How To Learn Exercises To Prepare For Pointe
Yes, men in ballet CAN dance ballet in pointe shoes. Learn how to do accurate ballet technique,ballet positions and ballet movements using your intrinsic foot muscles.
Learn how to get the most out barre exercises and prevent dance injuries. Learn a fine balance like a ballerina for your professional footwork. It is not a waste of time for men in ballet to work in pointe shoes.Contents at a Glance
- Men In Ballet Working in Pointe Shoes
- Prevent Dance Injuries
- Each Ballet Barre Exercise Gets You Closer to Dancing in Pointe Shoes
Men In Ballet Working in Pointe Shoes
Men in ballet learn exercises to prepare for pointe - increasing balance, refining their professional footwork - and maybe performing in pointe shoes....
Many men in ballet talk about dancing in pointe shoes and whether it is appropriate or even possible. Pointe shoes are made in men's sizes for the few classical ballets where pointe shoes for a male character are used. More importantly, developing foot muscles for ballet using exercises to prepare for pointe is an excellent idea for men in ballet classes.
For male adult beginners in ballet classes, there are many challenges.
Often strength in the large muscle groups is not one of them, especially if the men have been practicing high intensity interval training or weight resistance training.
However, the particular exercises for the intrinsic foot muscles do not show up often, even in ballet classes.
Here is where information about feet in general is needed for all dance students, and especially for men in adult ballet. Knowledge of foot muscles will prevent strain/sprain of the lower leg muscles and tendons, protecting the Achilles area. Developing awareness and strength in the foot muscles will prevent cramping and soreness in the feet.
If men in adult ballet classes wish to eventually get into pointe shoes to exercise and hone their footwork, they also need to know about foot types, and proper stretching of the ankle joint. Also, correct basic ballet technique - weight distribution on the feet, posture, turnout, and ballet positions, need to be understood completely. This education will give an adult dance student a better experience as well as faster progress.
Ballet is an excellent form of exercise. It compares to high intensity training. Ballet exercises are short, designed to challenge and completely load the muscles during the barre work. A well designed barre workout rests some muscle groups while engaging others, alternating, so as to warm up the whole body evenly.
For serious recreational ballet students, more is not necessarily better. Muscles need to recover properly, and several classes a week do not add strength. It would be better for an adult male ballet enthusiast to do an upper body training workout rather than another ballet class. If such a student feels unoccupied during off days - rent ballet movies, or ballet classes on DVD and study them while doing some gentle stretching on your floor.
Also do your pre-pointe foot exercises while watching your favorite ballerinas and their partners perform the amazing feats of classical repertoires. This trains your brain to assimilate the movement finesse it perceives, even when you are not active physically.
I think it is a great idea for men in ballet to eventually exercise in pointe shoes. It is not a necessity, and the exercises to prepare for pointe can suffice. But if you are a an adult dance student who would like to, get started! It is a long slow process for many, but you can reach your goal with good training.
For male adult beginners in ballet classes, there are many challenges.
Often strength in the large muscle groups is not one of them, especially if the men have been practicing high intensity interval training or weight resistance training.
However, the particular exercises for the intrinsic foot muscles do not show up often, even in ballet classes.
Here is where information about feet in general is needed for all dance students, and especially for men in adult ballet. Knowledge of foot muscles will prevent strain/sprain of the lower leg muscles and tendons, protecting the Achilles area. Developing awareness and strength in the foot muscles will prevent cramping and soreness in the feet.
If men in adult ballet classes wish to eventually get into pointe shoes to exercise and hone their footwork, they also need to know about foot types, and proper stretching of the ankle joint. Also, correct basic ballet technique - weight distribution on the feet, posture, turnout, and ballet positions, need to be understood completely. This education will give an adult dance student a better experience as well as faster progress.
Ballet is an excellent form of exercise. It compares to high intensity training. Ballet exercises are short, designed to challenge and completely load the muscles during the barre work. A well designed barre workout rests some muscle groups while engaging others, alternating, so as to warm up the whole body evenly.
For serious recreational ballet students, more is not necessarily better. Muscles need to recover properly, and several classes a week do not add strength. It would be better for an adult male ballet enthusiast to do an upper body training workout rather than another ballet class. If such a student feels unoccupied during off days - rent ballet movies, or ballet classes on DVD and study them while doing some gentle stretching on your floor.
Also do your pre-pointe foot exercises while watching your favorite ballerinas and their partners perform the amazing feats of classical repertoires. This trains your brain to assimilate the movement finesse it perceives, even when you are not active physically.
I think it is a great idea for men in ballet to eventually exercise in pointe shoes. It is not a necessity, and the exercises to prepare for pointe can suffice. But if you are a an adult dance student who would like to, get started! It is a long slow process for many, but you can reach your goal with good training.
Prevent Dance Injuries
Prevent dance injuries with Deborah Vogel's products on 'FUNctional anatomy'.
Each Ballet Barre Exercise Gets You Closer to Dancing in Pointe Shoes
If you are among the men in ballet who would like to use pointe shoes for developing finesse and strength in your ballet dancing, you can start preparing right now.
In the first couple of years dancing ballet, every little girl dreams of dancing in pointe shoes. Some of the boys in ballet and the adult beginner men in ballet consider that practicing ballet in pointe shoes can give them an extra advantage also.
Those students who have a good ability to concentrate have a head start at getting into pointe shoes with a better ballet technique. The better the foot muscles are trained, the better the whole leg functions. And the better your first pair of pointe shoes will feel.
Whether a ballet student is six years old, or is an adult ballet beginner between twenty and sixty years old, the first ballet lessons are extremely important.
Beginning ballet is very simple, as far as barre exercises go. The need for understanding and accuracy of ballet positions and ballet movements cannot be stated enough.
A teacher who believes she must make a class fancy and entertaining in some way, or too complicated, in order to challenge students or make them feel they're really doing something, is sacrificing any real achievement in later intermediate or advanced classes.
Varying the combinations in early ballet exercises, and introducing different musical rhythms keeps class interesting and challenging. If students understand what they are trying to do, they are mentally busy with the simplest of barre exercises.
If young or adult beginner ballet students understand correct posture, correct turnout and correct weight placement on their feet, not a lot will go wrong as they progress through their ballet class.
Correct battments tendus with less than half a dozen exercises for the foot muscles will prepare feet for dancing ballet in pointe shoes.
Any ballet dancer ten years old or older can investigate how ballet is somewhat anatomically incorrect and solve the mysteries of why "I just can't do it!". Taking advantage of the available analysis of arabesque or examining how the core muscles are needed in ballet (including correct turnout) can save years of frustration at the ballet barre.
Only in recent years has the volume of academic information on ballet technique become easily available to ballet teachers and students. The dance education obtainable via the internet far surpasses some of the data being only recently produced by some still secluded ballet societies.
So what does this all have to do with how to progress faster and better toward dancing ballet in pointe shoes......your ability to concentrate on your basic ballet barre exercises and your ability to find the information you need when you don't understand why YOUR body will not do a ballet movement or ballet position as easily as someone else's, is a big part of what will speed you toward your ballet goals. Each correctly done ballet barre exercise gets you closer to dancing in pointe shoes.
Those students who have a good ability to concentrate have a head start at getting into pointe shoes with a better ballet technique. The better the foot muscles are trained, the better the whole leg functions. And the better your first pair of pointe shoes will feel.
Whether a ballet student is six years old, or is an adult ballet beginner between twenty and sixty years old, the first ballet lessons are extremely important.
Beginning ballet is very simple, as far as barre exercises go. The need for understanding and accuracy of ballet positions and ballet movements cannot be stated enough.
A teacher who believes she must make a class fancy and entertaining in some way, or too complicated, in order to challenge students or make them feel they're really doing something, is sacrificing any real achievement in later intermediate or advanced classes.
Varying the combinations in early ballet exercises, and introducing different musical rhythms keeps class interesting and challenging. If students understand what they are trying to do, they are mentally busy with the simplest of barre exercises.
If young or adult beginner ballet students understand correct posture, correct turnout and correct weight placement on their feet, not a lot will go wrong as they progress through their ballet class.
Correct battments tendus with less than half a dozen exercises for the foot muscles will prepare feet for dancing ballet in pointe shoes.
Any ballet dancer ten years old or older can investigate how ballet is somewhat anatomically incorrect and solve the mysteries of why "I just can't do it!". Taking advantage of the available analysis of arabesque or examining how the core muscles are needed in ballet (including correct turnout) can save years of frustration at the ballet barre.
