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Ribbons, Ice, Everything Painful and Nice: A Pro Dancer Talks Pointe Shoes

February 17, 2015 by Rachel Hellwig

Alabama Ballet company member Nadine Barton on pointe shoes and foot care.

Nadine Pointe 1

1. What brand and model of pointe shoe do you wear?

Capezio Aria.

2. How long have you worn this model?

For about five years.

3. Why does this model work best for your feet?

I like the way the model shapes to my feet as well as provides support in the right ways. I never liked having space from the floor when I am up on pointe, and, with these, I can always feel the floor.

4. Does anything about the structure of your feet create challenges for pointe work? [Read more…]

Filed Under: Breaking In Shoes, Pointe Shoes Tagged With: Alabama Ballet, breaking in pointe shoes, Capezio Aria, Capezio pointe shoes, dancing on pointe, Nadine Barton, pointe, pointe shoes

DVD / CD Review : Sur Les Pointes avec une Etoile and Ballet Class Music

September 8, 2014 by Rachel Hellwig

Sur Les Pointes avec une Etoile
Ballet Class Music
Sylvain Durand, pianist
Andrey Klemm, producer
Isabelle Ciaravola, dancer

by Emily Kate Long

Sur Les Pointes

This DVD/CD pair highlights the articulate pointe work of Paris Opera etoile Isabelle Ciaravola and the exceptional musical talent of accompanist Sylvain Durand. In the 72-munite Sur Les Pointes DVD, Andrey Klemm leads Ciaravola through a fast-paced, advanced-level barre and center. The accompanying CD features all of Durand’s music from the DVD, 52 tracks for 39 exercises.

Klemm’s combinations showcase Ciaravola’s exquisite footwork. The barre is quite typical, but several center exercises are a pleasing hybrid of Russian and French style, which the Bolshoi-trained Klemm discusses further in a short interview.

Sur Les Pointes post photo 2

Sylvain Durand plays passionately throughout, and the fact that the CD was recorded live gives it tremendous energy. The sensitivity and attention to the subtle differences in dynamic is stellar, especially for the barre and allegro selections. Unfortunately, the short tracks limit the album’s overall usefulness. Only ten are longer that ninety seconds, making longer combinations or reversals inconvenient. In center, there are just a handful of pieces long enough to accommodate more than one or two groups of dancers without restarting the music.

Durand and Klemm both have other music and DVD releases available. This is their only collaboration to date.

Filed Under: DVDs, Reviews Tagged With: Andrey Klemm, ballet class music, cd review, dvd review, Isabelle Ciaravola, paris opera ballet, pointe, Sur Les Pointes avec une Etoile, Sylvain Durand

Pointe Shoes – The Dancer’s Glass Slippers

April 1, 2013 by 4dancers

by Emily Kate Long

Currently I’m in rehearsals for Cinderella, so the next few installments of Finding Balance will explore a range of topics relevant to that story. For this post, I’ll begin at the bottom with pointe shoes. They are a dancer’s glass slippers, and this is my own personal fairy tale: the search for my most appropriate shoe.

I’ve worn pointe shoes for twelve of my fifteen dancing years. In middle and high school I tried what seemed like almost every shoe out there, then performed surgeries major and minor on the shoes I chose to try to engineer the perfect pair. Darning of toes, slicing of vamps and shanks, re-threading of drawstrings, stitching of sides—so much fuss over footwear! It shouldn’t be that complicated, right?

Towards the end of January I found myself at my first pointe shoe fitting in nearly ten years. After flip-flopping between Freed and Chacott for all that time, I decided to try once again to explore some other options. I had one rule: I wanted to be able to put them on and dance. No fuss, no alterations. After trying on half a dozen or so different styles and brands, I decided to go right back to Chacott Veronese, the very first type of shoe I wore when I started pointe at age 12.

I was nervous! All those things I had been doing to my shoes to “enhance” them had become like security blankets or crutches. I felt like my feet were naked! The reality check was recognizing how much about my pointe work has changed over the past few years and trusting that I no longer need those crutches.

I had sewing help and moral support with the first pair

I spent much of my pre-professional training trying to compensate for what I believed were inadequate ballet feet. I wore “farches” (arch pads, like a padded bra for your feet). I stuck my feet under a dresser for twenty minutes each morning (a terrible idea, in case you were wondering). I wore my shoes really soft so I could push far over them and superficially achieve a more curved foot. Yikes!

