Though the first pair of pointe shoes is determined by the barefoot analysis, every pointe shoe fitting after is determined also on the previous shoe. Fittings become more accurate with every fitting due to more data points old pointe shoes bring.
Brand new pointe shoes may help mask some of the dancer’s tendencies and habits. For example, the wings may be supportive enough to mask sickling or the shank may be hard enough to mask a dancer’s lack of strength. Analyzing the wear patterns of a dead pair along with the dancer’s tendencies and pain points in the broken shoes can reveal what they need work on and what needs to change.
Analyzing dead pointe shoes
Platform
Bevel/Sickle: The platform should be worn out evenly around the platform. If the dancer always wears the same shoe on the same foot (meaning there is a definite left and right shoe), you should be able to see where the dancer balances. If the pointe shoes are worn out significantly more on the big toe side, the dancer may be winging/beveling too much and if the platform is worn out towards the pinky, the dancer is sickling. If the box is collapsed on one side or another due to uneven weight distribution, this will further exacerbate the problem by promoting the ankle to further lean in the direction.
Though winging may be seen as aesthetically desirable, dancers bear a significant amount of weight through their ankles en pointe and this slight misalignment of the ankle may accumulate to injuries.
If there is significant wear on one side of the platform, the dancer may need longer and/or strong wings for better stability or jet glue.
Have the dancer jet glue (or any hardening glue) the inside of the box on the side where the dancer is leaning. If the dancer bevels, jet glue the wing and platform on the big toe side and if the dancer sickles, jet glue the wing and platform on the pinky toe side. This will help prevent the box from collapsing on the favored side and keep the dancer straighter. Though this will help correct the alignment, the dancer must take the feedback and strengthen with additional exercises in order to rely on their own strength to stay straight.
Forward/Backward: If the platform is worn down at the bottom of the platform while the top remains relatively clean, this may indicate that the dancer is not getting over the box. If the dancer seems to get on top of the platform stepping up to pointe during the fitting, ask the dancer if they have trouble finding the center of the platform in class when stepping onto pointe on a single straight leg such as a series of piqué turns. If the dancer confirms there is difficulty getting over the box, they may need a shorter vamp or a softer shank.
Though this is a common problem, constantly balancing on the back of the platform may strain the back of the ankle and may accumulate to overuse injuries.
*There is a period of time during the growth spurt when feet grow before height. This slight disproportion leads to even more difficulty getting over the box. Couple this with the loss of balance that will follow during the growth spurt and this could be a frustrating period of time for the dancer. Though this may take some time to get through, explaining this process and the impermanence of this period to the dancer may relieve some frustration.
If the platform is worn out significantly at the top of the platform, the dancer is too far over. This may be an indication that the dancer has flexible ankles but lacks strength to control its flexibility. Though it may be seen as beautiful, constantly balancing in this position will overstretch the tendons on the top of the ankles and lead to injuries.
If the dancer is too far over, select a pointe shoe with either a harder shank, wider platform, longer wings or vamp. If the dancer is still too far over, jet glue may be applied either on the shank or the box to give the dancer more support.
*It is important to learn where the center of the platform is at the beginning of their pointe training because whether the dancer is balancing too far forward, too far back or on either side of the platform, they will start to build the mental habit of balancing on that spot. Once this location is established, the center of the platform won’t feel “right” to the dancer. For example, they will feel like they are not getting over far enough even if they are in the center if they are used to dancing too far over the platform. Any of these misalignments can accumulate to injuries and should be taken into consideration when choosing their next pair.
Box
Have the dancer put on the dead pointe shoes. Then ask to roll up to pointe in first position. Check to see if the dancer is able to roll through the demi pointe position. This is hard to tell in a brand new shoe due to the stiffness of the shank and box but the dancer should be able to go through demi when the shoes are dead.
If the dancer is not able to roll through demi pointe, select a pointe shoe with a shorter vamp or a softer shank.
Then ask the dancer to roll up to pointe in parallel. Take note of the wear patterns on the box. If there is a distinct line on the box under the knuckles and you are able to see the outline of the knuckles and bunions on top of the line, the fitter should consider a wider width, higher crown or rounded wings.
Shank
Ask the dancer to go back en pointe in first position.
When the shoe dies, some dancers feel they are pushed forward and some dancers feel they are pulled back. If the dancer is pushed forward, they likely have more ankle flexibility than those who are pulled back and may need a harder shank.
Then check to see where the shank broke.
Ideally, the shank should be softest 3⁄4 way up from the tip of the pointe shoe. If the shank is broken lower towards the toes, the shoe may not be giving the dancer enough support and will put significant pressure on the metatarsal bones. Select a shoe that has a pre-arch or a 3/4 shank that naturally breaks higher.
