COMPLIMENTARY SAMPLE - The Ballet Source
Book1COMPLIMENTARYSAMPLEAn Introductionto Pointe Work forBallet TeachersRuth H. Brinkerhoff, B.A.Former Director,Utah Ballet AcademyRegistered Teacher,Royal Academy of Dance
IndexI. Background for a New MethodIntroductionThe Gradual Buildup for Pointe WorkThe “12 Week” RulePrinciples of Physical ConditioningPlanning the Pointe ClassIs the Student Ready for Pointe?368101215II. Preparing Students for PointeGuidelines for Starting; Fitting the Shoes17Keeping Track of ProgressApplying the Conditioning Principles to Pointe WorkThe Pre Pointe ClassFinding the Correct Position on Full PointeIllustrations of the First Pointe ExerciseIllustrations, Duck Feet, Buddy Barre, etc.Pointe Exercises, a List fr the First YearIII. Pointe 1A, the First Twelve WeeksBasic Class Outline, Mixed ClassBasic Class Outline, Section ClassGeneral Guidelines for Planning the ClassChoreography of the ExercisesTeaching Notes for 1AIV. Pointe 1B, the Rest of the First YearAfter Twelve WeeksChoreography & Notes for Pointe 1BDancesExpectationsIn ConclusionSample HandoutsHow Dancers Tie Their ShoesCD Music GuideSample ClassReferencesSpecial Offers21
Copyright 2015, The Ballet Source.Cover design and illustrations 2015, Eric Hungerford.All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted inany form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the priorwritten permission of the copyright holder.Pointe 1: An Introduction toPointe Work for Teachers of Balletthe author cannot know what approachto pointe work will be appropriate andsafe for any particular teacher, class,or student. Pointe work by its verynature carries a risk of injury. It is theresponsibility of each ballet teacherto use his or her best judgment ininterpreting, applying and using theinformation, opinions and teachingsuggestions contained in this book.The Teacher Must DecideThis manual provides informationand suggestions for the teaching ofbeginning pointe work to studentswho are in the opinion of theirteacher, ready for this instruction. Theinformation in this book has workedwell for the author, and for otherteachers of her acquaintance. However,Go to Index3theballetsource.com
Pointe Workwork. Soft ballet shoes were stiffenedwith cardboard inserts, or darned atthe sides to give the feet a little moresupport. Dancers had to conditionand strengthen their feet slowly andcarefully. In this century, TamaraKarsavina and others thought blockedshoes were not really needed forpointe.Information for the TeacherAll little girls want to dance on theirtoes. But little girls must not do this ifthey are to have normal, trouble freefeet. Teachers not knowing the reasonswhy pointe work should not be donetoo soon might be tempted to let atalented child start sooner. Parents maypush, and search for a teacher that willpermit it.Today’s shoes, if fitted as tightly as isusually recommended, act like a caston the foot. The tightly fitting shoesprovide plenty of support, and the feetdo not have to strengthen very much.They only have to endure.The reasons for waiting for pointework are usually not understood. Thesoft growth plates within the joints ingrowing feet, ankles, knees, and lowerbacks can be distorted into unintendedshapes causing permanent damage. Itis that simple. And no amount of talentcan alter the softness of those growthplates.Many believe that working one’smuscles to the maximum will resultin the greatest possible strength andendurance gain. They apply this totheir beginning pointe students.In the fifties, ten was considered oldenough for pointe. More knowledgeis available now, about growth andabout how physical training can alterit. Medical authorities support laterages for pointe work. They say noyounger than 12, with 13-14 stronglyrecommended, and up to 16 for somewhose growth patterns are slower.But, when muscles, bones, ligaments,cartilage, etc. become stressed, theyactually are somewhat injured (orat least irritated) at the cellularlevel. Repairs must be made. A bodyconstantly repairing itself has neitherthe time nor the materials to buildstrength. Strength cannot be forced tohappen. It must be encouraged, anda chance provided for it to happennaturally. Overworking the body andits resources actually prevents bestresults.Marie Taglioni made her professionaldebut in her early 20’s. However, herdebut on Pointe was not until the ageof 28! Her bones were fully formedbefore she ever attempted pointeGo to Index4theballetsource.com
