| It is one of the most often asked questions in ballet, | | | | in the dancers feet, ankles, hips and core muscles, to |
| yet one to which there has not really been one | | | | help the girls cope with the demands of pointe work. |
| definitive answer; "How do I know when I (or one of | | | | A Dance Physical Therapist will see hundreds of girls |
| my students) am ready for pointe work?" Young girls | | | | each year for such assessments. The teachers find |
| dream of their first pair of pointe shoes for years | | | | the resulting written reports on each girl extremely |
| before they will be allowed to get into them, and, | | | | helpful for tailoring corrections in class, and all note |
| until now, it has basically been up to the teacher to | | | | the dramatic improvement in the girls overall |
| decide when each student makes the transition. | | | | approach to dance, both technically, and energetically, |
| This has lead to many girls being allowed up too | | | | once they have their assessment, and have specific |
| early, to "keep up with their class", often resulting in | | | | goals to work towards. |
| chronic foot injuries that may plague even the most | | | | As there is a limited number of dancers a therapist |
| competent dancer throughout their career, or even | | | | can see day to day, and due to the enormous global |
| permanent damage. Due to the variability in growth | | | | interest in Ballet, a program was developed that |
| rates of girls in the 11 - 14 year age group (when | | | | made this process available to the world. It is based |
| moist girls start en pointe) and the lack of complete | | | | around 4 stages, each with clearly described tests to |
| closure of many of the growth plates in the feet until | | | | assess each girls current strength and mobility, |
| at least 16 - 18 years of age, strength of the feet | | | | explanations of what any weaknesses may mean, |
| and ankles is a huge factor in preventing injury when | | | | and programs of specific exercises to help improve all |
| progressing to toe shoes. | | | | the highlighted areas. Once a girl can correctly |
| In Australia, many dance teachers have realised the | | | | perform all of the tests in each stage (each has a |
| importance of getting each girl individually assessed | | | | check-list to ensure that they are performed |
| prior to going onto pointe. The 'best dancer' within a | | | | correctly) she should be strong enough to commence |
| class may not necessarily have the strongest feet, | | | | pointe work under the guidance of a qualified teacher. |
| and many weakness can be hidden inside regular | | | | All of the tests and exercises are clearly |
| ballet slippers. They advise each girl to undertake an | | | | demonstrated with clear photographs of both the |
| assessment with a Special Dance Physical Therapist, | | | | correct and incorrect positions. |
| who will perform screening tests that take much of | | | | "The Perfect Pointe Book" is the essential companion |
| the responsibility off the dance teacher in deciding | | | | to any dancer, either aspiring to progress to toe |
| who is able to go onto pointe and when. Following an | | | | shoes, or already en pointe, and is an excellent |
| initial assessment, special strengthening and mobility | | | | resource for teachers of pointe work. |
| exercises are taught to strengthen any weaknesses | | | | |