by Jan Dunn

Jan Dunn, MS

5)  Muscular imbalance:

To avoid injury, the muscles surrounding a given joint should be relatively equal in strength and flexibility (“balanced”), so that one side of the joint is not being stressed more than the other.  Different dance forms affect the body differently in this respect, depending on how it is being used. In ballet, for example, there are three common muscles imbalances:

-Quadriceps (front of the thigh) vs. hamstrings (back of the thigh):  the hamstrings are usually weaker, and are one of the most frequently injured muscle groups in dance.  One reason for this imbalance is often the emphasis on forward motion through space, which is powered by the quadriceps.  One way to address this particular concern, besides actual hamstring strengthening exercises, is to create class sequences which move into the back space  — for example running backwards in combination with a turn into a forward leap, then turning again into the backwards run.

-Gastroc-soleus (calf muscles) vs. anterior tibialis (front of the shin):  In ballet, because of the constant pointing of the foot, the calf muscles are usually the stronger of this muscle pair.  This imbalance can be one of the possible causes of “shinsplint” pain.  Using motions / exercises which flex the ankle often in dance training can help to address this imbalance, as well as specific strengthening exercises for these muscles.

-External hip rotators (turn-out muscles) vs. internal hip rotators (turn-in muscles):  This imbalance frequently exists because of the excessive amount of turn-out used in ballet, as opposed to parallel or turn-in movements.  The muscles which control internal rotation are usually weaker and more frequently injured because of that imbalance.  Creating parallel and internal rotation movements to add to the ballet barre is one way to address this situation, as well as strengthening exercises for the weaker muscle groups.

Many research studies have proven the importance of outside (of class) conditioning for dancers.  By addressing their imbalances with a specific conditioning program, such as Pilates / Gyrotonics / Franklin Method / cross training, they are able to more fully prepare for the demands of dance, and to decrease their injury risk.

6) Lack of warm-up:

Going into a class / rehearsal / performance without being adequately warmed-up first is almost like asking for an injury to happen.  Some dance medicine physicians even suggest that teachers lock the studio doors when class starts, so no one can enter late ! –that’s how important it is.

Some things to keep in mind regarding warm-up:

-Every dancer’s body is different, and has different needs in terms of what best warms up their muscles. No teacher, no matter how brilliant, can give a class warm-up that fits every individual person in that class.  The smart dancer learns what his / her own body needs, and designs his / her own brief warm-up to do BEFORE going into the studio.

-Many factors affect your warm-up, and how much    you personally need:

-Age: the older you are, the more time you need

-Injury: an injured area will need more time

-Weather: the colder it is, the longer you may

need, and vice versa with warm weather

-Physiologically a warm-up means that you have raised your internal body temperature by several degrees. This accomplishes several things:

-increases blood flow / oxygen intake

-increases joint lubrication

-increase the speed of neural transmission-

i.e, the message gets from your brain to your

muscles faster !

For most dancers in their teens or 20’s, it usually takes 15-20 minutes to reach the warmed-up state, depending on weather and other factors mentioned above.

-Once your body is warm and ready to dance full out, it can quickly lose that wonderful warm-up by standing still / not moving – for example, in a rehearsal, when you’re waiting to be shown the next section.  If you have to stand and wait in a class / rehearsal, keep moving in place !  Doing small movements will help to keep your body in it’s warmed-up state.

7) Psychological Factors:

Stress plays havoc with the body, in many ways. It can cause your Central Nervous System (CNS) to function at less-than-peak efficiency, slowing down the transmission of signals from your brain to your muscles, and makes it harder to concentrate.   Dance is a high-stress profession, and dancers who take good care of themselves learn stress reduction techniques, such as meditation.  This kind of self-care will do much to lesson your risk of injury in terms of psychological factors.  We’ve all heard the phrase “leave your ‘stuff’ (emotional baggage) at the studio door” – and it’s good advice – but hard to do. That’s why it’s important to incorporate stress relieving practices into your daily and dance life.

Premature Point Work:

This is something most dancers and teachers are aware of, but it’s still an important aspect of injury prevention. There are many factors that should be considered before putting a child on pointe. Chronological age (such as automatically at 12, an age where many students start pointe work) is not the most important factor.  It is very important to consider factors such as core stability, leg alignment, foot / ankle flexibility and strength, frequency and length of dance training.  The website of IADMS (The International Association for Dance Medicine and Science) has an excellent Resource Paper on this topic, available to all dancers / teachers / parents (www.iadms.org).

9) Adolescent Growth Spurt (AGS) concerns:

This is the age when rapid growth takes place, and the young dancer is at higher risk for injury.  It is also the age when students on a career path begin to train very intensively.  It is vital that teachers, parents, and students are aware of the many changes the growing body is undergoing at this point, and how to best adapt dance training to avoid injury.

The AGS usually happens between 11-14 (often later for boys), and lasts from 18-24 months.  Dancers may lose:

-          flexibility

-          -strength

-          coordination

-          technical control and skill

A dancer who could do triple pirouettes easily at age 10 may suddenly find her / himself having difficulty doing even one.  Loss of self-esteem is common, especially if you, the dancer, and your teacher / parents, do not understand the changes that are happening in your body, and how it is affecting your dance life.  As with the Resource Paper in Pointe Work, IADMS has a Resource Paper available on “The Challenge of The Adolescent Dancer”.  We will talk about the AGS in greater detail in a future article on 4dancers, but for now, be aware that it can have an impact on injuries happening to young dancers.

