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Pointe technique ( ) is part of classical ballet involving a ballet technique that concerns pointe work, in which a ballet dancer supports all body weight on the tips of fully extended feet when wearing . A dancer is said to be en pointe () when the body is supported in this manner, and a fully extended vertical foot is said to be en pointe when touching the floor, even when not bearing weight.
Pointe technique resulted from a desire for female dancers to appear weightless and sylph-like. Although both men and women are capable of pointe work, it is most often performed by women. Extensive training and practice are required to develop the strength and technique needed for pointe work. Typically, dance teachers consider factors such as age, experience, strength and alignment when deciding whether to allow a dancer to begin pointe work.
Proper technique is also evident from a dancer's body alignment, by visualizing a straight line that extends from the center of the hip through the toes. When a properly aligned dancer is viewed from the side, the line passes through the knee, ankle joint and hallux joints. When viewed from the front, the line passes through the knee, ankle joint and the joints of the long toe or middle toe or the area between those toe joints. In cases of unusually high instep or metatarsal joint flexibility, it is sometimes necessary to flex the toes to achieve proper alignment.
Modern ballet technique incorporates all three transition methods. Relevé and piqué transitions are typically used for adages, where strength, poise and controlled movements are highlighted. The more abrupt sauté method, which was introduced by Enrico Cecchetti,Theory and Practice of Classical Theatrical Dancing, C. Beaumont, S. Idzikowski is typically used in allegros, where the relatively slow and smooth relevé and piqué transitions would be both impractical and visually inconsistent with the lively pace of movement. The sauté method is more common in Russian ballet.Vaganova, A. Basic principles of classical ballet
Exceptions may be made if a physician has determined that a dancer's feet have sufficiently ossification,Scuola di Ballo del Teatro alla Scala: Testo programmatico per lo studio della danza classica – Teatro alla Scala, A. M. PrinaFit feet – ballet dancers and pointe work, Dance Magazine, September 1997, Marian Horosko and it is not uncommon for dancers to begin pointe work as early as age nine.About.com – http://dance.about.com/od/adultdancers/a/Begin_Pointe.htm Oftentimes dance studios require their dancers to have their feet x-rays and get their physician to verify whether the dancer's feet are ready for pointe work.
Another key determining factor is strength in the legs, feet, ankles and core. Without strong ankles, feet and legs dancers are likely to hurt themselves once en pointe or be too weak to remain en pointe for the duration of a routine. Strong core strength ensures the dancer maintains their center and prevents them from rolling their feet when dancing en pointe.
Otherwise ballet students are generally ready to begin pointe work after achieving competency in fundamental ballet technique and have been dancing for a number of years. For example, before learning pointe work, a dancer must be able to maintain turnout while performing center combinations, hold a proper ballet position with straight back and good turnout, pull up properly in the legs, and balance securely in a relevé that is perpendicular to the floor.
During each class session, a student will move on to centre exercises after completing the barre work. These exercises emphasize various aspects of ballet technique such as: turnout, pointing of the toes, and the use of ballet technique while en pointe.
Dancers typically take pre-pointe lessons for a year before they are allowed to get pointe shoes. However, it is at the discretion of the dance instructor to determine if one year of pre-pointe is sufficient or if the dancer needs more time to prepare. Hence, it is quite common for students to take two or even three years of pre-pointe in order to properly assimilate all the material required for pointe.
Injuries due to toe misalignment are often avoided by adjusting toe alignments with gel toe spacers. Toenail bruise can be caused by heavy pressure on the surface of the nail. This is typically prevented by keeping toenails clipped short, by wrapping tape around the toes, by using padding, or combinations of these. Bruising can also occur on the tips of the toes, especially when no padding is used. It is highly unadvised to dance en pointe without padding.
Pointe work can cause friction between toes and the interior of the pointe shoe's box. This friction, under the high pressure of much of the dancer's body weight, can result in chafing and . This is often mitigated with lambswool or toe pads or by wrapping tape around toes or use gel pads that can conform to any one problem area. Choosing between cloth and gel, gel, only cloth, wool, etc. for toe pads is a personal preference for each dancer, but each style has its own benefits.
Other exterior injuries include Wounds caused by toenails piercing adjacent toes. This can be prevented by keeping toe nails cut short and filed smooth. Also, may form on the bottoms and sides of the feet, which can crack open. This can be helped by the use of gel pad protectors on specific problem spots or using pads to surround the toes. can result from ill-fitting shoes.
/ref> - dancing en pointe has not. Further, pointe shoes are symmetrical, there are no lefts and rights. The toes have to flex inwards to conform to the tapered shape of the toe box. Pressure of the body weight on the toes in this misaligned position may, with other factors, contribute to the development of bunions.
Other common injuries:
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