on pointe without stress, withoutdamage to their feet, after only a fewmonths on pointe, read on.Something New and Different forPointe: A Common Sense ApproachThe best possible success is what weall want for our students. Most teachersare ready to try a new way if it seemsto promise better results, and especiallyif it also promises less problems for thestudents’ feet.This method is different. But only alittle bit different. And the differencesmake sense.The first difference is in exactly howthe shoes are fitted, both the first pair,and the second pair.The best way to teach ballet andpointe is to work with the way inwhich the body normally strengthensand conditions itself to meet therequirements that are put upon it.How the pointe work itself is taught isalso a little different from the usual inmost dance schools. Though, in readingabout some of the world famousmethods, it seems that perhaps it is justmore like the way schools such as theKirov and Paris Opera and Royal Balletschool deal with beginning pointe.We can find plenty of informationabout this in the field of weighttraining. They have discovered how toget the most strength where they wantit, the most endurance with the leastdamage to the body.The differences in this method worktogether and support each other. Thisinteractive support system will notbe there if only one aspect, or onedifference, is tried. You will have to trythe whole package to get the resultsthat I and teachers of my acquaintancehave gotten, and are still getting.When the known principles ofphysical conditioning and physicalstrengthening are applied to balletand to pointe, better, faster results canbe obtained with less damage to thedancer’s physical self.It is a common sense approach. Ichallenge you to try it with onebeginning pointe class for six months.If you are interested in having yourpointe students able to actually danceGo to Index5theballetsource.com
The Gradual Buildup forPointe Workvery slow buildup on pointe the firstfew years.One famous European ballet boardingschool’s plan:Level 1:Demi PointePointe1st Yr, age 11-132 exercises, 8 ctseachnone2nd Yr, age 12-143 exercises, 16cts eachat barre only:4 exercises,4 Relevés perexercise3rd Yr, age 13-154 exercises, 16 cts 6 exercises, 8eachRelevés each (3barre, 3 center)4th Yr, age 14-166 exercises, 16cts eachIn considering the implications of thechart and statements above, rememberthat the first year students in suchschools come to the auditions withseveral years of ballet already behindthem. And, only the more talentedstudents are accepted, not the average.Should We Follow Their Example?If we are to believe that these famousschools produce good dancers becauseof how they train them, then it makessense that we, too, should seriouslyconsider putting strict limits on howmuch and what kind of pointe workwe permit our students to do for atleast the first two years of pointe. Twoprinciples of physical training used insports and therapy support this idea.9 exercises, 8Relevés each,(3-4 at barre; 5-6in center)5th-6th Yr, age 15-17: Demi pointe andpointe included in all work as perability, no separate exercises for either.1. T he “Twelve Week Rule” whichapplies to increasing both specificand general strengths, and tolearning any new skill, discussed inthe next section.This chart assumes 2 ballet classesweekly the first year; four or moreafter that. Only one class containspointe the second year, two classes thethird and fourth years, and pointe as anatural part of the classes after that.2. “ Interval Training” which permitsthe fastest possible increase instrength by slowing down the fatiguefactor in any one training session(class), discussed on p. 8.Note the very slow beginning, the verycareful limiting of pointe and demipointe the first 4 years.The Kirov and Bolshoi schools have avery similar schedule, providing for aGo to IndexApplying either one of these to your6theballetsource.com
But the person fitting the shoeswould tell the girls how awful thepointe work would be, that their toeswould bleed, and their feet would getblisters, callouses, corns, etc. and bepermanently ruined. And yet, theseteachers were not doing that to theirstudents! And, the students werecoming back with shoes too small forany sensible method of training.pointe program should increase bothits safety and its effectiveness. Applyingboth, with a good dose of your owncommon sense and experience willmake it the best it can be.In reading what teachers in thiscountry do with beginning pointestudents, we can quickly see that theygenerally do what was done to them bytheir own teachers a generation ago, orthey may be trying something differentbecause they want something better fortheir students. The something differentmight come from their own logic, orfrom reading or hearing about whatanother school or teacher is doing.Teachers, somehow, arrange to go withyour students to the shoe store andsupervise the fitting of the pointe shoes.Read on to learn about some commonsense principles you can follow infitting shoes, and in teaching pointeas painlessly, safely, and effectively aspossible.The saddest thing I have heard wasa complaint from some teachers ina neighboring western state whowere using good sense in their pointeclasses. They would send their studentsto be fitted for pointe shoes to adance supply store in the area wheresupposedly the person was “trained inthe fitting of toe shoes.”Go to IndexBleeding, painful toes and ruined feetmay unfortunately be common topointe work, but these conditions neednot be a necessary part of learning andperforming pointe work.7theballetsource.com
