Every ballet dancer has a pointe shoe prep process that’s akin to a sacred ritual. And while some modifications are meant to make feet look prettier, the most critical tricks help those precious shoes last as long as possible—because at $60 to $100 a pop, they have to. We rounded up some of the best hacks to get your shoes through the intensity of Nutcracker season.
Keep ’Em Dry
Moisture is the worst enemy of pointe shoes, and your sweaty feet start to break down those boots from the moment you put them on. Richmond Ballet artistic associate and school director Judy Jacob says taking the time to make sure your shoes dry out is the most effective and inexpensive way to make them last.
To get your shoes completely dry, try to rotate between pairs. “Students probably won’t have five pairs of shoes, like professionals do,” Jacob acknowledges, “but try to keep two pairs going at any given time.” She recommends storing your shoes in a mesh bag, which promotes air circulation. If you only have one pair, using a blow dryer on them at the end of the day can help. Jacob has students who put cedar wood blocks in their shoes at the end of the day, too, because cedar draws out moisture. (The pleasant cedar smell is a nice bonus.)
Unless you’re required to, don’t pancake your shoes—the water on the pancake sponge will make your box and shank break down more quickly. And if you have to color your shoes for a role, use dye sparingly, to avoid overwetting.
Mix ’Em Up
Another cheap way to save your shoes, Jacob says, is to rotate them from one foot to the other after each wearing. That won’t work for every dancer—if one of your feet is significantly larger than the other, for example, it’s a no-go. But if you can swing it, rotating shoes between feet will keep you from wearing the same pressure points over and over, extending the life of the pair. Jacob recommends marking each shoe with a number or symbol, so you can easily keep track of your rotations.
Glue ’Em Good
For many years, dancers used wood shellac to harden the boxes and shanks of their shoes. And while some dancers still swear by that old standby, Jet glue has become a newer favorite. Originally created for building model airplanes, Jet glue is fast-drying and leaves shoes harder than shellac does.
But proceed with caution: Once you apply Jet glue, there’s no way to remove it, and it can dramatically alter the shape of your shoe and the way it breaks in. Pittsburgh Ballet Theatre corps member Marisa Grywalski, who’s a big fan of Jet glue, is careful to use it only on the insides of her Freeds (castle maker)—if applied to the outside satin, it can create a slippery situation. “I put it inside the shoe at the bottom of the tip, and then around the top like I’m making a little cup in the box,” she says. “Then I glue on either side of the shank, until just below the place I like my shoe to break.” Grywalski reapplies glue when her shoes start to soften, which can sometimes get her through one more rehearsal or show.
Sew ’Em Up
Always wearing through your box? Give darning a try. Grywalski has come to rely on darning to make her shoes last, because it keeps her from breaking down the platform and box around her big toe too quickly.
Darning is tricky at first, and it requires a bit of a time commitment, but it gets easier—and quicker—with practice. When Grywalski first started darning, it took her two hours to do both shoes; these days, she can complete a pair in 30 minutes. You can darn your shoes two ways: either by simply whip-stitching around the platform with thick thread, or by stitching your leftover drawstring cord to the crown of the platform. Grywalski likes the drawstring method, because she finds it softens less over time.
It’ll take a while to figure out exactly where to position your darning stitches, so be patient. “It’s just trial and error,” Grywalski says. “If you don’t like it at first, it might be because the darning is in a weird spot.”
Ballet Academy East student Marisa Trapani demonstrating grand rond de jambe (photo by Nathan Sayers)
Few things are as beautiful as a seamlessly executed grand rond de jambe: There’s something majestic about the high arc of the leg from front to side to back (or vice versa). But many pitfalls line the road to effortless grands ronds, especially in the tricky side-to-back and back-to-side transitions. How can you make this difficult step feel as free as it looks?
Understand the Fundamentals
If you’re having trouble with grand rond de jambe, step back from the barre and think about the step abstractly. Darla Hoover of NYC’s Ballet Academy East and Central Pennsylvania Youth Ballet has her students try a grand rond with their arms—a much simpler prospect than supporting the heavy weight of their legs in the air. She asks them to carry an extended arm from front to side, with their palms facing the ceiling, and then from side to back, keeping their palms up. “Your arm doesn’t ‘turn over’ as you go from the side to the back, and that’s exactly the feeling you want to achieve with your leg,” Hoover says. Next, try a rond de jambe with your leg at 45 degrees. At that lower height, it’s easier to preserve your turnout and push through the “hitch” that sometimes happens between à la seconde and arabesque. Imagine the underside of your foot as the equivalent of your palm in the arm exercise. “Think about leading with your heel and pointed foot,” says Houston Ballet soloist Allison Miller.
