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Dancing en pointe (pronounced /ɑ̃ poɛ̃t/, often anglicised as /ɑn pwɛ̃t/ or /ɑn pɔɪnt/) is the action of rising to 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 considerable strength and skill and is a central part of a female ballet dancer's training and repertory. To a lesser extent, pointe work is also practiced by male dancers.

Contents 1 History 2 Preparing for pointe 3 Pointe technique 4 Common injuries 5 Injury prevention 6 References 7 External links

In 1832, the ballerina Marie Taglioni danced the full length of the romantic ballet La Sylphide en pointe and is credited as the developer and pioneer of the 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 on 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.

Young girls usually start dancing en pointe between the ages of nine and fifteen; they are not considered ready for pointe work unless they have been studying classical ballet for three or more years, with a frequency of two or more classes per week. They should also be in an intermediate or advanced level of ballet and be able to hold their turnout from the hips while performing center combinations. All of this requires careful evaluation on the part of the teacher. In the more serious dance academies, a professional's advice is required to make sure the dancers' feet have ossified sufficiently; serious foot deformities can result from starting pointe too early. Students must not dance en pointe until the bones of their feet are fully developed and the muscles in the arches, ankles, legs, pelvic area and abdominals are strong enough to bear the stress; injuries, such as breaking the ankle, can occur because of young, weak, and untrained muscles. She must make sure her feet are calloused enough so that the pain of dancing on pointe is numbed. Pedicures are a bad idea for pointe dancers. Layers and layers of dead skin, callouses, 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 and abdominal muscles^[1].

Once a dancer is ready, preparation for pointe work is a slow and 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 half-pointe to pointe and down again. 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 one can start dancing en pointe in the center. The entire process takes time and close supervision by the teacher. The pointe work of beginning students should always be supervised.

The first exercises at the barre are usually relevés, échappés, and "plies. ^[2] 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, first at the barre, later on in the centre like doing small hops en pointe and things relevant to that. In centre practice, Mme Vaganova suggests as first exercises temps levés on both feet (same as relevés) and échappés on pointes.

Pointe shoes are not like regular soft ballet 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. Elastic and ribbon are used to secure pointe shoes onto the dancers' feet, although the latter adds an element of decoration as well. 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.

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)^[3]. In the latter case, less stress is put on the calf muscles. This difference arose early in the history of pointe technique, as the Italian ballerinas (for instance Pierina Legnani - the first ballerina to regularly perform the 32 fouettés) introduced stiffer shoes that allowed them to execute more difficult steps and stand on their toes for longer. 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 on 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.

Dancing en pointe can place stress on the dancer's feet. Common injuries related to dancing en pointe are:

Achilles tendinitis 

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 fit incorrectly can cause blisters, as can the breaking in process. 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 

Bursitis 

Bruised toenails 

caused by heavy pressure on the front of the nail. This can be very painful.

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 

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 

Heel bruises 

Heel spurs 

Ingrown toenails 

Jammed big toes 

Neuromas 

Posterior impingement syndrome 

Plantar fascitis 

Plantar warts 

Sesamoiditis 

Sprained ankle 

Stress fractures 

Thickened toenails 

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 "toepads" 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. Many dancers also use sports tape to tape around their toes in order to further prevent blisters and bruised toenails. Some pointe dancers are able to wear their pointe shoes without any padding to protect their feet.

1. ^ Fit feet - ballet dancers and pointe work Dance Magazine Sept 1997 Marian Horosko
2. ^ Testo programmatico per lo studio della danza classica - Teatro alla Scala, A. M. Prina
3. ^ Theory and Practice of Classical Theatrical Dancing, C. Beaumont, S. Idzikowski

Dance en pointe