10) Poor  Nutrition:

Dancers frequently worry about their weight, and in consequence don’t eat the foods (or fluids) that they really need to dance in a healthy manner.  Our bodies need fuel, it’s as simple as that, and especially in a profession that demands peak physical performance.  Learning about nutrition is so important — and again, IADMS has an excellent resource paper on this topic, “Fueling the Dancer” !

One important point to make regarding nutrition is on calcium intake, and how it’s SO important, especially to the young dancer still in his / her teens.  This is when we are building our “bone bank” – laying down the bone that will last us for a lifetime.  If we don’t do this during these teen years, it may be too late to make up the loss.  Some studies have shown professional dancers in their late 20’s / early 30’s who have the bone density of 70-year olds, because they did not have adequate calcium intake when they were young.

Poor nutrition can also affect a young woman’s menstrual cycle, leading to ammenorhea (lack of regular periods). This hormonal imbalance can wreck havoc with the body, and also lead to the low bone density mentioned above.

So bottom line —learn about good nutrition and eat healthy foods / fluids !

So now we have our list of risk factors for dance injuries.  I mentioned at the beginning that most often an injury is caused by a combination of these factors.  Here’s an example:

-You haven’t been eating well for several months, trying to lose weight and not going about it in a healthy, knowledgeable manner.

-Your long time boyfriend / girlfriend broke up with you two days ago, and you are very stressed not only about that, but about a big audition coming up.

-You also have, unknown to you, some major muscle imbalances around the hip joint (you’ve had some pain / clicking in your hip joint, but you have chosen to mostly ignore it).

-You go into the studio without adequately warming-up, along with all these other factors coming into play, and during class you sustain a significant injury to the muscles around that hip.

So – now you’ve been injured – what do you do about it???  That’s the topic for next month’s 4dancers Wellness blog!  “Talk” to you then !!

BIO: Jan Dunn is a dance medicine / Pilates / Franklin Method specialist  based in Denver / Boulder, CO, and Los Angeles, CA.  She is Co-Director of Denver Dance Medicine Associates, and Adjunct Professor, University of Colorado – Boulder, Dept. of Theatre and Dance.  She has been active in Dance Medicine since 1984. Previously she was Coordinator of The Dance Wellness Lab, Dept. of Theater & Dance, Loyola Marymount University, Los Angeles, CA , and has held dance faculty positions at Connecticut College, Florida State University, Hartford Ballet, Washington Ballet, and Colorado Ballet.  She has been active with the International Association of Dance Medicine and Science (IADMS) for 22 years, serving as Board member, President, and Executive Director. Jan was Associate Dean / Workshop Coordinator at the American Dance Festival 1983 – 1991,  originated The Dance Medicine/Science Resource Guide; and was co-founder of the Journal of Dance Medicine & Science.  She has taught dance medicine, Pilates, and Franklin workshops worldwide, has published numerous articles, and presented at many US / international conferences.

by Jan Dunn, MS

Jan Dunn, MS

This month’s topic in our ongoing Dance Wellness series is “Causes of Dance Injuries” (also called “risk factors” in the dance medicine world).  We all know that dance is a risky business – injuries do happen.  But learning what causes them can go a long way in helping to reduce that risk, and keep you “Dancing Longer / Dancing Stronger” (actually the title of an excellent dance medicine books for dancers!).  All of the information in this article is supported by dance medicine research over the last thirty years.

The risk factors discussed below are NOT listed in any order of importance!  In many dance injury situations, more often it is a combination of “causes” that may result in injury (I will explain what I mean by at the end !). We’ll cover five today, and five tomorrow:

1)  Poor alignment and faulty technique:

While it is true that many injuries result from a combination of factors, this one is usually agreed to be one of the most important.  Dr. Justin Howse, longtime physician to The Royal Ballet in England (now retired) and one of the early pioneers in Dance Medicine, went so far as to say that all injuries were the result of faulty technique. Most current experts would agree that while faulty technique is a major component of injuries, they would not necessarily concur that it is the only factor.

By “Alignment problems” we mean such postural patterns as:

-forward head (the head not in good alignment with the spine and torso)

-forward shoulders (rounded shoulders)

-lumbar lordosis (“swayback”)

-thoracic hyperextension (protruding ribcage)

-hyperextended knees (knees straightened beyond 180)

- foot pronation or supination (rolling in or out)

A dancer who has good alignment is more likely to have “efficient movement” (using only the muscles and amount of energy necessary to accomplish the movement), and is less likely to be putting strain and tension on soft tissue (ligaments / tendons / muscles) around the joint, thus resulting in less possibility of injury.

An example:

A young dancer complains of knee pain. The dance medicine physical therapist or physician gives a diagnosis of patellofemoral syndrome, which frequently involves the patella (kneecap) not tracking properly in the patellar femoral groove (the groove in the femur through which the patella glides, on knee flexion and extension).  Looking at the dancer’s plie in first, the medical specialist and the dance trainer note that the dancer’s feet are turned out to 65 degrees, and the knees are not aligning over the toes, but falling instead in front of the great toe.  Foot pronation (rolling in) and lumbar lordosis (“swayback”) is also noted. The dancer’s external rotation (turn-out) in the hip joint is then tested lying prone (on the stomach), and is found to be 48 degrees – so she is “forcing her turn-out”, which can cause knee pain (and possibly other problems).  Recommendations are given for medical treatment for the knee pain, and she is also given cueing for proper plie technique, using her natural turn-out of 48 degrees, and not forcing at the knee and ankle.