Only in recent years has the volume of academic information on ballet technique become easily available to ballet teachers and students. The dance education obtainable via the internet far surpasses some of the data being only recently produced by some still secluded ballet societies.
So what does this all have to do with how to progress faster and better toward dancing ballet in pointe shoes......your ability to concentrate on your basic ballet barre exercises and your ability to find the information you need when you don't understand why YOUR body will not do a ballet movement or ballet position as easily as someone else's, is a big part of what will speed you toward your ballet goals. Each correctly done ballet barre exercise gets you closer to dancing in pointe shoes.
Breaking Tiny Foot Bones and Getting Back Into Pointe Shoes
Ballet dancers and other athletes can develop shallow cracks, or stress fractures in their tiny foot bones. Inaccurate training, a suddenly increased practice schedule, badly fitting pointe shoes, or a change in flooring can cause this type of dance or sp
These injuries must be treated properly if you want to be getting back into pointe shoes as soon as possible.
The bones that commonly break from stress are in the forefoot, the section that extends from your toes to the middle of your foot. These tiny cracks do not extend through the bone, like most other types of fractures. They are typically stable, meaning no shift in bone alignment is caused. Nor do they displace bones so that the bone ends no longer line up.
Stress fractures often look like dark bruises. If the bone hasn't twisted and broken your skin, you might not suspect anything more than a bruising. This is referred to as a closed fracture.
The little toe, or fifth metatarsal seems to be an especially vulnerable area. Loss of control in pointe shoes such as a sharp fall off pointe with the weight twisting over to the outer edge of the foot (sickling in) may tear the tendon that attaches to this bone which results in a small piece of the bone pulling away.
A Jones fracture is a fairly serious injury. It occurs near the base of the little toe bone and interferes with the blood supply to the bone. This injury may even require surgery to heal correctly.
Pain, swelling, and often, discoloration, are the usual symptoms of a fracture in the foot. You may still be able to walk, but this usually increases the pain. If the pain and swelling do not significantly decrease in two or three days, or if the pain with walking doesn't stop, you should assume something is wrong.
See a doctor! Don't wait to get a diagnosis and treatment. You want to avoid developing chronic foot pain and arthritis. This could eventually distort the way you walk. Your body will always figure out how to compensate for a painful or weak area, but not in a way that will support ballet dancing or athletic training. The solution will become another problem.
Use an ice pack to reduce the pain and swelling, and put your foot up and rest. Wrap your ice pack so it doesn't touch your skin. Ice frequently, but not more than twenty minutes at a time.
Your doctor, chiropractor or physiotherapist is going to see you through rehabilitation. Even though you may feel extremely anxious about getting back into pointe shoes, be patient with your tiny foot bones and learn how to prevent further injury.
The bones that commonly break from stress are in the forefoot, the section that extends from your toes to the middle of your foot. These tiny cracks do not extend through the bone, like most other types of fractures. They are typically stable, meaning no shift in bone alignment is caused. Nor do they displace bones so that the bone ends no longer line up.
Stress fractures often look like dark bruises. If the bone hasn't twisted and broken your skin, you might not suspect anything more than a bruising. This is referred to as a closed fracture.
The little toe, or fifth metatarsal seems to be an especially vulnerable area. Loss of control in pointe shoes such as a sharp fall off pointe with the weight twisting over to the outer edge of the foot (sickling in) may tear the tendon that attaches to this bone which results in a small piece of the bone pulling away.
A Jones fracture is a fairly serious injury. It occurs near the base of the little toe bone and interferes with the blood supply to the bone. This injury may even require surgery to heal correctly.
Pain, swelling, and often, discoloration, are the usual symptoms of a fracture in the foot. You may still be able to walk, but this usually increases the pain. If the pain and swelling do not significantly decrease in two or three days, or if the pain with walking doesn't stop, you should assume something is wrong.
See a doctor! Don't wait to get a diagnosis and treatment. You want to avoid developing chronic foot pain and arthritis. This could eventually distort the way you walk. Your body will always figure out how to compensate for a painful or weak area, but not in a way that will support ballet dancing or athletic training. The solution will become another problem.
Use an ice pack to reduce the pain and swelling, and put your foot up and rest. Wrap your ice pack so it doesn't touch your skin. Ice frequently, but not more than twenty minutes at a time.
Your doctor, chiropractor or physiotherapist is going to see you through rehabilitation. Even though you may feel extremely anxious about getting back into pointe shoes, be patient with your tiny foot bones and learn how to prevent further injury.
Improving Basic Ballet Positions For Ballet Split Leaps
What ballet movements and ballet positions will result in clean accurate split leaps?
The first exercise at the ballet barre, demi and grand plie, your posture, the placement of your weight and the strength of your turnout, is the foundation of your ballet positions and ballet movements. Your split leaps, and even fancier allegro depends on it.
Starting with your primary level ballet classes, understanding and being able to execute correct posture as well as an accurate grand battment devant and derriere will eventually produce a good grand jete en avant, the well known ballet split leap.
A demi plie take off in a basic jump in first position without posture changing, or the turnout decreasing or the heel coming off the ground, is a secure take off. As you progress to more advanced jumps, this ballet technique will continue to support good positions and a good quality of balon, or easy bounce.
An effective brush of the foot on the floor,practiced hundreds of times in battment tendu, degage, and grand battment, will add power to your petit jete, and eventually your grand jete.
Being able to change from the upright back to a proper arabesque position (as in a grand battment derriere) will make for a good position in the air, and a good landing. Repetitive releves in arabesque at the barre will enable you to see if the position is being held well, and the demi plies are on balance and strong.
A chasse temps leve forward into arabesque is a good practice routine to also make sure the arabesque leg reaches its height at the height of the jump and can be held in the air. Much of the ballet I watch lacks a moment at the height of a releve or jump where everything freezes for a nano second, without stiffness or effort. In other words if someone wanted a snapshot, the position could be easily captured.
Brushing up into the devant position, releve, arms reaching their position at the same moment, holding the position , and then tombe forward, repetitively across the floor, helps too.
If all the basics are done with strength, it doesn't take too much to do a good ballet split leap, or grand jete. Positions that are not strong can be practiced at the barre in the usual exercises before the jumps will improve.
Starting with your primary level ballet classes, understanding and being able to execute correct posture as well as an accurate grand battment devant and derriere will eventually produce a good grand jete en avant, the well known ballet split leap.
A demi plie take off in a basic jump in first position without posture changing, or the turnout decreasing or the heel coming off the ground, is a secure take off. As you progress to more advanced jumps, this ballet technique will continue to support good positions and a good quality of balon, or easy bounce.
An effective brush of the foot on the floor,practiced hundreds of times in battment tendu, degage, and grand battment, will add power to your petit jete, and eventually your grand jete.
Being able to change from the upright back to a proper arabesque position (as in a grand battment derriere) will make for a good position in the air, and a good landing. Repetitive releves in arabesque at the barre will enable you to see if the position is being held well, and the demi plies are on balance and strong.
A chasse temps leve forward into arabesque is a good practice routine to also make sure the arabesque leg reaches its height at the height of the jump and can be held in the air. Much of the ballet I watch lacks a moment at the height of a releve or jump where everything freezes for a nano second, without stiffness or effort. In other words if someone wanted a snapshot, the position could be easily captured.
Brushing up into the devant position, releve, arms reaching their position at the same moment, holding the position , and then tombe forward, repetitively across the floor, helps too.
If all the basics are done with strength, it doesn't take too much to do a good ballet split leap, or grand jete. Positions that are not strong can be practiced at the barre in the usual exercises before the jumps will improve.
How to Set Priorities With Your Corrections in Ballet Classes
Whenever you get corrections in class, how do you set priorities for fixing them? For example, if you get a correction while doing demi or grand plie, that's a priority to fix, because it will affect everything else you do.
Especially in pointe shoes, a flaw in how you do a plie will affect your posture, balance, strength of turnout, and go on to affect pirouettes and more.
It will also affect your allegro, or jumps.
If you get a correction later in the ballet barre work, that may be where your ballet teacher first noticed the error, in that class.
However, if your dance teacher does not address it further, it is up to you to figure out where in the basic ballet positions, ballet movements, or ballet technique, you need to go, to fix your correction.
If corrections are being a frustration for you read more about how to prioritize ballet corrections.
It will also affect your allegro, or jumps.
If you get a correction later in the ballet barre work, that may be where your ballet teacher first noticed the error, in that class.
However, if your dance teacher does not address it further, it is up to you to figure out where in the basic ballet positions, ballet movements, or ballet technique, you need to go, to fix your correction.