In fact, you can prepare for grand rond de jambe from the very beginning of barre. Dmitri Kulev’s students at the Dmitri Kulev Classical Ballet Academy in Laguna Hills, CA, first learn the feeling of preserving turnout without “turning over” during tendu exercises. “I tell dancers to think of creating opposing spirals from both hips, so they’re rotating the legs evenly, especially from side to back,” Kulev says. “And we stress avoiding pronation in the supporting foot, which makes the entire supporting leg turn in.”
Ballet Academy East's Mary Watters mid-grand rond (photo by Rosalie O'Connor, courtesy BAE)
It’s Hip to Be Square
As you work up to grand rond de jambe at 90 degrees and above, resist the urge to go for your maximum height immediately. To create a beautiful sweeping arc, your leg should rise slightly with each change of direction—but not if that requires distorting your hips and shoulders. As Miller says, “If your body isn’t in a classical shape, the leg’s height doesn’t matter.” Avoid tipping your pelvis forward or back, lifting the working hip or twisting the standing leg to achieve height.
It’s counterintuitive, but the key to staying square as your working leg gets above 90 degrees is actually your standing leg. Try this: Put your weight well over the ball of your foot as you do a grand rond de jambe. As your leg goes from front to side, strongly engage the supporting leg’s turnout muscles. Keep rotating both legs away from each other as you move towards arabesque. You’ll find your working leg feels freer when your supporting side is well grounded.
A strong core—the secret to so much of ballet technique—is also critical to properly supporting your leg in grand rond de jambe. Bracing your stomach muscles will keep you from gripping your hip flexors, which will allow your leg to move more smoothly from one position to the next and your pelvis to remain square.
You Can Do More Than You Think
Everyone’s hip joints are different, but many dancers who think they’re too stiff in the hips to execute an effortless grand rond de jambe actually have plenty of range. Most of the time, hitching through transitions happens not because of a lack of flexibility but because of a lack of strength. Hoover likes to get hands-on to show her students just how much range they have: She’ll have them stand up perfectly straight, hold their leg in her hands and guide it around in grand rond de jambe. “When I’m supporting the whole weight of their leg, they can feel it traveling correctly and see the potential in their body,” she says. “They’ll say, ‘Wow, my leg really can do that!’ ”
Ask a teacher or friend to try Hoover’s experiment with you. If you find that your leg glides around easily when someone else is supporting it, focus on strengthening your inner thighs and hamstrings. Once your leg is well supported from underneath, rather than restricted by the gripping of your quads and hip flexors, a seamless grand rond de jambe will become much more attainable.
She just retired as a principal with Pacific Northwest Ballet, but as a teenager, Maria Chapman struggled to gain control of her flexibility. “I looked pretty good at the barre,” she says, “but I was relying on it way too much, and focusing exclusively on what my legs and feet were doing.” Without the barre’s support, she became a wobbly mess. “It wasn’t until I figured out how to use my back and core that I was able to be successful in center, too,” she says.
If you work well at barre but fall apart in center, chances are there’s a hole somewhere in your technique. But it can be hard to figure out exactly what the culprit is. Here’s how to pinpoint and fix your bad barre habits so you can stand strong throughout the whole class.
Leaning on the Barre
The barre is like a partner: It’s there for you when you need it. But many dancers overuse its support and become dependent. “You see this problem even with professionals,” says Cynthia Lucas, artistic director of Marin Ballet in San Rafael, CA. “They’re much stronger at barre than in center, and usually it’s because they’re relying on the barre too much.”
Students of the Jacqueline Kennedy Onassis School at ABT working at the barre. (Photo by Rosalie O'Connor, courtesy ABT)
To find out if this is your problem, first check your hand position. “Your thumb shouldn’t be underneath, but on top,” Lucas says. “Your fingers shouldn’t be curled around like a claw.” Avoid the “death grip”—that tight clench that makes your knuckles turn white. Instead, touch the barre with the pads of your fingertips, as if you’re playing the piano. Test your balance every once in a while by lifting your hand off.