The Twelve Week RuleTwelve Week Plateaus Happen forStrengthening and for LearningA Magic Rule That ReallyDoes Work!Weight trainers know that theirstrength will show significant increaseabout every twelve weeks, but notmuch in shorter time periods. Thesports world has long used thisprinciple.The Twelve Week Rule:It takes the body just about 12weeks to complete any neededmajor repairs or major changes instructure.When I first tried it with a beginningpointe class, I could not believe howmuch easier the students found pointework once that initial strengtheningperiod was over.This Twelve Week Rule really doeswork. For pointe, a student needs thestrengthening of muscles to meetincreased stress, the increasing of thedensity of bone cells to withstandincreased pressure, the strengtheningand thickening of ligaments to holdbones more securely in place.However, the student with higherarches will need a longer conditioningperiod, perhaps even a second twelveweeks.Explain this process to the students,and especially let those with the higharches know that their beautiful feettake longer to get strong. Most arewilling to be patient if they know abouthow long it will take, and that successis possible.When a new type of requirement isput upon the body, especially one thatis not the usual, i.e. pointe work, thisrequires some major reinforcing ofthe cells in the bones, ligaments andmuscles of the feet and ankles. This iswhy it is so very important to go slow,and to not cause pain or discomfortduring the first twelve weeks.The Twelve Week Rule works bothways: it takes Twelve Weeks tobreak a bad habit, but it also takesTwelve Weeks to permanentlycreate one.This is why no home practice shouldbe allowed. This is why only one classper week should contain the pointework regardless of how many classesthe student is taking.Go to IndexTherefore, we need not panic at everylittle mistake students make. Correct8theballetsource.com
one thing at a time. Don’t overload thebrains or the muscles. A firm learningof one thing is better than confusionat trying to accomplish everything atonce.2. This is also true of any other danceskill. Present it in principle, thenextend it and apply it for abouttwelve weeks. You will find that itbecomes a more permanent learning.The Twelve Week Rule reallydoes work!3. All of the pointe steps for the firsttwelve weeks are already learnedon demi pointe or are presented ondemi pointe the first two or threeweeks. Don’t skip any of the outlinedwork. Go slower if students seem toneed it. but don’t skip anything.That’s why:1. Correct weight placement on pointemust be accomplished in parallelposition the first week or two. Otherpositions are an extension of theprinciples, and an application of theprinciples.Go to Index9theballetsource.com
Principles of Physical ConditioningThat Will Affect Pointe Work1. I nterval training enables musclesto do more work at a session,by providing short rests for themuscle groups being trained.Strengthening can be faster when thismethod is used. This is the idea behindthe “mixed class” format describedlater. However, it does depart somewhatfrom the traditional format of a balletclass. If you can use this principle inyour ballet classes, it can give fasterresults.Fatigue works against the improvementof strength or endurance, particularlywhen dealing with a new skill or anew type of stress to the body, such aspointe work. Successful improvementcomes from a gradual buildup of thework load placed on the muscles,combined with the use of short restperiods. In a ballet class, this meansfrequently changing the type ofmovement being done, and/or thegroups of muscles that are being used.2. T he joint that moves is the onethat is being strengthened.The joint being held in one positionis not getting stronger, so, holding thetop of a rise or Relevé may increasebalance, but it will not strengthen theaction of a relevé or Elevé. Movingmany times against a reasonableGo to Indexamount of resistance which is graduallyincreased to match the capacity of themuscles is what makes muscles getstronger.The slow rise and lower (Elevé) withperfectly straight knees is a veryimportant exercise for Pointe because itstrengthens ankles and feet.Strength comes from movement, notfrom lack of it. Holding a position doesnot strengthen a muscle except in thatprecise position. Getting into and outof it will be no stronger. That’s whyisometric exercise went out of style soquickly!3. A firm Ballet background isnecessary for success on Pointe.Improving the Ballet workimproves the Pointe work.The groundwork of natural movementand natural coordination, and of basicBallet principles and skills must bethere for success on Pointe. Pointe isan extension of Ballet. Pointe steps andmovements need to be learned first ondemi pointe.4. Wolff’s LawPlacing, or the correct alignment ofbones and muscles to each other and inrelation to the force of gravity is very10theballetsource.com