The crucial point here is that ALL injuries in dance need to be evaluated for technique concerns, to see if this may have played a causative part.  If the dancer rehabs the injury without knowing if faulty technique is involved, the injury is more likely to re-occur when returning to full dance activity.

2). Anatomical limitations:

Every dancer’s body is different, with different capabilities.  Some dancers are very flexible (sometimes TOO flexible – more on that in a moment), and do not have as much strength as would be desirable.  Others are very strong, but lack the flexibility of their neighbor’s high extensions.  Knowing your own body, and its particular strengths and limitations, is key to avoiding injury.

A good example is the above mentioned dancer with actual 48 degrees turn-out, who was trying to go beyond what her body is capable of.   Here are a few more examples:

-many people are naturally uneven in their hip turn-out capacity:  one side may have 55 degrees, and the other only 48 degrees.  If the dancer consistently forces the lesser turned-out hip to match the one with more turn-out, problems may result around the hip joint of the lesser one, and possibly also further up or down the kinetic chain (for example, the knee / foot, or in the low back).

-many dancers have tibial torsion.  This is a slight bowing out of the tibia (the shin bone), often with the kneecaps pointing slightly inward.  Frequently both they and their teachers are unaware of this anatomical structure. Tibial torsion is fairly common (in a recent screening of college dancers, it appeared in over half the students) and is usually genetic.  It does not stop you from being a dancer (and many dancers have it, as mentioned in the college screening above).  However, it IS important that the dancer (and teacher) be aware of it, as it affects foot and knee alignment patterns.  The common plié cue of “knee over 2^nd toe”, does not usually work well for a tibial torsion leg.  If the dancer does the plie with that cueing, they may supinate (roll out) their feet, and may develop unexplained knee pain.  Once they are aware of their leg structure, and align their feet / knees accordingly, the pain frequently resolves and the possibility of chance of eventual injury is decreased.

I mentioned above that some dancers can be TOO flexible.  At the 2009 IADMS conference (International Association for Dance Medicine and Science), a keynote session was devoted to recent research in this area.  British researcher Dr. Rodney Grahame, MD, internationally known for his work in Joint Hypermobility Syndrome (JHS), was the featured speaker.  JHS causes the extreme flexibility seen in many dancers, and is a genetic condition which can predispose a dancer for injury.  Dancers with this condition are often unable to control the end range of movement (ROM) in a joint, and their bodies have increased difficulty understanding “core control” and stability. Accurately diagnosing this condition, and taking it into consideration in the dancer’s training, will help them to avoid injury and achieve their full potential.

The bottom line as far as this second risk factor is concerned:  It is important that dancers and teachers understand the individual student’s anatomical structure, and work within that person’s physical capabilities.

3) Environmental factors:

Dance injuries can sometimes happen due to factors in the environment that are often beyond the dancers’ control.  Being aware of these, and taking appropriate action, can lesson the possibility of injury.  These factors include:

-Temperature:  Too hot or too cold a studio / theatre.  Too cold means that the dancer will not be able to properly warm-up, or be able to keep the body warm while dancing.   Too hot may lead to loss of water and electrolytes (excessive sweating), causing muscle cramps / spasms, as well as more serious problems such as heat stroke.

-Floor:  Most teachers and dancers are aware that a concrete floor or poorly sprung wood floor (laid over concrete) is detrimental for the body.  Professional dance companies routinely carry specially constructed portable floors on tour, to absorb the force of gravity as the dancer moves.  Research shows a marked decrease in the rate of “shin splint” pain (in the front of the tibia, the shin bone) when properly sprung wood floors are installed. Another causative factor involving floors is the overuse of rosin, which can result in a hazardous build-up of uneven and irregular patches on the floor surface.

4)  Fatigue:

There are a number of ways to describe fatigue-related injuries in dance:

-The two periods in which injuries are more likely to happen are at the beginning and at the end of a dance season (or school year, with student dancers).  At the beginning, this is because often the dancer is returning to a heavy schedule after being off, and at the end because they are frequently tired from months of rehearsal, classes, performances, and not in peak physical condition.  On a daily basis, most dance injuries happen between 4:00 and 6:00 PM, again because the dancer is more tired than earlier in the day.

-Overuse syndrome:  Professional dancers average 45 hours a week of rehearsals, performance, and class, which together with extreme occupational demands and technique problems (see #1 above) can cause injury.  Young dancers in summer camps are at special risk for overuse injuries, when they are going from their usual school-year schedule, of 3-5 classes per week, to a summer program with 3-5 classes per day.  It is advised that student dancers who are enrolling in intensive summer programs do a pre-camp conditioning program, to help avoid injury.

-Even if the dancer is in good physical condition, and the situation is not one of the several described above, fatigue-related injury can occur if a class focuses a particular movement (jumps, for example), and repeats them over and over.

5)  Muscular imbalance:

To avoid injury, the muscles surrounding a given joint should be relatively equal in strength and flexibility (“balanced”), so that one side of the joint is not being stressed more than the other.  Different dance forms affect the body differently in this respect, depending on how it is being used. In ballet, for example, there are three common muscles imbalances:

-Quadriceps (front of the thigh) vs. hamstrings (back of the thigh):  the hamstrings are usually weaker, and are one of the most frequently injured muscle groups in dance.  One reason for this imbalance is often the emphasis on forward motion through space, which is powered by the quadriceps.  One way to address this particular concern, besides actual hamstring strengthening exercises, is to create class sequences which move into the back space  — for example running backwards in combination with a turn into a forward leap, then turning again into the backwards run.

