All About Pointe

Pre-Pointe

Pre-pointe classes are completed in ballet flats. They focus on developing the strength, flexibility, alignment, foot preparation and technique needed before transitioning into pointe shoes.

Pre-pointe is not simply a waiting period. It is an important stage of pointe training.

Pointe

Pointe classes include work in pointe shoes and require additional ballet training. Students begin with controlled exercises at the barre and progress only as their strength, alignment and technique allow.

Strength and Control

• Core and pelvic stability
• Foot and ankle strength
• Strong, controlled relevés
• Balance and coordination
• Ability to maintain technique when tired

Alignment and Mobility

• Hip-knee-ankle-foot alignment
• Knees tracking correctly over the toes
• A stable, lifted pelvis and torso
• Sufficient foot and ankle mobility
• No sickling, rolling or collapsing into the shoes

Training Habits

• Consistent attendance
• Focus and maturity in class
• Strong foundational ballet technique
• Willingness to accept corrections
• Continued conditioning outside pointe exercises

Beginning at Age 11

With instructor approval, some physically ready dancers may begin introductory pointe work at age 11.

At this stage, pointe work is completed at the barre. Dancers are preparing the feet and ankles, learning correct placement and gradually developing the strength needed for future pointe dancing.

They should not expect to begin center pointe work, turns or complete pointe choreography simply because they have received their first shoes.

Age Is Only One Factor

Turning 11 does not automatically qualify a dancer for pointe. Level, age and years of training help guide the evaluation, but the final decision is based on physical readiness, technique, attendance, maturity and instructor approval.

Some dancers will be ready earlier than others. Waiting does not mean that a dancer has failed or fallen behind.

Jumping Helps Build Strong Bones

Jumping is a weight-bearing activity. The repeated, appropriately progressed impact of taking off and landing places healthy stress on the bones, encouraging them to adapt and become stronger.

Childhood and adolescence are especially important times for developing bone strength. Regular dancing, jumping and other weight-bearing activities can contribute to healthy bone development.

It Builds Pointe Skills Too

Ballet jumps also develop many of the physical skills dancers need for pointe:

• Foot and ankle strength
• Strong legs and calves
• Core and pelvic control
• Correct hip-knee-ankle-foot alignment
• Articulation through the feet
• Controlled takeoffs and landings
• Coordination and endurance

Attendance and Conditioning

Pointe requires consistent technique, strength and coordination. Students must arrive ready to dance, attend their required ballet classes and continue appropriate conditioning at home.

Students who miss too many classes or are not maintaining the necessary conditioning may be asked to stop participating in the pointe portion of class until they are ready to return.

Growth and Reassessment

Pointe readiness can change. Growth spurts, changes in strength, coordination, illness, injury or time away from training can affect a dancer’s control.

Instructors may adjust a dancer’s pointe work, return them temporarily to the barre or ask them to work in ballet flats while they rebuild strength.

Returning After Time Away

Students who did not dance during the previous semester or over the summer will not participate in the pointe portion of class at the beginning of the new semester.

After approximately one month of consistent ballet training, the instructor will evaluate whether the dancer is ready to return to pointe work.

Injuries and Pain

If a dancer is injured, they need to take a break from pointe. Their instructor will help determine when it is appropriate to return.

Dancers should report sharp pain, persistent pain, swelling, numbness, bruising or pain that changes how they dance. Do not try to dance through an injury.

Beginning Pointe Students

By a dancer’s second semester of pointe, we hope to include a small amount of simple pointe work in the performance when the instructor feels the dancer is ready. This is not guaranteed and will look different for each student.

A beginning pointe dancer may:

• Perform a short, simple pointe section
• Wear pointe shoes but complete only selected movements on pointe
• Lower to flat or demi-pointe for more difficult movements
• Complete part of the choreography in ballet flats
• Receive an individually adjusted version of the choreography

Featured Pointe Roles

Beginning pointe does not mean a dancer is immediately ready for a featured pointe role. Large pointe roles require years of consistent ballet and pointe training.

Dancers must develop strong center work, control, stamina, artistry and dependable technique before being entrusted with advanced pointe choreography.

Wearing pointe shoes does not mean every movement must be performed fully on pointe. We want dancers to enjoy their shoes while continuing to work at an appropriate stage.

Training That Transfers

Ballet develops alignment, balance, control, coordination and beautifully articulated feet. These skills transfer into dance, aerial and many other movement disciplines.

• Stronger lines and pointed toes in aerial
• Better extensions and transitions in lyrical
• More controlled turns and jumps in jazz
• Improved balance, placement and body awareness
• A more finished quality of movement in every style

Beautiful, Articulate Feet

Pointe does not change the feet a dancer was born with—it teaches the dancer to use them beautifully.

Learning to lengthen through the toes, articulate through the feet and control each transition can make a visible difference far beyond ballet.

Pointe makes the way dancers use their feet gorgeous—but that result comes from patient, consistent training.

Prepare for the Fitting

• Schedule an appointment and allow at least one hour.
• Wear a fitted leotard and convertible ballet tights.
• Purchase convertible tights beforehand if needed.
• Trim toenails before the appointment.
• Arrive with clean, prepared feet.
• Bring any toe spacers or padding the dancer already uses.

What a Fitting Should Accomplish

• The shoe should support the dancer without excessive movement.
• The toes should remain properly aligned inside the shoe.
• The dancer should be able to stand with correct alignment.
• The fitter should evaluate several models when possible.
• The shoes must still be approved by a Weehawken instructor.

Padding

• Ouch Pouches or similar toe pads that are minimally thick so the dancer can still feel the floor
• Toe spacers, only when necessary
• Gummies or small gel padding for uncomfortable areas
• Toe tape or blister protection

Ribbons and Elastic

• Tendonitis ribbons with an elastic section at the back are preferred, although traditional ribbons are acceptable.
• Elastic may be thick or thin depending on the shoe and fit.
• If the fitter does not pin the ribbons and elastics, see Miss Natasha or Miss Pang before sewing.

Sewing Kit

• Strong pointe shoe thread or dental floss
• Sturdy sewing needle
• Small scissors
• Extra ribbon and elastic
• Thimble, if helpful

Keep in the Pointe Bag

• Toenail clippers and nail file
• Toe tape
• Approved toe pads and spacers
• Blister protection
• Stitch kit and small scissors
• Extra ribbon and elastic
• A mesh bag for airing out shoes

Care for the Feet

• Keep toenails short, smooth and cut straight across.
• Do not dance on an open or infected blister.
• Tell the instructor about persistent redness, swelling or pain.
• Do not use numbing products to hide pain while dancing.
• Seek qualified medical guidance for injuries or continuing concerns.

Care for the Shoes

• Remove toe pads from the shoes after class.
• Allow shoes and padding to dry completely between uses.
• Do not leave damp pointe shoes sealed inside a dance bag.
• Carry them in a breathable mesh bag when possible.
• Do not share pointe shoes.
• Ask the instructor before cutting, bending or treating shoes.