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Aug 05, 2020
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The History of Pointe Shoes: The Landmark Moments That Made Ballet's Signature Shoe What It Is Today
Pointe shoes, with their ability to elevate a dancer both literally and metaphorically to a superhuman realm, are the ultimate symbol of a ballerina's ethereality and hard work. For students, receiving a first pair of pointe shoes is a rite of passage. The shoes carry an almost mystical allure: They're an endless source of lore and ritual, with tips, tricks and stories passed down over generations.
The history of pointe shoes reveals how a delicately darned slipper introduced in the 1820s has transformed into a technical tool that offers dancers the utmost freedom onstage today.
1730s: Marie Camargo Invents the Ballet Slipper
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2Mzk4My9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1Mjk1OTU2Mn0.G7eLAbULt_FBmi7FzkKPw5pz6VnFC9gys4eWXIVyw2U/img.jpg?width=980" id="f34dc" class="rm-shortcode" data-rm-shortcode-id="2fa4b62ed07a2cc13e6cf90f47c18c38" data-rm-shortcode-name="rebelmouse-image" alt="A lithograph of Camargo in a floral gown and heeled shoes with one leg lifted" />Marie Camargo
Courtesy Jerome Robbins Dance Division, The New York Public Library
<p> During ballet's creation in the courts of Europe, dancers wore heeled shoes in line with the era's aesthetic. In the 1730s, Paris Opéra Ballet dancer Marie Camargo was the first to remove her shoes' heels, forging the way for the soft slipper we know today. "Camargo is the transitional point between a heeled shoe and pointe shoe. She is the ballet slipper," says Linda Murray, curator of the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts. The slipper allowed Camargo to perform leaps and fast allégros that were not possible in heeled shoes, expanding movement vocabulary for ballerinas.</p>1790s: Charles Didelot’s Flying Machine
<p> In the late 18th century, Charles Didelot, a Paris Opéra Ballet dancer-turned-choreographer, invented a wire rigging that allowed dancers to "fly" onstage. The apparatus lifted dancers up onto their toes before they flew. "His ballet <em>Flore et Zéphire</em> introduced the idea of weightlessness," says Murray. "From a choreographic perspective, this is the first notion of what it means to dance on pointe."</p>1820s–1830s: Marie Taglioni and the Romantic Ballerinas
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2Mzk4Ni9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0ODM2NzE5NH0.2G-hZAyokyYc6kIIZtGsQJXoE30JuP-Kd4EmXdLrO-U/img.jpg?width=980" id="ea5be" class="rm-shortcode" data-rm-shortcode-id="24111ce41d54148c63396678bf6e71ee" data-rm-shortcode-name="rebelmouse-image" alt="Lithograph of Taglioni in a dress covered in flowers and pearl jewelry and wings, standing on pointe in a low arabesque" />Marie Taglioni in La Sylphide
Courtesy Jerome Robbins Dance Division, The New York Public Library
<p> In 1823, the Italian dancer Amalia Brugnoli introduced pointework to ballet audiences, rising up to the tips of her toes in Armand Vestris' <em>La Fée et le Chevalier</em>. Brugnoli wore lightly stitched square-toed satin slippers, and had to use her arms and a visible amount of effort to get up on her toes. Nevertheless, she inspired the other dancers of the day, including <a href="https://www.pointemagazine.com/tag/marie-taglioni" target="_blank">Marie Taglioni</a>, to practice the technique. In 1832, Taglioni became the first to dance a full-length ballet on pointe when she premiered <em>La Sylphide</em>, choreographed by her father, Filippo Taglioni. "Marie Taglioni gets the credit and the blame for introducing pointework," says <a href="https://www.pointemagazine.com/tag/eliza-gaynor-minden" target="_blank">Eliza Gaynor Minden</a>, the head of design behind pointe shoe company Gaynor Minden. For Taglioni, rising up on pointe was more than just a stunt; she used her shoes—tight-fitting, darned, leather-soled satin slippers tied with ribbons—to convey character and emotion. Other Romantic-era ballerinas, particularly <a href="https://www.pointemagazine.com/tag/fanny-elssler" target="_blank">Fanny Elssler</a>, who excelled at fast footwork, pushed pointework even further in the years that followed. </p><div style="padding: 20px 0 40px;">