-Gastroc-soleus (calf muscles) vs. anterior tibialis (front of the shin):  In ballet, because of the constant pointing of the foot, the calf muscles are usually the stronger of this muscle pair.  This imbalance can be one of the possible causes of “shinsplint” pain.  Using motions / exercises which flex the ankle often in dance training can help to address this imbalance, as well as specific strengthening exercises for these muscles.

-External hip rotators (turn-out muscles) vs. internal hip rotators (turn-in muscles):  This imbalance frequently exists because of the excessive amount of turn-out used in ballet, as opposed to parallel or turn-in movements.  The muscles which control internal rotation are usually weaker and more frequently injured because of that imbalance.  Creating parallel and internal rotation movements to add to the ballet barre is one way to address this situation, as well as strengthening exercises for the weaker muscle groups.

Many research studies have proven the importance of outside (of class) conditioning for dancers.  By addressing their imbalances with a specific conditioning program, such as Pilates / Gyrotonics / Franklin Method / cross training, they are able to more fully prepare for the demands of dance, and to decrease their injury risk.

Tune in tomorrow as we cover the next five!

BIO: Jan Dunn is a dance medicine / Pilates / Franklin Method specialist  based in Denver / Boulder, CO, and Los Angeles, CA.  She is Co-Director of Denver Dance Medicine Associates, and Adjunct Professor, University of Colorado – Boulder, Dept. of Theatre and Dance.  She has been active in Dance Medicine since 1984. Previously she was Coordinator of The Dance Wellness Lab, Dept. of Theater & Dance, Loyola Marymount University, Los Angeles, CA , and has held dance faculty positions at Connecticut College, Florida State University, Hartford Ballet, Washington Ballet, and Colorado Ballet.  She has been active with the International Association of Dance Medicine and Science (IADMS) for 22 years, serving as Board member, President, and Executive Director. Jan was Associate Dean / Workshop Coordinator at the American Dance Festival 1983 – 1991,  originated The Dance Medicine/Science Resource Guide; and was co-founder of the Journal of Dance Medicine & Science.  She has taught dance medicine, Pilates, and Franklin workshops worldwide, has published numerous articles, and presented at many US / international conferences.

Shannon Bynum

At first when I was asked to describe how I break in my pointe shoes and prepare them for the stage I was perplexed. The reality is not much at all! Most ballerinas (including myself up until last year) have a very religious routine to what they do to make the shoe fit perfectly. Each individual dancer’s foot is so unique that no two dancers use the exact same process. Some glue the box and use shellac to make the shoe last longer. Others may darn the tip of the shoe for better balance, break the shank, sew the sides down… the list goes on and on.

I was one of those dancers until I was in New York one summer finding myself at a standstill with my shoes. I just couldn’t seem to find the right pointe shoe for my foot. I was discouraged and unable to find the perfect match. Many shoes may have looked beautiful yet I wasn’t able to perform in them, or they were great to dance in and just didn’t look right.  Some died more quickly than I could sew a new pair, had me preparing them daily, hurt my feet, didn’t look as beautiful, or were just the wrong fit.

While in NYC a teacher had told me that I should wear either Freed or Bloch.  The only problem with that was every pair of Freeds or Blochs I had ever tried just didn’t do me any justice. Nothing against Freed or Bloch as some of my favorite dancers bring so much life to the stage wearing them. They just did not work for me.

I needed a shoe that not only looked beautiful on my foot aesthetically, but was also comfortable enough to dance in forty hours a week and without dying after one class! I finally came across my match in Gaynor Minden. Some dancers don’t believe that this pointe shoe is any good. In fact, the topic between ballerinas, teachers, and coaches is very controversial.

I agree to disagree; this shoe has changed my career. Gaynor Minden pointe shoes are far from traditional. They are like Mac and PC. They do the same thing in the end but are just different technology. Both are computers and some people prefer one to the other. I happen to be a modern day American ballerina and I feel very proud to have the opportunity to grow in these particular pointe shoes.

Shannon in her Gaynor Minden Pointe Shoes

The pointe shoe is a ballerina’s tool, and are most important item in my dance bag. I came back from FHL and ATFL surgery on my left ankle in 2010 and needed a shoe that was extremely supportive yet supple enough to help me gain back my flexibility and line. I have fallen in love with wearing Gaynor Minden’s. They offer me everything I need as a ballet dancer. They are consistent and last a long time so I can spend more time perfecting my work and artistry while spending less time worrying about my pointe shoe.

I first started out wearing a stock Gaynor Minden shoe then a few months later they started making me a custom shoe made specifically for my feet and the specs that I needed to have the best line. All I have to do now is un-wrap them, sew on my ribbons, elastic, and I am all set.

Gaynor Minden pointe shoes are not like the traditional pointe shoe. They are a completely new technology and generation of the pointe shoe. If dancers are evolving like they are, then why not the pointe shoe? That’s exactly what Gaynor Minden has done. They were tired of how painful all the pointe shoes were and how they would die so fast. On an average pointe shoe, you get to a place where it is broken in perfectly and that moment lasts for such a short time. With Gaynor Minden, it is always the same. I know what I am getting when I put that shoe on. I love that my shoe has a consistency I can rely on, especially in a career where the rep demands are so diverse.