If you’re having trouble letting go, take time after class to work out your core, which will help stabilize your whole body. Overdependence on the barre can actually weaken those critical core muscles. Franco De Vita, director of the Jacqueline Kennedy Onassis School at American Ballet Theatre, says Pilates and Gyrotonic classes can be especially helpful.
It’s difficult to move in a balanced, coordinated way in center if your body isn’t properly aligned—a flaw the barre can camouflage. “Even though the barre is there, you have to be able to stand up as if you’re in the center,” Lucas says.
JKO School students in center. (Photo by Rosalie O'Connor, courtesy ABT)
Chapman suggests using the mirror and watching yourself on video to make sure that your shoulders are over your hips and your spine is straight while you’re working at the barre. “My back used to shift in all directions,” she says. “Once I figured that out, I learned how to control my body.” And make sure you’re not crowding the barre, which can skew your alignment. To promote proper placement of the arms and shoulders, “there should be one person’s distance between you and the barre,” Lucas says.
Forcing Your Turnout
You might be able to hold a forced perfect fifth position when you have the barre’s support. But you definitely won’t be able to hold it in center—and that can lead to all kinds of problems.
Rather than aiming for 180-degree turnout at all times, focus on working with your natural rotation from the beginning of class. “Ninety degrees is enough,” De Vita says. “You don’t have to push it.” Make sure your pinky toes are on the floor and your arches aren’t dropped forward. “If you’re feeling pressure in your ankles or knees, that’s a sign that something is wrong,” Chapman says.
If you’re used to forcing at the barre and are having trouble finding your natural turnout, Lucas suggests thinking about opposition. “That’s how you hold true rotation—by feeling the resistance between right and left, up and down, from the tops of your hips to your feet,” she says. “Push into the floor, rotate, engage your back, lock and load.”
Super-hard shanks can make new pointe shoes feel like bricks on your feet. That’s why dancers have come up with tons of clever ways to bend, cut, score and tape their shanks—adjustments that can significantly improve a shoe’s performance. It’s a highly personalized process, and often a complete game-changer.
Here are a few of the most common techniques advanced dancers use to customize their shanks. With your teacher’s guidance, you can experiment with your shanks to make them look, feel and function better.
To Customize or Not to Customize?
Some people think you shouldn’t do anything to your shanks, because the resistance of a hard shank can strengthen the foot. But according to Natasha Brooksher, co-owner and director of Brooksher Ballet in Arizona, the opposite is often true. “If the shoe doesn’t fit properly, it can hinder your development on pointe,” she says. “A shank that’s too hard will keep you from getting over your box. You’ll be standing on the back edge of the platform, which limits your ankle’s range of motion.”
That said, those with extremely high arches and flexible insteps need the support of a hard shank, and might find that bending, scoring or cutting makes their shoes die too quickly. Not sure whether you should be customizing your shanks? Talk to your teacher.
Boston Ballet principal Lia Cirio demonstrates her three-quartering technique. (Photo by Lauren Pajer, courtesy Boston Ballet)
Bending and Folding
If you like a hard shank but want it to move with your foot, try bending the heel portion so it echoes the line of your arch. Some dancers fold their shoes around barres or even close them in doors. Margarita Armas, a 15-year-old pre-professional student at Miami City Ballet School, likes to bend her shanks gently in the middle. “I have flat but very flexible feet,” she says, “so I tend to sink down in my shoes. Keeping the full shank and just bending it slightly gives me the support I need, but makes it easier to roll down off pointe.”
Scoring and Scraping
Some find that bending the shank doesn’t give them quite enough flexibility. If that’s true for you, try flipping your shoes over and customizing the outer soles. With adult supervision, use a box cutter or knife to cut a small sliver out of each sole, right under the arch. That’ll give the shoes a little extra bend. You can also score (scratch up) the whole surface of the sole for extra traction, and/or shave down its edges so you can stand on flat without feeling unstable.
Lia Cirio's prepped pointe shoes. (Photo by Lauren Pajer, courtesy Boston Ballet)
When bending and scoring just aren’t cutting it, try…cutting it. A lot of dancers swear by three-quartering their shanks. “My toes are basically the only part of my feet that point, and that’s not a pretty shape,” Boston Ballet principal Lia Cirio says. “I used to three-quarter my shanks, and now I cut almost half of the shank out, so my shoes break in a really nice way. It lifts me up and makes each pair last longer.”
