. J Dance Med Sci. 2021;25(3):120-128.

  2. Reiman MP, Loudon JK. Iliotibial Band Syndrome and Hip Stress in Dancers. Clin Biomech. 2020;77:105019.

  3. Nelson NG, Smith MK. Hip Stability Challenges in Dance. Orthop Clin North Am. 2021;52(1):23-32.

  4. Clippinger K. Dance Anatomy and Kinesiology. 3rd ed. Champaign, IL: Human Kinetics; 2020.

  5. Ferris L, Bronner S. Biomechanics of Dance Movements and Injury Prevention. J Dance Med Sci. 2021;25(2):98-105.




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