En pointe
Dancing on pointe, or en pointe (French pronunciation: [ɑ̃pwɛ̃t], often anglicised as /ɑnˈpwɛ̃t/ or /ɑnˈpɔɪnt/), is the act of standing on the tips of the toes while performing steps from ballet. Also known as pointe work, it is performed using hard–toed and stiff-shanked pointe shoes. Dancing en pointe requires strength and skill and is a central part of a female ballet dancer's training and repertoire.
Pointe work is delicate, and all pointe dancers should be aware of the injuries that can occur. Pointe dancers endeavour to protect their feet from calluses, corns, bruising, etc.
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History
In 1832, the ballerina Marie Taglioni danced the full length of the romantic ballet La Sylphide en pointe and, although she was probably not the first ballerina to raise en pointes (Amalia Brugnoli danced en pointe in 1823 [1]), she is credited as the developer of the modern pointe technique. Taglioni first rose en pointe with soft ballet slippers that had a reinforced toe area, although not nearly as stiff as modern pointe shoes. The area was reinforced by stitching around the front and sides of the slipper. Unlike today, the moments en pointe were very brief and consisted of mostly balanced poses and relevés. Although a development of romantic ballet and a central element of ballet dancing in general, other dance forms such as jazz dance, street dance and tap dance also have short steps that are performed on the toes. In tap dance this is called a "toe stand."
In the 1920s and 1930s, Harriet Hoctor, a burlesque and vaudeville dancer, wore pointe shoes fitted with steel shanks and platforms to allow tapping en pointe and backwards bends whilst en pointe. Other dancers fitted ball bearings inside between the platform to allow for faster turns but the dangers of the steel shanks snapping meant that such practices quickly ceased.
Preparing for pointe
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Young girls usually start dancing en pointe between the ages of twelve and sixteen years[2]; they are not considered ready for pointe work unless they have been studying classical ballet for five or more years, with a frequency of three or more classes per week. The reason that girls do not start when they are younger is because the bones in their feet are still soft and can be permanently damaged, also their foot and leg muscles are not yet strong enough to support them. They should also be in an intermediate or advanced level of ballet, be able to hold their turnout from the hips while performing center combinations and hold a proper ballet position (straight back, good turnout, etc.). No one should start pointe before told by a teacher under any circumstances. In the more serious dance academies, a physician's advice is required to make sure the dancers' feet have ossified sufficiently; serious foot deformities can result from starting pointe too early. Injuries, such as breaking the ankle, can occur because of young, weak, and untrained bones and muscles. Pedicures are not a good idea for pointe dancers and pointe dancers must always make sure that they cut their toenails at least one day before dance class or concerts to let the toes adjust to the new length of the nails. Layers and layers of dead skin, calluses, etc. on the feet are helpful, like insulation against the strain of the shoe. Things like blisters, boils, athlete's foot, cuts of the feet, and even bleeding are to be expected. Some girl's feet have more arch than others and are therefore weaker and the dancer will need to work harder to strengthen her feet.
Dancing en pointe requires one to use the entire body for support, including the legs, back, and abdominal muscles[3].
Once a dancer is ready, preparation for pointe work is a gradual process. At first, it is just strengthening exercises at the barre - for example, simply rising en pointe and returning. According to the teacher's preferences and syllabus, the dancers might first be taught to "roll-through" from flat to demi pointe to pointe and down again (unless the Russian or Italian method is being taught, in which the dancer springs directly from flat onto pointe). Another example is learning how to properly wing out the foot and point the foot as the dancer would do in technique shoes. Then variations in speed and position may be introduced -- for perhaps no more than five or ten minutes. It is often only after six months to a year of such exercises that the student can start dancing en pointe in the center.
The first exercises at the barre are usually relevés and échappés [4] done on both feet. Only once the student is fully comfortable in executing the steps on both feet (and the tendons are strong enough), steps ending on one foot are introduced, such as pas de bourrée en pointes and retiré en pointes, first at the barre and later on in the centre. In centre practice, Mme Vaganova [5] suggests as first exercises on both feet temps levés (same as relevés) and échappés en pointe.