important, as per “Wolff’s Law”: Bonesand joints assume their final shape, sizeand strength as a result of:2. T he forces created by the actions ofthe muscles on the bones and joints.Not all barre exercises or all centersections need to be done or coveredthoroughly in every single ballet class.Pick a variety of familiar exercises thatwill give a good warmup. Then decidewhat things are to be emphasized, orthoroughly taught.The implication here is that notonly do we learn a particular way ofmoving, but our bones tend to grow toaccommodate our movement patterns.This won’t happen overnight, butit does mean that letting incorrectplacement and movement habitscontinue over time can cause them tobecome permanent.Pace the entire class physically andmentally, to prevent muscle stressand mental burnout. Do not overworka particular movement or type ofmovement. The traditional ballet classis designed to change movement typesfrequently to avoid over stressing oneparticular set of muscles. Stick close tothis outline for best results.Bodies grow at their own rate,regardless of mental acuity, or naturaltalent. Readiness for each level ofadvancement in ballet is tied closely tothe skeletal maturity of the body. Thiscan be a very individual matter.6. The “Overload Principle”1. The force of gravity, and5. Teach one idea at a time. Pacethe class, plan what to teacheach week. Most of a ballet classis review. Make your teachingmoments count.Go to IndexThe “overload principle” talked aboutin sports is not a true overloadingof the muscles. If it were, the actioncould not be done! It is a load to nearlyfull capacity of the muscles, using aresistance greater than usual. This isexactly what we need to do for pointework, but not more.11theballetsource.com
Planning the Pointe ClassAdvantages of theMixed ClassThe Traditional or Section ClassFormatMost teachers put Pointe work forbeginners all together in one place, At the end of the class, At the end of the barre, or In a short class all by itselffollowing one of their regularBallet classes.These class formats will be called“Section Classes” because the Pointework is done all at once, separate fromthe regular Ballet work.Advantages of the Section ClassFormatsWhen pointe work is done in onesection of the class: either at the end ofthe barre or at the end of class, lessonplanning is a little easier. Many teachersprefer the end of class, as it motivatesthe girls to get their shoes changedquickly, and eliminates the secondchanging.Students will be less tired, and betterable to do better on Pointe if it is doneat the end of the barre. If the teacherdoes not stop the class, but continueswith those students who are not onPointe, the girls will be more likelyto hurry. It also helps if they are notallowed to leave the dance studio whilechanging shoes.Go to IndexAdvantages of the Mixed ClassFormatIf we use the interval training* ideafrom page 11, we can create a mixedclass where the Pointe exercisesalternate with regular barre exercises.This method gives a rest to the toesbetween each Pointe exercise. Thisallows more Pointe work to be donesooner than could comfortably be donein the more traditional “section class”.Students will progress a little faster bythis method. It takes a little bit moreplanning at first to organize the class,but the benefits seem to outweigh thedisadvantages. The shoes will wear outa bit sooner with this method, but thefirst pair seldom wears out before it isoutgrown anyway!By alternating the Ballet and the Pointeexercises, the time actually spent onPointe in each class can be increasedslightly more than with a section class.Toes will be more comfortable, andstudents should progress faster andstronger and with fewer problems withtheir feet.With this method, they bring theirBallet shoes into class and wear theirPointe shoes. When it is time to changeshoes they do not leave the room.They are missing one exercise as theychange, and are more likely to hurry inorder to rejoin the class.12theballetsource.com
Combining Beginning Pointe Classwith Pre-Pointe ClassHaving the Pre-Pointe students in withthe beginning Pointe students helpsyou to keep the class moving, evenwhile some shoes are being changed.Each teacher must decide whichmethod suits her, her students, and herschool the best, and use it. Consistencywithin a Ballet school is important, soif working with other teachers, theremust be an agreement on the syllabusand methods to be followed withineach year, each class, and each grade.Choosing a Format1. Mixed Class—students wear Pointeshoes until Pointe work is finished—requires one change of shoes andwears shoes out faster. It requires alittle more planning, and accurateroll keeping. Students are the leasttired for Pointe work, as it is near thefront of the class. They can do a littlemore because their toes get a restbetween exercises.Go to Index2. Section Class at the end of class:requires one change of shoes, but ittakes longer to put Pointe shoes onthan to take them off. At the endof class students are the most tired,and least able to use muscles wellin a new skill. Advantage is you cansend non-Pointe students home andconcentrate on helping the Pointestudents.3. Section Class at the end of the barre:requires two changes of shoes, butstudents are less tired than at theend of class. Beginning Pointe can becombined with a Pre-Pointe class.Lesson PlansLesson plans are included in this bookfor all these formats, and for a PrePointe class.*Since there is not a total body rest given, the mixed classmethod is not considered by some to be true “intervaltraining.” I disagree, since the specific structures beingconditioned for pointe get enough rest that it does make adifference in how much pointe a student can do in one class,and therefore noticeably increases their progress.13theballetsource.com
