A consice evalution of pointe work and how this relates to ballet today.

Pointe work

Pointe work is the ultimate achievement for a female dancer, as it brings a further dimension to classical work.

I will look at the positioning of the body and the feet when using pointe shoes.

When rising en pointe the weight is held over the tip of the big toe, second toe and middle toe, dependant on the shape of the feet.
The position en pointe produces a straight line through the tibia, ankle, metatarsals and toes. The central line of balance over the tips of the toes creates an extension of the dancers’ line through the leg and the foot.
The position of the spine is central to the balance and essential to the control of the position en pointe.
The base of support is very small, therefore pointe demands particular attention to the control of the spine, pelvis and turnout and to lift the body out of the hips. This produces lightness as well as increased speed and dexterity of footwork.

Getting on to pointe

There are two ways of rising on to pointe, building from the demi-pointe,

Rise = an even action

Releve = dynamic action

These two actions are both practised to develop the arch of the foot, showing a beautiful shape when the foot is seen in profile. Both must be done with control throughout.

Normally taken from a straight supporting leg, this is achieved by exerting constant pressure downwards through the forefoot, moving through each part of the foot – ankle, metatarsals, phalanges, with a lift up from the hips.

Normally starts en fondu, and involves a forceful thrust of the leg and foot downward to propel the dancer upwards.
Only uses enough impetuous to allow the dancer to draw to the tips of the toes slightly inwards towards the centre.

Normally taken from a straight supporting leg, this is achieved by exerting constant pressure downwards through the forefoot, moving through each part of the foot – ankle, metatarsals, phalanges, with a lift up from the hips.

Normally starts en fondu, and involves a forceful thrust of the leg and foot downward to propel the dancer upwards.
Only uses enough impetuous to allow the dancer to draw to the tips of the toes slightly inwards towards the centre.

Strong use of the demi-pointe is essential as well as strength and control in the centre and a good understanding of this is essential, therefore a young child wouldn’t yet have the correct qualities.
The teacher must look at the physique, does she have:
A strong centre
Strength in the feet and ankles
Good balance and control
A positive attitude
Well braced thighs
Mentally strong enough
A good demonstration of demi-pointe with braced knees and thighs

Therefore the age of the dancer may vary as it is a dancer’s personal ability and standard that determines when she is ready, not age.
How the dancer stretches their foot is also important. If she is curling her toes under when the foot is fully pointed her intrinsic muscles are weak and must be encouraged to stretch out the toes in line with the leg, ankle and foot. This is to achieve the correct position of the foot en pointe in relation to the leg and to build the strength to do so. Simple foot exercises can be given and working in tights or bare feet will help the teacher and dancer to recognise and correct more easily.

First of all you must look at the type of foot to see what type of shoe they would benefit from. I will look at a few typical shapes of foot and describe the best sort of shoe.
A poorly stretched foot with a limited arch should benefit from a low vamp, no wings and a flexible back. This is because they are easier to work with as the foot may be a little stiff it is stronger and needs less support, but more flexibility to help them achieve a more desirable and effective arch.
A high arch, which is very flexible, would benefit from a high vamp and wings. This is to contain the foot in the shoes, as although it looks good it can also be weak. In order to gain more strength a harder or thicker back is not advisable as this will encourage the dancer to sit back in the shoe and no strength will be gained. A normal back will allow them to concentrate on reaching out of the shoe and strengthen the foot, as a strong foot can control the arch.

There should be no growing room allowed in the shoe and it must fit like a glove.
It is advisable to buy a shoe with a wider base like Freed when beginning, as it will be easier for the dancer to balance on.
Teach them how to sew on ribbons and how to tie the shoes correctly. The may also need to be shown how to darn the shoes, but this is dependant on the floor of the studio.

The history of pointe shoes is also the history of pointe technique, as they evolved together. But the pointe shoe itself is seldom given recognition for its role in steering the development of technique.

The Italian princess Catherine de Medici married the French Henri II and introduced ballet de cour, or "court ballet" to the Court of France in the sixteenth century. From these early productions featuring masked and costumed courtiers, dancing at court developed into lavish spectacles and extravaganzas, from which, a codified vocabulary of steps eventually emerged.
In the 1600's, King Louis XIV especially loved dancing and starring in court productions. When he grew too old and fat to perform he continued to be one of ballet's greatest patrons. He founded the Académie Royale de Danse, which would later become the Paris Opera Ballet. Ballet had a political advantage as well in that Louis surely used his ballets, in which the courtiers bowed and curtsied to him in a variety of elaborate and elegant ways, to celebrate and glorify himself, to associate himself with divinity, and to reinforce the power of the throne.

The ballerina as we know her had not yet come into existence. Women really couldn't participate in the way men could, in large part because of their clothes. Men got to wear tights, which gave them more freedom of movement, they were able to jump and beat. Women had to wear heavy wigs and enormous head dresses, full, heavy skirts and shoes with heels, and tight corsets that restricted breathing and bending.
There were popular female dancers in the late Seventeenth and early Eighteenth Century, such as Mme. Lafontaine, Mlle. Subligny and Marie Prévost, but they were limited by their costumes. The men got to do all of the good steps. To make matters worse, as ballet dancing moved out of the ballrooms of royal palaces and onto the proscenium stage, women had to overcome society's disapproval of female performers.