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If The Shoe Fits…Pointe Shoe Preparation

May 7, 2012 by 4dancers

by Catherine L. Tully

Pointe shoes have become an integral part of ballet as an art form and, just as each dancer has a unique pair of feet, every ballerina has their own way of preparing these shoes for class or performance. Some slam them in doors to soften them up, while others work on them with little hammers to get the feel “just right”. The break-in method can vary depending on factors such as the brand of shoe and the type of role that is being performed.

We talked a bit at the beginning of the year about these special slippers, and today we’re going in for a closer look…

Rebecca King, corps de ballet dancer with Mimi City Ballet and author of the dance blog Tendus Under A Palm Tree wears Freed pointe shoes. We asked her to share her “secret formula” for getting them ready to wear, and this is what she had to say…

Rebecca King

“Preparing a pair of pointe shoes is as much a ritual to a ballerina as it is a necessity. Even though, as professionals, our shoes are shipped to us straight from London, made by hand with love by our chosen “makers” to our exact specifications, many dancers find it necessary to make some extra alterations. It can take dancers years to get their shoes exactly as they want them and some dancers go their entire career in search of the elusive perfect shoe.

A maker hand-builds about 30-40 pairs of shoes at Freed of London every day, each shoe costing around $100. About two-thirds of the shoes produced are created for individual dancer’s specifications. (Find out more about these fascinating pieces of art on Freed’s website.)

I wear a size four, with a double X width, made by my beloved “U” maker. On the bottom of my shoe underneath the width, he stamps his symbol, “U”, as a kind of signature; laying claim to his craftsmanship. The thing I love most about Mr. U is how aesthetically beautiful his shoes are. Something about the way the toe of the shoe is built compliments every wearer’s foot. He is a very important person in my life.

The first thing I do is remove the pesky nail from the heel of the shoe. This nail is meant to secure the paper “shank”, or the inner sole of the shoe, to the outer sole of the shoe. Once it is removed, I cut the paper shank to the shoe’s middle seam, essentially cutting it in half. Because my feet are not very good, this allows the sole of my shoe to bend and lets me point my feet to their full potential. I then glue the end of the shank to the outer sole so it does not move around as I dance.

Photo by Rebecca King

Next, I put super glue in the tips of the shoes. When the tip of the shoe gets soft, it no longer functions like I need it to; this is my ultimate pointe shoe pet peeve. Mr. U even puts an extra piece of burlap in the tip with extra glue upon my request, but I always apply more glue for good measure.

Then I cut the satin off the top of the shoe and quickly darn around the edges. This gives me a little extra support when my shoes start to die, and also ensures that the freshly cut satin stays in place.

Finally, the ribbon process begins. I use pink ribbons secured over crisscrossed thin pink elastic. I prefer the thin elastic, as I don’t feel a lot of pressure on my ankles, while the crisscross restricts my movement laterally, helping to prevent ankle sprains.

Though this is my current process, if you check back with me in two years, I am fairly certain I will have a new procedure, as my system is constantly evolving. But as for now, I feel I can dance my best with a half shank, extra super glue, and Mr. U on my side.”

As Ms. King clearly illustrates, ballerinas have a special relationship with their pointe shoes. However, for ballet companies, the costs associated with keeping the ladies on their toes can be astronomical. According to Miami City Ballet’s website, the average pair of pointe shoes typically only last for one performance.

Photo by Rebecca King

Here is a closer look at what ballet companies across the nation pay to keep the ladies on their toes:

Last year the dancers at Oregon Ballet Theatre used about 1,500 pairs of pointe shoes which added up to $120,000.

Texas Ballet Theatre will spend $80,000 on pointe shoes this year.

Miami City Ballet dancers wear 3,000 pairs of pointe shoes each season for a total cost of $200,000.

Last season Cincinnati Ballet spent $82,000 on pointe shoes for the company.

And New York City Ballet? Their dancers can go through 40 to 50 pairs each performance. This means a staggering total of  8,500+ pairs of pointe shoes each year. I don’t even want to do the math on that one. (But according to this article on The Huffington Post, it adds up to $500,000!)

Filed Under: 4dancers, Breaking In Shoes, Freed, Pointe Shoes Tagged With: breaking in pointe shoes, cincinnati ballet, dancer, freed, freed of london, freed pointe shoes, Miami City Ballet, new york city ballet, oregon ballet theatre, pointe shoes, rebecca king, texas ballet theatre

10 Questions With…Carolyn Judson

August 10, 2010 by 4dancers

And today on “10 Questions With…” the lovely Carolyn Judson…

1. What was the road to becoming a dancer like for you?

The road to becoming a dancer for me was pretty usual, I think. I began by dancing as a child, just enjoying my after-school hobby.  During high school, I began going to summer programs and learning that I could potentially dance as a profession!  I decided to leave home during my senior year of high school to train with the Houston Ballet Academy in hopes of deciding for sure if this was the path I wanted to take in my life. I had the most amazing year in Houston and I learned that dancing ballet was really what I wanted to do “when I grew up” and, thanks to my supportive family, I deferred acceptance to college and continued to pursue a ballet career. 