Ready for Pointe Shoes?It is a good idea to periodically check students’ feet without shoes to see exactlyhow the feet and ankles are being stretched in the pointed positions.These pre-pointe studentsunderstand that the toes needto extend straight, and not curlwhen pointing.Battement Tendu DevantIn pointing to 2nd,the girl on the lefthas allowed hersupporting leg toturn in.Battement Tendu a la SecondeGo to Index14theballetsource.com
Is The Student Ready for Pointe?General Requirements:when each student is or will be ready. Age: no less than 12, older is better. 1. When the student can hold thesupporting thigh fully turned out in Training: 3 or 4 years of ballet,all barre work.since age 8. Advancement: strength and2. W hen the student lands correctlytechnique to about a Ballet Gradefrom jumps with thighs well turned3 or 4 level. (Cecchetti or Royalout, and feet in perfect alignmentAcademy or ISTD grades)with knees, every time. Currently taking ballet at leasttwice weekly.3. When the student can do the PrePointe exercises on Demi PointeMedical Advicecorrectly and well. Echappé Relevéto 2nd in the center is an excellentStudent should ask the family doctor:test to use. Strong legs and feet, no1. The student’s skeletal maturity needswobbly ankles, no straining of armsto be at the level that is usuallyand shoulders.expected by age 12 or older.4. There are many other tests that can2. There should be no pre-existingbe used; you may already have one inconditions of poor foot and anklemind that you like, or have used.alignment, or other medicalIf the full pointe position is not fullyproblems which might be madepossible at first, the potential to achieveworse by pointe work.it within a year with slow and careful3. Alignment of bones in ankles andexercising of the ankles and feet needsfeet needs to be such that correctto be there.weight bearing on pointe is possiblePosture Checklist for Balletto achieve.Classroom Screening TestsStudents like to have “tests” theycan look forward to passing off forpermission to get pointe shoes. Theseare a few of the possible ones you canuse. Of course, you are making privateobservations of your own in muchgreater detail, and are knowing aboutGo to IndexStudentsAs presented by Alan Hooper, ARAD at a teachers workshop in 19861. S tand evenly on the triangle* of thefoot, with weight evenly distributedbetween the two feet.2. I nsteps must be lifted, and footcorrectly aligned with the leg.15theballetsource.com
3. T high muscles should be pulled up,especially across the hip joints infront, and above the knees.4. T highs are turned by the use of theoutward rotators; hamstring musclesare held firmly.5. T ailbone is pressed gently down;pelvic bone held level and square.6. Stomach (abdominals) is gently lifted.7. K eep an open feeling between ribsand full pelvis.8. S houlders are relaxed and sitting ontop of the rib cage; shoulder bladesare flat against the ribs in back.9. Arms are relaxed, but held in aposition, not loose and floppy.11. Spine and head stretch gentlyupward.12. Eyes look ahead, with expression!They must have life!“The total picture of a dancer: legs,arms, head, hands, feet, expression, canbe compared to a chord on the piano,with all of the correct notes striking atthe same time.” — Alan HooperThis posture checklist is a good prerequisite for beginning pointe students.*The Triangle of the FootWeight bearing for ballet is considered correct when dividedevenly over three main weight bearing points on the plantar(sole) surface of each foot: one third is on the heel, two thirdson the ball of the foot.10. Neck is relaxed; head is balancedover the neck and spine.Go to Index16theballetsource.com
