When It Comes To Pointe Shoes, Be Pedantic!

Internet shopping has no doubt made our lives so much easier and given us far wider varieties of choices. There are certain things, however, one should not purchase online.

When it comes to shoes, it is very difficult indeed to know whether they are comfortable or fit well. Shoes, even different pairs of the same design, are all differently cut and sewn so that it is very difficult to know how they will feel. They might rub in the wrong places, they might not be quite the right shape.

Pointe shoes are not something one should buy without trying them on with the help of someone with proper knowledge. Pointe shoes should fit like gloves. Ones toes are not supposed to be able to move around inside but at the same time they must not be overlapping. When one stands in the first position, there should not be any space above the toes either. The back of the shoes should be properly aligned with one’s feet. Even when all these criteria appear to be met when standing flat on the soles of one’s feet, things can and do change when one goes on pointe (stands on the tip of their toes). One’s feet often slip inside when the fitting isn’t precisely right. Because different makers’ shoes change in different ways as they are broken in, one has to have danced in them before becoming certain they are the right pair indeed.

This article is not to instruct people about how to fit pointe shoes themselves. This is to raise awareness as to how important it is to have well fitted pointe shoes both for the sake of technical improvement and the health of one’s feet. If the pointe shoes do not fit well, it is not simply a case of one’s feet sliding around inside and producing blisters; there is the potential to cause structural damage to one’s feet, ankles, knees, hips, back, spine… the whole body.

It is appalling to see how many dancers can go to even the large and well-known ballet shops and come back with ill-fitted pointe shoes. The fitters employed by these shops tend to follow a given a set of instructions but if they have not themselves danced on pointe properly before, and not tried at least a few different shoes from the major makes, it is very difficult for them to make a sound judgement. Different pointe shoe makers can produce shoes with noticeably different characteristics and fits. The shops have to accept the fact that the pointe shoes they carry, no matter how good they might be for many, may not be suitable for certain feet types. They also ought to have enough knowledge in order to advise when the dancers are not quite strong enough for pointe work and recognise if they are not standing straight.

Do not plump for an “easy” option when it comes to pointe shoes. Make sure you find someone who knows, really knows pointe shoes and pointe work. Try on a few pairs from different makes. It is, after all, for your own good. Many dancers are amazed at not only how much less pain they are in when the pointe shoes fit properly but how dramatically their technique improves.

Related reading: “How to Choose Well-Fitted Poite Shoes”


Lovely pointe work by Vaganova Academy's pupils.

Lovely pointe work by Vaganova Academy’s pupils.


Maya Plisetskaya

When I was only about two or three years old, my father had an 8mm film of the famous Russian ballerina, Maya Plisetskaya. It was a compilation of Plisetskaya dancing Dying Swan, Bach’s Prelude, Raymonda pas de deux and the Carmen Suite.

Oh, she was simply the perfect embodiment of a ballerina for this little girl who had fallen in love with ballet when she was only two and performed her own Swan Lake to the family in the living room. I begged my father to play the film ever so often. I could not get enough of her beautiful arm movements in the Dying Swan, her graceful lightness in the Prelude where her partner was wearing black and nearly invisible against the dark background, her crystal clear footwork in Raymonda, and her explosive technique in Carmen Suite.  But above all, it was her charisma that made me fall in love with her ballet.  I could not take my eyes off her, however little she might have been doing. I spent hours in front of our bathroom mirror trying to copy her arms and facial expressions. My mother still laughs about the time her three-year-old daughter copied Plisetskaya’s seductive move in the Carmen Suite!

There are people who command the audience’ s attention and will not let go of it once they have it. Plisetskaya is definitely one of those charismatic people. Whether you like them or not, you cannot take your eyes off them. There are many talented dancers all over the world, but truly charismatic dancers are rather rare.

I was so very lucky to have seen Plisetskaya perform live. She was certainly getting on a little bit by then; she was way over fifty when I saw her for the first time! But such thoughts never occurred to me then. It is only with hindsight that I think just how old she was at the time and it fills me with even more awe.

I was really privileged in that my mother valued quality and made sure that she showed me the very best dancers in the world as much as she could afford. I learned so much from watching them on stage, especially how they could command the audience and have the crowd at their feet admiring them!

Another thing I learned from them was their musicality. Really wonderful dancers are all so very musical. They never ever look as though they are dancing to music. They become one with the music. It looks as if their dance, their bodies, are making the music. They breathe the music.

Plisetskaya is one of those dancers whose movements, even down to a blink sometimes, seem as though they are the elements that make the music. She does not dance someone else’s choreography; each move she makes seems to be born from her.

Just a few years ago I went to see her eightieth birthday tribute gala. I was a little worried that she would be so old and frail and betray my image of the strong charismatic ballerina that I knew. How mistaken I was! The moment she walked onto the stage (in a pair of very high heeled shoes!) I could not take my eyes off her. She was still the same monstrously charismatic ballerina who captured my heart all those years ago. She even performed a small piece, although not on pointe, that was choreographed for her by Maurice Bejart, using two Japanese style fans, one red, one white. Oh, the movement of her arms! The musicality! Her artistry! But above all, her eyes! Those were the eyes that pierced through me when she shook my hand when I was a very little girl. Her handshake was firm. Her hand felt large and warm. She looked into my eyes and smiled. It might have been at that moment that I knew I wanted to be a dancer for sure. I went home, all the way from Tokyo to my house, which was good two hours away, without touching anything at all with my right hand lest her handshake would be dirtied. I refused to wash my hand that night and my mother had great difficulty trying to convince me that a handshake cannot be washed off. To this day, I can feel her handshake. And I feel so very proud that I am still involved in ballet even if I am no longer a dancer myself. No matter how small my part in the world of ballet might be, I am still living in the same world as this woman with such talent and such charisma.