Why don't you teach Pointe Work at Pointe Works?

When I set up Pointe Works in January 2009, my intention was to run a large school, where students from 3 to adults could learn to dance. I was looking forward to introducing my female students to Pointe Work at the right time in their training as I had enjoyed it so much as a teenager.

It became clear over time that there would not be enough hours in the day to teach all the levels I had intended to, let alone to teach the vocational syllabi that require multiple classes per week.

I decided based on my strengths and enjoyment levels that I would focus on the Pre-School to Grade 4 syllabi and leave the vocational syllabi to specialist teachers and colleges of which there are some excellent choices available locally. So, once the students have taken Grade 4, they graduate on to another school if they want to carry on with their ballet training.  

RAD Grades 1-8 syllabi don't have any pointe work in them at all, as pointe work is only designed to be studied by vocational students. (i.e. those who want to pursue a career in dance)

Before making this decision, I did teach pointe work for about 5 years and went on CPD courses and carried out extensive research into the subject which I thought would be useful to share with you.

Obviously, Pointe shoes have evolved quite considerably since I was a teenager and there is no doubt, they are better than they were, but you are still asking the foot to do an extraordinary amount of weight bearing. Dancing on pointe can load up to 10 times a dancer's body weight through her feet, which can have dire consequences if not trained at the right time and carefully. Since having my daughter in 2010 and taking great care of her feet, taking her to be measured regularly to ensure they are not damaged by ill-fitting shoes, it seems unthinkable to me now to then ram those precious feet into a pair of pointe shoes in her teens.

Here is my rough guide to establishing if a student is ready for Pointe Work, but it must always be the teacher’s decision as there are other individual factors involved:

Never before age 13

At least 4 years of training

Must be taking multiple classes per week (2 minimum)

Feet have stopped growing and regular periods have started - an indicator that bones have ossified

Excellent trunk and pelvic control - can perform a full plié correctly in the centre – indicator of core control and stability

Perfect balance - i.e. no sickle, pronation or supination

Perfect demi pointe work - can perform a strong relevé from 2 feet to 1 foot

Strong feet & ankles, with Flexibility in the ankle – can pass the pencil test - A nice and easy quick way to determine if the ankle has enough motion for pointe work is the pencil test. To do this test, you lay a pencil on the bottom of the shin bone while the dancer points their foot. The pencil should be able to lie flush with the skin from tip to tip. This test is to ensure that the dancer has 180 degrees of ankle plantar flexion required for pointe work. If this range of motion is unattainable then the dancer will not be able to get onto the box of her pointe shoe, making pointe work impossible and potentially dangerous.

It is much wiser to be conservative when choosing an age to go on pointe, there are certainly some very well-known ballerinas who were not strong enough to start their pointe work until they were over the age of 16 and this has proved no handicap in their career.

Going on pointe before they are ready can lead to bone & joint damage, and stress to the pelvic girdle. If the bones are not finished developing and ossification is not sufficient this will malform bones and cause other completely unnecessary problems that can be very serious and even crippling, not to mention the psychological problems such as low self-esteem if they are not able to execute it.

Researchers in this area have warned that young girls who start Pointe Work too early in their training risk developing arthritis in the ankles.
A study using magnetic resonance imaging (MRI) to view the ankles of 11 female dancers with the National Ballet of Canada found that each of them had signs of arthritis in the joints of the ankles. The findings were presented at the annual meeting of the Radiological Society of North America (RSNA).

Researcher David Salonen, assistant professor at the University of Toronto, said: "Dancers often end up with very painful ankles” …"This is nothing new to ballet dancers, who are used to performing with pain much of the time”, "But perhaps the problems might be prevented, or at least alleviated, if girls waited until they were older to go on pointe."
The ankle is one of the most intricate joints in the body and is therefore prone to injury.
Dr Salonen said: "Ankle problems are one of the leading contributory factors in ending a dancer's career” …."A third to half of the season, dancers live in chronic ankle pain."

It’s essential that dancers are trained correctly on the run up to getting their pointe shoes. Jane Devine, of the Royal Ballet School, said her pupils were encouraged to develop good technique before going "en pointe", and were also given exercises to build up the muscles in the ankles and legs. The importance of proper nutrition and rest was also stressed.
So, it begs the question, should children study Pointe Work at all at the ‘hobby’ level at all?

In her article, ‘Pointe Readiness * What's the Debate All About?’ Cindy Lugo explores the question of whether a child should do any pointe work unless she is taking her dancing
professionally. ‘The once-a-week class can never be a suitable preparation for pointe work, and what is gained by including it? On the other hand, a risk is being taken which may result in lifelong disability. The teacher does not see the results. The child gives up her lessons as other things claim her and if, maybe years later (for damage does not always show at once), she has foot, knee or back trouble, she goes to a doctor for advice, not to her one-time teacher. The doctor, then, rightly enough, condemns ballet and is unable to do much to repair the damage’.

When a child enters full time ballet school, the Pre and Pointe training will be systematic and concentrated, and, just as every profession has its risks, this is one which is taken. I’m not sure that a child should completely forego pointe work if they are not intending to dance professionally, because many times children may not have those professional aspirations until they are 15-16 years old, but I would proceed with caution. If they are really committed, tick all the criteria above and know the risks then at least you are taking an educated decision to proceed with the support of a qualified teacher.