|HSDA student "Fatima" photo taken July 2013
Hirschl School of Dance Arts: Pointe Work Criteria Assessment and Evaluation Program
It’s hard to tell an eager young dancer she is not yet ready for pointe work.
Some teachers face tremendous pressure to put students up "en pointe" very young, often too young. Parents demand
it, or perhaps other nearby studios start at an earlier age (or have reduced requirements) and the teacher fears they will
defect. Student and parents must be made aware of the requirements for safe entry into this particular aspect of the dance.
Risks: The bones of the feet are not fully developed, strengthened and hardened until
somewhere in the early teen years. Naturally there is a great deal of individual variation. If a student attempts pointe work
without fulfilling the prerequisites, there is s chance they will permanently damage those not-fully-developed bones. Body
weight multiplied by the energy of momentum carries a great deal of force.
The very beginnings: If the student has the strength and technique, and if the introduction pointe work is gradual and
under total supervision, everything should be fine. For first year students, careful teachers usually put emphasis on special
exercises for the feet and toes, then the students put on the shoes and perform a few brief exercises at the barre. It is
not until the second year that students wear their pointe shoes for an entire class.
Exceptions: Occasionally a very mature & strong 10-year-old has fulfilled the prerequisites and is ready for
pointe, but this is very rare. Many adult beginners are not ready either, but the risk with them is less because their feet
have fully matured and hardened. Do not practice at home! Unless there are specific exercises the teacher has told the student
to do at home, practice without professional supervision should not be done. Steps can to easily be executed incorrectly,
causing injury. Incorrect execution can also lead to lowered performance in classes and on stage.
the wrong way will only make it a longer and more difficult process to re-train to do steps the right way. This must be clarified
to the student and parent. When getting the first pair of pointe shoes: All feet are unique and individual, and there are
numerous kinds of shoes on the market. There is no particular pair that is better than another. Common sense should dictate
the decision: What shoes are going to fit properly so that dancing will progress correctly and safely. When being fit for
the first pair, make sure to go to a place that has: #1- A large selection of brands and sizes, and #2– Persons that
are knowledgeable in fitting pointe shoes (or bring your teacher with you).
Basic Criteria for starting en pointe
at the Hirschl School. Students should:
*Be at least 11 years old.
*Have at least three years of training in ballet.
*Be taking at least 3 classes a week in ballet.
*Be responsible enough to consistently bring all items needed for class.
*Have maturity and respect for the art.
*Be well-groomed, with hair out of the face and in a bun.
and perform well in class.
*Be of normal weight
*Have enough of an arched instep to properly stand on pointe.
The student should have sufficient strength to do the following on demi-pointe:
*Holding correct pelivic rotation
(turnout) while dancing.
*Have a strong, straight back while dancing, especially the lower back
*Keep heels forwards
when dancing, with no supination (sickling) or overt pronation (winging)
*Use correct plié while dancing
feet while dancing 16 relevés in passé (center floor) without stopping.
*Balance on demi (1/2) pointe in
passé center floor. (with proper posture)
Pointe Work Training: “Barre Arrest” Doing work “en pointe” (on toe shoes, more commonly
called by the general populace) is something that should never be entered into lightly or carelessly. It must be the final
decision of a qualified instructor to give the green light for this. I’ve personally seen (and still do) far too many
students, especially young ones, come to my studio from elsewhere, that have been put en pointe before they are ready. The
risk is inherent to the art, as are the rewards.
is a concept I developed many years ago. It was designed to help students prepare themselves for pointe work quickly, and
with a greater degree of safety. The best way to strengthen the required muscles for pointe work is to perform the basic exercises
en pointe. It simply means that, during the time under barre arrest, the student is only allowed to perform dance movements
or exercises “sur le pointe” (on full pointe) at the barre. There are different levels of barre arrest. Each is
carefully chosen for each student individually at the proper time.
Barre arrest level ONE: The student is only allowed to perform anything “en pointe” holding the barre with both
hands, with both feet on the ground, and only with direct supervision of a teacher accredited to teach pointe work. They are
not allowed to do any practice at home.
Barre arrest level TWO:
The student is allowed to practice at home, or without direct supervision. A certain amount of faith and trust is required
here, but I very much hope this important part of the teacher/student relationship has already been established and clarified
well before this point. The student is only to practice certain steps as specifically prescribed by the teacher, some on two
feet, some on one.
Barre arrest level THREE: Some steps will be
allowed center floor, some across the floor. This will be varying degrees, depending upon the individual student’s progress.
Even when the student is taken off barre arrest, there may still be particular types of steps and movements that the teacher
will not allow until a safer foundation is produced.
The concept of “The Gap”
needs definition here. There are certain muscles groups
that are primarily used only when en pointe. These are the very same muscle groups that a beginning pointe student must learn
to use. This is the gap, the area where the training will take time. Conventional and traditional ways in the art of teaching
ballet dictate that the student must simply have the patience to get good enough and strong enough to use these muscles, but
before actually getting the shoes to go up. In today’s age of instant everything, even the most patient student will
have a difficult time with this concept. Barre arrest will shorten this process, and without creating any extra risk to the
student.NOTICE: This information is Copyrighted.
Reproduction of any part of this material must have prior consent of the Hirschl School of Dance Arts 1992-2014
Practicing at home too often or too early is not helpful to the long range process. It could easily prove
harmful to the student, both physically and emotionally. Absolute patience and faith in the teacher is required. The excitement
is very much there, and quite natural. An eager student will want to get those shoes on every day, and practice for hours
immediately. They may also want to attempt execution of advanced steps they are not yet capable of doing properly. This will
not be any help to them a few years in the future. The feet and legs must be carefully conditioned to accept the stress and
strain put upon them. This must be a gradual process, unfortunately there is not a “crash course” to doing it
correctly and safely. The student must be made aware that they will get there just as quickly– and more safely–
if they take their time.
Dancing en pointe is more than simply training the feet to do what they need. The entire
body must make the adjustments. The balance points are different, as is the posture and body alignment. Everything must be
re-learned and fine tuned to achieve correct pointe work.