![]() Even the most exalted ballerinas sew on their own ankle ribbons and elastics, which secure the shoes, and, like baseball players breaking in new gloves, they all have rituals to make their shoes pliable and quiet. Because the shoe and the foot must work together as one, it’s up to each dancer to customize her pointe shoes. Pointe shoes are still made that way today, with cotton-lined satin, a rigid insole - or shank - and a cupped portion around the toes that is hardened with glue, canvas and paper. As her trick caught on, and choreographers began exploring the airy possibilities of steps en pointe, shoemakers started stiffening ballet slippers from the inside with layers of fabric and glue. In anticipation of New York City Ballet’s engagement at the Kennedy Center from June 6 to 11, I’ve been thinking about the incomparable strength of the ballerina, especially when it comes to her toes and what it takes to dance on them.ĭancing on the toes revolutionized ballet in 1832, when Italian ballerina Marie Taglioni caused a sensation in “La Sylphide.” In the title role of a highland fairy, she seemed to briefly trod the air, rising on the tips of her satin slippers, which she had reinforced with darning. They’re exerting 10 to 12 times their body weight, going up and down on that pointe shoe.” “Getting up on pointe is one of the most athletic things you can do. Schoene, a Chicago podiatrist and athletic trainer who treats dancers and Olympians. “Pound for pound, dancers are just as strong as football players, if not stronger,” says Lisa M. Pointe shoes may look dainty, but there’s an Elizabethan-corset quality to them, reflecting their seriousness of purpose: equipping the dancer to do what no human is designed to do. Little bones I didn’t know I had were suddenly squeezed in a death grip. I had my own flirtation with pointe shoes as a ballet student in my youth, and I’ll never forget my alarm as I slid my feet into my first pair. ![]() Dancers experience no such luxuries as they speed around the stage barefoot, or in heels, or in thin slippers with a flimsy leather sole - or, if they’re ballerinas, in those tight-fitting torture chambers known as pointe shoes. Athletes get to wear shoes that are protective and kind to their feet. While they may run, jump, squat, leap and pivot like any NBA star, dancers do it without shock absorption, arch support or any foot-comfort features whatsoever. ![]() Lovette shares this struggle with many dancers, whose feet take sustained abuse, and in the worst kind of footwear (or none at all). One of New York City Ballet’s principal ballerinas, Lovette has beautifully arched, supple feet, and often, they’re killing her.Īfter years of sprains and other injuries, she underwent surgery to correct a bone anomaly, but even with physical therapy, daily ankle exercises, ice baths and ointments, the 25-year-old still hasn’t made peace with her feet. ‘I feel like I’m always in a battle with my feet,” says Lauren Lovette, with a sigh. Sona Kharatian and Ashley Murphy are Company Dancers at The Washington Ballet. ![]()
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