If corrections are being a frustration for you read more about how to prioritize ballet corrections.
Adult Ballet Brings the Ethereal and the Grounded Together With Ballet Exercises
A common response to why adults seek ballet as an exercise to reduce stress, anxiety, or feeling spaced out, is "to get a sense of my body". Ballet is ethereal, yet taking adult ballet classes is a great way to get grounded.
If you take the big step and find a dance studio that provides adult ballet classes, how do you prepare yourself?
First, go and visit the ballet school, and observe the dance instruction in the adult ballet section. Before you buy any ballet wear, you can find out the dress code, and the the type of ballet leotards and tights most frequently worn. Check out the ballet shoes that are either required, or free for you to choose. Black or white, for men in ballet, and black or white tights, so on. Also, since many men in ballet ask me, I will mention the 'dance belt' that needs to be worn, not the normal jock strap.
Whether you have a huge performing arts school, or a small neighborhood ballet studio, visit, watch a couple of classes and get a feel for the place. Ballet wear includes clothes you might want to wear over your leotards and tights, if allowed. Even if you want to hide a less than a trim figure under a sweater, or dance pants, always wear a leotard and tights.
This classic ballet wear allows the ballet teacher to see what your muscles are doing, if she/he wants. This is only to your benefit, since especially in the beginner adult ballet classes, you want to know that you are learning correct ballet technique and getting into correct ballet positions.
Some adult ballet classes use Pilates to help warm up. This is excellent for developing the core muscles. Feeling your core muscles gives a good sense of the body. It is grounding. Feeling the core muscles and having correct posture in the low back/pelvic area will help you develop your turnout muscles without needless tension.
Feeling the soles of the feet flat on the floor, not slanting in (pronation) or out (supination) is essential. That in itself is a grounding effort. If you have been advised to exercise for stress or anxiety control, I think ballet is excellent. Ballet gives you control over something which you can indeed control. Your own body.
You cannot be spacey in ballet class. The music, the sound of the teacher's voice, and the sense of your body working, enhances your presence. You cannot be somewhere else. While getting grounded, you are learning an elegant and ethereal style of dancing. The best of both ideas.
By the way, presence is IT. If you ever wonder why professional ballet dancers work so hard for little money and lots of aches and pains, for so long, maybe because it creates more of their own presence so often. Because presence is Presence. You know what I mean.
So if you have always wanted to take adult ballet classes, go. Get the best teacher you can, and benefit from all the wonderful ballet manuals available now that will tell you all the finer details of ballet technique. That extra understanding will get you even more grounded in adult ballet technique.
The Ballet Bible provides a free ballet glossary so you can learn the French words for ballet quickly.
The Perfect Pointe Book gives practice routines you can do safely at home, after a few months of beginner adult ballet classes. Even if you never dance ballet in pointe shoes, the exact details of this manual will answer many questions you may have and never get to ask in ballet class.
If you take the big step and find a dance studio that provides adult ballet classes, how do you prepare yourself?
First, go and visit the ballet school, and observe the dance instruction in the adult ballet section. Before you buy any ballet wear, you can find out the dress code, and the the type of ballet leotards and tights most frequently worn. Check out the ballet shoes that are either required, or free for you to choose. Black or white, for men in ballet, and black or white tights, so on. Also, since many men in ballet ask me, I will mention the 'dance belt' that needs to be worn, not the normal jock strap.
Whether you have a huge performing arts school, or a small neighborhood ballet studio, visit, watch a couple of classes and get a feel for the place. Ballet wear includes clothes you might want to wear over your leotards and tights, if allowed. Even if you want to hide a less than a trim figure under a sweater, or dance pants, always wear a leotard and tights.
This classic ballet wear allows the ballet teacher to see what your muscles are doing, if she/he wants. This is only to your benefit, since especially in the beginner adult ballet classes, you want to know that you are learning correct ballet technique and getting into correct ballet positions.
Some adult ballet classes use Pilates to help warm up. This is excellent for developing the core muscles. Feeling your core muscles gives a good sense of the body. It is grounding. Feeling the core muscles and having correct posture in the low back/pelvic area will help you develop your turnout muscles without needless tension.
Feeling the soles of the feet flat on the floor, not slanting in (pronation) or out (supination) is essential. That in itself is a grounding effort. If you have been advised to exercise for stress or anxiety control, I think ballet is excellent. Ballet gives you control over something which you can indeed control. Your own body.
You cannot be spacey in ballet class. The music, the sound of the teacher's voice, and the sense of your body working, enhances your presence. You cannot be somewhere else. While getting grounded, you are learning an elegant and ethereal style of dancing. The best of both ideas.
By the way, presence is IT. If you ever wonder why professional ballet dancers work so hard for little money and lots of aches and pains, for so long, maybe because it creates more of their own presence so often. Because presence is Presence. You know what I mean.
So if you have always wanted to take adult ballet classes, go. Get the best teacher you can, and benefit from all the wonderful ballet manuals available now that will tell you all the finer details of ballet technique. That extra understanding will get you even more grounded in adult ballet technique.
The Ballet Bible provides a free ballet glossary so you can learn the French words for ballet quickly.
The Perfect Pointe Book gives practice routines you can do safely at home, after a few months of beginner adult ballet classes. Even if you never dance ballet in pointe shoes, the exact details of this manual will answer many questions you may have and never get to ask in ballet class.
Too Old to Start Ballet? - Don't Underestimate Yourself
The discussion about when you're too old to start ballet is ongoing. If you want to do ballet, don't underestimate yourself. If you have no dire medical condition, and are under 75, I say go for it. Many things in life are about finding the appropriate challenge. If you can find the right ballet classes, dance and enjoy!
I hear the same concerns from 14 year olds and 30 year olds. "Am I too old to start ballet?"
Properly taught, ballet is precise, and not dangerous in any way. Many dance studios have adult ballet classes or classes for older teen/adult beginners. Most adult ballet classes include some floor work with ab crunches and other core muscle exercises. Many teachers include them hoping that their students will practice them at home, so the classes can concentrate on ballet. Other teachers may just recommend core muscle exercises, Pilates work-at-home DVDs, or anything that will help adults or older teens to do ballet with more strength.
If you really love ballet and want to progress to more advanced classes there are ways to do that. The internet provides download ebooks with illustrations, photos and videos of correct ballet positions, ballet technique, and ballet movements. These sources of information can give you the opportunity to see and hear details over and over again, which you just do not get out of a ballet class.
For example, if you feel you need to gain an extra advantage so that you can get ahead, you could focus on strengthening your foot muscles. This will result in less muscle cramps, and better ballet positions and movements. Eventually, if you progress to an intermediate level, and acquire an accurate technique, you may want to do some ballet exercises in pointe shoes. The muscles in the sole of the foot play a major role in pointe work. The Perfect Pointe Book provides safe and detailed routines you can learn and practice yourself.
DVDs are also available for increasing your flexibility. Yoga is excellent for stretching and avoiding injuries. "Classical Stretch" DVDs show you ways to stretch in a balletic way, and can be found here. The Classical Stretch exercises are a well-illustrated series of strengthening and stretching routines.
If you seek a deeper understanding of the mechanics involved in ballet technique, The Body Series publications and DVDs by Deborah Vogel are an excellent source of information. The different ballet techniques (R.A.D., Cecchetti and Vaganova, for example) approach some ballet movements differently. I recommend that the one closest to anatomically correct be chosen. Ballet, however, is not anatomically correct!
Even though the opportunity to be a professional ballerina may have passed you by, learning ballet for the sake of elegance and grace is made accessible by those ballet studios which offer adult dance classes. So don't underestimate yourself, and don't assume you're too old to start ballet.
I hear the same concerns from 14 year olds and 30 year olds. "Am I too old to start ballet?"
Properly taught, ballet is precise, and not dangerous in any way. Many dance studios have adult ballet classes or classes for older teen/adult beginners. Most adult ballet classes include some floor work with ab crunches and other core muscle exercises. Many teachers include them hoping that their students will practice them at home, so the classes can concentrate on ballet. Other teachers may just recommend core muscle exercises, Pilates work-at-home DVDs, or anything that will help adults or older teens to do ballet with more strength.
If you really love ballet and want to progress to more advanced classes there are ways to do that. The internet provides download ebooks with illustrations, photos and videos of correct ballet positions, ballet technique, and ballet movements. These sources of information can give you the opportunity to see and hear details over and over again, which you just do not get out of a ballet class.