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1870s–1890s: Italian Shoes Set the Imperial Standard
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2Mzk4OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTU5NzE3MjUyM30.247KN5nBiCb-VzoG2AEgPiEavCGNiMjhik9fYJOoEZA/img.jpg?width=980" id="a3ccd" class="rm-shortcode" data-rm-shortcode-id="78b0e1a68e71026ecb4eb27d9b219551" data-rm-shortcode-name="rebelmouse-image" alt="Sarah Lane in pink Aurora costume in a pass\u00e9 with one arm in the air onstage" />American Ballet Theatre's Sarah Lane in Alexei Ratmansky's reconstruction of The Sleeping Beauty
Rosalie O'Connor, Courtesy American Ballet Theatre
<p> Later in the 19th century, Italian shoemakers developed reinforced pointe shoes with stiff boxes made from newspaper, flour paste and pasteboard. The shoes' cardboard insoles were reinforced with leather. "The Italian ballerinas were able to do more bravura steps on pointe, including sustained balances and multiple pirouettes," says Minden. Italian dancers traveled to Russia, where ballet was extremely popular in the imperial courts, and ultimately influenced Marius Petipa to incorporate pointework into his ballets. He used it to help define his characters, such as Princess Aurora in <em>The Sleeping Beauty</em>, whose long balances demonstrate her poise.</p>1910s–1930s: Anna Pavlova and Capezio
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2Mzk5Mi9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyMDEwODQ0OH0.6y0ErJf_fM4uzL3Eol6SJYfSBdaEsFnWzrhvRT0LbEU/img.jpg?width=980" id="e3a16" class="rm-shortcode" data-rm-shortcode-id="3a6e43688dd882e516422f890393c3ae" data-rm-shortcode-name="rebelmouse-image" alt="Black and white photograph of Anna Pavlova in a white swan tutu standing in fifth position on pointe with her arms crossed at her heart" />Anna Pavlova in 1905
Herman Mishkin, Courtesy the Museum at FIT
<p> Early-20th-century prima <a href="https://www.pointemagazine.com/tag/anna-pavlova" target="_blank">Anna Pavlova</a> had very high, unstable arches, so she put leather soles inside her pointe shoes and hardened the box for more support. When she made her first trip to the U.S. in 1910, Pavlova had her company outfitted in shoes made by the Metropolitan Opera shoemaker Salvatore Capezio, thereby launching the first international pointe shoe brand. While Pavlova helped bring pointe shoes into the modern era, her shoes still had a very rounded toe and narrow vamp, making them much less stable than those worn today. "Footage of Pavlova even shows that she's sort of rocking on her toes the entire time she's on pointe," says Murray.</p><img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2Mzk5NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0NDA2NzExOX0.Pi6VuFPF538chz7GljeHjP8LfbFvdoC9O78WNWo7OD0/img.jpg?width=980" id="4400a" class="rm-shortcode" data-rm-shortcode-id="34dbae2d2e234da672237f1df0818905" data-rm-shortcode-name="rebelmouse-image" alt="Close up photo of old heavily darned pointe shoe" />
Anna Pavlova's heavily darned shoe
Courtesy The Museum at FIT
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1920s–1980s: The Shoe Adapts to Abstraction
