Real Talk on Readiness for Pointe Work:
Written by Joy Delaney-Capponi
A promotion to pointe is a rite of passage for young ballet dancers. As a dance educator, my goal is for young dancers to be aware of the time, commitment, and dedication that comes before the promotion to pointe so the transition is successful.
It’s not unusual for dancers to wonder why some peers are promoted before them. This can cause confusion or discouragement. But let me be clear: there is no mystery, favoritism, or lottery involved. There are very specific and evidence-based readiness requirements. I base this promotion on several factors including age, technical skill, and physical readiness. Readiness reveals itself physically, mentally, and emotionally and all of the aforementioned aspects will be vital to a young dancer thriving once promoted to pointe.
Key Areas of Consideration for Pointe Readiness
1. Age and Development
Traditionally, dancers are expected to be at least 11 or 12 years old before starting pointe work, when their bones are likely closer to full development. Some experts, like Lynn Charles founder of 4Pointe, recommend that dancers reach their first menses.
Important reminder:
September is not an automatic promotion. Moving to pointe—or even the next level—depends on readiness, not the calendar. The syllabus for Level 3 may be achieved by a group in 9 months, 12 months or 18 months depending on the abilities of that particular group. The speed at which they move through the syllabus does not mean they are more or less talented. It is important for dancers and parents to realize that readiness does not have a deadline and each dancer has their own individual journey.
2. Technical Skill
Before going en pointe, dancers should be consistently training in a minimum of five ballet technique class hours per week. They should demonstrate an understanding that consistent class attendance and conscientious work in class is the building block of proficiency in ballet technique. Within the ballet steps and exercises dancers are working towards proper alignment, balance, control, stretch, and strength.
3. Physical Readiness
Dancers must have strong foot and ankle strength, as well as overall body strength, to safely perform pointe work. This includes the ability to perform plies, tendus and relevés with proper technique. Since every step moves through these most basic positions it is critical to be strong and secure in these foundations. Even professional dancers do these exercises everyday, and work on refinement throughout their career. Suzanne Farrell is famous for her quote,”‘Plie is the first thing you learn and the last thing you master.”
4. Mental & Emotional Maturity
Being en pointe is more than just a physical accomplishment. There is a full picture of a young dancer who is ready for pointe. Do they display mental maturity to handle the demands of pointe work? Dancers must be emotionally ready to:
Handle the increased workload and time commitment
Endure discomfort (blisters, sore feet)
Take responsibility for the care and sewing of pointe shoes
Remain mentally present and committed in every class
Readiness Assessment Benchmarks
The following illustrations are a few of the most important benchmarks I test on students to make sure they are ready to go onto pointe.
Plié
Dancer can demonstrate a deep plié in 5th position with feet crossed, knees tracking towards the baby toe with space in between the calves.
Relevé
Dancer can perform a series of 24 relevé on two feet, one foot without compensation. Knees are straight, heel pulled up, ball of the foot in a nice wide platform with all 5 toes on the floor.
Retiré
Dancer can hold a retiré position with proper placement, foot not resting on supporting leg, hips aligned (as if they are in 5th position), and can balance this for a minimum of 8 counts and finish in a tight sous-sous while maintaining the height of the relevé on the standing leg
Tendu
Legs and feet are shaped properly in tendu, degage in all directions. Dancer can keep knees straight and knee cap pulled up, heel forward and above the toe line. Standing baby toe is pressed down into the floor on all positions, especially one foot with absolutely no pronation inward or outward.
Soutenou
Dancer can demonstrate a plie soutenou on one leg is properly executed with knees tracking over the big toe
Stretching:
Dancers should have both right and left splits, this shows the dancer is disciplined enough to stretch and practice on their own time.
Support from Physical Therapy
If as a teacher or parent you feel unsure of whether your child is ready for pointe, you can visit a physical therapist. Dr. Robin Bandura of On Pointe Physical Therapy has supported many of PDT’s dancers in this transition.
Some of the tests a PT may perform include:
Airplane Test: Can the dancer perform an airplane position with 5 pliés and full straightening, maintaining hip and core stability?
Pencil Test: Is the dancer’s plantar flexion sufficient for pointe shoes?
Health Screening: Dancers must be injury-free and have strong bone density.
What Happens Next?
A dance teacher plays a crucial role in assessing a dancer’s readiness for pointe work. They will evaluate the dancer’s technical skills and physical strength to determine if they are prepared for the challenges of pointe work. At PDT, the dancer will receive a letter in the mail when the appropriate time comes.
Consistency in Training:
Dancers are expected to continue regular ballet training in addition to pointe work to maintain and improve their overall technique and physical condition. First year pointe students are required to take a minimum of 3 ballet technique classes a week in addition to their pointe class. As dancers advance more classes will be required. If a dancer is not willing to put in the time consistently then there is a risk of injury. Pointe work can be dangerous if not approached with caution. Dancers should focus on building strength and technique gradually to minimize the risk of injury.
Final Thoughts:
Most importantly, dancers and parents must trust their teachers! They have years of expertise and by this point should have earned them your trust. They are 100% invested in each student’s success. It would be foolhardy to promote a dancer too early when there is a risk of injury or bad habits. Remember, your teacher is on your side and truly wants what is best for you now and in the long term.