For example, if you feel you need to gain an extra advantage so that you can get ahead, you could focus on strengthening your foot muscles. This will result in less muscle cramps, and better ballet positions and movements. Eventually, if you progress to an intermediate level, and acquire an accurate technique, you may want to do some ballet exercises in pointe shoes. The muscles in the sole of the foot play a major role in pointe work. The Perfect Pointe Book provides safe and detailed routines you can learn and practice yourself.
DVDs are also available for increasing your flexibility. Yoga is excellent for stretching and avoiding injuries. "Classical Stretch" DVDs show you ways to stretch in a balletic way, and can be found here. The Classical Stretch exercises are a well-illustrated series of strengthening and stretching routines.
If you seek a deeper understanding of the mechanics involved in ballet technique, The Body Series publications and DVDs by Deborah Vogel are an excellent source of information. The different ballet techniques (R.A.D., Cecchetti and Vaganova, for example) approach some ballet movements differently. I recommend that the one closest to anatomically correct be chosen. Ballet, however, is not anatomically correct!
Even though the opportunity to be a professional ballerina may have passed you by, learning ballet for the sake of elegance and grace is made accessible by those ballet studios which offer adult dance classes. So don't underestimate yourself, and don't assume you're too old to start ballet.
Prevent Ballet and Dance Injuries in Your Nutcracker Season
Learning how to minimize the chance of dance injuries is an acquired skill. Warming up, having healthy snacks in your dance bag, and perhaps having an extra pair of pointe shoes ready to wear, will help you avoid ballet injuries.
Rehearsal schedules intensify as the Nutcracker season approaches. Everyone wants to do their best.
Muscle aches and pains after classes and rehearsals should not be ignored. Soaking sore and exhausted muscles in epsom salt baths, ( a form of magnesium) elevating your legs while sitting, and using a pinkie ball to rid your muscles of tension is exactly what your muscles deserve.
Knee injuries, sprained ankles and shin splints all result from inaccurate technique, that do not necessarily show up until dance schedules intensify. A little fatigue, emotional distractions, anxiety, poor sleep or poor diet all contribute to that moment of error or mis-timing when an accident happens.
Fresh foods are necessary to keep your strength up. Sugar weakens muscles and also contributes to inflammation. Do your best to eat well. Magnesium is a nutrient that helps relax muscles and can lead to better sleep. Green vegetables and salad foods are full of trace minerals that help carry lactic acids and other cellular wastes out of tired muscles. Lean proteins, and whole grain carbohydrates will put more nutritional support in your diet.
Dance medicine specialist and "Dancing Smart" author Deborah Vogel writes:
"Four Warning Signs of an Injury
* Pain that gets progressively worse during class, rehearsal, work out, etc.
* Pain that comes after your class, rehearsal, or work out, and comes back the next day after less movement is done.
* Pain that appears when executing certain movements (e.g. during arabesque or landing a jump).
* No real sense of "pain" but a definite restriction of movement."
Pay attention to your body's signals. Ice tired and tense muscles even if they don't hurt. Take some deep breaths when you sit down to relax, or when you go to bed. Use a pinky ball to ease out tension, then do some very gentle stretching afterwards. Have a real day of rest, and catch up with non-dance activities.
Even when you are a recreational dance student, you get the most out of it if you act like pro. Ask your family graciously for extra help or rest time that you need, and let them know how much you appreciate their support.
This way you will really get to enjoy your experience of performing in ballet shoes and pointe shoes.
Muscle aches and pains after classes and rehearsals should not be ignored. Soaking sore and exhausted muscles in epsom salt baths, ( a form of magnesium) elevating your legs while sitting, and using a pinkie ball to rid your muscles of tension is exactly what your muscles deserve.
Knee injuries, sprained ankles and shin splints all result from inaccurate technique, that do not necessarily show up until dance schedules intensify. A little fatigue, emotional distractions, anxiety, poor sleep or poor diet all contribute to that moment of error or mis-timing when an accident happens.
Fresh foods are necessary to keep your strength up. Sugar weakens muscles and also contributes to inflammation. Do your best to eat well. Magnesium is a nutrient that helps relax muscles and can lead to better sleep. Green vegetables and salad foods are full of trace minerals that help carry lactic acids and other cellular wastes out of tired muscles. Lean proteins, and whole grain carbohydrates will put more nutritional support in your diet.
Dance medicine specialist and "Dancing Smart" author Deborah Vogel writes:
"Four Warning Signs of an Injury
* Pain that gets progressively worse during class, rehearsal, work out, etc.
* Pain that comes after your class, rehearsal, or work out, and comes back the next day after less movement is done.
* Pain that appears when executing certain movements (e.g. during arabesque or landing a jump).
* No real sense of "pain" but a definite restriction of movement."
Pay attention to your body's signals. Ice tired and tense muscles even if they don't hurt. Take some deep breaths when you sit down to relax, or when you go to bed. Use a pinky ball to ease out tension, then do some very gentle stretching afterwards. Have a real day of rest, and catch up with non-dance activities.
Even when you are a recreational dance student, you get the most out of it if you act like pro. Ask your family graciously for extra help or rest time that you need, and let them know how much you appreciate their support.
This way you will really get to enjoy your experience of performing in ballet shoes and pointe shoes.
A Cosy Little Chat About Pointe Shoes With a Nice Cup of Tea
Low arch? High arch? Narrow heels? Stiff feet? Flat feet? So many pointe shoes1
If you are one of these troubled pointe shoe ballet dancers, get a nice cup of tea or a Starbucks latte if you prefer, and we'll have a cosy little chat about pointe shoes.
Of course you want to get exactly the right fit. So say your ballet store only sold Freeds, for example. Lengths and widths are commonly available. Freeds are hard shoes. They are wonderful for the higher arch, giving lots of support. They come in low and high vamps, good for short or long toes, so really they could be okay for everyone.
If you have a low arch and less flexible ankle joints, you need to break in your Freeds more. Same with Capezio's. Gambas are lighter shoes, go easy on them. Probably the first couple of classes will break them in fine.
I don't understand "good pointe shoes for beginners". If that means a softer shoe, does it also mean the beginner is not quite ready to go onto pointe?
I know that any dancer knows what I'm getting at - your foot muscles are in control, not the pointe shoes.
If your core muscles are weak, if you are still hyperextending your knees, if you haven't strengthened the sole of the foot muscles, then your pointe shoes will be in control.
If they don't fit perfectly (no shoe does, unless it's made for you), if you are wide at the metatarsal area, or forefront of the foot, and narrow at the heel, or vice versa, you will always have a little situation.
Here's some suggestions - always fit the pointe shoes for the larger foot. You may do the opposite with leather soft shoes, because they will stretch to fit. You are going to pad the shoe for the smaller foot a little more, rather than crunch the bigger foot and get bad blisters or an injury.
If you need wide pointe shoes for the metatarsal area, leaving the choice of pointe shoes too wide at the heels, then use a drug store brand heel grip or get a big bag of makeup wedgies and cut them to the exact size you need and glue into your shoes. Or roll your heels into the rosin box and then put them into your shoes.
I'm not going to go through every nuance of a shoe fit. Your foot muscles have to be strong enough to control the shoe. Your basic posture has to be correct so that you can be on balance.
If you get a pair of shoes with a slight deviation or a spot on the top of the box that presses into your foot, work on it with your hands, or use extra padding. Whether you stick a little foam, corn pad, or adhesive tape on your foot or on the shoe, it doesn't matter. Whatever works.
After two to three pairs of the pointe shoes that you can get still don't work out, you may have to try ordering a different brand on line. You are not going to waste a pair of shoes. If the length and width are correct, you may still have to work on the feel of it to suit yourself.
You have to get your muscles in charge. That's exercising every day, not doing bunches of releves or retires releves, but doing the basic sole of the foot exercises. Also, making sure you are using the floor and elongating your toes with every tendu and degage.
In other words, if you have a problem, look at your foot strength first, and your shoes second. Pick a pair a little too large rather than a little too short if you are in between. Too short, and too narrow, can lead to injury.
I'm not being sarcastic about the cosy little chat. There is a dazzling choice of pointe shoes in many ballet stores. If you don't have the variety in pointe shoes to select from, learn to adapt what you can get, or order online. If your foot muscles are strong and in control, you are unlikely to get injured from your shoes.
Of course you want to get exactly the right fit. So say your ballet store only sold Freeds, for example. Lengths and widths are commonly available. Freeds are hard shoes. They are wonderful for the higher arch, giving lots of support. They come in low and high vamps, good for short or long toes, so really they could be okay for everyone.