Gaynor Minden pointe shoes are made of an elastomeric shank and box, cushioned moisture control lining, and a flat free of pleats bottom. They are also made to be extremely quiet with Poron, “an impact shock absorption system”. I cannot say enough amazing things about this shoe. What I love most about the way I prepare my pointe shoes is that it is so minimal which creates less anxiety and more time for fine tuning what matters the most, which is what we bring the the stage.

Thanks to this innovative pointe shoe,  few stitches with a needle and thread and I am good to go! Simple, clean and a new take on tradition.

Corns and blisters between toes can be painful for a dancer. Pain is usually noticed with wearing all closed in shoes.  In dance, the ballerina will have pain in pointe shoes, particularly when in demi-pointe.   The most common location is between the 4^th and 5^th toes.  The 5^th toe usually curls and abuts against the 4^th toe.   The lesion may initially appear and feel soft but will harden over time.  The softer lesion is usually a blister which will develop a callous.  Dancers often attempt treatment with applying medicated pads which contain salicylic acid.  This medication can injure the skin and result in a more painful lesion.

Treatment: 

• Remove pressure from the painful lesion:  medical grade lambs wool, gel pads or other spacers will assist in separating the toes and relieve pressure
• Clean the webspace well with soap and water
• Dry the webspace with a tissue
• Apply Betadine (iodine) solution or alcohol, as an antiseptic, at least twice daily
• Soak your feet in Epsom salt water with white vinegar twice daily
• Do not attempt to remove the skin as this will provide assess to bacteria.
• If redness or swelling is seen, notify your physician as this may indicate a bacterial infection

Prevention:

• Reduce moisture between toes:  Dry flaky skin between toes suggest a fungal infection (athletes feet).  Dry the toes well after a shower with a tissue.  Apply white vinegar to the webspace twice daily.  Apply anti-fungal powder between the toes.

• Properly fit pointe shoes:  Longer toes require a longer vamp.  Your toes will elongate as you grow and therefore your vamp will need to be longer.  In addition, you may require a different shaped box as your feet change in size and shape.  Rather than always ordering your pointe shoes on line, have a periodic evaluation by your pointe shoe fitter for appropriate sizing and fitting.
• Sickling:  This will place excessive pressure to the outside of your foot pressing your 5^th toe against your 4^th toe.  Have your dance instructor evaluate this as a possible cause.
• Knuckling of the toes:  Knuckling of the toes will curl the toes, resulting in more friction between the toes.  This can result when having difficulty in going up to pointe.  The shank of the pointe shoe may need to be evaluated and/ or appropriate exercises/ technical changes need to be addressed.

BIO:  Frank Sinkoe, DPM is a native of Atlanta, Georgia who has been practicing podiatry in Atlanta for 23 years.  He has a general practice in podiatry and a subspeciality in dance medicine. Dr. Sinkoe serves as the podiatrist for the Atlanta Ballet and is a member of the International Association for Dance Medicine and Science (IADMS).  He is married with two children. Reach him at 404-329-5050 or by e-mail at doctorfrank (at) bellsouth.net

Ouch Pouch Jr./Color

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The Ouch Pouch Jr. comes in two different sizes so it can fit every foot.  The small sizes fit small or narrow feet and the large fits larger or wider feet. You can even cut it down to make it the perfect fit. It hugs toes nicely and does not stick to the skin like most gel pads. They are easy to clean and last throughout many pairs of pointe shoes. You can even get them in three reversible color combinations!

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Brenda R. Neville, Photo by Christopher Duggan

What is your background in dance?

I received my early dance training at the Milwaukee Ballet School and went on to graduate from Butler University in Indianapolis with a B.A. in Dance Pedegogy.  After graduation, I moved to New York and then spent the next 15 years performing and touring internationally with a variety of companies, choreographer’s, and musical theatre productions in styles ranging from ballet to flamenco to Irish Step dance.

What are you doing now?

Aside from my work at Freed’s, I am the founder and Artistic Director of Neville Dance Theatre, a contemporary ballet company based in New York with annual performance seasons, and teach ballet classes and world dance workshops at The Ailey School, Steps on Broadway, and Covenant Ballet School of Brooklyn, to name a few.

Brenda R. Neville with SAB student Ashley McAleer, Photo by Christopher Duggan

How did you become a Professional Fitter?

When I wasn’t performing or touring, I supplemented my time and income in New York working with pointe shoe manufacturers as a fitter, manager and product tester. It’s now been over 15 years that I’ve been in the business.

What organizations have you worked with in terms of fitting pointe shoes?

I have extensive experience working with a variety of pointe shoe manufacturers, in particular Freed of London, Gaynor Minden, and Chacott. I work closely year round with students from School of American Ballet, American Ballet Theatre/JKO School, Boston Ballet School, and schools across the country providing pointe shoe and fitting advice, and travelling to schools and summer programs giving fittings and lectures.

Brenda R. Neville doing a fitting, Photo by Christopher Duggan

How can getting a professional fitting benefit a dancer?

A fitter with extensive and diverse fitting experience (and possibly even first hand experience in dance themselves) is extremely knowledgeable with the many different brands and styles out in today’s market and knows which ones work best for differing foot types, shapes, strengths, and the myriad of other variables that go into finding the perfect match between foot and shoe.