To three-quarter your shoes, start by ripping out the insoles. Use strong scissors to pop the shank off the heel end of the sole, and take out the nail(s) connecting the various layers. (That process can get messy and even dangerous, so if you’re a three-quartering newbie, work with an adult.) Trim a few inches from the board, so the shank stops under the apex of your arch. Some dancers, like Cirio, prefer to cut even lower. But start by trimming just a little at a time, Brooksher advises: “You can always take more off, but you can’t get it back on!”
Taping and Cushioning
Three-quartered shoes may make your feet look beautiful, but leaving cut shanks exposed can also lead to blisters on the soles of your feet (ouch!). To prevent this, Cirio uses duct tape to line the entire length of the shank. Armas also duct-tapes, but for a different reason: “The tape provides a little grip, which keeps the shoe molded to my foot, especially when I don’t have tights on,” she says. “It also prevents the nails from poking into my heel.”
Another way to make a cut shank more comfortable is to use moleskin padding, which you can buy at any drugstore. Brooksher recommends applying it as a cushion in the heel area of a three-quartered shoe. “That creates a faux back for the shank, so it doesn’t give you a blister under your arch,” she says.
The Pros and Cons of Three-Quartering
Weigh them carefully before cutting (and don’t forget to consult your teacher).
• makes it easier to get over the platforms of your shoes
• creates a shape that supports your arches
• can make your shoes last longer
• can give you blisters under your heel
• might not offer enough support for dancers with flexible feet and ankles
• can ruin shoes if done incorrectly
Your teacher has finally given you the OK to go on pointe! As any experienced ballet dancer will tell you, your pointe shoes can either be your best friend or your worst enemy. The right fit ensures that you’ll be able to work safely and gives you a solid foundation for your pointe technique. Seeing a professional fitter for your first pair—and coming to your appointment prepared—will set you up for success.
How to Find a Fitter
In many cases, your teacher will recommend a fitter. But what if she doesn’t? “I’d suggest calling a dance store you trust and asking if there’s a professional fitter on staff,” says Josephine Lee, who owns Dancer’s Choice in Irvine, CA (and the affiliated roving pointe shoe fitting business The Pointe Shop). You should also be sure to ask how many brands of shoes the store carries. A qualified store, Lee says, will have at least five to eight different brands. That variety is important: It indicates that the store sells lots of shoes, and it makes it more likely that you’ll be able to find the perfect shoe for your foot.
A pointe shoe fitting at Pittsburgh Ballet Theatre School (photo by Meghan Swartz, courtesy PBT School)
How to Prepare
According to Kerri Angeletti, who manages The Dancer’s Pointe in Pittsburgh, one of the most important things to figure out before your fitting is what type of padding you’ll be using, because padding can dramatically affect the fit of a shoe. Talk to your teacher about what she prefers. Some teachers will want you to start with a specific type of toe pad, such as a gel pad or lambswool. Others may request that you learn without padding at all. Either bring the teacher-approved padding with you to your appointment or be prepared to buy it at the shop.
It’s important that you come to your fitting dressed appropriately, in a leotard and tights, so the fitter can see your lines clearly. “Your first pointe shoe fitting is your first pointe class,” Lee says. Make sure your tights are convertible, since the fitter will also want to look at your bare feet and toes. And don’t schedule a fitting right after class, Lee adds, because your feet will likely be swollen from dancing, which will change the way the shoes fit.
What to Expect
Angeletti recommends allowing at least an hour for your first fitting. “You need to try on a variety of different shoes so that you can really feel the differences between them,” she says.
The fitter will usually begin by getting up close and personal with your feet. She’ll analyze the line created by the top of your toes, the width of your metatarsal and the length of your toes and feet. Then, you’ll begin the Goldilocks-like process of trying on shoes, searching for the pair that’s just right. In addition to looking at the shoe on pointe, Angeletti has the dancer plié in second position—“the position in which the foot is longest,” she explains—to determine if the shoe’s length is correct. As a pointe beginner, it’s especially important that your shoes fit well on flat as well as on pointe. You’ll start out spending relatively little time on your toes as you build strength.