Preparing the Shoes
It is advisable to go to an experienced fitter for shoes. A fitter will have the dancer try on a variety of shoes, based on the syllabus (softer shanks for French technique and stiffer ones for Russian technique) and the size, length, width, arch, and other measurements of the foot. Some may recommend elastic to be sewn on to prevent it slipping off a narrow heel. Not many pointe shoes come with ribbons so the dancers have to sew the ribbons on themselves. Most students are required to not dance in their shoes before the first class in case the teacher would like to make sure the shoes fit properly, and advise them as to where the best place to sew the ribbons might be.
After the ribbons and elastics are sewn on, the shoe must be broken in. Pointe shoes are not like regular soft technique shoes; they consist of satin, with a shank--or sole--comprised of stiffened leather, canvas, and burlap sealed with glue. The box, or reinforced toe area of the shoe is made of stiffened and reinforced canvas and/or burlap. They also have no right or left, and can be exceedingly uncomfortable when new. Because of this, most dancers like to prepare a new pair of pointe shoes before wearing them for the first time. Preparation usually consists in making the hard shank more supple, so that the shoes can actually bend in half pointe; sometimes sensitive spots on the box can be softned to offer less friction against the feet. One simple method is dampening a towel and applying a bit of water to the box, although students should not attempt this without consent and proper instruction from a teacher (the shoes could be irremediably damaged by water). Some dancers cut the shank where his/her arch is, and then spray the box with some water. Some dancers don't break them in at all, others "kill" brand new shoes, in other words, do what ever they can to make them soft enough.
A variety of padding is customary as well, protecting the skin from the roughness of the shoe as well as small relief from the pressure. Although most beginners use a commercial form of padding, students training at professional schools as well as professionals themselves sometimes do not use it.
Many dancers use a gel medical dressing to help relieve the pain of pointe shoes with blisters. They can also use cyanoacrylate glue, which hardens the shoes and makes them last a little longer.
Pointe technique
There are several methods that dancers use to rise on the toes. In one method (French school, RAD syllabus), the dancer rises on her toes by passing through half-pointe or "demi-pointe"; in the second method, the dancer springs onto her toes with a small hop (Russian and Italian schools)[6]. In the latter case, less stress is put on the calf muscles. More experienced dancers use a combination of the two techniques, usually rolling through for adages, and springing on pointe in allegros combinations. The two techniques arose early in the history of pointe technique, as the Italian cobblers designed harder toe boxes for the Italian ballerinas (for instance Pierina Legnani - the first ballerina to regularly perform the 32 fouettés of Swan Lake); this allowed them to execute more difficult steps and stand on their toes for longer. To imitate the feats of the Italian dancers, Russian ballerinas introduced even stiffer soles to support them during these difficult steps[7]. As it was nearly impossible to pass through half-pointe in these hard shoes, the small hop was introduced (also compare modern day French shoes with Russian ones: the latter have a very stiff shank). The effort exerted to remain en pointe must be shared by the whole body, not only the legs; the abdominal muscles must be engaged and the back should be kept straight, while the neck muscles should be relaxed. There are also different styles of dancing en pointe. In the classical style, the dancer stands on the tips of their toes; in the neoclassical style, the feet are overarched so that the dancer is literally dancing on their toenails.
In dancing "en pointe", the "pointe" dancer will conduct center and barre exercises before performing routines or combinations "en pointe". These can include "releves", "eschappes", and "arabesque et allegro". This warms up the dancer's muscles before combination work. When ready, the dancer will do his/her combinations in center. This will usually be led by an instructor who will be stressing proper turnout, pointing of the toes when raised, and proper use of ballet technique while "en pointe". In preparation for productions, the pointe dancer learn and practice a dance with a choreographer and instructor. In smaller dance schools, such as local ones, the roles of choreographer and instructor are combined. The choreographer will add movements and pieces to the dance during preliminary practices, and will oversee intermediate and final ones to insure the dancers are performing the moves properly to their vision. The instructor will teach the dance to the dancer, as well as insure proper technique is used. They will also aid the dancer in learning in costume and with partners, if needed.
Common injuries
Dancing en pointe can place stress on the dancer's feet. Common injuries related to dancing en pointe are:
- Achilles tendinitis
- The tendons at the back of the ankles can sometimes be strained and in bad cases even snap.
