Before the first pair
Demi pointe shoes
Demi pointe shoes look similar to regular pointe shoes but without the stiff innersole. The box is shaped like a pointe shoe with structured wings and a platform that allows the dancer how to learn to roll through demi. The sole is soft enough for the dancer to articulate the feet yet more resistance than a slipper.
Demi pointe shoes are not pointe shoes. They do not give the dancer enough support to dance or stand en pointe in the center. Standing en pointe in demi pointe shoes will place too much pressure on the metatarsals and could be dangerous for the dancer.
Demi pointe shoes provide a smooth transition between flat and pointe work for a variety of reasons:
It toughens the skin and helps the dancer get use to the feel of pointe shoes
Because the dancer is not dancing en pointe, these can be worn without padding (unless the dancer is particularly sensitive). This will allow maximum articulation in the feet
The simple act of pointing the foot inside demi pointe shoes will strengthen their feet because it is more resistant than regular flats and require more strength to point
Because demi pointe shoes are missing the stiff innersole, the softness allows full articulation in complete roll through demi without the assistance of a shank
Great for dancers who are coming off an injury to build back their strength and slowly transitioning back to pointe work
Also can be used in conjunction with regular pointe work to continue building strength
Though demi pointe shoes are not as common in the United States, it can be great to implement while progressing onto pointe work, rehabilitation from injury or additional strengthening.
First Pair of Pointe Shoes
A dancer must be able to demonstrate proper training at a certain level of technique, skill, strength, flexibility and maturity before going en pointe. Ideally, the dancer should have received pre-pointe training by their instructor as well as a pre-pointe assessment by a physical therapist or other medical personnel with a dance specialty before being promoted onto pointe.
When a dancer comes in to get fitted for their first pair of shoes, ask the following questions:
Which studio they attend
Pointe programs vary enormously from studio to studio
Some studios will go through a pre-pointe program in demi pointe shoes, some will keep their dancers at the barre for their first year en pointe, some will add only 10 minutes of pointe work a couple times a week and some will be expected to be dancing in center in a couple months.
Depending on how fast or slow the studio progresses their dancers en pointe, the dancer may be put on pointe at different level
If the studio is conservative and have gone through a pre-pointe program, keeps their dancers en pointe for only a short period of time each week and stays at the barre for more than 6 months, the dancer may not need to be at as high of a level as those who will be put into center within a couple months.
Who their pointe teacher is
Many instructors have different philosophies with pointe work (even within the same studio) and some are more particular than others
Ask if there are any shoes the teacher does not allow them to wear and if they have a specific preference in how they want their shoes to be sewn
Depending on how conservative or aggressive their training is, the fitter should select a shoe that is appropriate for simply barre work (softer and easier to roll through) or for center (shoe that provide stability and confidence)
How long they’ve been dancing
This is not always the best indicator of their pointe-readiness but a minimum of 3 years is recommended
How old they are
Age is not a precise indicator of their pointe-readiness as there is a significant range in motor skills and physical maturity (just as girls may start their periods anywhere from age 8-16) but a general indicator is starting anywhere from 9-12.
The dancer should be old enough to be physically and mentally mature to handle pointe work and young enough that their bodies are easily moldable.
There are no studies that show there is a higher risk for injuries associated with starting pointe work too early but it does suggest that younger dancers are more vulnerable due to their developing bodies
It is more important to assess certain abilities than relying simply on age (see section on pre-pointe assessment)
If they went through a pre-pointe training program
Some studios offer a pre-pointe program before the dancer is promoted to pointe. Some will use a demi pointe shoe to build strength while others will go through the program on flat.
Best program will be a mix of strengthening and technique along with programs like PBT, pilates or other cross training
And if they received and passed a pre-pointe assessment
Most dancers are still approved solely by their teachers, but the most accurate assessment will come from an unbiased dance specialist such as a physical therapist or other medical personnel who can conduct specific tests to see if the dancer is ready
*It is also important to remember that this is likely one of the most exciting days of their lives and sharing their enthusiasm as well as celebrating their milestone is an important part of being a pointe shoe fitter.
Many dancers have trouble articulating what they feel, identifying exactly what is bothering them or become too nervous to let you know if something feels wrong especially if this is their first pair. Gently encourage them to share if there is anything that is bothering them and assure them that everything they feel is valid and important.
Pointe Readiness
In an ideal world, the dancer’s professional fitter, instructor, and medical professional would work in conjunction with one another.
The instructor generally sees the dancer most frequently and knows the dancer the best.
However, if you: 1. do not know the dancer’s teacher or studio, 2. they have not received pre pointe training or passed an assessment test or 3. do not have an approval from a medical professional, there are pointe readiness tests you can administer to measure the dancer’s muscular strength, ankle joint range of motion, single leg standing balance, dynamic alignment and turning skill.
Pencil Test:
There must be at least 90 degrees of plantar flexion (range of motion in the pointed direction) to begin pointe work.
Have the dancer sit on the floor with both legs straight in front in parallel
The dancer points feet while keeping both knees straight in parallel
Then place a pencil on top of the ankle joint
If the pencil lies flat, the dancer has sufficient plantarflexion for pointe
Airplane Test:
The dancer stands on one leg with their top half bent forward in a 90 degree angle from the standing leg.