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2Mzk5Ni9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzMjk4NTgyM30.CVbDN5Yk6NpnFW5ZZoBHyr5pllJvmqzvTvKG813usdM/img.jpg?width=980" id="3d6c9" class="rm-shortcode" data-rm-shortcode-id="c0320889ee8156fef69234a3bafe96d7" data-rm-shortcode-name="rebelmouse-image" alt="Reichlen, in pink tights and a black leotard with a black belt, stands in a wide fourth position with her arms in the air." />New York City Ballet's Teresa Reichlen dancing Balanchine's 1946 The Four Temperaments
Paul Kolnik, Courtesy NYCB
<p> Throughout the 19th century, the main purpose of the pointe shoe was to serve a ballet's narrative, distinguishing the mortals from supernatural fairies and sylphs. "But in the 20th century, particularly with the emergence of the Ballets Russes and then George Balanchine, you start to see an interest in pushing the vocabulary of ballet instead," says Murray. Over the next several decades, innovators from Bronislava Nijinska to <a href="https://www.pointemagazine.com/tag/william-forsythe" target="_blank">William Forsythe</a> expanded the physical limitations of ballet technique, leading to a demand for a stronger, more supportive shoe. Designs like the flat, platform box we are familiar with today were developed to give dancers more control.</p>1990s–Today: New Materials and Methods
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2Mzk5Ny9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxOTMwNzQ0MH0.Kw3IPtXxk9KFn-6n1WrqZt9G8DNJBRKR4qA_kXmnXUY/img.jpg?width=980" id="8fa5a" class="rm-shortcode" data-rm-shortcode-id="0db2a3ff0c3a12391b3d32892399a2ef" data-rm-shortcode-name="rebelmouse-image" alt="Full page ad of two photos of Gillian Murphy with a quote below, and pink Gaynor Minden logo" />Gillian Murphy in an early Gaynor Minden ad
Courtesy Gaynor Minden
<p> In recent years, scientific approaches to pointe shoe construction and training have helped the shoe adapt to contemporary choreographic demands. In 1993, Gaynor Minden launched a shoe inspired by the shock-absorption found in athletic footwear, opening the door for other designers to experiment with modern materials to improve shoes' durability and fit. Emerging research in dance medicine has also made pointework safer. Dr. Sue Mayes, director of The Australian Ballet's pioneering Artistic Health program, collects data on all musculoskeletal complaints in the company, and she advises that proper fit for shoes is paramount to injury risk reduction. "The foot needs room to expand and contract to allow the shoe to act as a spring," she says, "We encourage dancers to be reassessed every year, even as adults." Mayes also stresses that proper preparation, gradual reintroduction of pointework after a break from dancing, and full leg strengthening can allow a dancer to perform on pointe without fear. "The last thing we want is for a dancer to feel cautious onstage."</p><img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2NDA4Mi9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1ODU0NTI3OX0.IAR-uPCTKrcPiqfLxQkE_HprRxmD3YhBMZ_rxpkZJtY/img.jpg?width=980" id="4f9eb" class="rm-shortcode" data-rm-shortcode-id="a2fa3d6eb99ea5571f180e9198f42984" data-rm-shortcode-name="rebelmouse-image" alt="Mayes adjusts the foot of a dancer sitting on a massage table in a studio." />
Dr. Sue Mayes working with dancers at The Australian Ballet
Kate Longley, Courtesy The Australian Ballet
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Beyond “European Pink”
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2NDAwMi9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYwMjIwMDU5NH0.2h0RNQqPYwIYy6yFIsq2QnaTuYFH1T8ZgRqxndNy8IE/img.jpg?width=980" id="27d71" class="rm-shortcode" data-rm-shortcode-id="1024bdcc1902af1612ed9101072b02ee" data-rm-shortcode-name="rebelmouse-image" alt="Two Black dancers in silver tutus put on satin pointe shoes" />Ballet Black dancers Cira Robinson and Marie Astrid Mence model Freed's line.