Guidelines For Starting aStudent On PointeReminder: Pointe work carries somerisk of injury. Teachers must usetheir own judgment in applying theseguidelines, and in using other ideasand information in this book. Whenin doubt, or if problems occur, seekmedical advice. Even the best rules willhave exceptions.Shoes are worn only with teacher’ssupervision.PlanningFitting The Pointe ShoesThe minimum age recommendedby most authorities for startingpointe work is 12, with 13 stronglyrecommended, and 16 listed as nottoo late to begin pointe, even for aprofessional career. Student shouldhave had 3-4 years of weekly orbiweekly ballet classes since age 8.Each student must get the style, shape,and brand of pointe shoe that is bestfor their foot structure. Find the onethat is best. No one shoe will work wellfor all students.Student must be able to maintainstrong and equal turnout to her abilityduring all barre exercises, and have thestrength to land correctly from jumpswith thighs well turned out, and feet inperfect alignment with knees.Strength, coordination and muscle tonemust be good, and technical progressat about a Ballet Grade 3 or 4, (such asR.A.D, Cecchetti or ISTD grades).Student must take two classes perweek. Pointe will be included in thesecond weekly class, and only ifthe first weekly class was attended.No home practice for the first year.Go to IndexThe teacher needs to keep a detailedrecord of each student’s attendanceso that the rule of not wearing pointeshoes when the first ballet class wasmissed can be enforced.The teacher should supervise thefitting. The first pair should be fitted 2widths wider and 1/2 size longer* thanfor an advanced dancer. This allows themuscles, bones, and ligaments involvedin pointe work to make the necessaryincreases in strength and size duringthe first three months.*Early teens will need the 1/2 size growing room because thefirst pair will probably last six months to one year. If this extraroom is not provided, the toes will begin to buckle and curlunder as the feet grow . Students whose feet are fully grownwill not need the extra length.A New Idea for Fitting the FirstPointe ShoesFit the first pair of pointe shoes witha pair of medium weight ankle socksover the tights, and foam toe pads over17theballetsource.com
2. The student must be able to standon demi-pointe (or nearly so) inthe pointe shoes.the ankle socks. This takes up the extrawidth and length. The shoes will givesufficient support if the student is keptat the barre, and if they are instructedto put as much of their weight as isneeded onto the barre, especially thefirst few weeks.3. There should be no “pressurepoints” of pain caused by the shoeswhen standing on pointe or flat,other than what is felt on the veryends of the toes. The pointe shoeshould feel somewhat like it isa hand holding the foot in placewhen it is on pointe.This method of fitting is appropriatefor the method of teaching beginningpointe outlined in this manual, butmay not be appropriate for othermethods. If you fit the shoes this way,then stick to this teaching program aswell.4. T he student must be able to placeher weight correctly onto theends of the pads of the toes whenon pointe, not on the nails. Thetoes must “feel the floor” throughthe shoes. At first there will be afeeling of “pins and needles” onthe ends of the toes. This will goaway in a few weeks when thenerves on the ends of the toes getused to being stood upon.As the feet increase slightly in sizedue to the conditioning of the bones,ligaments and muscles in the toesand metatarsal joints, the socks arediscarded, usually after 3 or 4 weeks.When the shoes again become tight,the foam pads are exchanged for amore advanced padding: gel type pads,lambs wool, or a strip of ace bandage,whatever the dancer likes best.Using the Pointe Shoes with theTeacher’s SupervisionThe second pair is fit to the student’scomfort and ability to dance in themboth flat and on pointe. The studentdecides (with the teacher’s approval)which size and style helps them themost to stand correctly, and to dancecomfortably. Pointe work that iscomfortable will be more artistic, andmore correct.1. P halanges (toe bones) need to beas exactly perpendicular to thefloor as possible when the studentis on pointe:Do the Shoes Fit?1. Toes must be able to lay perfectlyflat in the shoe when the studentstands flat in the pointe shoes.Go to Index18theballetsource.com
students leave their pointe shoesin a securely locked cupboardat the ballet studio, or with theteacher. Then they are not temptedto wear them at home!These drawings are intendedto show approximately how thephalanges or “toe bones” can beperpendicular to the floor when onpointe regardless of the shape of thefoot above them.6. I f the regular ballet class is missed,they do not wear pointe shoes inthe next pointe class. If severalclasses in a row are missed, theymust take that many classes (bothcount) without pointe beforewearing them again.High arches will need to make aslight dorsiflexion at the metatarsalphalangeal joint (note the arrow)in order to get the weight exactlyon the ends of toes, and not overonto the nails, while stretching theankle and arch of the foot. This willtake more strengthening, a longerconditioning time at the bar
work. Soft ballet shoes were stiffened with cardboard inserts, or darned at the sides to give the feet a little more support. Dancers had to condition and strengthen their feet slowly and carefully. In this century, Tamara Karsavina and others thought blocked shoes were not really needed for pointe. Today’s shoes, if fitted as tightly as isFile Size: 501KBPage Count: 21
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