The non-weight bearing leg is lifted behind them in a 90 degree arabesque position. The upper body and non weight bearing leg should be parallel to the floor, weight bearing leg straight and arms extended in front to create the letter “T” from the side.
Then the arms are lowered toward the ground, as the weight bearing leg bends in a plié.
Have the dancer repeat the plié 5 times.
The dancer should be able to complete at least four out of the five plies while maintaining neutral alignment of the trunk, pelvis, hip, knee and ankle.
Single Leg Sauté Test:
The dancer stands in parallel on a single leg
Performs 16 consecutive single-leg sautés (short jumps) while maintaining neutral pelvis, upright posture, fully extended knee and pointed foot in the air, alignment and proper toe-heel landing
Dancer must perform at least 8 with proper form
Topple test:
Dancer performs a pirouette en dehor (outward turn from 4th position and landing in 4th)
The dancer should be able to execute the turn without loss of balance or excessive lateral movement
Richardson, Megan; Liederbach, Marijeanne; Sandow, Emily, “Functional Criteria for Assessing Pointe-Readiness” Journal of Dance Medicine and Science. 3, September 2010, pp. 82-88(7)
These tests measure strength, endurance, range of motion, dynamic joint stability and postural control but do not measure intangible factors such as work ethic and mental maturity. Pointe readiness tests should be considered along with the instructor’s expertise as well as a medical professional. If you feel the dancer is not ready, there should be a conversation with the teacher and a dance therapist who is familiar with pointe readiness assessments. However, the ultimate decision will lie with the teacher as they know the dancer best and knows how quickly or slowly they will progress from the barre to the center.
Fitting adult dancers in first pair of pointe shoes
There has been a wave of recreational adult dancers participating in ballet in recent years. Some have been trained as children and some are starting ballet for the first time as a true beginner.
It may be unfair to categorize “fitting adults” in a single category because the age range could be anywhere from 18-90 and every case is individual. However, there are some general differences between fitting a first pair of pointe shoes for a younger dancer (ages 9-14) and an adult getting fitted for the first time.
These are not absolutes but some general things to keep in mind:
Strength: Adult dancers take less time to go en pointe because their musculoskeletal system is developed and less vulnerable to injuries
Consistency: Dancers going en pointe under the age of 14 may go through several growth spurts that may lead to losing strength, balance and stability. Adult dancers have an advantage in that they are more consistent.
Flexibility: If a dancer is a true beginner without any former dance training, their ankle range may be limited due to the lack of training. Most dancers who start younger have a chance to gain more range of motion but it takes longer for adults to gain flexibility. Choose a shoe that is softer and easier to roll through so they can rise to the center of the platform.
Fat and muscle atrophy: There may be some loss of fat on the balls of the feet as well as weakening muscles and connective tissue for dancers starting pointe after their mid-30s. The thinning of protective cushioning may cause more discomfort in pointe shoes. If the dancer is feeling excessing pain en pointe, it may be necessary to choose a shoe that has ample space in the box with extra padding.
Form follows function
Though pointe shoes were created for aesthetic purposes of weightless appearance, pointe work has evolved to be so much more.
The right pointe shoe can be a tool to help the dancer strengthen and gain flexibility.
Depending on the dancer’s individual tendencies, the dancer will function differently in different styles of pointe shoes. When selecting a new pair of pointe shoes, the fitter must determine what the most important factors are: strengthening, stability, flexibility, roll through, aesthetics, balance, pain management.
The fitter should help choose a shoe that is difficult enough to build strength (hormetic stress) while supportive enough for the dancer to be safe. A pointe shoe that overloads too much stress may cause injuries but a shoe that is too supportive takes much of the workload and may lead to weaker muscles. As every dancer responds differently to different pointe shoes (example: some dancers may have an easier time in a harder shank and some dancers may have an easier time in a softer shank), it is important to gage their comfort level.
Overloading for strengthening:
Shoes that are slightly harder to balance (smaller platform or rounded platform) will help dancers engage their core
For those with flexible feet and ankles, a softer shoe will force the dancer to use the intrinsic (muscles in the foot) more than using the strength of the shank to bounce up to pointe
Shoes with a shorter vamp with allow full articulation through demi
Stronger feet will help with flexibility
Safety and stability:
Shoes that are wider and flatter may help the dancer from wobbling en pointe
For dancers with hyper flexible feet and ankles, a harder shank will give better support
Longer wings and vamp will keep the dancer better aligned and stable en pointe
*Supportive stable pointe shoes typically last longer than less supportive ones. If the dancer cannot financially afford shoes that break too quickly, demi pointe shoes may be suggested to work through their feet in conjunction with pointe work.
Pointe shoes should be more like a flexible, protective brace rather than a cast. Just as muscles waste away in a cast, a pointe shoe that is too hard or doesn’t allow proper movement will atrophy the muscles in the feet and overwork the muscles in the lower leg that may lead to overuse injuries. However, shoes that does not offer enough support for the bones and joints of the foot and can lead to stress related injuries. The more supportive, the less work our feet have to do.
For the first pair of pointe shoes, we may focus more on ease and comfort with a bit of loading. Then gradually overload to a higher level of difficulty.
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