Pointe shoes

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A pair of pointe shoes.

Pointe shoes, also referred to as toe shoes, are a special type of shoe used by ballet dancers for pointework. They developed from the desire to appear weightless onstage and have evolved to allow extended periods of movement on the tips of the toes (en pointe). Pointe shoes are normally worn only by female dancers, though male dancers may wear them for certain roles, such as the ugly stepsisters in Cinderella, Bottom in A Midsummer Night's Dream, or men performing as women in dance companies such as Les Ballets Trockadero de Monte Carlo.

1 History of pointe shoes
2 Modern pointe shoes
3 See also
4 References
5 External links
- 5.1 Pictures

[edit] History of pointe shoes

High-heeled dancing shoes, circa 1835.

In 1661, King Louis XIV of France founded the Royal Academy of Dance; however, women did not appear onstage until 1681. The standard women's ballet shoes at this time were heeled. Marie Camargo of the Paris Opéra Ballet was the first to wear a non-heeled shoe, to allow her the ability to do more complicated jumps. After the French Revolution, the standard ballet shoe no longer had a heel. It was flat and tied with ribbons to secure the foot. It had pleats under the toes and allowed dancers to fully extend their feet, jump, and turn.

The first dancers to rise up on their toes during this period did so with the help of an invention by Charles Didelot in 1795. His "flying machine" lifted dancers upward, allowing them to stand on their toes before leaving the ground. This lightness and ethereal quality was received well by audiences who especially liked when a dancer lingered on her toes. Due to this, choreographers looked for ways to incorporate more pointework into their pieces.

As dance extended into the 1800s, the emphasis on technical skill increased, as did the desire to dance en pointe without the aid of wires. When Marie Taglioni first danced La Sylphide en pointe, her shoes were nothing more than satin slippers, darned at the ends. The sole was made of leather and the sides and toe were darned to keep its shape. Dancers relied heavily on their own strength, in the feet and ankles, without the support of a hard pointe shoe. They most likely padded the toes for some comfort.

The next substantially different form of pointe shoe was found in Italy in the late 1800s. Dancers like Pierina Legnani wore pointe shoes which were not as pointed as earlier ones, having instead a sturdy, flat platform. These shoes also included a box, made of many layers of fabric, and a stronger sole. The Italian shoe style was imported into Russia where it was transformed further. They had no nails in them and were only stiffened at the toes, making them silent.

In the 1930s, Broadway dancers like Harriet Hoctor wore shoes with steel shanks, allowing for "toe-tapping". This style extended into the 1950s. However, during World War II, supplies were short and pointe shoes were in just as short supply. Dancers had to strengthen their feet to dance in shoes that were worn to shreds.

As shoes became harder, to cope with increasing technical demands, flexibility of shoes decreased, no longer allowing dancers to feel the floor. Experimentation with many different styles has increased over the decades resulting in a large variety of pointe shoes and styles.

[edit] Modern pointe shoes

Dancers now use satin or Canvas pointe shoes with a hard but pliable shank and a box made up of layers of canvas, burlap, paper and glue. Because the shoes are very hard when new, most dancers develop idiosyncratic methods to break in their pointe shoes, including pounding the shoes against cement, hitting them with blunt hammers, wetting the box then wearing them to class, bending them on a door frame, or simply massaging the shoe with their hands. The need to break in pointe shoes is to maintain sufficient rigidity in the shoe to ensure support yet have the flexibility to allow fluent movement. The safest method of breaking in pointe shoes is to walk around in them and rise from quarter, to demi, to three-quarter pointe, allowing the shoes to mould to the feet. More extreme tactics, as explained above, can reduce the lifespan of the shoe and cause excessive damage. Some pointe shoes that are made now do not need to be broken in with their special features.