Placing undue stress on the distal joints of the foot.

 The result was that I never knew where my foot was going to be until it rammed into the floor. Slips and falls over the medial corners of my shoes were daily events. Bunions, bruised toenails, chronic ankle pain… I cringe to think of the gambles I took with the health of my feet, knees, and ankles. I believe that ballet is not inherently harmful to the human body. Distortions (even minor ones) cause injuries, and good equipment and good technique prevent them. I was due for an overhaul!

Re-learning pointe technique in my early twenties was confusing and frustrating at first, but patience and persistence have paid off. The changes have made it possible for my feet to be in control of and in harmony with my shoes instead of at their mercy! I learned how keep my toes vertical and allow the arch and instep to do the bending.

pointe shoe

Examples of vertical toes with articulated arch

The ankle is designed to do this job because it is a weight-bearing joint. The metatarsals, phalanges, and the dorsal metatarsal and medial collateral ligaments are not. (Netter’s Atlas of Human Anatomy, 4th ed., plates 527-8)

Working on pointe in a more anatomically correct way has also had a positive effect on the overall muscular shape of my legs and the structure of my feet. Where I used to feel it necessary to fake a good arch, I now feel confident that the shape and articulation of my feet complement my overall line.

Which brings us to the heart of the matter: the importance of finding a shoe that a) fits and functions well and b) aesthetically matches one’s foot/body/leg line. Our style is partly dictated by our function, our function is partly dictated by our structure, and our shoes should complement both of those things.

To illustrate, here’s a bit about some of the shoes I’ve tried:

Chacott Veronese: My very first style of shoe. I loved them always and let myself be talked out of them time and time again. It feels good to be home! I can sew them and go, and their minimal shape complements my slight feet. They are made with a bouncy kind of glue instead of paste, and need some extra glue before wear because of the softness of the box relative to the shank.

Chacott Veronese
Chacott Veronese

Freed Classic and Classic Pro: I chose these partly for aesthetic, partly for the Pro’s 3/4 shank. I loved the minimal-ness of Classic and the U shape vamp but the paste consistently gave out after less than thirty minutes of rehearsal! Eating through pair after pair of shoes was not a good use of my time or my company’s money. They were loud because of the amount of extra glue it took to make them worth it, which was awfully distracting. My preferred makers were also not always available. Pro lasted much longer, but felt like too much stuff on my foot.

Ushi Nagar: These were professional hand me downs. I liked that they had the same bounciness as Chacott, and it felt glamorous to wear somebody else’s special order shoes. They were a shoe of convenience, suitable but not ideal.

For me, this Cinderella story is also has a moral: if it ain’t broke, don’t fix it! I was born with feet that go with my body—not the “ideal” ballet foot by any stretch, but aesthetically adequate and sufficiently functional. Optimizing their work has refined their appearance. I’ve learned to love and appreciate them for what they are and what they do for me. As good workers, they deserve equipment that helps them out and shows them off!

dancers legs

Assistant Editor Emily Kate Long began her dance education in South Bend, Indiana, with Kimmary Williams and Jacob Rice, and graduated in 2007 from Pittsburgh Ballet Theatre School’s Schenley Program. She has spent summers studying at Ballet Chicago, Pittsburgh Youth Ballet, Pittsburgh Ballet Theatre School, Miami City Ballet, and Saratoga Summer Dance Intensive/Vail Valley Dance Intensive, where she served as Program Assistant. Ms Long attended Milwaukee Ballet School’s Summer Intensive on scholarship before being invited to join Milwaukee Ballet II in 2007.

Ms Long has been a member of Ballet Quad Cities since 2009. She has danced featured roles in Deanna Carter’s Ash to Glass and Dracula, participated in the company’s 2010 tour to New York City, and most recently performed principal roles in Courtney Lyon’s Sleeping Beauty, The Nutcracker, and Cinderella. She is also on the faculty of Ballet Quad Cities School of Dance, where she teaches ballet, pointe, and repertoire classes.