How to Get the Right Fit
To describe the perfect fit, Lee uses a saying she first heard from a Capezio shoe designer: “The pointe shoe should mold to the foot like a cast.” Your shoes should feel tight, but your toes shouldn’t curl under and you shouldn’t feel pinching in your metatarsal. “Be very vocal about how you’re feeling in each shoe,” Angeletti says. Now isn’t the time to be agreeable. Your fitter needs as much detail as possible in order to get you the best, and safest, fit.
Nervous about speaking up—or just about the fitting process generally? Mackenzie Cherry, a student at Pittsburgh Ballet Theatre School, got a confidence boost at her first fitting because her whole class went as a group, which made her much more comfortable. If your class isn’t going on an excursion together, consider asking a friend if you can schedule your appointments together.
Don’t be discouraged if you don’t think your first pair is “the one.” It’s important to remember that this is a process. Lee points out that many dancers continue to change their pointe shoes periodically throughout their careers as their abilities and preferences change. And to answer one of the most frequently asked fitting questions: Does it hurt? “It’s a little painful,” Mackenzie admits, “but if you’re excited about being on pointe, you don’t really think about it.”
Common Fit Problems—and How to Solve Them
Pressure on the big toe
Josephine Lee, owner of Dancer’s Choice in Irvine, CA, says that too much pressure on the big toe can mean you’re sinking into the box, a problem that can be solved with a more tapered shoe. But it also may depend on your foot shape. If you have a long big toe, it’ll always bear more weight on pointe. As you train, you’ll gain strength and learn to lift up out of your shoes, which will alleviate that feeling.
Pinching in the metatarsal
“You need a wider box,” Lee says. The width is correct when your feet are nice and flat on the floor, without being able to wiggle inside the shoe. Some dancers need a more triangular box—one that’s wide at the metatarsal but tapered at the toe—to keep them from sinking into the shoe.
Lee says sickling on pointe may be a sign that a dancer is struggling to get up over her box and is pushing over her pinky toe to compensate. A softer shank can help you stand fully and correctly on pointe. The downside is that softer shoes wear out faster. But, Lee says, “it’s better than learning bad habits.”
Pennsylvania Ballet soloist Alexander Peters has a fantastic petit allégro. His dynamic small jumps hit crystal-clear positions, with beats that scissor impressively—making him an obvious choice for roles like the impish Puck in George Balanchine’s A Midsummer Night’s Dream. But that apparent effortlessness didn’t come easily. As a student, he struggled to maintain his turnout in the air. “I spent so many hours at barre, strengthening my turnout so I didn’t have to think about it when it came time to jump,” he says.
Petit allégro can reveal a dancer’s strengths—and weaknesses. When you’re doing fast jumps, it’s easy to lose your turnout, let your feet flop or forget to use your plié. Don’t just muddle through! Instead, slow down and figure out why you’re having trouble. Dance Spirit talked to Peters and two fellow professionals about the most common petit allégro problems, and what to do to give your small jumps a lift.
If you lose your turnout during petit allégro, you probably aren’t supporting yourself properly at barre. Kay Mazzo, a teacher at the School of American Ballet, suggests removing your arm from the barre intermittently as you work, to make sure your weight is in the right place. “It should be over your toes,” she says. “That forces you to pull up from the tops of your legs and hips to maintain your turnout,” rather than twisting from your knees. And be sure your back isn’t swayed, another sign that you’re not rotating from the correct place.
Lifting your heels in plié before you jump will also affect your turnout. “As soon as that happens, you have less surface area to push from, which makes it more likely that your feet will turn in,” says San Francisco Ballet School teacher Damara Bennett. As you plié in fifth position to prepare for a jeté or an assemblé, think of keeping your entire foot on the floor before you brush and leading with your heels as you jump—especially if the movement includes beats. “That will create a scissoring side-to-side motion,” says Peters, “instead of turned-in legs that go front to back.”
Alexander Peters showing off his perfect petit allégro (photo by Alexander Iziliaev, courtesy Pennsylvania Ballet)
A good plié is the foundation of petit allégro. “Dancers who don’t use their plié correctly end up bouncing all over the place like a yo-yo,” Mazzo says. “There’s no control.”
You might think that since the steps are so fast, there’s no time to plié. But trying to jump with straight legs will actually slow you down. When there’s no elasticity in your legs, “the momentum gets stuck,” Peters says. “A smooth plié will absorb the shock of the jump and keep you moving in the right direction.” Accent the “down” part of the step, and each transition will happen more efficiently. “I think of hanging the position in the air for a second, but getting back to the floor quickly,” Peters says.