Professional fitters also tend to have a working relationship with local teachers, choreographers and schools and can further help the dancer choose the shoe that will work best for them in these regards to, as well as. An experienced fitter also is able to quickly deal with common issues such as twisting shanks, sinking, durability, strength requirements, overall look and performance, which can be confusing and costly for a dancer to try and figure out on their own.

Who should consider getting a professional fitting?

Dancers going for their first pair of pointe shoes absolutely need to see an experienced fitter with a wide stock selection. I also recommend anyone looking to switch to a new brand / style do the same with a fitter/store that has specific knowledge and a wide stock selection of the specific brand / style you are interested in.

Lastly, any dancer experiencing issues such as blackened toe nails, tendonitis, bruising or corns between the toes or bones, or other persistent or ongoing physical issues should see a professional fitter for a shoe/fitting evaluation in addition to speaking with a physical therapist or health care professional.

Brenda R. Neville with SAB student Ashley McAleer at Freed, Photo by Christopher Duggan

What are some typical mistakes people make when trying to find the right pair of pointe shoes?

Going with a particular style/size/model because it looks great or works/worked for a friend, teacher or other dance professional.  Everyone is unique, and what works best for someone else may not be what will work best for you. Be open to trying many different brands and styles until you find what works best for you individually, and an experienced fitter can be of great assistance in offering you advice.

Also, sometimes stock availability plays a part in pointe shoe selection mistakes.  Make sure when selecting or purchasing shoes you get the style, brand and size you are looking for.  If you are sure of what you need and a retailer or manufacturer does not have it available, ask if they can order it for you or try to find it somewhere else.

What is the most rewarding part of your job? 

A dancer’s job is to dance, and as a performer, it can be exceptionally frustrating if your focus is instead on your shoes.  It’s very rewarding for me to be able to help dancers find the shoe that is right for them, one in which they can perform with freedom and comfort and ultimately, just dance!

BIO: For over two decades, Brenda R. Neville has performed and choreographed in over 18 different countries including Argentina, China, Hungary, Japan, Romania and Spain with companies such as the Milwaukee Ballet, Indianapolis Dance Company, AllNations Dance Company, Marc DeGarmo & Dancers and Covenant Ballet Theatre of Brooklyn.  An extremely versatile singer and actress as well, she trained at the Lee Strasburg Actor’s Studio in NYC and has performed lead roles in numerous musical productions such as “Footloose”, “My Fair Lady”, “La Cage aux Folles”, “Crazy for You” and in several film and commercial roles. She has trained and performed with some of the top talents in dance today, including Juan Carlos Copes, Antonio Cervila Jr., Jose Molina, Soledad Barrio, Magdalena, Sean Curran, Elizabeth Parkinson, Niall O’Leary, Marjorie Mussman, Graciela Kozak and Diana Cartier and at schools including The Ailey School, American Ballet Theatre, the Milwaukee Ballet School and Peridance.

An active dance teacher, Brenda teaches Junior Division ballet at The Ailey School, Advanced Ballet and Ethnic Dance at Covenant Ballet Theatre of Brooklyn, open Flamenco and Argentine Tango classes at Steps on Broadway, and guest teaches at various studios and schools around the country.  Her students have been accepted into some of the most sought after and reputable dance programs, colleges and companies in the country, including American Ballet Theatre, Joffrey Ballet, Central Pennsylvania Youth Ballet, LaGuardia Performing Arts High School, The Ailey School and Point Park College and on Broadway.

An expert ballet pointe shoe fitter, Brenda heads the US Retail Department & NYC Boutique for Freed of London and has aided in the development and promotion of the Gaynor Minden pointe shoe.  She is a graduate of Butler University in Indianapolis, Indiana where she received a B.A. in Dance Pedagogy, cum laude, and is an original co-founder of World Dance Theatre.  And now, Brenda is an ABT Certified Teacher, who has successfully completed the ABT Teacher Training Intensive in Primary – Level 3 of the ABT National Training Curriculum.

Thank you to Christopher Duggan for the photography in our Freed posts:

Christopher Duggan

Contributor Christopher Duggan is the founder and principal photographer of Christopher Duggan Photography, a New York City-based wedding and dance photography studio. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.

He has created studio shots of Gallim Dance, Skybetter +  Associates and Zvidance, among others, and in 2011 alone, he has photographed WestFest at Cunningham Studios, Dance From the Heart for Dancers Responding to Aids, The Gotham Dance Festival at The Joyce Theater, and assisted Nel Shelby Productions in filming Vail International Dance Festival.

Duggan often teams up with his talented wife and Pillow videographer Nel Shelby (http://nelshelby.com). A New York City-based husband and wife dance documentation team, they are equipped to document performances, create and edit marketing videos and choreography reels, and much more.

Christopher Duggan Photography also covers Manhattan’s finest wedding venues, the Metropolitan and Tri-State areas, and frequently travels to destination weddings.  The company’s mission is straightforward and heartfelt – create timeless, memorable images of brides, grooms, their families and friends, and capture special moments of shared love, laughter and joy.

His photographs appear in The New York Times, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, Munaluchi Bridal, and Bride & Bloom, among other esteemed publications and popular wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame’s celebrated photography collection in 2010. His company has been selected for inclusion in “The Listings” in New York Weddings magazine.