If you have a low arch and less flexible ankle joints, you need to break in your Freeds more. Same with Capezio's. Gambas are lighter shoes, go easy on them. Probably the first couple of classes will break them in fine.
I don't understand "good pointe shoes for beginners". If that means a softer shoe, does it also mean the beginner is not quite ready to go onto pointe?
I know that any dancer knows what I'm getting at - your foot muscles are in control, not the pointe shoes.
If your core muscles are weak, if you are still hyperextending your knees, if you haven't strengthened the sole of the foot muscles, then your pointe shoes will be in control.
If they don't fit perfectly (no shoe does, unless it's made for you), if you are wide at the metatarsal area, or forefront of the foot, and narrow at the heel, or vice versa, you will always have a little situation.
Here's some suggestions - always fit the pointe shoes for the larger foot. You may do the opposite with leather soft shoes, because they will stretch to fit. You are going to pad the shoe for the smaller foot a little more, rather than crunch the bigger foot and get bad blisters or an injury.
If you need wide pointe shoes for the metatarsal area, leaving the choice of pointe shoes too wide at the heels, then use a drug store brand heel grip or get a big bag of makeup wedgies and cut them to the exact size you need and glue into your shoes. Or roll your heels into the rosin box and then put them into your shoes.
I'm not going to go through every nuance of a shoe fit. Your foot muscles have to be strong enough to control the shoe. Your basic posture has to be correct so that you can be on balance.
If you get a pair of shoes with a slight deviation or a spot on the top of the box that presses into your foot, work on it with your hands, or use extra padding. Whether you stick a little foam, corn pad, or adhesive tape on your foot or on the shoe, it doesn't matter. Whatever works.
After two to three pairs of the pointe shoes that you can get still don't work out, you may have to try ordering a different brand on line. You are not going to waste a pair of shoes. If the length and width are correct, you may still have to work on the feel of it to suit yourself.
You have to get your muscles in charge. That's exercising every day, not doing bunches of releves or retires releves, but doing the basic sole of the foot exercises. Also, making sure you are using the floor and elongating your toes with every tendu and degage.
In other words, if you have a problem, look at your foot strength first, and your shoes second. Pick a pair a little too large rather than a little too short if you are in between. Too short, and too narrow, can lead to injury.
I'm not being sarcastic about the cosy little chat. There is a dazzling choice of pointe shoes in many ballet stores. If you don't have the variety in pointe shoes to select from, learn to adapt what you can get, or order online. If your foot muscles are strong and in control, you are unlikely to get injured from your shoes.
How to Prevent Foot Injuries in Ballet Shoes and Pointe Shoes, Or Without Shoes
How to use the foot properly in ballet should begin with the first lesson. With small children this can be taught sitting on the floor with the legs stretched out in front. The proper line in the stretched foot can be seen and understood easily. With older children, a short anatomy lesson on the foot explains why classical ballet technique is finely detailed and exacting, in order to build strength and prevent foot injuries throughout dance training.
Here is some basic anatomical facts about your feet:
*** The support is provided by 28 bones
*** 19 muscles attach to these bones by tendons
*** 30 different joints held together by up to 117 ligaments allow finely detailed movement
*** There are many yards of blood vessels and a complex nerve system
*** Each foot has 125,000 sweat glands
*** Everything is covered by sheets or bands of tough connective tissue called fascia
When you consider that a ballerina or a male ballet dancer spends years training, and then performing, and each time their feet hit the ground they are impacted by three to four times their body weight, that's amazing! Proper training and care of the feet is essential. Even beyond preventing injuries, accurate technique will contribute to preventing early arthritis as well.
Shin splints, a burning stinging pain in the front calf muscles, sprained ankles, bone bruises, and blisters from pointe shoes, are foot injuries that can be prevented by building strength specifically in the sole of the foot.
Weakness in the foot muscles causes the lower leg muscles to over work, leading to chronic tension and loss of muscle tone. This will develop into tendonitis in the Achilles tendon which can become chronic and end a career, at the worst. Chronic tension in any set of muscles in the body will cause mis-alignments, and strain, in the next joint/muscle group, and the next, and so on.
Prevention then, is understanding your foot's construction. Look at photos or drawings, and x-rays of feet. How to use the fact of repetitive motion in ballet (just try to count the number of times you point your foot in a ballet or modern dance class) as strictly a plus, and not a danger to your feet, requires extra study and awareness.
Listening to your body, and paying attention to pain, should be considered part of your training. Aches and sorenesses should go away with warm soaks using epsom salts, ginger or apple cider vinegar, followed by icing. But pain of a sharp, burning or stinging nature must be addressed.
Your foot is brilliantly structured to prevent harmful movement - such as sickling in, and then landing that way, and lo - you have a sprained ankle. However, this can be treated immediately and properly and never cause future discomfort.
Understanding your foot shape and bone structure tells you exactly what your potential is, to increase flexibility, or control hyper-mobility to your best advantage.
For example, if you think you should have more arch to your foot, the shape of your individual bones determine that. You can increase your ankle flexibility to get up onto pointe better, and improve the line of your foot and leg. The shape of your bones will limit the actual arch shape, to some degree.
Famous athletes and dancers actually buy insurance for their body parts. Your insurance is how you take care of your feet.
Soaking or rolling a pinky ball around under your feet, while you study or watch tv, takes up no extra time.
Letting your parents know that you have a persistent pain and that you need to have it checked by a professional is important. A visit with a physiotherapist or chiropractor and an x-ray is not terribly expensive, and the completion of your training may depend on it.
Obtaining the finer details of strengthening the feet for ballet and any kind of dance, is easy now. There is an almost worship in ballet for getting into those beautiful pink satin pointe shoes, or of the ballerina in them, you would love to partner. If you are going to worship, please worship your feet first! They are designed by a perfect intelligence and will serve you perfectly if you understand how to prevent foot injuries.
Here is some basic anatomical facts about your feet:
*** The support is provided by 28 bones
*** 19 muscles attach to these bones by tendons
*** 30 different joints held together by up to 117 ligaments allow finely detailed movement
*** There are many yards of blood vessels and a complex nerve system
*** Each foot has 125,000 sweat glands
*** Everything is covered by sheets or bands of tough connective tissue called fascia
When you consider that a ballerina or a male ballet dancer spends years training, and then performing, and each time their feet hit the ground they are impacted by three to four times their body weight, that's amazing! Proper training and care of the feet is essential. Even beyond preventing injuries, accurate technique will contribute to preventing early arthritis as well.
Shin splints, a burning stinging pain in the front calf muscles, sprained ankles, bone bruises, and blisters from pointe shoes, are foot injuries that can be prevented by building strength specifically in the sole of the foot.
Weakness in the foot muscles causes the lower leg muscles to over work, leading to chronic tension and loss of muscle tone. This will develop into tendonitis in the Achilles tendon which can become chronic and end a career, at the worst. Chronic tension in any set of muscles in the body will cause mis-alignments, and strain, in the next joint/muscle group, and the next, and so on.
Prevention then, is understanding your foot's construction. Look at photos or drawings, and x-rays of feet. How to use the fact of repetitive motion in ballet (just try to count the number of times you point your foot in a ballet or modern dance class) as strictly a plus, and not a danger to your feet, requires extra study and awareness.
Listening to your body, and paying attention to pain, should be considered part of your training. Aches and sorenesses should go away with warm soaks using epsom salts, ginger or apple cider vinegar, followed by icing. But pain of a sharp, burning or stinging nature must be addressed.
Your foot is brilliantly structured to prevent harmful movement - such as sickling in, and then landing that way, and lo - you have a sprained ankle. However, this can be treated immediately and properly and never cause future discomfort.
Understanding your foot shape and bone structure tells you exactly what your potential is, to increase flexibility, or control hyper-mobility to your best advantage.
For example, if you think you should have more arch to your foot, the shape of your individual bones determine that. You can increase your ankle flexibility to get up onto pointe better, and improve the line of your foot and leg. The shape of your bones will limit the actual arch shape, to some degree.
Famous athletes and dancers actually buy insurance for their body parts. Your insurance is how you take care of your feet.
Soaking or rolling a pinky ball around under your feet, while you study or watch tv, takes up no extra time.
Letting your parents know that you have a persistent pain and that you need to have it checked by a professional is important. A visit with a physiotherapist or chiropractor and an x-ray is not terribly expensive, and the completion of your training may depend on it.