After another year in Houston, I fell in love with the Houston Ballet, the company that their director, Ben Stevenson, had created.  When Ben announced his resignation as the director of the Houston Ballet and informed us that he would be moving to direct a company in Fort Worth, I decided to audition for that company.  I got accepted as a corps member with his company, Texas Ballet Theater, and have been dancing happily there for 7 years now.   

2. What are you currently doing in dance?

Carolyn Judson

Because I am in Ben Stevenson’s company, I get the privilage to dance his amazing choreography.  I dance in many of his classical story ballets and neoclassical ballets.  This season, Texas Ballet Theater is performing Ben’s Cinderella and his Four Last Songs, two of my all-time favorites of his work.  I’m very excited about that! 

3. Do you have any advice for those who want to dance professionally?

My advice would be to stay true to yourself.  If you want to pursue a professional dance career, you already know that you love it.  Don’t forget that.  Don’t be afraid to pour your heart into it, because if you really enjoy what you’re doing, it will come across on stage and, ultimately, be so fullfilling. 

 4. For you, how does the music fit into dancing?

 For me, it is all about the music.  The music is what I use to communicate with people and what I use to convey a message or tell a story.  It tells me how to move, how to react with other people, and how to feel.  The music is my favorite part about dancing.

5. Would you share a special moment from your career thus far?

I have had some really special moments on stage, some that only last for a second, but I’ll never forget them.  Usually, moments are special when I have a really natural connection with a person on stage.  A moment when I am really “in it.”  Those are the moments that I live for on stage because it means that I’ve given my whole self to the character.  I often will go back and watch the video of the special show or of the special moment, but it’s never the same.  I just have to keep those moments in my memory! 

6. What has been your favorite role to date, and why?

My favorite role to dance is the role of Juliet in Romeo and Juliet. One reason is that the music in the ballet is more than beautiful. I can’t even think of words to describe it that would do it justice.  The other reason is that it is so amazing to create such a strong connection with someone else on stage. It is so thrilling to be Juliet, following her heart and loving someone so completely. I have danced the role twice now, and I hope there will be more opportunities to be Juliet in my future!

7. Do you think that dance has helped you in your personal life? If so, how?

Whenever I had a bad day at school or I felt stressed out about something, I could always depend on dance class to lift my spirits when I was younger.  I loved that I could forget about whatever else was happening and I could just focus on my dancing.  I still love that.  Whether I am in a dance studio or on stage, dancing has given me a place where I’ve always felt comfortable and a place where I can be myself.  I’m never as comfortable in my own skin as I am when I’m dancing. 

8. What do you think the future of dance holds?

I think that the future of dance is very bright.  It’s always so interesting and inspiring to see all of the new choreography that is being created.  Also, there has been such a huge developement in the popularity of dance, largely because of TV shows such as So You Think You Can Dance and Dancing With The Stars.  It is so great that the awarness of dance is being spread.  While dancers take enormous amounts of joy from dancing for ourselves, a huge part of this profession is dancing for other people.  If we didnt have the interest, where would dance be?

9. What has been your biggest challenge in dance?

I think that my biggest challenge in dance is the fact that I don’t always believe in myself.  I set very high standards for myself, which I think is important to some degree, but sometimes those standards are so high that I doubt myself and my abilities.  I’m so afraid of not being great and of what people think of me that it is easy for me to miss out on opportunities and great new experiences.  I’m still working on that!

10. What is next for you?

Next for me is another great season with Texas Ballet Theater!  As I mentioned before, I am excited about dancing in Cinderella and Four Last Songs, which we will be performing in our upcoming 2010-2011 season.  We are also going to be performing Don Quixote and I am excited about that as well becuase I have never been in it before!  Besides ballet, though, the next thing I’ll be doing is getting married next summer!  I can’t wait for that day!

Bio: Carolyn Judson moved from Sacramento, California to Houston, Texas in 2001 to train with Houston Ballet’s Ben Stevenson Academy. She joined Texas Ballet Theater in 2003 where she has been featured in the title roles in Ben Stevenson’s Romeo and Juliet, Cinderella, The Sleeping Beauty, and Cleopatra. At the end of the 2008-2009 season, Carolyn received the Ben Stevenson Award. This is her eighth season with Texas Ballet Theater.

Filed Under: 10 Questions With..., 4dancers, 4teachers, Studios Tagged With: ben stevenson, carolyn judson, texas ballet theatre

10 Questions With…Danny Ryan

April 20, 2010 by 4dancers

Today for our 10 Questions With… feature we have Danny Ryan…

1. How did you get involved with ballet and what are you doing now?

From the time I started school I was exposed to the arts.  The elementary, middle and high schools I attended were all public arts schools, which covered all arts areas as well as dance.  However, I never liked dance, and I had a terrible fear of performing on stage.  Once I arrived in middle school you were allowed (in your second year) to choose two arts areas to focus on.  I started playing music in elementary school so band was a natural choice, but dance I only choose because my best friends father was the teacher.  That class consisted more of your creative movement, and introduction to very basic dance composition rather then any “real” technical training.  It wasn’t until my sophomore year in high school after almost dropping the dance program completely and having suffered a soccer injury, that a man named Rafael Delgado, a Master Ballet Teacher, took me under his wing and taught me as much as he could in four years.  