- Athlete's foot
- Athlete's foot is a fungal infection which grows in a dark, moist environment such as that of a perspiring foot in tight, closed shoes. It is also contagious. It can be prevented by washing the feet once a day and if contracted, can be cured by over-the-counter remedies or a prescribed anti-fungal.
- Blisters
- Blisters are caused by repeated rubbing of skin against the rough, hardened inside of the shoe's box. Shoes that are poorly fit can cause blisters, as can the breaking in process. Blisters can form within thirty minutes of dancing. Blisters should be dealt with before they burst or become infected. Blisters can be prevented or lessened by carefully wrapping the dancer's toes with medical tape, or using some type of thin padding.
- Bunions
- a bone deformity usually in the dancer's big toe, caused by cramping of the toes within the shoe's box. Dancers can prevent bunions by putting a spacer between the big toe and the next toe and wearing properly fitted shoes.
- Bunionette
- a bone deformity usually in the dancers little toe.
- Bursitis
- Bruises
- bruising is common, especially if no padding is used, on the tip of the toe.
- Bruised toenails
- caused by heavy pressure on the front of the nail when the nail is not cut short. This can be very painful and may cause the dancer to burn a hole in the nail to relieve some of the pressure.
- Calluses
- Calluses are thickened areas of skin which form on the bottom and sides of the feet. While a small amount may be helpful, too much callusing can indicate poor posture or poorly fitted shoes. Especially thick callus may crack or bleed and can be painful, causing a burning sensation. Calluses can be kept under control by soaking the feet in warm water and mild soap for 10 - 15 minutes. Excess callus can then be filed off gently, not removing the whole.
- Contusions
- Corns
- Corns result from incorrectly fitted shoes and form in places that do not bear weight.
- Cuts between the toes
- Cuts can occur between toes as a result of the pressure of a dancer's toenails digging into the toes next to them. However, with proper trimming, filing and fitting, this can usually be prevented.
- Dancer's heel (Plantar fasciitis)
- When the tendon on the instep of your foot tightens, causing the in step and heel to hurt very badly.
- Dermatitis
- Dermatitis is caused by allergens or stress, resulting in skin irritation which manifests in itching, burning, or reddened areas. Contact dermatitis is caused by skin contact with an allergen; neurodermatitis is related to stress.
- Dorsal exostosis
- Extensor tendinitis
- Fungus nails
- Hallux limitus and rigidus
- Hammer toes
- when the toes bend up permanently at the middle joint.
- Heel bruises
- Heel spurs
- Ingrown toenails
- Jammed big toes
- Neuromas
- Plantar warts
- Sesamoiditis
- Sprained ankles
- Stress fractures
- Thickened toenails
General Injury Prevention
Because pointe work can cause friction between the toes and the hard box of the pointe shoe, dancers use several methods to prevent chafing and blisters. Dancers often use lamb's wool or "toe pads" made out of soft material or gel. Folded paper toweling is also a popular padding material. Wads of lamb's wool may also be used just in certain areas where a dancer feels the most pain. Any type of padding can be used excessively, but using it in excess impairs the ability to "feel the floor." Many dancers also use sports tape to tape around their toes in order to further prevent blisters and bruised toenails. Also, keeping the toenails clipped as short as possible (without bleeding) is useful in preventing bruised toenails. Some pointe dancers, however, are able to wear their pointe shoes without any padding. Injury can also be prevented if you do not start before you are ready or a teacher gives you permission to.
References
- ↑ Balletto.net - articolo: La tecnica delle punte: da virtuosismo a mezzo di espressione (Parte II)
- ↑ In some schools girls younger than twelve are allowed to take pointe classes, for instance at the Scuola di Ballo del Teatro alla Scala (Testo programmatico per lo studio della danza classica - Teatro alla Scala, A. M. Prina), or at the Royal Swedish Ballet School (as reported in "The pointe book" by J. Barringer)
- ↑ Fit feet - ballet dancers and pointe work Dance Magazine Sept 1997 Marian Horosko
- ↑ Testo programmatico per lo studio della danza classica - Teatro alla Scala, A. M. Prina
- ↑ Vaganova, A. Basic principles of classical ballet
- ↑ Theory and Practice of Classical Theatrical Dancing, C. Beaumont, S. Idzikowski
- ↑ Interview with Dr. Dianne Howe - Anaheim Ballet video podcast