Obtaining the finer details of strengthening the feet for ballet and any kind of dance, is easy now. There is an almost worship in ballet for getting into those beautiful pink satin pointe shoes, or of the ballerina in them, you would love to partner. If you are going to worship, please worship your feet first! They are designed by a perfect intelligence and will serve you perfectly if you understand how to prevent foot injuries.
How to Avoid Overuse of the Achilles Tendon in Sports and Ballet
One of the too-common dance injuries is that of the achilles tendon. Runners and other athletes in sports training also suffer some over use inflammation, and even rupture of the achilles tendon. This tendon depends on muscle strength in the calf and the foot, to retain proper use. Following are some self-care tips that will help you avoid overuse and injury of your achilles tendons, and encourage courageous patience in better rehabilitation.
Tendonitis is all too-prevalent in dance injuries and sports injuries. In fact, when someone says "I have tendonitis" it usually refers to the achilles tendon, without being explained, it is that common. Inflammation, or "itis" can occur in any area of the body.
The achilles tendon comes from the lower end of the calf muscles, and inserts, or is attached, to the heel bone. The calf muscles above, and the intrinsic foot muscles below, are supposed to do all the actual work in moving the foot flexed, or extended (pointed, in ballet).
If the foot can flex and stretch without changing its angle (curving outward, or sickling out in ballet, or curving inward, sickling in or 'pigeon toes'), in most cases the tendon will not get irritated.
This is presuming that when you are standing on an even surface, the foot is not sloping inward, what people think of as "fallen arches", or is not sloping outward toward the little toe edge of the foot.
Runners and other athletes often work on uneven surfaces and depend on both strength and supportive shoes to minimize the variation in foot angle as it strikes the ground or pushes off. Ballet dancers absolutely depend on foot strength to prevent misuse, as they do not generally wear supports in their ballet shoes and pointe shoes. If needed, however, orthotics, or foot levelers, can be worn in dance shoes.
If a dancer or athlete has bowed legs, or hyper-extended legs, there will be an angle created just to have the feet flat on the floor. If this situation is understood, the student can be taught how to avoid inflammation of the achilles tendon through understanding, and correction of, or accurate compensation for, this particular anatomical detail.
Correcting the stance of hyper-extended legs by stacking the skeletal joints (ankles, knees, hips and on up) and holding turnout, will correct the natural pronation (fallen arches) of the feet on the floor. Sometimes this is not even visible to a glance in dancers, due to a strong built-up muscle structure that is deceptive. Even chiropractors and physio therapists have to test dancers' muscles extensively, in order not to miss this observation, until they gain experience with it.
As more and more athletes are studying ballet principles of turnout and footwork to gain an extra advantage in their performance, and prevent sports injuries, hopefully the area of hyper-extension will also be addressed.
Bowed legs require an angle of the foot, for it to be flat on the floor. In ballet, correct use of turnout, developing the intrinsic foot muscles, and always having the body weight placed correctly on the feet (hyper-extension and bowed legs tend to throw the weight back) minimizes the overuse and irritation of the achilles tendon.
Both ballet dancers and athletes need the understanding that poorly developed foot muscles lead to exhausting the calf muscles. This in turn creates tension, loss of muscle tone and strength, and the achilles tendon develops tendonitis.
Once inflammation has set in, rest, and icing must be applied. A courageous patience is needed in recovery, as the pressure to stay in the daily competitive drive for a an upcoming exam, performance or team try-out, must be resisted. You long term persistence in your chosen field depends on avoiding a chronic situation.
Ballet, dance, and sports injuries can be prevented. If you are a pre-pro, a would-be ballerina, a dedicated recreational dancer or athlete, study all you can about how to avoid overuse and injury of your achilles tendon.
Click here and find out how a would-be ballerina and men in ballet get exactly the right fit in ballet shoes and pointe shoes, prevent dance injuries, get The Perfect Pointe Book, The Ballet Bible, and Deborah Vogel's products on injury prevention and functional anatomy.
Tendonitis is all too-prevalent in dance injuries and sports injuries. In fact, when someone says "I have tendonitis" it usually refers to the achilles tendon, without being explained, it is that common. Inflammation, or "itis" can occur in any area of the body.
The achilles tendon comes from the lower end of the calf muscles, and inserts, or is attached, to the heel bone. The calf muscles above, and the intrinsic foot muscles below, are supposed to do all the actual work in moving the foot flexed, or extended (pointed, in ballet).
If the foot can flex and stretch without changing its angle (curving outward, or sickling out in ballet, or curving inward, sickling in or 'pigeon toes'), in most cases the tendon will not get irritated.
This is presuming that when you are standing on an even surface, the foot is not sloping inward, what people think of as "fallen arches", or is not sloping outward toward the little toe edge of the foot.
Runners and other athletes often work on uneven surfaces and depend on both strength and supportive shoes to minimize the variation in foot angle as it strikes the ground or pushes off. Ballet dancers absolutely depend on foot strength to prevent misuse, as they do not generally wear supports in their ballet shoes and pointe shoes. If needed, however, orthotics, or foot levelers, can be worn in dance shoes.
If a dancer or athlete has bowed legs, or hyper-extended legs, there will be an angle created just to have the feet flat on the floor. If this situation is understood, the student can be taught how to avoid inflammation of the achilles tendon through understanding, and correction of, or accurate compensation for, this particular anatomical detail.
Correcting the stance of hyper-extended legs by stacking the skeletal joints (ankles, knees, hips and on up) and holding turnout, will correct the natural pronation (fallen arches) of the feet on the floor. Sometimes this is not even visible to a glance in dancers, due to a strong built-up muscle structure that is deceptive. Even chiropractors and physio therapists have to test dancers' muscles extensively, in order not to miss this observation, until they gain experience with it.
As more and more athletes are studying ballet principles of turnout and footwork to gain an extra advantage in their performance, and prevent sports injuries, hopefully the area of hyper-extension will also be addressed.
Bowed legs require an angle of the foot, for it to be flat on the floor. In ballet, correct use of turnout, developing the intrinsic foot muscles, and always having the body weight placed correctly on the feet (hyper-extension and bowed legs tend to throw the weight back) minimizes the overuse and irritation of the achilles tendon.
Both ballet dancers and athletes need the understanding that poorly developed foot muscles lead to exhausting the calf muscles. This in turn creates tension, loss of muscle tone and strength, and the achilles tendon develops tendonitis.
Once inflammation has set in, rest, and icing must be applied. A courageous patience is needed in recovery, as the pressure to stay in the daily competitive drive for a an upcoming exam, performance or team try-out, must be resisted. You long term persistence in your chosen field depends on avoiding a chronic situation.
Ballet, dance, and sports injuries can be prevented. If you are a pre-pro, a would-be ballerina, a dedicated recreational dancer or athlete, study all you can about how to avoid overuse and injury of your achilles tendon.
Click here and find out how a would-be ballerina and men in ballet get exactly the right fit in ballet shoes and pointe shoes, prevent dance injuries, get The Perfect Pointe Book, The Ballet Bible, and Deborah Vogel's products on injury prevention and functional anatomy.
Men In Ballet - How To Get The Most Out Of Your Foot's Demi Pointe - And Then Your Pointe Shoes
If you are among the men in ballet, you may choose to try some work in pointe shoes.
I am going to cover a few of the finer details in strengthening, stretching, and maintaining your foot mechanics, and health. You want to get the most out of the joints and muscles that you have in your foot for your demi pointe.
I'm not referring to demi-pointe shoes in the title above, but your own demi pointe, your foot.
Whether male or female, I recommend that you view some drawing or x-ray of an ankle joint, and the foot bones. It is good to know what is under your skin.
If your ankle joint is flexible enough for you to point a straight line, or more, you can probably get up onto demi pointe so that your toes are a ninety degree angle to your instep.
If you do not have this ninety degree angle, first you can work on the big toe joint. There is a muscle going under the big toe that can be gently massaged and stretched. Just working this joint can get you a gain on the angle you need to be fully on demi pointe, and therefore able to complete the postural plumb line of the body. That means getting the metatarsal joints under your ankle joint, regardless of how the arch in between shows up curve-wise.
To maximize the ankle joint flexibility, consider the tension that builds up in the tibial, or shin muscles, practicing ballet, that could detract from your ankle joint flexibility. This tension can be released, daily, with the help of a soft rubber ball. Kneel, then sit back on your feet, making sure there is no inward sickle. Roll the rubber ball just below the knee joint, into the top of the shin muscle. Lean on it, easing down the leg. Press into the tender spots until you feel some tension release. Don't lean too heavily on it, it is just to get a release of the tension.
