Miranda Weese, children’s ballet master at Boston Ballet School, asks students to keep their weight centered over the second toe. Rolling toward the big toe, or pronating, could cause bunion problems and put unnecessary strain on ankle and knee joints. “The front of the ankle should be over the ball of the foot, making a straight line that leads all the way up the leg.” Tarpley tells students to imagine that their body position in relevé is tall and aligned, like a fully intact Jenga tower.ĭancers should be careful not to roll to their little toes on demi-pointe, because it could cause ankle sprains and other injuries. “The toes should be flat on the floor, with the metatarsals aiming for a 90-degree bend,” she says. Teachers can help by focusing on good placement and nurturing a balance of strength and flexibility, even with their youngest dancers.Īt Hubbard Street Dance Chicago’s Youth Dance Program, teacher Mary Tarpley uses the word “stackability” to describe the foundation of a good relevé. While dancers might not always get the height they want, they can work toward a lifted relevé that looks aesthetically pleasing and feels stable at the same time. “When he started thinking of pressing the balls of his feet into the ground,” says Rogers, “he found his relevé and balance at the same time.”Ī strong demi-pointe is a sign of good, healthy technique that enables students to achieve a full range of steps. Rogers focused on posture and weight placement until the boy stood upright and lifted, with his spine and pelvis in a neutral position. “The boy had very arched feet and hyperextended legs, and tended to sink into his lower back,” he says. Jeffrey Rogers, faculty teacher at Ballet West Academy, remembers working with a student who struggled to find control on demi-pointe.
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