| The "How Old Is Too Old?" question comes up often | | | | forces through the joints in the foot while jumping. Lack |
| in forums and discussion groups centred on pointe | | | | of control of the arch when en fondu, especially on the |
| training and it is an issue that not many teachers | | | | slightly rounded sole of a pointe shoe, will put the knees |
| therapists/authors address. Technically, there is less | | | | under great strain when dancing. Turnout strength, |
| risk to adult feet when beginning en pointe as their | | | | range and control are also very important areas to |
| growth plates are fully fused. However, very few | | | | assess. |
| adults who have not danced for several years in their | | | | If an adult has been taking ballet classes for some |
| youth will possess a foot of suitable shape or strength | | | | time, and working their feet well in class, the required |
| for dancing en pointe. "The Perfect Pointe Book", a | | | | strength in the forefoot will not take long to develop. |
| downloadable e-book designed to help girls get strong | | | | However, for the complete newcomer to ballet, |
| enough for pointe work, has details on exactly how to | | | | learning how to isolate certain muscles in the feet may |
| measure the range of motion in various parts of the | | | | take some time. Our bodies develop 'motor patterns' |
| foot and ankle required for pointe training. | | | | of movements that we do regularly, and it is important |
| The issue of flexibility is the main area that will hinder | | | | for this isolated foot control to become second nature |
| most mature students from achieving a fully pointed | | | | to the dancer before commencing pointe work. There |
| position of the ankle, as this often requires some gentle | | | | are so many other things to think about while en pointe, |
| stretching of the ligaments that is much easier when | | | | that the dancer must be able to easily control the |
| we are young. The range possible at the ankle also | | | | position of the toes in the shoe to have optimum |
| depends significantly on the natural mobility of the | | | | control and therefore safety en pointe. |
| ligaments in general. Therefore, in a 'hypermobile' | | | | The co-ordination required to control the feet en pointe |
| individual (general laxity in all ligaments of the body), this | | | | is something that is developed over years of dancing, |
| will be easier to achieve. However, if there is a real | | | | and, as for any student, I would expect an adult to be |
| desire to put the work in to improve this, I have seen | | | | dancing at least 3 classes a week for a year, and |
| some drastic improvements in foot and ankle range in | | | | ideally regular classes for several years before |
| adult clients. | | | | considering pointe work. |
| The strength requirements for an older ballet student | | | | All the points discussed in "The Perfect Pointe Book" |
| to progress onto pointe actually exceed the | | | | should be addressed for anyone of any age (men |
| requirements for a young dancer. This is due to the | | | | included!) before progressing onto pointe. It gives |
| fact that most adult dancers are significantly heavier | | | | guidelines and tests for range and strengththat is so |
| than the average 12 year old! The dancer must be | | | | important to prevent injury. It is not impossible for an |
| able to control the feet well for all of the tests, | | | | adult ballet dancer to progress onto pointe, but it will |
| especially when en fondu, and during petit allegro, as | | | | usually require a lot of work and dedication to achieve |
| the increase in body weight will create much stronger | | | | this safely. |