What the general public never sees, if the ballet is properly danced, is the truly athletic nature of pointe work. The audience doesn't see, and shouldn't see, the effort behind the 'floating.' Only the dancer should be aware of the energy and skill required to recruit hundreds of muscles, tendons, ligaments and bones to rise up and dance on pointe. By adding artistry to this athleticism pointe work is made to look easy.

Unfortunately, for ballet instructors and students, this mirage of effortlessness can be a dangerous trap. How many little girls and parents have impatiently waited for that first pair of pointe shoes only to be shocked at how difficult dancing on the toes can be. The results of such misunderstanding can lead to frustration, disappointment and in some cases injury. All too often teachers must succumb to parental pressure to place a child on pointe before she is ready. In many cases, teachers are themselves ignorant of the requirements of pointe work.

In an effort to address some of these issues, Ballet Etudes undertook to educate the parents and teachers of pointe and pre-pointe students. Over 75 parents, students and teachers attended a lecture/demonstration given this past season by the company members at the Jeanne Wright Dance Academy in Mesa, Arizona. The two hour presentation, entitled "Right to the Pointe," was divided into two parts. The first part was a lecture given by Susan Sharkey, R.A.D. and was intended to answer some of the most frequently asked questions about pointe work. These questions include:

• - When is a dancer ready for pointe work?
• - How do I know which shoe is the correct shoe?
• - Why has her shoe type changed?
• - How do I make pointe shoes last longer?
• - How do I help prevent injuries?
• - What is correct pointe technique?

Before answering any of these questions, the audience first had to be given a basic primer in anatomy and kinesiology. To begin to understand pointe work, some knowledge of the workings of the ankle, foot, knee and hip must be obtained as well as an understanding of correct body alignment.
The audience was even invited to participate in some simple learning exercises demonstrating why clenching of the foot is problematic for pointe work.
The lecture reviewed the different types of feet...
and how properly fit shoes and properly protecting the feet can facilitate dancing on pointe.
Throughout the entire lecture emphasis was placed on the importance of properly designed pointe classes. It is imperative that the pointe exercises be appropriate for the dancer's technical abilities.
The second half of the presentation featured the dancers of Ballet Etudes. The demonstration began at the barre.
Dancers of all levels, including pre-pointe students, performed exercises which highlighted how a student progresses on pointe.
The exercises began facing the barre, where the audience was instructed to observe proper placement of the head, shoulders, back, arms, trunk, hips, knees and finally the feet.
After barre work, the dancers demonstrated exercises in the centre.
Again, these exercises were designed to display different levels of ability. And lastly, to the delight of the audience, the company performed a series of pointe studies designed to combine all of the elements learned in class.

The response to "Right to the Pointe" has been extremely positive, particularly on behalf of those parents whose children are pre-pointe or beginning pointe students. For more information regarding "Right to the Pointe" contact Ballet Etudes.

• - A dancer must be at least eleven (11) years of age, and no younger, to be considered a candidate for pointe work.
• - When invited, the dancer should begin to take pointe classes on the demi-pointe as a preparation for pointe work.
• - Readiness for pointe work begins at the top in accessing physical and technical suitability. Pointe shoes will add a minimum of seven inches of new height to a dancer.
• - Where the dancer needs to be strong:
  1. Sufficient strength in the torso and sides of the body and back.
     • Must be strong enough to maintain proper posture and avoid over-arching spine, throwing shoulders back and forcing the rib cage forward.
  2. Sufficient strength in the lower abdominal muscles.
     • Must be strong enough to maintain correct pelvic placement and stability.
  3. Sufficient strength in the inner and back thigh muscles.
     • Must be strong enough to maintain rotation and hold the turnout. (Turned in legs place a great strain on the knees when the dancer is on pointe.
  4. Sufficient strength in ankle and attending tendons and muscles.
     • Must have developed sufficient strength to rise in a straight line and hold with no "wobbles".
     • Must demonstrate NO strain or clenching of the ankle.
  5. The foot
     • Must have a fairly flexible foot that allows enough mobility to be straight on pointe.
     • Must have sufficient strength on the outer and inner sides of the foot to hold the foot in a straight alignment when rising and lowering on the demi-pointe.
     • Must have sufficient strength in the metatarsals for weight adjustment so that the foot does not 'hook' when rising and lowering on pointe.
     • Must have the ability to hold the toes straight with no curling or knuckling.
     • Must be free from abnormalities such as bunions, dropped arches, or collapsed 1st or 2nd metatarsals.