However, if the dancer has more flexibility in their feet than their ankles, and their arch naturally breaks closer to their toes, they may need a shoe that breaks lower to get on top of the box. Though this is not aesthetically ideal, they may need a lower breaking shoe until they gain enough ankle flexibility and feet strength to get over on a box in a higher breaking pointe shoe. Ask the dancer if they have any complaints about the current shoe
Common complaints:
Shoes broke too fast. Ask the dancer how long she wore the shoes before they broke. Most traditional pointe shoes last about 10-15 hours. If the shoes broke significantly faster than that, try a shoe that has a:
Harder shank
Made of synthetic material (Gaynor Minden)
Wider platform
Difficulty balancing or wobbly en pointe. If the dancer has proper muscle control, try a shoe that has a:
Wider width
Bigger platform
Longer wings
Harder shank
Sinking, pain on toes or bruised toe nails. Ask if the dancer feels pain on their toes en pointe or also on flat. If the dancer feels pressure both flat and en pointe, try a shoe that is,
Longer
Sinking If the dancer only feels pressure en pointe, try a shoe that is:
Narrower
More tapered
Selecting a new pair
Choose an appropriate pointe model and size after making tweaks from analyzing the dead pair.
Put the pointe shoes on the dancer’s foot to check resistance for proper width.
The pointe shoe should lie flat on top of the foot without any baggy fabric or gapping. The foot should be sitting comfortably inside the shoe without bulging out.
Though there are some visible signs of incorrect sizing, pointe shoe fitters have to rely on the information the dancers are giving them to determine the fit of the shoes because we cannot see what is happening within the shoe especially when the shoes are brand new. Oftentimes dancers do not know how to describe certain feelings so make sure to ask specific questions and pay attention to the details.
Step by step process
1. Have the dancer stand in First position and go into demi plie. Ask if the dancer feels pressure or pain at the tips of their toes. The toes should feel like they are barely touching the end but if the dancer feels their toes curling or jamming on the inside of the platform, try a shoe that is:
Longer
Narrower
More tapered
2. Ask if the dancer feels pressure or pain in their heel. If the dancer cannot feel their toes touch the end but feels the shoes are too tight on the heel, try a shoe that is:
Wider
Less tapered
3. Ask if the dancer feels pain or pressure in the width of the foot. The shoe should feel like a tight hug but if there is excessive pressure or pain on the sides of the foot, or toes overlapping try a shoe that is:
Wider
Less tapered
Rounded wings
Softer glue
4. Ask the dancer to stand in first position then prop one foot up en pointe. The shoe should have a slight pinch of fabric at the heel because feet naturally shrink en pointe. Some dancers have feet that shrink far less than others (disappearing heel), so this may not be the same for everyone, but there usually should not be excessive amounts of fabric when going en pointe. If the shoe has too much pinch at the heel, try a shoe that is:
Shorter
Narrower
More tapered
5. While the dancer still has their foot propped en pointe, peel the fabric off the heel to check that the shank is lying straight on the foot. If the shank is twisting off the heel, try a shoe that is:
Wider
Less tapered
Softer
6. Repeat on the second foot. Everyone has two different feet. One will always fit better than the other.
7. Then ask the dancer to step up to pointe with both feet. Ask if the dancer feels like they are sinking into the shoe or if there is more pressure on the toes en pointe. If the dancer feels sinking or pressure, try a shoe that is:
Narrower
More tapered
8. While the dancer is still en pointe, check the dancer’s alignment. The dancer’s knees, ankles and toes should be aligned without going too far over or pulled back on the platform. If the dancer is significantly bending the shank and too far over the top of the platform, try a shoe that has a:
Harder shank
Flat platform
Longer vamp
Longer wings
Lower crown
9. If the dancer is pulled back and is not over the platform, try a shoe that has a:
Softer shank
Harder shank
Shorter vamp
Wider width
Higher crown
10. Have the dancer cross to fifth position en pointe. Ask them to bourree in place. The dancer should feel lifted with the toes slightly touching the bottom of the platform. If the dancer feels like their feet are starting to sink and feels their toes jamming at the bottom of the shoe, try a shoe that is:
Narrower
More tapered
11. If the dancer feels like they are floating, try a shoe that is:
Wider
Less tapered
12. Have the dancer come down from pointe and stand in first position. Ask the dancer to go into demi plie and ask if there is any pinching or pain. If the fitter has made all the adjustments with the steps above, and there is still pressure point in any particular spot, try using:
Pinky pad for pain in any of the smaller toes
Big toe sleeve for pain on the big toe
Spacers for bunion pain
Extra long toe pad for excessive pressure on the side of the foot
Lambswool for any other location
Any adjustments with padding should be a last resort as the dancer may become reliant on too much padding. It is easier and faster to learn how to control their pointe shoes and strengthen their feet when there is less material between their feet and their shoes. However, padding should be used if the dancer is experiencing excessive pain to prevent bad habits from forming by compensation.
Each dancer has their own preference on how they want their shoes to feel. Some dancers like their shoes tighter, some like them with extra padding, some like them extra soft in the shank and some like to feel the floor. As long as it is safe, it should ultimately be about what the individual dancer and instructor prefers.
Always remind the dancer that the shoe will change and fit differently after they start to dance in them. The fitter cannot anticipate exactly how the shoes will break for the dancer or how she will dance in them. Remind them that pointe shoe fitting is a dynamic process and will change as the dancer changes.
Warn them about the possible troubles they might face in the particular shoe (it may be harder to balance if they are changing to a smaller platform) and encourage them to ask for help if there are any problems.
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