Dancers are always looking for ways to obtain that “perfect arch”.  Every foot is genetically designed differently and not everybody will be able to achieve that “perfect arch”.  Stretching and flexibility exercises are always helpful.  However, I caution those that are attempting to achieve this position with the use of spring-loaded devices or placing their foot under the couch or other furniture to try to stretch the ligaments at the top of the foot.  The midfoot joints are supported by strong ligaments and will allow the bones of the midfoot to only glide up and down.  Attempting to make the midfoot joints act as hinge joints will injure the ligaments.  If the ligaments are overstressed they can become weakened which can result in a sprained ligament or a subluxed joint.

The most effective method to strengthen the arch is to strengthen the foot muscles which stabilize the toes.  These muscles are located on the bottom of the foot.  Exercises to contract these muscles will flex the arch, giving you a dome appearance, thus the name “doming exercises”.  Strong foot muscles will also reduce the incidence of tendonitis and metatarsal stress fractures.  Experienced dancers will learn to use these muscles to stabilize themselves on pointe rather than depending on the pointe shoe to do the work.

Exercises for foot strength:

• Toe push-ups:  While seated, place your foot in a demi-pointe position.  Push to a pointe position by pressing your toes into the ground and contracting your arch muscles.  The toe joints need to be held straight while performing this exercise.  Exercises which curl the toes are using the long flexors, which may cause tendon strain.  Perform 10 repetitions 2-3 times daily.
• Tendu using a theraband:  Perform a tendu with resistance of the theraband under the toes.  Keep the toes straight at the toe joints but flexed at the metatarsal-phalangeal joints.  Perform 10 repetitions 2-3 times daily.
• Wearing the pointe shoe, roll from pointe to half demi-pointe and back up again.  Repeat 10 repetitions.

BIO:  Frank Sinkoe, DPM is a native of Atlanta, Georgia who has been practicing podiatry in Atlanta for 23 years.  He has a general practice in podiatry and a subspeciality in dance medicine. Dr. Sinkoe serves as the podiatrist for the Atlanta Ballet and is a member of the International Association for Dance Medicine and Science (IADMS).  He is married with two children. Reach him at 404-329-5050 or by e-mail at doctorfrank (at) bellsouth.net

Making sure your pointe shoes fit properly is of the utmost importance. For all pointe shoes, it is crucial that the length, width, and box fit the foot correctly so that the shoe can provide adequate support and help prevent injury. There should also be enough freedom of movement so that the dancer can perform in them without feeling restricted.

Each pointe shoe manufacturer varies slightly in the way their shoes fit. Freed pointe shoe sizing converts down to about 2.5 sizes below a US Street shoe size. This is a good guideline to begin with—then you should know what to look for in the feel of the shoe once it’s on.

Brenda R. Neville with SAB student Ashley McAleer, photo by Christopher Duggan

When trying on a Freed pointe shoe, the width should be snug enough so that you feel some resistance across your metatarsal as you push your foot into the block/box. Think of it feeling like a sock–but not pinching, with the ball and sole of the foot able to lie flat on the floor with ease. Freeds will stretch and widen across the box to mold and shape to the dancer’s individual foot. For this reason it is important that the shoes aren’t too wide when purchased.

Next you’ll want to check the length. To do this, stand in second position and do a demi plie. Your toes should just be touching the end of the box but they shouldn’t push or feel jammed inside with all toes laying flat on the floor. You should be able to feel even weight distribution on the little toe joint, the big toe joint and the center of the heel in this position, and the block should be ‘cupping’ your toes.

Brenda R. Neville; SAB student Ashley McAleer, photo by Christopher Duggan

Next, place one foot en pointe without transferring your body weight. If the outer sole of the shoe remains flat against the pad of your heel, your shoe is the right width for you. If your sole twists away from your foot, the shoe is too narrow. At this time, also check that the block/box completely covers the toe joints and that the toes are all the way ‘down’ into the bottom of the box.

Brenda R. Neville fitting SAB student at Freed, Photo by Christopher Duggan

To double-check the length of the shoe, go en pointe on both feet and transfer your body weight onto your toes. The back of the shoe’s drawstring casing should be flush against your heel (there may be some pinch of fabric toward the back/bottom of the heel which is ok. The amount of pinch depends on your individual heel shape–especially if you have a ‘disappearing’ heel). If the shank of the shoe is already flush under your arch and the back of the sole of the shoe extends beyond the pad of your heel, the shoe is too long, or it could be too wide and you are ‘sinking’.  If so, try a narrower width or maker, or adjust the length.

Once you have determined your correct length and width, based on the fitting guidelines above, then you can experiment with our different makers/cobblers to further find the block/box shape (tapered, medium, square) that best suits your individual foot and toe shape. The overall process may take a little time, but it’s well worth it when you find shoes that match your feet perfectly.

SAB student Ashley McAleer at Freed

In order to insure the proper fit, it can be very helpful to have a Professional Fitter help you through this process. To set up a pointe shoe fitting at Freed of London in New York, or to place an order you can call 866-693-7333. You can also get fitting advice for pointe shoes, jazz shoes, dancesport shoes and flamenco shoes at Freed’s site.

Join us next week for an interview with Freed’s Professional Fitter, Brenda Neville.

Thank you to Christopher Duggan for the photography in our Freed posts:

Christopher Duggan

Contributor Christopher Duggan is the founder and principal photographer of Christopher Duggan Photography, a New York City-based wedding and dance photography studio. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.