Get all the way down to the ankle joint. You have now resolved some of the work-related tension and can do a stretch for the top of the ankle/foot area. Place the ball under the foot above the metatarsal joints (and you can do more than one spot here), between the big toe and second toe, and you'll feel a wonderful stretch. You can move the ball a little more in between the second and third metatarsal area, only if it does not cause the foot to sickle. And stretch again, gently holding the stretch for 10 seconds at first. You can increase the hold time, but not to the point of pain.
Then start on the other leg. I have Deborah Vogel to thank for that rubber ball use and foot stretch.
Using a rubber ball or a golf ball on the sole of the foot releases tension in those muscles. Roll it and push gently. You don't want to exert too much pressure on the foot joints, just feel for tension release. Do this daily, or after every class.
Soaking your feet in warm water and Epsom Salts or mineral salt (sea salt) and then icing tired and aching foot muscles is a treatment your feet deserve.
Especially if you plan to dance classical ballet in pointe shoes, attend to these few daily routines. They are not pampering, but needed care for all women and men in ballet.
Click here for a resource on ballet wear, pointe shoes, ballet technique articles and The Perfect Pointe Book.
I'm not referring to demi-pointe shoes in the title above, but your own demi pointe, your foot.
Whether male or female, I recommend that you view some drawing or x-ray of an ankle joint, and the foot bones. It is good to know what is under your skin.
If your ankle joint is flexible enough for you to point a straight line, or more, you can probably get up onto demi pointe so that your toes are a ninety degree angle to your instep.
If you do not have this ninety degree angle, first you can work on the big toe joint. There is a muscle going under the big toe that can be gently massaged and stretched. Just working this joint can get you a gain on the angle you need to be fully on demi pointe, and therefore able to complete the postural plumb line of the body. That means getting the metatarsal joints under your ankle joint, regardless of how the arch in between shows up curve-wise.
To maximize the ankle joint flexibility, consider the tension that builds up in the tibial, or shin muscles, practicing ballet, that could detract from your ankle joint flexibility. This tension can be released, daily, with the help of a soft rubber ball. Kneel, then sit back on your feet, making sure there is no inward sickle. Roll the rubber ball just below the knee joint, into the top of the shin muscle. Lean on it, easing down the leg. Press into the tender spots until you feel some tension release. Don't lean too heavily on it, it is just to get a release of the tension.
Get all the way down to the ankle joint. You have now resolved some of the work-related tension and can do a stretch for the top of the ankle/foot area. Place the ball under the foot above the metatarsal joints (and you can do more than one spot here), between the big toe and second toe, and you'll feel a wonderful stretch. You can move the ball a little more in between the second and third metatarsal area, only if it does not cause the foot to sickle. And stretch again, gently holding the stretch for 10 seconds at first. You can increase the hold time, but not to the point of pain.
Then start on the other leg. I have Deborah Vogel to thank for that rubber ball use and foot stretch.
Using a rubber ball or a golf ball on the sole of the foot releases tension in those muscles. Roll it and push gently. You don't want to exert too much pressure on the foot joints, just feel for tension release. Do this daily, or after every class.
Soaking your feet in warm water and Epsom Salts or mineral salt (sea salt) and then icing tired and aching foot muscles is a treatment your feet deserve.
Especially if you plan to dance classical ballet in pointe shoes, attend to these few daily routines. They are not pampering, but needed care for all women and men in ballet.
Click here for a resource on ballet wear, pointe shoes, ballet technique articles and The Perfect Pointe Book.
Technique For Pointe Work - Including For Men In Ballet
There are several famous male ballet dancers who have practiced classical ballet in pointe shoes.And many men in ballet want to take advantage of the opportunity to stretch their ankles and build strength.
I know many dance teachers would love to see some boys/men in ballet take pointe classes. Men in ballet actually can get exactly the right fit in pointe shoes, or let's say most can.
Why would men want to put on pointe shoes and do those cruel-looking exercises?
Some men in ballet might have the ambition of getting into Les Trocs (Les Ballets Trockaderos du Monte Carlo, all men, many ballerina roles). Pointe work is an absolute necessity.
The majority of men in ballet do not have the mobile ankles that typically females have. A high curve, or ANY curve on the top of the ankle and instep is a plus, to meet the ballet fashion.
Female dance students quickly learn how to use pointe shoes to stretch the top of the ankle and instep, if they need more flexibility in the ankles. In second position, rise onto pointe, and plie, allowing the weight to go over the platform of the pointe shoe. If the ankle is not flexible, the weight of the body, supported by the pointe shoe, gives it a fabulous stretch.
And to build strength, if ankle flexibility is sufficient, rise onto pointe, and plie but stay on the platform of the shoe. This requires restraining the ankle joint and holding it exactly where you want it. For ballerinas, this is a requirement for control in general, and a necessity for the repetitive tiny hops on pointe found in classical ballet choreography.
While there are perfectly good exercises to strengthen the intrinsic muscles of the feet without using pointe shoes, basic exercises on pointe are excellent for strengthening the feet. I recommend strengthening the feet before going onto pointe, but keep it up once you have started pointe classes. A simple exercise like rising onto pointe, slowly pressing down to demi pointe (as opposed to dropping down) and then pressing back up onto full pointe, will build strength. Adding repetitions as you can, you will develop strength and control.
Getting back to men in ballet - you will need to learn all about foot and toe types, and all the tips and tricks of toe leveling, toe spacers, and toe padding. No suffering needlessly. You are surrounded by experts - all the girls you study with!
I think many boys and men in ballet need to hear it from their teachers - that this would be a good idea! Not for the lucky men with the hyper-mobile arches, necessarily. Even for them, however, it would introduce an understanding of what ballerinas need, to check out the delicate balance that men learn to support, as a partner.
If you are among the men in ballet and already learning technique for pointe work - good for you!
Why would men want to put on pointe shoes and do those cruel-looking exercises?
Some men in ballet might have the ambition of getting into Les Trocs (Les Ballets Trockaderos du Monte Carlo, all men, many ballerina roles). Pointe work is an absolute necessity.
The majority of men in ballet do not have the mobile ankles that typically females have. A high curve, or ANY curve on the top of the ankle and instep is a plus, to meet the ballet fashion.
Female dance students quickly learn how to use pointe shoes to stretch the top of the ankle and instep, if they need more flexibility in the ankles. In second position, rise onto pointe, and plie, allowing the weight to go over the platform of the pointe shoe. If the ankle is not flexible, the weight of the body, supported by the pointe shoe, gives it a fabulous stretch.
And to build strength, if ankle flexibility is sufficient, rise onto pointe, and plie but stay on the platform of the shoe. This requires restraining the ankle joint and holding it exactly where you want it. For ballerinas, this is a requirement for control in general, and a necessity for the repetitive tiny hops on pointe found in classical ballet choreography.
While there are perfectly good exercises to strengthen the intrinsic muscles of the feet without using pointe shoes, basic exercises on pointe are excellent for strengthening the feet. I recommend strengthening the feet before going onto pointe, but keep it up once you have started pointe classes. A simple exercise like rising onto pointe, slowly pressing down to demi pointe (as opposed to dropping down) and then pressing back up onto full pointe, will build strength. Adding repetitions as you can, you will develop strength and control.
Getting back to men in ballet - you will need to learn all about foot and toe types, and all the tips and tricks of toe leveling, toe spacers, and toe padding. No suffering needlessly. You are surrounded by experts - all the girls you study with!
I think many boys and men in ballet need to hear it from their teachers - that this would be a good idea! Not for the lucky men with the hyper-mobile arches, necessarily. Even for them, however, it would introduce an understanding of what ballerinas need, to check out the delicate balance that men learn to support, as a partner.
If you are among the men in ballet and already learning technique for pointe work - good for you!
The " Too Old To Start Ballet " Age - And Build Strength To Dance In Pointe Shoes
Who is too old to start anything? How to choose a ballet teacher is more the right question.
Some dance studios have classes for older teens and adults to start ballet, and some do not. Some teachers enjoy teaching older beginners and some do not. So maybe an older teen/young adult can start and even build strength to dance ballet in pointe shoes. Do not let fears about weight, age and muscle tone hold you back.
Whatever art or workout you choose, you start just where you are. How to choose a teacher is what deserves the first careful focus of your time.
If there are several studios in your area, check out their site, and then phone and visit them. Ask if you can watch part of a class.
While most older students will not immediately produce the right look or execution of any ballet position or movement, the teaching should be the same. Accurate technique should always be explained.