Tyrone Singleton, Courtesy Ballet Black
<p> Almost two centuries after their introduction, pointe shoes have finally begun to reflect the diverse skin tones of the ballerinas wearing them. "There's more to ballet than pink," says Eliza Gaynor Minden, head of design for Gaynor Minden, which released a collection of inclusive satin shades in 2017. The following year, Freed of London followed suit, in collaboration with the London-based dance company Ballet Black. And in the midst of June 2020's nationwide protests demanding racial justice, brands Bloch, Russian Pointe, Capezio, Nikolay, Grishko and Suffolk jumped on board, <a href="https://www.pointemagazine.com/bloch-pointe-shoes-diverse-shades-2646166285.html" target="_blank">promising expanded lines</a> released within the year. These options have helped free dancers from pancaking their shoes to match their skin tones, which can be costly and time-consuming. Most importantly, redefining what a pointe shoe looks like breaks down a long-outdated construct and makes ballet more accessible and welcoming to all.</p><img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2NDAwMy9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0MDEyMDQ0NX0.ucJa2yGSQNauATpe-gLkorn9VHkC16hU_jMM55-OvLY/img.jpg?width=980" id="a45cc" class="rm-shortcode" data-rm-shortcode-id="e8b8d1e3e7b2bb946535ce4a48f27e07" data-rm-shortcode-name="rebelmouse-image" alt="Four satin pointe shoes in different skin tones" />
Gaynor Minden's inclusive shades.
Courtesy Gaynor Minden
Danseurs On Pointe
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQ2NDAwMC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0ODc0NzkxN30.BITaSiMMTdKYtbGNCveClZZSn5aaDzMb9sDFQWzFfoI/img.jpg?width=980" id="9a128" class="rm-shortcode" data-rm-shortcode-id="31e24a930175a6ab5ad569300bd41fc8" data-rm-shortcode-name="rebelmouse-image" alt="Hayes in a short colored wrap skirt and pointe shoes in a pass\u00e9 with his arm extended to the side" />Complexions Contemporary Ballet dancer Maxfield Haynes frequently performs on pointe.
Nath Martin, Courtesy Complexions Contemporary Ballet
<p>The history of men performing on pointe, in works ranging from Bronislava Nijinska's 1924 <em>Les Fâcheux</em> to those by <a href="https://www.pointemagazine.com/tag/frederick-ashton" target="_blank">Sir Frederick Ashton</a>, <a href="https://www.pointemagazine.com/tag/alexei-ratmansky" target="_blank">Alexei Ratmansky</a> and <a href="https://www.pointemagazine.com/tag/mark-morris" target="_blank">Mark Morris</a>, has been to a largely comedic effect. Though the drag company Les Ballets Trockadero de Monte Carlo has brought real innovation and artistry to men's pointe technique, it's still been used to portray women. However, society's recent reexamination of gender norms has made pointework more accessible to dancers of all gender identities, with choreographers like <a href="https://www.pointemagazine.com/tag/michelle-dorrance" target="_blank">Michelle Dorrance</a>, <a href="https://www.pointemagazine.com/tag/james-whiteside" target="_blank">James Whiteside</a> and <a href="https://www.pointemagazine.com/tag/dwight-rhoden" target="_blank">Dwight Rhoden</a> weaving it into new works. In 2019, Russian pointe shoe company <a href="https://www.pointemagazine.com/male-pointe-shoes-2628773639.html" target="_blank">Siberian Swan</a> released the Rudolf, a model designed specifically for men. Pointework can also be an important strengthening tool for all dancers. "Occasionally we'll put men into pointe shoes as part of their rehabilitation," says Dr. Sue Mayes, director of The Australian Ballet's Artistic Health program.</p><div style="padding: 20px 0 40px;">
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Jul 31, 2020
Bill Cooper, Courtesy The Royal Opera House
Pro Pointe Shoe Hacks from Royal Ballet Principal Yasmine Naghdi
Did you know that Royal Ballet principal Yasmine Naghdi's pointe shoes are actually made up of two different models, combined? Below, watch pointe shoe fitter Josephine Lee interview Naghdi on all of her pointe shoe hacks, from her anti-slipping tricks to her darning technique.
Aug 04, 2020
Syvert Lorenz Garcia in Trey McIntyre's Who Am I Here? Courtesy McIntyre
The Trey McIntyre Project Is Back—And Completely Reimagined
By Nancy Wozny For Dance Magazine
Six years after shuttering his popular dance troupe Trey McIntyre Project, its eponymous founder is relaunching the company as a conduit for digital dance films, with a project called FLTPK. "It's not a company of dancers," McIntyre insists. "It's a community of artists."
