How the bottom of the foot contacts the floor is very important. Whether standing on a stretched leg, or in a plie, the ankles and soles of the feet should not be tense. The tension in the ankles will be correct if the turnout is held from the top of the thighs, down to the knees, by the back of the thighs and inner thighs.

The foot may be naturally high under the arch, or flat along the floor. The foot should not be rotated towards the outer ankle joint in an effort to show an arch lifted off the floor. It doesn't matter if the foot is flat, when you are standing on it. It is important that the foot and ankle are not tensely trying to hold a position. Ankles may fall in if the arches are fallen and many peoples' are. Holding the turnout from the thighs will lift the inner ankle slightly, but that isn't the point.

There are very simple exercises to strengthen the sole of the foot, aside from the numerous tendus, degages and sautes in a class.

But let's go to turnout first. Ideally the 180 degree turnout of the foot positions comes from the turnout of the legs inside the hip joint - and it actually does for the most flexible dance student. Children and adults who take ballet once or twice weekly should never be allowed to turn their feet out more than their thighs can turn out. A good teacher will NOT allow this. In choosing a ballet teacher, extreme forcing of the foot turn out is easy to spot, even when the legs are straight; the knees will be pointing in one direction and the feet will be turned out to another direction. In a plie, or knee bend, even a slight exaggeration of the foot turnout is noticeable to an untrained eye, and the ankles will be rolling forwards and down as well.

A conscientious teacher will not allow unrealistic foot positions at the expense of healthy knee ligaments and ankle muscles. A constant sprain/strain of the knees and ankles is occurring with a forced turnout.

A well-trained teacher will instruct students to work with the flexibility that they have, and will teach stretches that may improve it. I say may, because some people do not get much more flexible with stretches, no matter how dedicated they are, yet most will see improvement. The importance is being able to HOLD the turnout that you have, while moving through adagio, jumps, and pointe work. And anyone can do that if they understand how to do it, and have the concentration to do it repeatedly.

Good technique DOES matter even if you are studying for enjoyment, with no professional aspirations. Straining off balance, working the muscles incorrectly and getting injured hardly leads to enjoyment. The overall development of strength and attainment of grace is more attainable if the basics are correct.

A wonderful exercise to strengthen the turnout is as follows: lie down on the floor on your back, feet in first position, flexed as though you were standing. Because there is no weight on the feet, you can turn your feet out for more feeling in the turnout muscles at the top of the thighs. Press the back of the legs into the floor, and move the legs, feet still flexed, slowly outward toward second position. Keep pressing the back of the legs into the floor, and don't let your back arch. You may only be able to go an inch , - but you'll feel those turnout muscles! Do that ten times every day and you will be much stronger standing up and doing the regular class movements. You won't regret investing time in this exercise.