The Finer Pointes: A Fitting with Pointe Shoe Expert Karen Schultz-McGuire
I am waiting for my next appointment to arrive for a pointe shoe fitting. The customer has been referred to me by Cheryl Abbott-Madeux, a former dancer with Joffrey Ballet and American Ballet Theatre and currently a dancer, teacher and coach. Our relationship is a great example of how working together as fitter and teacher optimizes the fitting and makes it more efficient.
We have had differing opinions about some things, such as pointe shoe padding. Preferring little between her, her pointe shoes, and the floor, Cheryl sometimes uses paper towels in her pointe shoes but usually does not wear anything at all. I am all for feeling the floor, but most students benefit from appropriate padding. We have options that were not previously available that help protect the young dancer's foot while still enabling her to feel the floor. We discussed it, and I have demonstrated on her students the kind of padding I suggest. Cheryl is now comfortable and so are the students!
Cheryl is usually there for the fitting of a student going on pointe for the first time. We talk beforehand about how the student moves in the classroom. We discuss where the student is technically and how Cheryl would like the student’s shoes to help her develop her pointe technique.
Sometimes, Cheryl suggests shoes that she thinks would help with the problems with which the dancer is struggling. Is the student studying in an intensive program or dancing for personal enjoyment? What, if any are her physical limitations? The student with less natural aptitude is often the most challenging fit. I want to ensure that dancing on pointe is a positive and safe experience, so I take extra care in this situation.
Karen fitting pointe shoes on students.
It is important to explain to parent/s that unlike most footwear, pointe shoes cannot be fit bigger to grow into. If the student is dancing intensively, she will require multiple pairs of shoes. Additionally, Cheryl and I explain to the parent/s that dancing on pointe is a commitment and requires the student to take a sufficient amount of classes to develop her strength.
The pressure from parents and children to wear pointe shoes before they are ready is probably one of the most stressful situations a teacher and fitter must negotiate. If you are faced with this pressure, proceed with caution. The decision not to put someone on pointe is up to you, the teacher. Decide carefully and explain that the decision is made to ensure the student’s health and safety.
Today, though, the student has the strength and skill and is, in fact, already on pointe. Sixteen-year-old Larrissa and her mom have just arrived for Larrissa’s initial fitting. First-time visits usually last between 1 1/2 to 2 hours. As suggested. Larrissa has come in convertible tights and has brought her current pointe shoes and padding.
Cheryl and I, as usual, have discussed the student’s physical aptitude and technical skill in a prior meeting. Larrissa has a strong core, is well turned out, her body supports the technique. The issues that Cheryl asked me to address in the fit are the lack of flexibility in her feet, her difficulty getting over the box and her tendency to pull back in her shoes. Cheryl feels that a different shoe would make her nice feet look better. Larrissa, her mother and I sit down and we review her pointe shoe history, which I record in a document and keep on file for subsequent fittings.
Next, I inquire about how many hours of class Larrissa takes and how many of those hours are on pointe. I also ask what shoes she has worn and what she has liked and disliked. If I feel there is a need, the student and I will discuss the proper care of her feet and toenails. I then do a thorough analysis of the student’s feet. This includes:
*Shape of foot: Egyptian, Morton Giselle or Combination *Instep/Arch *Foot Profile *Length of Toes *Bunions/Calluses/Blisters
I ask Larrissa to stand up in first position, to rise up to relevé and hold for 45 seconds. She then takes tendu á la seconde with each foot. I look for:
*Ankle Strength *Pronation /Supination *Where the student bears weight on her toes *Hammering/Knuckling/ Toe Winging *Hyperflexion
Larrissa then puts on her current pointe shoe and I assess how they look. This lets me see how she works in her pointe shoes. I look to see if she uses her core muscles to pull up out of the shoes. I also check to see if she sickles, gets over the box, pulls back, or goes over. Finally, I look for where her shoes break.