The pace and presentation of 'late starter' classes will be different. There may be an assumption that certain aspects of ballet will never be achieved, and working safely is the priority. The more imaginative teachers will be able to present an adult beginner class with simple, artistic and elegant exercises.
Fears about weight should be dealt with from a health point of view. Ballet is definitely more difficult if you are overweight. If you are still growing, cut out the junk food and extra breads and carb snacks. Eating real fresh food is best, and you need never be starving.
An adult who wishes to lose weight might add an aerobic workout to their daily routines, 2-3 times a week. And if eating fresh whole foods without breads, potatoes and pasta does not achieve weight loss within a few weeks, see a medical doctor. Low thyroid, blood sugar irregularities and other hormone imbalances, and medications may be playing a part in this. (This could be true for teens too).
If you want to eventually do classes in pointe shoes, you simply must persist with the basics of ballet technique until your work is correct and strong. How long this will take depends on the teacher, how many classes you take per week, and your ability to concentrate.
So not being too old to start, choose a ballet teacher, build strength, deal realistically with fears about weight, and perhaps you will study in pointe shoes one day.
Whatever art or workout you choose, you start just where you are. How to choose a teacher is what deserves the first careful focus of your time.
If there are several studios in your area, check out their site, and then phone and visit them. Ask if you can watch part of a class.
While most older students will not immediately produce the right look or execution of any ballet position or movement, the teaching should be the same. Accurate technique should always be explained.
The pace and presentation of 'late starter' classes will be different. There may be an assumption that certain aspects of ballet will never be achieved, and working safely is the priority. The more imaginative teachers will be able to present an adult beginner class with simple, artistic and elegant exercises.
Fears about weight should be dealt with from a health point of view. Ballet is definitely more difficult if you are overweight. If you are still growing, cut out the junk food and extra breads and carb snacks. Eating real fresh food is best, and you need never be starving.
An adult who wishes to lose weight might add an aerobic workout to their daily routines, 2-3 times a week. And if eating fresh whole foods without breads, potatoes and pasta does not achieve weight loss within a few weeks, see a medical doctor. Low thyroid, blood sugar irregularities and other hormone imbalances, and medications may be playing a part in this. (This could be true for teens too).
If you want to eventually do classes in pointe shoes, you simply must persist with the basics of ballet technique until your work is correct and strong. How long this will take depends on the teacher, how many classes you take per week, and your ability to concentrate.
So not being too old to start, choose a ballet teacher, build strength, deal realistically with fears about weight, and perhaps you will study in pointe shoes one day.
Ballet Versus Football Or A Pas De Deux Without Pointe Shoes?
Correct ballet moves involve the elements of physics in terms balance, center of gravity, leverage and rotational mechanics among others.
Many people think that ballet is only heavily stylized dancing, and that especially male dancers are not very strong outside of their art. However, it is actually a complicated practice that involves advanced physics and mathematical principles. Although the years of ballet exercises allows the dancers to make it look effortless, it is an extremely difficult, disciplined, and enchanting art form. "American football is a sport hardly known for its grace and poise, but many players have swapped their pads for points, to do ballet."
Ballet is actually the foundation of most western dance forms, since ballet teaches good work habits, and a safe technique that enables the dancers to perform for many years with less chance of injury.
The graceful dance moves and combinations of movements in classical choreography are taught nowadays with increasing awareness of movement analysis.
The result of accurate ballet training is the ability to balance in a complex position, over a small area and support on the floor. Such as the tiny platform of the pointe shoe.
Physically, in ballet a condition of balance exists when a dancer retains her/his postural plumb line both in a motionless pose, or while moving on a vertical line.
"American football is a sport hardly known for its grace and poise, but many players have swapped their pads for points, to do ballet. Ballet dancers are renowned for their agility; they are able to leap, land and turn with, well... with balletic grace. This has led researchers and sports team players and coaches to experiment with ballet and other dance forms as a conditioning method. Superbowl winner and former top high-hurdler Willie Gault was one such player who believed his on-field performance and resistance to injury was enhanced by ballet. Ballet has in fact been used within American football since the 1970s."
The entire article is here: http://www.pponline.co.uk/encyc/can-athletes-dance-their-way-to-agility.
If a dancer's or football player's center of gravity isn't in line with other equilibrium state forces, they will be unbalanced and experience an angular acceleration towards the ground, causing them to fall to one side.
Turning movements are common in all forms of dance, which also requires a great deal of physical, as well as scientific awareness that helps achieve the mastery of a perfect turn, or, pirouette. Football players rely on well-trained reflexes to dodge, spin suddenly, maintaining balance and speed. Ballet training enhances these abilities. It also breaks down many basic movements football players use, allowing them to understand how to prevent muscle and joint injuries.
"Ballet versus football" might be more correctly referred to as a pas de deux in training forms for many athletes.
Whether you are a football player and/or a dancer in training, you might want to see some of the most strength building basic ballet exercises in The Perfect Pointe Book that will tell you all you need to start. It is written by a physiotherapist and will train you for injury prevention.
Ballet is actually the foundation of most western dance forms, since ballet teaches good work habits, and a safe technique that enables the dancers to perform for many years with less chance of injury.
The graceful dance moves and combinations of movements in classical choreography are taught nowadays with increasing awareness of movement analysis.
The result of accurate ballet training is the ability to balance in a complex position, over a small area and support on the floor. Such as the tiny platform of the pointe shoe.
Physically, in ballet a condition of balance exists when a dancer retains her/his postural plumb line both in a motionless pose, or while moving on a vertical line.
"American football is a sport hardly known for its grace and poise, but many players have swapped their pads for points, to do ballet. Ballet dancers are renowned for their agility; they are able to leap, land and turn with, well... with balletic grace. This has led researchers and sports team players and coaches to experiment with ballet and other dance forms as a conditioning method. Superbowl winner and former top high-hurdler Willie Gault was one such player who believed his on-field performance and resistance to injury was enhanced by ballet. Ballet has in fact been used within American football since the 1970s."
The entire article is here: http://www.pponline.co.uk/encyc/can-athletes-dance-their-way-to-agility.
If a dancer's or football player's center of gravity isn't in line with other equilibrium state forces, they will be unbalanced and experience an angular acceleration towards the ground, causing them to fall to one side.
Turning movements are common in all forms of dance, which also requires a great deal of physical, as well as scientific awareness that helps achieve the mastery of a perfect turn, or, pirouette. Football players rely on well-trained reflexes to dodge, spin suddenly, maintaining balance and speed. Ballet training enhances these abilities. It also breaks down many basic movements football players use, allowing them to understand how to prevent muscle and joint injuries.
"Ballet versus football" might be more correctly referred to as a pas de deux in training forms for many athletes.
Whether you are a football player and/or a dancer in training, you might want to see some of the most strength building basic ballet exercises in The Perfect Pointe Book that will tell you all you need to start. It is written by a physiotherapist and will train you for injury prevention.
Here's my favorite link:
Ballet Information Sites
Get helpful tips on ballet technique, ballet positions, ballet movement, and exercises to prepare for pointe.
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Learn Basic Ballet Positions
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Learning all about basic ballet positions will save you from wasting time. To dance ballet in pointe shoes, or to progress faster as an adult ballet beginner, means you need to truly comprehend classical ballet positions. Not only the tradition...
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Increase Your Ballet Turnout
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INCREASE YOUR BALLET TURNOUT! Deborah Vogel's definitive book on turnout helps you get more flexible for ballet technique, ballet movements and all ballet steps. Learn the correct ballet turnout muscles. Learn exercises for turnout and stretches for...
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Adult Beginners Learn Ballet
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Adult Beginners In Ballet worry that it's too late to start ballet. Adult ballet shoes are waiting for feet to fill them!
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THE PERFECT POINTE BOOK
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Exercises to prepare your turnout, get more flexible with ankle stretches, and dance better ballet in pointe shoes. Learn exercises for pointe work as safely as you can. Understand pointe shoe fitting, your foot type, and follow these expert exercise...
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Improve Ballet Technique
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EXERCISES TO PREPARE FOR POINTE AND TO IMPROVE YOUR BALLET TECHNIQUE: How can the recreational dancer, adult ballet beginner or cheer leader student tap into the best information in order to avoid ballet injuries and eventual arthritis? The tradition...
Real Men In Pointe Shoes
Dance Spirit Magazine interview with real men who said "I want pointe shoes":
Dance Spirit Magazine interviews four professional men in ballet who dance in pointe shoes.
by dianbee
I WANT POINTE SHOES! Many men in ballet want to learn exercises to dance in pointe shoes. Dianne M. Buxton recommends expert dance education to preven... (more)