Now, after performing for the Louisville Ballet, and the Kansas City Ballet I am dancing for Ben Stevenson O.B.E. at the Texas Ballet Theatre in Dallas Fort Worth.

 
 

Danny Ryan

2. Do you have any advice for men who want to do this professionally?

First and foremost work your butt off!!!!  Closely followed by dance like a man, be strong on stage but also be beautiful. Performance quality, acting, line, and the ability to convey emotion on stage will always trump tricks.  Work on those things, get a very strong and clean technique.  You can always work on the tricks later.

3. What have you found to be the most amazing thing about ballet?

Here is a recent example of just one of the things that makes this art form so amazing.  At TBT we are in between performances of The Sleeping Beauty.  In a recent show I went from 18th century court man, to an evil monster, to a prince from the south, to a peasant, and then Puss n’ Boots.  That’s five completely different worlds, people and emotions in three hours.  Not many people will ever know what it might be like to portray a cat, or a prince etc. and that’s what is so amazing about ballet.

 4. Can you share an experience in dance that was particularly amazing for you?

As an apprentice for the Louisville Ballet, during my very first season in a professional company I was given the oppourtunity to perform Twyla Tharp’s Nine Sinatra Songs.  It was the second rep show of the season, and my first major role.  It was a Saturday night and the show was sold out, Wendy Whelan and Albert Evans were performing with the us as guests.  My partner and I were the first pas in the ballet and I will never forget how I felt once we made it through and the crowd broke out clapping. I thought that feeling couldn’t be topped and walking off the stage I was so high on dance. The first person to grab my arm and say “great job!” was Wendy.  I will never forget that.

5. Is there anything you don’t like about what you are doing?

I definitely don’t like when you go to the doctor to have them x-ray your foot to see if you’ve broken any bones, and as he’s looking says “well there is this” but continues on as if it doesn’t matter.  So then after he’s done you ask him what was that he saw but passed over, and his response is “well since you’re a dancer its normal, its not a big deal just some wear and tear that is common among those that dance, but if you weren’t a dancer it would be a concern.”  Yeah, its gonna hurt really bad later on!

6. Do you have any favorite dancers?

Nureyev is my number one, and when Yuri Possokhov was still dancing for San Francisco he was my hands down favorite of that time.  Currently I really like John Michael Schert of Trey McIntyre Project.  He has incredible lines, amazing articulation, control and musicality.  I will forever love Wendy Whelan, the master of Mr. B’s leotard ballets.  My two favorites however are Lucas Priolo and Carolyn Judson.  Lucas is the most handsome prince and partner, the emotion and power behind every performance is amazing and his Romeo will make the hardest of people cry.  Carolyn unleashes a magic on stage that Houdini himself would marvel at, pure classical lines and performance quality. 

7. What do you think that the most important thing is in terms of practicing ballet?

The most important thing is finding a teacher that believes in you, pushes you and gives you sound guidance.  Once you find that person the next thing is to work with them as often as you can.  If they do a summer program be sure to go, no matter your age. Find a way to make it happen and submerge yourself, turn off the cell phone for four weeks and work!

8. Do you think you have developed skills in dance that have transfered to the rest of your life? If so, what are they?

Absolutely, in dance if you want to be good or become better you have to work hard, and that applies to anything else you pursue outside of dance.  Also teamwork, problem solving, working under extreme pressure and with extremely sensitive and sometimes very difficult people.  All these skills will also benefit you outside of dance. 

9. What is the best piece of advice anyone has ever given you about dance?

First and foremost dance is a business.

10. What is next for you in your career?

Next on my plate is being at TBT and learning as much as I can from Ben and the artistic staff here.  I have found the place that works best for me.  This summer I will be enjoying home in Milwaukee to see my mom get married and then spending four or five weeks with my teacher John Magnus.  Also I’d like to continue developing my choreographic skills and start teaching more.  I’m trying to gather as much knowledge and information as I can, so down the road after my performing career I can stay in this field as teacher, ballet master, or director.  This is what I love and care about and I want to pass it on.

Danny Ryan began his professional training with Rafael Delgado in his hometown of Milwaukee. He then went on to further his studies with the Joffrey Ballet School before joining the Louisville Ballet in 2006. After spending two seasons with the Louisville Ballet, Mr. Ryan joined the Kansas City Ballet. Mr. Ryan’s repertoire includes works by Twyla Tharp, Trey McIntyre, Alun Jones, and Agnes De Mille as well as world premières by Graham Lustig, Adam Houghland, and Lauri Stallings. Mr. Ryan has appeared as a guest artist in England, Canada and throughout the United States and during the offseason trains extensively with teacher and mentor John Magnus. Currently Mr. Ryan is performing with the Texas Ballet Theater under the directorship of Ben Stevenson O.B.E.

 

 

Filed Under: 10 Questions With..., 4dancers, 4teachers Tagged With: ben stevensen, danny ryan, kansas city ballet, louisville ballet, rafael delgado, texas ballet theatre, twyla tharp

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