How a parent knows their child is ready for pointe

Is my child ready for Pointe? - This is one of the most asked questions in Ballet. Getting their first pair of pointe shoes is such a special time in a young dancer's life. It does not happen overnight, and there are many factors that go into pointe eligibility.

Below are the 5 factors a parent and student needs to consider before starting pointe:

1. The dancer's age

The proper age to start on pointe can be a bit controversial. Schools that are mindful of putting students on pointe too early are considering the bone development of a dancer's feet, and don't want to cause physical health problems as they get older. The bones and growth plates of the foot are usually complete around the age of 11 or 12, so this is when most professionals agree that pointe work can be introduced. A dancer must be strong enough to protect the bones before they are fully developed. Beginning pointe to early can permanently damage immature bones.

Pre-Pointe begins around age 10 so that the dancers are ready for pointe. Some teachers don't attach an age at all, they simply rely on ability.

2. The dancer's training before they start

In order to be able to dance on pointe, a dancer must have had time to achieve the form, strength, and alignment needed to make a successful transition into pointe work. Proper technique is required to be able to properly rise on the toes without risks of injury.

Professional ballerinas do not begin their careers in pointe shoes. It takes years to achieve the proper technique, strength, and alignment needed for a successful transition into pointe work. Ultimately it is up to the instructor's discretion to determine when a student is ready for pointe. Most instructors recommend a minimum of 3 years. In addition, summer intensives and private training also prove effective to advance a dancer's skills quickly.

Before dancer's begin pointe training, they must be able to maintain correct turnout. It is achieved from strength in the hips and not from the feet and knees. This correct turnout should also be easily maintained in demi pointe with weight centered forward over the big toe, heels forward to avoid sickling, and knees straight. Maintaining this correct turnout is more difficult en pointe. So dancers need a solid foundation in this training before going on pointe.

3. The dancer's readiness for pointe training

In order to safely learn pointe, a dancer must train in enough classes to maintain the proper technique, strength, alignment and flexibility needed. It is very important to be enrolled in 3-6 ballet classes a week. Initially students will start out at 2-3 classes in their flat ballet shoes, and a pointe class training at the barre. After a couple years, they move on to add a pointe class and variations class to their schedule.

Their training will also include strength exercises to maintain a strong, straight trunk while dancing without any tilt in the pelvis. A straight trunk is held by both the back muscles but more importantly by the lower abdominals. This requires conditioning to ensure that dancers don't have a weak trunk that will throw the student off balance while en pointe. Without this training it puts the dancer at risk for injury.

4. The dancer's physical readiness for pointe

All dancers will be formally evaluated by their ballet instructor to determine if they are physically ready to meet the demands of pointe work. They will be evaluated for correct body position and alignment, sufficient turnout, strength, balance, and mastery of basic ballet technique.

When evaluated for readiness the instructor determines if the dancer can perform a correct demi-plie position for all transitions. This needs to be done with turnout from the hips while maintaining the knee in line with the 2nd toe, and without allowing the heels to pop up, in pirouette, jump, and eleve preparation positions.

The instructor or examiner also evaluates the feet of a dancer and if they can maintain a full pointed foot in all steps, especially at the barre and then in center without "sickling". A dancer should also have enough strength to push themselves onto half-pointe. This step is harder to do en pointe and a bent leg is usually a sign of weakness or improper step preparation.

A dancer should be able to demonstrate the strength for pointe work by repeating exercises such as relevés, which are vital for pointe work. This exercise is more difficult to do en pointe because of the extra height, so strong relevés on half-pointe is a good sign of strength. A student that cannot go up to a high on half-pointe is not preparing her calf muscles adequately, and will not have the strength for pointe work.

A dancer must have well-placed hips, back, and legs with the strength to balance on half-pointe. This is essential because it is more difficult to correct en pointe, as the surface area for balancing is smaller and the strength requirements are greater.

Lastly, the student must be in good health and weight to be able to take a whole class. If the student frequently needs to rest because of illness or injury, she is not strong enough for the extra demands that pointe work requires.

5. The Dancer's Maturity

A dancer's emotional and mental demeanor shows that they have the maturity for pointework. Any ballet dancer will tell you, Pointe is not for the lazy. You need discipline, a positive attitude, respect for the artform, and incredible work ethic to become successful to dance en pointe.

Dancers in pointe classes realize quickly that it is far more demanding on their body than their traditional ballet class. A dancer needs to decide if they are prepared to suffer from the physical demands and the maturity to deal with sore feet and occasional blisters. Also the shoes require maintenance and personal inspection. Dancers are taught the correct way to put pointe shoes on their feet and tie them. They also must maintain them for their unique feet and the way they use the shoes. Even selection of the right foot requires the maturity of the dancer to know what is needed for their best support and execution of their abilities. The personal knowledge required to identify the right shoe comes from the maturity of the dancer.

It's very difficult to tell an eager young dancer that she is not yet ready for pointe shoes! Students and their parents must realize that our teachers have to be firm because there is a risk of serious injury in introducing pointework too soon. Starting pointe work is not just a question of age or physical maturity; readiness depends on their strength, technique, attitude, and commitment.

At South Coast our Ballet Conservatory focuses on all the steps to help a student prepare their bodies. They also educate the dancer on the dangers of attempting pointework without proper strength and technique and fully-developed bones. Yet when our Ballet Conservatory dancer is truly ready, the introduction to pointework is gradual, careful, and expertly supervised. Their pointe shoes are well chosen and properly fitted, to promote growth as a dancer.

Most of our dancers are ready to begin pointe preparation between the ages of 11 and 12. Occasionally a supremely strong 10 year old can safely go on pointe, but this is unusual. We feel that there is rarely any harm in waiting. A dancer who starts pointework a year later than her classmates almost always catches up.

It's tremendously exciting to embark en pointe, especially if you love ballet. It's a good sign: an indifferent dancer may not have the perseverance needed for the repetitive exercises that the pointe training entails.

However, don't let your enthusiasm tempt you to practice at home or to wear your new pointe shoes around the house! Proper supervision is so important, every step of the way. And when you are ready to go on pointe, congratulations. You have worked very hard for this moment.

We know that your child's development is your top priority. It's ours too. Join our award winning school, voted Best Studio for 16 years in a row, and CHANGE YOUR CHILD'S LIFE THROUGH DANCE!