Floppy feet can ruin even the most impressive petit allégro combinations. “Make sure your toes are pointing right underneath you, so it doesn’t look like a fish dangling,” Peters says. “Dancers also tend to forget about the second foot in glissade, so it ends up looking like a club.”
Thinking about your feet will help with noise control, too. “You’re not just bouncing up in the air and slamming down,” Mazzo says. “Especially for girls in pointe shoes, be sure to roll all the way through the toes and metatarsals as you return to the floor,” which will keep your shoe boxes from making clomping noises.
Poor Port de Bras
It’s easy to focus on your fast-moving legs and feet and forget about your arms. Sometimes, port de bras troubles stem from coordination issues. “In petit allégro, the arms have to work a little faster than the legs in order to get to each position at the right moment,” Bennett says. In a simple jeté, for example, the arm should come down while you’re still in plié and lift to first by the time you’re up in the air. If you’re having trouble, work on the feet and épaulement first, keeping the arms in fifth en bas. As you become more comfortable with the legwork, add in the arms, thinking about when each arm should arrive where.
Trouble with port de bras can also be a sign that you’re not supporting your back correctly. “Think of the top of your body going slightly forward when you jump,” Mazzo says. “If your arms are behind you, they’ll be a hindrance and not a help.” Lift your elbows and send energy out through your arms and fingers as you jump, keeping your back broad and open.
When done well, a serene penchée can be magical. But while it’s meant to look effortless, the extended arabesque is deceptively difficult to master, requiring control, strength and flexibility. DS talked to three professionals about the most common penchée problems—and how to avoid them.
New York City Ballet's Ashley Hod shows off her pristine penchées (photo by Jayme Thornton)
It’s easy to fall out of a penchée, especially when you’re wearing pointe shoes, which make it difficult to feel the floor. Achieving stability starts with good placement. To avoid falling backward, “you need to have your weight right over the ball of your supporting foot,” says Karen Gabay, artistic associate and ballet master at Ballet San Jose.
As you lift your working leg, spread the toes of your supporting foot inside your shoe and engage your core, which will help you fight the wiggles. Gabay also suggests focusing your gaze out rather than staring at the floor, which can be disorienting. Have that “past your fingertips” feeling.
Dropping Your Back
If you pitch forward and drop your upper back as you penchée, you’ll ruin the step’s elegant line. Jessica Collado, a first soloist at Houston Ballet, thinks of leading with her leg to maintain the correct shape. “If you think of your leg pushing you forward while you resist with your upper body, you’ll never get into a funky ‘plank’ position,” she says. On the way back up, Collado does the reverse: She leads with her shoulder blades, resisting against them with her lifted leg.
Forgetting About Your Arms
Many dancers are so focused on the height of the leg that they ignore their port de bras. But poorly held arms can ruin your line and jeopardize your stability—especially the often-forgotten back arm. Gabay suggests picturing a partner supporting your back wrist as you move into the penchée to keep the arm from dropping too low or getting too far behind you.
Focusing on stretching both arms outward will create a feeling of opposition, which will in turn help steady you. “I like to think about sending energy out through my fingertips,” says Miami City Ballet principal Tricia Albertson. “It puts me right in the center of my balance.”
Sitting in Your Standing Leg
Shifting your weight back into your standing leg and hip might give you an extra inch or two of height in your penchée, but it’s also a recipe for disaster. “The second you rock back on your heel and stick your bottom out, you’ll start to lose control,” Collado warns. Instead, think about lifting up on your supporting side and keeping your weight over your toes as you lean forward.
Opening Your Hip
This is another penchée no-no that, in theory, allows you more height and stretch. But distorting your line can actually make your penchée look less impressive. “Don’t sacrifice your position just to get the leg up,” Gabay says. “The key to creating the illusion of a deep penchée is to maintain a high-quality line”—which will let the audience see every millimeter of your true extension. Gabay recommends imagining a connection between your back toe and the opposing shoulder to keep your hips square.