In March, McIntyre was ready to premiere his David Bowie ballet Pretty Things, his first new work for Houston Ballet in nearly two decades, when the city shut down. With COVID-19 infections in the New York City area spiking, he decided to stay put.
<p>Having transitioned to dance filmmaker since the initial closing of TMP, he was eager to move beyond the lonely dancer in the living room trope—and to put the furloughed Houston Ballet dancers to work. "The COVID crisis has put the need for new digital content into high gear as people find ways to spend their time at home," says McIntyre. "There is a great hunger for art presented in this way, but a lack of great content."</p><p>So he made three dance films: <em>Who Am I Here?</em> with Chun Wai Chan, Karina Gonzáles and Syvert Lorenz Garcia; <em>The Call </em>with Chandler Dalton, Connor Walsh and Chae Eun Yang; and <em>Prāṇāyāma</em> with Harper Watters. The films go live <a href="http://fltpk.com/" target="_blank">today</a> as he announces the relaunch of TMP.</p><p>He sees his film work more of a continuation of his work as a <a href="https://www.instagram.com/treymcintyrephoto/?hl=en" target="_blank">photographer</a> rather than as a choreographer. "In making films, I'm more interested in capturing an authentic moment," he says. "Much like photography, I spend a fair amount of time talking with collaborators about the ideas we are exploring and seeing what comes up for both of us. Sometimes I create movement and sometimes I work with dancers on an improvisational structure."</p>
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzUyNjE5NC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0MDg5NjMxM30._qvh8rsjT9Kq0IgpJR-Xu61JjcS9WP3OAmgSoVshwHw/img.jpg?width=980" id="6e5f1" class="rm-shortcode" data-rm-shortcode-id="1fea4891702de963385e8793d34ecc0e" data-rm-shortcode-name="rebelmouse-image" alt="A lanky Black man wearing a black sweater and white ruffles developpes to the side" />
Still from Prāṇāyāma with Harper Watters
Courtesy McIntyre
<p>While working with the Houston Ballet dancers, he had his big idea: Why did it just have to be about him? Why not have others join the digital dance film party?</p><p>"My mind doesn't really have a brake system when it comes to dreaming, so naturally it just grew in more and more directions," he says. "I'm interested in the medium of digital work evolving into a more compelling and widely enjoyed art form. That's not a goal I can achieve alone."</p><p>He has organized 13 teams of artists that each include a choreographer, designer and composer. (It's up to the group to decide who they need—many also have cinematographers and some will have multiple dancers.) Some are experienced digital content producers, while others are newer to the process. The list includes Micaela Taylor, Sidra Bell, Cass Mortimer Eipper, David Dawson, Cathy Marston, Eoghan Dillon, Javier de Frutos, Yin Yue, Dores André, Melissa Barak, Alan Cumming, Steven Hoggett and Mike Tyus, who launches with the first team film the first week of September.</p>
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<p>The project is funded using <a href="https://www.patreon.com/about" target="_blank">Patreon</a>, which McIntyre has had some success with as a photographer. The crowdfunding platform provides ongoing support for artists to do their work. "This could be something that speaks to this very moment in history and provides income and an audience for many artists who don't know where to go next," he says. "The pot of money gets divided evenly."</p><p>For McIntyre, it's the best of both worlds to be an artist working in a community, but with everyone taking stock in how it moves out into the world. "Choreography is such a solitary and frankly competitive profession. I really love having colleagues who we can mutually benefit from each other's successes."</p><p>As for the future of this version of TMP, he sees it growing even more viable post-pandemic. "The fate of the world has suddenly opened up this opportunity for the new environment to move into the forefront," he says. "The world is different now and there is no going back to how it was. How exciting it is: the potential for something we haven't seen before to open like a flower. It could be magic."</p>
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