Filed Under: Breaking In Shoes, Finding Balance, Pointe Shoes Tagged With: breaking in pointe shoes, chacott, freed, pointe, pointe shoe fitting, pointe shoes

Dancers Unite Fine Arts Academy LLC

March 9, 2011 by 4dancers

 Today we are running a feature on a dance studio for all you studio owners (or potential studio owners) out there. Take a closer look at Dancers Unite Fine Arts Academy in North Carolina…
Elizabeth Emery

Your Name/Title: Elizabeth Emery/Owner

Studio Name: Dancers Unite Fine Arts Academy LLC

Years in business: 2

Your studio’s philosophy: First and foremost, we want to make sure our dancers are learning the right way to do things.  We want top quality instructors who teach our dancers correct terminology and body placement so that if they want to become professional dancers they have the proper tools to do so.

Secondly, we want it to be a postive environment.  We want it to be a safe place to try things.  We want to encourage our dancers to try difficult steps in an encouraging way.  We are a family owned and operated studio, and we want all our customers to feel they are part of the Dancers Unite family.

Thirdly, we want them to have learned skills that would help our students in any aspect of life.  For example, learning how to try new things if you fail, learning how to perform in front of large groups of people and learning how to accept criticism are all wonderful skills that can be used in any career choice.

Dance styles taught: Ballet, tap, jazz, lyrical, hip hop, tumbling, pointe, contemporary, musical theater dance, bellydance, zumba

Approximate # of classes per week: 40

Approximate # of teachers: 7

Biggest struggle in getting off the ground and how you handled it: Getting the word out about our studio.  A lot of people choose a dance studio based on what their friends & neighbors recommend, and as a new studio it’s going to take awhile for your studio with the best word of mouth.  You just have to be patient, not give up and work hard at building good relationships with your customers. 

Also, try to get your name out in the community by working with local schools.  For instance, my dance studio teamed up with a well respected private school in the area to host a dance camp out of their facilties. 

Best advice you can give someone who is opening (or thinking about opening) a dance studio: Save up as much money as possible before opening a studio.  I opened a studio with my sister and we worked hard in high school to get full scholarships for college and then lived at home with our parents and shared a car.  Opening up a dance studio takes a lot of capital and there are expenses that you probably wouldn’t even think about before opening a studio!

One mistake you think potential dance studio owners make: Bending over backwards too much!  People don’t appreciate it, and often the ones you bend over backwards for still aren’t happy and leave your studio anyway.  Make sure you don’t spend so much time trying to please the hard to please that you forget about your supportive base of customers!

Specific tip for having a smooth recital: We had a checklist of every possible thing we would need for our recital going into it, and that really helped make sure we didn’t forget anything.

Best marketing move you’ve ever made: Having a really great website that my sister runs herself so it is constantly updated.  We also constantly work our social networking.  We’ve found most of our customers have found us through the internet.

Most rewarding moment: Walking through the lobby during intermission of our recital and seeing all the pleased parents.  It was so nice seeing so many proud, happy parents and knowing that I had helped make a wonderful, memorable afternoon for them.

BIO: Elizabeth Emery began dance at the age of three, and started teaching dance at the age of thirteen. She taught dance throughout middle school, high school and college. She danced competitively since age seven and her routines won numerous overall awards. A personal favorite dance performance of hers was Disney World, a favorite vacation spot of her family.  In addition to teaching and dancing at her studio, she was a member of the Charlotte Catholic Dance Team for four years. She was the only freshman on a team that placed first runner up in a national competition..

She graduated Charlotte Catholic with honors, and her dance and academic achievements helped her receive the Thomas Cooper Scholarship to the University of South Carolina. She then graduated cum laude from the nationally ranked Darla Moore School of Business at the University of South Carolina with a bachelor of science in business administration. She double majored in business economics and marketing, and minored in sociology where she took such courses as Childhood Sociology.

Elizabeth’s combined loves of business, dance and working with children has made owning a studio a natural dream of hers. Elizabeth strives to provide children with self-esteem, but at the same time provide them with a good dance background. Elizabeth continues her dance education today, and has taken numerous classes up and down the east coast, most recently at Broadway Dance Center in New York City, the Boston Ballet School, the Dance Complex, and the Jeannette Neill Dance Studio in Boston.  She has taught hip hop and jazz for the after-school program for the Mecklenburg Area Catholic Schools (St. Patrick Catholic School, St. Ann Catholic School, St. Gabriel Catholic School, St. Matthew Catholic School, and St. Mark Catholic School) and the Summer Dance Camp at Charlotte Latin School

Filed Under: 4teachers, Dance In The US, Studios Tagged With: Ballet, bellydance, dancers unite fine arts academy, elizabeth emery, hip hop, jazz, lyrical, musical theater dance, pointe, tap, zumba

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