Pointe technique

Pointe technique encompasses both the mechanical and artistic aspects of pointe work. In particular, it is concerned with body alignment, placement of the feet and the manner in which a dancer transitions to and from en pointe. A dancer is said to have "good" or "proper" technique when in conformance with the best practices of pointe technique, which in turn are generally referred to as proper technique. Placement and alignment En pointe dancers employ pointe technique to determine foot placement and body alignment. When exhibiting proper technique, a dancer's en pointe foot is placed so that the instep is fully stretched with toes perpendicular to the floor, and the pointe shoe's platform (the flattened tip of the toe box) is square to the floor, so that a substantial part of its surface is contacting the floor. Proper technique is also evident from a dancer's body alignment, by visualizing a straight line that extends from the center of the hip through the toes. When a properly aligned dancer is viewed from the side, the line passes through the knee, ankle joint and big toe joints. When viewed from the front, the line passes through the knee, ankle joint and the joints of the second toe or middle toe or the area between those toe joints. In cases of unusually high instep or metatarsal joint flexibility, it is sometimes necessary to flex the toes to achieve proper alignment. Movement into en pointe A dancer may transition to en pointe by any of three possible methods: relevé, sauté or piqué. In the relevé method, the dancer rises smoothly by rotating the foot downward until it reaches a fully extended, vertical orientation while the toe box remains in contact with the floor, thus "rolling up" on the foot. This may be done either gradually or rapidly, on one foot or both feet, beginning with feet flat on the floor or in demi-pointe (heels raised). In the sauté method, the dancer springs up and lands en pointe. In the process, the feet break contact with the floor and the dancer is briefly airborne. To transition to en pointe via piqué, a dancer will step out directly onto a fully extended, vertical foot. The other foot is then raised from the floor, thereby leaving the dancer en pointe. Modern ballet technique incorporates all three transition methods. Relevé and piqué transitions are typically used for adages, where strength, poise and controlled movements are highlighted. The more abrupt sauté method, which was introduced by Enrico Cecchetti, is typically used in allegros, where the relatively slow and smooth relevé and piqué transitions would be both impractical and visually inconsistent with the lively pace of movement. The sauté method is more common in Russian ballet. ==Training==

exercises Prerequisites Although age is not necessarily a prerequisite, many ballet students do not begin to dance en pointe earlier than approximately 12–14 years of age because bones in the feet are often too soft prior to that age and in such cases serious and permanent foot injuries could result from starting pointe work too early. While some students start pointe work at the age of ten or eleven, this should only be practised by highly accomplished and experienced students. The long bones in feet begin to harden between the ages of 8 and 14; dancing en pointe before one's bones have hardened can lead to trauma and growth-plate fractures that create deformed feet. and it is not uncommon for dancers to begin pointe work as early as age nine. Oftentimes, dance studios require their students to have their feet x-rayed, and for their physician to verify whether the student's feet are ready for pointe work. However, it is at the discretion of the dance instructor to determine if one year of pre-pointe is sufficient or if the dancer needs more time to prepare. Hence, it is quite common for students to take two or even three years of pre-pointe in order to properly assimilate all the material required for pointe. ==Health risks and injury prevention==

Dancing en pointe stresses the feet in various ways and thus can potentially cause injuries if the dancer does not plan ahead or take into account health and safety concerns. Injuries can result from improper technique, poorly fitting pointe shoes, and lack of effective cushioning and accessories. Choosing between cloth and gel, gel, only cloth, wool, etc. for toe pads is a personal preference for each dancer, but each style has its own benefits. Other exterior injuries include cuts caused by toenails piercing adjacent toes. This can be prevented by keeping toe nails cut short and filed smooth. Also, calluses may form on the bottoms and sides of the feet, which can crack open. This can be helped by the use of gel pad protectors on specific problem spots or using pads to surround the toes. - dancing en pointe has not. Further, pointe shoes are symmetrical, there are no lefts and rights. The toes have to flex inwards to conform to the tapered shape of the toe box. Pressure of the body weight on the toes in this misaligned position may, with other factors, contribute to the development of bunions. Other common injuries: • Deformities such as bunions, bunionettes, and hammer toes • Inflammations such as bursitis and sesamoiditis • Dancer's heel (Plantar fasciitis), a tightening of the instep tendon that causes discomfort in the instep and heel • Sprained ankles • Stress fractures • Achilles tendinitis and extensor tendinitis ==References==