Penchée Polishers: Three exercises that will help improve your penchée
“The Sphinx”: Lie on your stomach with your legs stretched behind you. Prop yourself up on your elbows, with your palms flat on the floor, engaging your back and abdominal muscles. Keeping your palms and hips on the floor, do a series of slow “push-ups,” lowering and raising your chest. “When you’re at the top, look at the ceiling, take a deep breath, and imagine your hips dropping down,” says Karen Gabay, artistic associate and ballet master at Ballet San Jose. “That lengthening will give you a more
Back-Ups: Lie on your stomach and lock your hands behind your head. Lift your upper body off the floor. Rock forward, lifting your legs; then rock backward, returning your legs to the floor and lifting your chest again. “Continue to rock back and forth in that position, feeling the connection between your back and your pelvis,” says Miami City Ballet principal Tricia Albertson. You’ll build strength in
your back and hamstrings.
Wall Assist: Albertson also likes to do penchées against a wall, positioning her supporting foot a few inches away from the baseboard. “I put my hands on the floor and lift my leg slightly off the wall, 10 times,” she says. “It activates the muscles I’ll need to hold
the position, and keeps me from sitting back in my standing leg.”
When I first started learning August Bournonville’s Flower Festival in Genzano pas de deux as a young student, I figured it’d be easy enough. There weren’t any complicated lifts or balances; it seemed simple. But when my turn came to try the piece, I had to stop partway into the coda, gasping for breath. The brisés and ballonnés that were supposed to look so light left my legs feeling like jelly. There was no preparation for any jump—I was expected to power through the intricate footwork by the force of sheer will. And all the while, my instructor was calling out, “Soften the arms! Stop making it look like work!”
The Royal Danish Ballet's Alexandra Lo Sardo and Alban Lendorf in Bournonville's Napoli (photo by Costin Radu, courtesy RDB)
Bournonville was the master of deceptively difficult choreography. His dances, which are still performed around the world, emphasize harmony—a balance of laser-sharp precision and serene grace that leaves audiences smiling. Conquering Bournonville’s meticulous footwork while maintaining an open, gracious épaulement will take time, but you’ll be a better dancer for it.
The Man Behind the Moves
Born in Copenhagen in 1805, August Bournonville is considered the father of Danish ballet. As a dancer, he performed at the Paris Opéra and in London before returning to Denmark as a soloist at the Royal Danish Ballet. Bournonville was known for his buoyant jump and masterful mime—the qualities that would come to define his choreographic style.
In 1830, Bournonville became ballet master at the RDB and went on to direct the company for nearly five decades. During that time, he staged about 50 ballets, dozens of which are still performed by the company. Among his many masterworks are La Sylphide, Napoli and Flower Festival in Genzano.
Bournonville’s choreography is known for its effortless quality. While his ballets demand powerful grand allégro and brilliant batterie from both male and female dancers, his style also requires soft épaulement, with the arms rounded and low. The head and upper body frequently gesture toward the working leg to bring attention to its movements.
Today, the RDB remains the primary home of Bournonville technique, but it’s also taught as part of the curriculum in many ballet schools around the world. Marianna Tcherkassky, a ballet mistress at Pittsburgh Ballet Theatre, gave masterful performances of Bournonville’s La Sylphide during her days as a principal at American Ballet Theatre. She developed her love for Bournonville after taking classes from former Royal Danish Ballet dancer Stanley Williams at the School of American Ballet. (Williams introduced many American dancers to the style.) “What I loved about it was playing with the light and shade of movement, which is so indicative of Bournonville,” Tcherkassky says. “You’re doing small bourrée steps low to the ground, and then you explode into the air.”
How to Do It
The Royal Danish Ballet's J'aime Crandall in La Sylphide (photo by Costin Radu, courtesy RDB)
For most dancers, Bournonville’s petit allégro poses the biggest challenge. Sylvia Deaton, now a corps member at Boston Ballet, studied Bournonville at the Royal Danish Ballet during an exchange program and found that it was important to nail down the choreography’s footwork separately from the port de bras. Tcherkassky remembers Williams emphasizing rolling through the feet and using deep pliés to absorb the rapid-fire movement of the lower body. “You use the floor to land like a cat,” she says.
Think about radiating the warm, genuine presence that defines Bournonville, too. Many story ballets are filled with princesses, but Bournonville tends to emphasize the human aspects of the dancer. Tcherkassky remembers rehearsing a variation from Napoli with Williams. “At the end, I finished with a flourish,” she says. “He said, ‘No, you’re done. You give it; you don’t have to sell it.’ ”