Seasoned dancers select new pairs of pointe shoes carefully, checking that they are even and balanced, and usually have a favorite brand, model, and even maker. There are many different types of pointe shoe, and each fits the dancer in a different way. The pointe shoe should be tight, with only a pinch of cloth at the heel when the pointe shoe is en pointe. Two ribbons wrap around the dancer's ankle, sometimes with an elastic band that wraps around from the back of the heel, to the front, and then back to the back of the heel; or across the instep as with ballet shoes; or is attached with a loop on the heel which the ribbons pass through. This last method, however, has been shown to cause achilles tendonitis in many dancers and is no longer recommended. The shank of the shoe comes in two different sizes, 3/4 and full shank. The full shank is traditionally for the dancer who has a strong arch, and needs more support than the 3/4 can offer. The full shank was used in the original pointe shoe. The 3/4 is shorter, and helps dancers go up on pointe with more facility. Very often dancers cut the shank to their own specific foot to provide just the amount of support they prefer. This is known as "shanking" the shoe. There is a wide variety of pointe shoes that have different attributes and longevity. The choreography will often dictate the type of shoe required: the supple, lyrical style of the white swan, for instance, requires a softer shoe, while the black swan's dazzling turns are best done in a hard, stiff shoe.

Pointe shoes are usually covered with satin, but canvas shoes are also sometimes available. The shoes have two important structural features that allow the dancer to dance on the tips of her toes:

Parts of a pointe shoe. This particular shoe model is unusual in that the leather sole is split.

the box is a section of burlap stiffened with glue, that encases and supports the dancer's toes. The end of the box is covered with satin and flattened into a platform, upon which the dancer can balance.
the shank is a strengthened piece of material (usually many layers of glue-hardened burlap, thick non-corregated cardboard, thick leather, or sometimes plastic) running near to the length of the dancer's sole. It provides support to the arch of her foot as she stands en pointe.

Pointe shoes are usually made in light pink colors varying from peachy-pink to rosy-pink, to very pale pink. White and black pointe shoes are also common, but many pointe shoes can be specially ordered in almost any color. They also offer pointe shoes in several styles which have canvas uppers intead of satin. At dance supply stores, pointe shoes retail for anywhere between $35.00 and $110.00. Students usually pay about $40.00-80.00 for one pair of shoes, which will last (with major fluctuations depending on the strength of the dancer's feet, her weight, the type and strength of the shoes, and the amount of time spent en pointe) for about one to three months. Higher level dance students, who usually take several pointe classes a week, can often go through one or more pairs monthly. Professional dancers go through pointe shoes much more quickly and order shoes in bulk directly from manufacturers - one pair can "die" after twenty minutes of a performance. Many professional ballet companies offer shoe allowances to their dancers, allotting a certain number of shoes to each dancer per season, depending on her position in the company. Professional dancers may buy very expensive pointe shoes, ranging from $150.00-250.00 dollars{fact}, depending on what company and how they are customized.

Before beginning pointe work, some dancers use a demi-pointe shoe. This shoe, also called a pre-pointe shoe or a soft-block, has characteristics of both a soft ballet slipper and a regular pointe shoe. Its outer appearance resembles that of a pointe shoe. It has a toe box similar to the one in a pointe shoe, but it is much softer and the wings (sides of the toe box) often cover a smaller portion of the toes. The most important difference between demi-pointe shoes and pointe shoes is that demi-pointe shoes have no shank. Therefore, they do not give the necessary support for a dancer to actually stand on her toes in them, and to do so would be extremely dangerous. Rather, their purpose is to accustom the dancer to the feel of wearing a pointe shoe, so she is already used to it by the time she is ready to dance fully en pointe. Demi-pointe shoes are not necessary for learning pointe, but they can be a useful learning tool. Demi-pointe shoes are not to be used to stand en-pointe as there is no shank to support the foot.

It is also important that young girls be fitted for pointe shoes by a professional. Shoes that are too small or too large can cause serious problems from technique issues to chronic injuries.

[edit] See also

[edit] References

Barringer, Janice; Schlesinger, Sarah [1998] (2004). The Pointe Book, 2nd ed., Hightstown, NJ: Princeton Book Company, Publishers. ISBN 0-87127-261-X.