He has created studio shots of Gallim Dance, Skybetter +  Associates and Zvidance, among others, and in 2011 alone, he has photographed WestFest at Cunningham Studios, Dance From the Heart for Dancers Responding to Aids, The Gotham Dance Festival at The Joyce Theater, and assisted Nel Shelby Productions in filming Vail International Dance Festival.

Duggan often teams up with his talented wife and Pillow videographer Nel Shelby (http://nelshelby.com). A New York City-based husband and wife dance documentation team, they are equipped to document performances, create and edit marketing videos and choreography reels, and much more.

Christopher Duggan Photography also covers Manhattan’s finest wedding venues, the Metropolitan and Tri-State areas, and frequently travels to destination weddings.  The company’s mission is straightforward and heartfelt – create timeless, memorable images of brides, grooms, their families and friends, and capture special moments of shared love, laughter and joy.

His photographs appear in The New York Times, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, Munaluchi Bridal, and Bride & Bloom, among other esteemed publications and popular wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame’s celebrated photography collection in 2010. His company has been selected for inclusion in “The Listings” in New York Weddings magazine.

Daniel's Pointe Shoe Glue

Everybody knows pointe shoes are expensive! For most people, it’s important to try to preserve them as long as they can.  There have been many tricks out there, but the best seems to be gluing them. Of course you can use many types of glue, but the very best has to be Daniel’s Pointe Shoe glue.

Daniel, the man who invented it, did a lot of research on pointe shoes and came up with a great formula designed specifically for dancers to repair, restore and renew dead pointe shoes.  You can use the glue in a variety of ways to help harden and uphold your shoes.

Most commonly, dancers will put the glue on the areas of their shoes that become soft. To get the best results, you have to let your shoes dry completely after wear. After they dry, you just apply the glue to the soft areas inside or outside of the shoe and again let them dry completely. Even though this glue seems like magic, it will not make your shoes brand new again–but it will give you the ability to continue to wear them for a while longer.

Another way to use help extend the wear of your shoes is to use the glue before you dance in them. Take your brand new shoes (before any wear) and put glue on the areas that tend to “die” quickly.  This will add an extra hardness to the areas that seem to need it, giving your shoes more life. As they soften, you can always re-apply more glue.

Keep in mind, if you are newer to pointe work, you’ll want to get your teachers advice before trying to glue your shoes on your own. You don’t want to ruin a pair of pointe shoes!

Save your shoes–try Daniel’s Pointe Shoe Glue.

Courtesy of Freed

There is something to be said for tradition.

Today over 250,000 pairs of Freeds are made every year, and they are sold in over 50 countries. Every one of them is hand-crafted by a Professional Pointe Shoe Maker, each of which makes between 30 and 40 pairs daily. Makers shape their shoes in a unique way and they are identified by their own personal stamp on the bottom of the shoe. Symbols include letters, a key, a heart and a Maltese Cross, among others.

Freed Pointe Shoes, Photo by Christopher Duggan

Freeds are made using the “turn shoe” method where they are constructed inside-out, then turned to be completed. The “block” of the pointe shoe is made up of satin, burlap, layers of tissue paper, paper and hessian, and a paste that is comprised of flour, water and a few secret ingredients. Once made, the shoes are baked in an oven overnight at around 160 degrees (70 degrees C) so that they harden properly.

The Maker needs just three simple tools to fashion the shoe—a smooth hammer, a pair of long-nosed pliers and a broom handle. There are 7 different styles of stock pointe shoes in 4 widths, but since each is made by hand, there are really hundreds of variations. Two-thirds of the shoes are tailored to meet an individual dancer’s specifications.

Freeds, Photo by Christopher Duggan

There are approximately 20-30 cobblers working for the company at any given time, and one of them worked for Freed for 44 years before stepping down. As a matter-of-fact, isn’t uncommon for a Maker to work for Freed until retirement. You can take a closer look at the process of making Freeds on their site, where they have all of the steps outlined in full detail. It’s a fascinating process.

Join us here next week for a post that takes a look at how to fit Freed of London pointe shoes.

Thanks to Christopher Duggan for the photography in our Freed posts except where otherwise noted:

Christopher Duggan

Contributor Christopher Duggan is the founder and principal photographer of Christopher Duggan Photography, a New York City-based wedding and dance photography studio. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.

He has created studio shots of Gallim Dance, Skybetter +  Associates and Zvidance, among others, and in 2011 alone, he has photographed WestFest at Cunningham Studios, Dance From the Heart for Dancers Responding to Aids, The Gotham Dance Festival at The Joyce Theater, and assisted Nel Shelby Productions in filming Vail International Dance Festival.

Duggan often teams up with his talented wife and Pillow videographer Nel Shelby (http://nelshelby.com). A New York City-based husband and wife dance documentation team, they are equipped to document performances, create and edit marketing videos and choreography reels, and much more.

Christopher Duggan Photography also covers Manhattan’s finest wedding venues, the Metropolitan and Tri-State areas, and frequently travels to destination weddings.  The company’s mission is straightforward and heartfelt – create timeless, memorable images of brides, grooms, their families and friends, and capture special moments of shared love, laughter and joy.

His photographs appear in The New York Times, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, Munaluchi Bridal, and Bride & Bloom, among other esteemed publications and popular wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame’s celebrated photography collection in 2010. His company has been selected for inclusion in “The Listings” in New York Weddings magazine.