Now we are ready to discuss my assessment with Larrissa and her mother. Cheryl’s input is spot on; I see the same things she has. I explain to Larrissa that her long low arch and her tight tendons over her metatarsals are making it harder for her to get over her box and are causing her to pull back in the shoe. I also see that Larrissa’s pointe shoes are too long and wide. The box does not profile her tapered and compressible Egyptian foot. The shank is too hard and does not work with her arch. The shoes are also cut too high on the sides and heels and "eat up" her feet. Overall, they do not present her optimally.
It is a common problem: she has been fit in the current pointe shoe trend and design that I see on many students; the box and platform are too big and pasted too heavily; the full shank is too hard; and the discrepancy between the heavy paste of the box and the shank will not allow for an even break down between the two.
This popular style is meant to provide good balance and last longer. However, it usually results in the student using the shank for support, and consequently “sitting” in the shoe. This decreases the flexibility and the articulation of the toes and feet. The shank breaks down before the box does, due to the heavy pasting, causes the shoes to deteriorate faster and therefore pulls the dancer backward. Larrissa’s shoes have increased the friction she experiences when she rises up and lowers down and have exacerbated her bunions and blisters. I make recommendations about the kind of shoes I would choose based on my observations.
It’s almost time to try on some shoes! I often use this opportunity to show students how they may change padding, use tape, and minimize the amount of paraphernalia they use in the shoes; I also address sewing and shoe maintenance. I show Larrissa how to tape her long and flexible toes to give them more structure and reduce her blisters. We change her padding to cover her bunions.
I suggest shoes that are one to a half size shorter and have a width narrower than her current pair. The new pair has a lighter and tapered box. The platform is smaller, but high enough that she still has good contact with the floor. One shoe has a three-quarter shank, and I have pulled the tack off of the full shank of the other. The sides and heel are cut down. These are suggestions and subject to approval by Cheryl, who offers her input.
Larrissa's toes are straight out and touch the tip of the box both when she is standing and when she takes grand plié in second position. The satin is not straining where her arch is and the drawstrings are not cutting into her Achilles tendons. She experiences contact with either side of the box without pressure. There is no pinch in the heel of the shoe when she rises up on pointe in first position.
This is the way both Cheryl and I prefer pointe shoes fit. I make adjustments about fit based on the student’s age, technical level and her teacher’s preference, but for Larrissa, it appears we may have hit the mark!
To be sure, I ask her for feedback about how she feels in the shoes. I find that with first time pointe shoe fittings and younger students it is important to ask very specific questions and to physically demonstrate the movements the student should perform. Thoughtful and supportive questioning will elicit information about how the shoe is really feeling.
Larrissa is experienced and articulate. She says she feel more supported and lifted by the box. She feels more in control of her shoes and likes the way the three-quarter shank conforms to her instep and gets her over the box. After she describes that she feels a little pressure on her fifth toes when she is in first position and in sous-sus, I open up the box and push it out with a tool. This solves the problem and Larrissa is feeling good! I explain, though, that a dancer will not know for sure how pointe shoes are going to work until she dances on them. The warning is heeded but, even so, Larrissa cannot stop looking at her feet. She has that smile on her face that communicates a dancer is "one" with her shoes. Her mom is looking very happy, too.
I remind them that there is no magical pointe shoe. The well-fit pointe shoe will enhance the aesthetic line of the dancer and showcase her ability. There is no substitute for solid technique, which takes time and commitment. Larrissa will need to continue to work on stretching her tendons both in and out of the classroom.
Ideally, the fitter and teacher collaborate with students and parents to make sure that everyone understands that each student is unique. Cheryl and I work as team with a common goal: to find the best possible fit so that the student can forget about her shoes and dance.
Karen Schultz-McGuire is a professional pointe shoe fitter. She fits pre-professional students and ballet companies and in the USA and Canada. Before delving into the world of point shoe fitting, Karen trained with the Boston Ballet and danced professionally.