Got Pointe Questions? This Pointe Shoe Workshop Has Answers
Ballet dancers never, never, NEVER tire of discussing their pointe shoes—what brand and make they wear, how they discovered their perfect fit, their most innovative/bizarre padding strategies, their latest gross/amazing foot deformities. Pointe shoes are the tools of our art, the means by which we (hopefully) achieve beautiful ends. Of course we're obsessed with them: They're THAT important.
Because they're so important, they can be sources of serious anxiety for a lot of dancers, especially those just entering the world of pointe. But fear not, anxious pointe-ers: The School at Steps Pointe Shoe Workshop & Fair is here to address all your shoe-related worries.
Boston Ballet principal Lia Cirio's shoes (Lauren Pajer, courtesy Boston Ballet)
The annual workshop will be held at NYC's Steps on Broadway on Sunday, February 7. (Sponsored by our friends at Pointe magazine, it's part of Steps' Complete Dancer Series, which is all-around awesome—more info here.) The fun kicks off at 6:30 pm with a panel of experts discussing shoe fitting and foot care. And we do mean experts: Current American Ballet Theatre principal Stella Abrera, former ABT principal Ashley Tuttle, a pointe shoe fitter, a professor of orthopedic surgery, and Pointe editor in chief Amy Brandt will all be on hand to offer words of wisdom. Then, newly informed, you'll have a chance to try on pointe shoes from a range of manufacturers, including Capezio, Chacott, Gaynor Minden and Grishko.
Tickets are just $15 and sure to go quickly—get 'em here. Not a New Yorker but still eager for pointe advice? Take a look at our story about what to expect at your first pointe shoe fitting, for starters. And make sure you'll be getting our March Ballet Issue, which features expert tips from six ballerinas about how to find the perfect pair.
Misty Copeland. Her name is synonymous with exquisite artistry and outspoken advocacy. And her visibility has made a huge impact on the ballet world. Ballet's relationship with race has always been strained at best, hostile at worst. But Copeland's persistent message and star quality have finally forced the ballet industry to start talking about racial diversity, inclusivity, and representation. "The rarity of seeing ourselves represented is sad," Copeland says. "The more we see every hue and body shape represented on the stage, the more possibilities young dancers feel they have for themselves."
"Whole, low-fat, or skim?" The question of which milk to drink has gotten a little more complicated lately, with a wide variety of nondairy milks popping up in grocery stores. To find out which ones are worth your milk money, we had registered dietitian Monika Saigal answer some FAQs.
Yesterday, the dance community was heartbroken to learn that Jaime Guttenberg and Cara Loughran, both 14-year-old dancers, were among the 17 people killed on Valentine's Day in the shooting at Marjory Stoneman Douglas High School in Parkland, FL.
American Ballet Theatre principal Sarah Lane charms audiences with her bright energy and crisp technique. The San Francisco, CA, native first started dancing at age 4 at a local community center, and at age 7 started training in Memphis, TN, at the Classical Ballet Memphis. Her family later moved to Rochester, NY, where she continued studying at the Draper Center for Dance Education. In 2002, she was a YoungArts Foundation winner in dance, allowing her to become a U.S. Presidential Scholar in the Arts. She joined American Ballet Theatre as an apprentice in 2003, was made a soloist in 2007, and was promoted to principal last fall. Recently, she originated the role of Princess Praline in Alexei Ratmansky's Whipped Cream. Catch her later this spring during ABT's Metropolitan Opera season. —Courtney Bowers
You and I both know that dancing is the best thing since chocolate chip cookies! But its always nice when dance gets the recognition it deserves from non–dance-world peeps. That's why we did our own happy dance when we saw Shape magazine's article on how dancing can actually make you a better athlete.
When Ruby Castro became a Top 10 finalist on "So You Think You Can Dance" Season 13, she was a fresh, feisty new face to most at-home viewers. But in the dance world—particularly on the ballroom circuit—Ruby was already a household name. Miami-based Ruby grew up as a belle of the ballroom: Her parents, Manny and Lory Castro, are veritable superstars of the scene. They're the owners of Dance Town, an ultra-competitive studio in Doral, FL, and raised Ruby to follow in their furiously fast footsteps. Before she graced the "SYT" stage, Ruby had already been named a U.S. Junior Champion in Latin Ballroom, and competed on "America's Got Talent"—twice!
So, we know she's talented, we know she's versatile, we know she's stunning, and we know she can dance. But here's what you may not know about Ruby.
You know that thing when you're onstage at a competition and you catch your teacher unconsciously marking through every step of the choreography in the wings, just willing you and the rest of the group to dance perfectly?
Yeah—that happens in ice dancing, too. Case in point: the scene at the Olympic rink yesterday, as Canadian ice-dancing legends Tessa Virtue and Scott Moir skated their way to their third Olympic gold.
Obviously, their performance was all kinds of epic. But the off-ice "performance" given by their coach, Marie-France Dubreuil, was EVERYTHING.
Photo by Travis Kelley, courtesy Kathryn Morgan
In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email email@example.com for a chance to be featured!
I want to dance in a ballet company, but I'm insecure about my body. I'm not skinny, and I don't think I ever will be, because that's just not the way I'm built. Please be honest with me: If I don't have the traditional ballet body, do I have a future in professional ballet?