----------------Getting a Good Start-------------------------------

Ballet began as an art form under the reign of Louis XIV. Today, Ballet is the basis for many different forms of dance from lyrical to modern dance. It is also the starting point for all dancers. Ballet teaches form and technique, builds strength and develops poise and grace.
The ballet shoe is the dancer's best tool, providing support and comfort. It also allows the dancer to feel the floor making the fit of the ballet shoe extremely important. To get a correct fit, follow these guidelines:
In fitting ballet shoes, always consider the preference of both the dancer and the teacher. Remember that it is common to have different sized feet, so be sure to perform each step on each foot.

1. Make sure the dancer is wearing the tights they use for dance while trying the shoes on.
2. Place the shoe over the toes and gently slide it over the heel.
3. Ask the dancer to stand flat in the shoe. Make sure the toes do not curl. If they do, you must go to the next size/width.
4. Criss-cross the drawstring and pull gently so the shoe conforms to the foot. It must fit like a second skin and must not allow for growing room.
5. Ask the dancer to pointe their foot. The heel should stay on the foot and there should not be any gaping in the width of the shoe.
6. If one shoe fits better than the other does and there is no left or right shoe, try switching the shoes.
7. Experiment with another size/width to be sure the shoe fits properly.

It is important that there is little or no room at the toes. If the toes do not reach the front of the shoe, the dancer cannot articulate the foot to pointe and they cannot feel the floor. Improperly fitted shoes also make it more difficult for the dancer to learn technique. A ballet shoe that is too large may cause the dancer to curl their toes in an effort to keep the shoe on while dancing.

Sewing on Elastic

The elastic should be positioned high in the instep. This ensures a good fit at the heel.

1. Fold down the heel of the shoe until it is flat against the socklining.
2. Place a pencil mark where the fold creases closest to the binding.
3. Stitch only one side of the elastic onto the binding right below the drawstring. Be careful not to sew the elastic over the drawstring.
4. Put the shoe on the dancer and gently pull the elastic strap over the instep where it is the most comfortable.
5. Place a pencil mark where the elastic meets the binding.
6. Stitch the elastic below the drawstring being careful not to sew the elastic over it.
7. Repeat steps one through six for the other shoe.

! LET OP !
Deze tekst is geschreven door Ed Niessen, directeur/eigenaar van "Edmund van Groningen" in samenwerking met Wanda Kuiper van Wanda Kuiper ballet. De rechten van deze tekst berusten bij; Edmund van Groningen, www.edmundvangroningen.nl en mogen slechts met toestemming en bronvermelding worden gepubliceerd/gebruikt !

WWW.EDMUNDVANGRONINGEN.NL

DANSSNEAKERS

Danssneakers zijn er in vele soorten. Oorspronkelijk komt de danssneaker uit de jazzdance. naast de jazzschoenen en jazzboots was er behoefte aan schoenen die meer steun gaven en ook demping in de zool hadden. Om aan die behoefte te voldoen zijn de danssneakers / jazzsneakers ontstaan.

THE POINTE SHOE IN THE MAKING THE MAKING OF A POINTE SHOE (By Freed of London) Some 250,000 pairs of pointe shoes are manufactured in the traditional "Turn Shoe" method by Freed of London each year. Each and every one is painstakingly handcrafted by a highly skilled maker. Two thirds of all pointe shoes are made to a dancer's individual specifications - specifications which require accuracy to within 3 mm. The basic components which are used to manufacture pointe shoes are the satin upper, paper and hessian, which are used to form the block and the leather sole. CONSTRUCTING THE BLOCK Freed pointe shoes are actually made inside out, only being "turned" right side after the block has been constructed. The pointe shoe does not, contrary to some people´s belief contain a large piece of wood at the toe. In fact the maker forms the block by hand, building it up layer upon layer using the hessian triangles, paper and glue. The basis of the glue is a simple flour and water paste - but to this we add a few secret ingredients. FORMING THE PLEATS With the shoe still remaining inside out, the maker, using metal pincers like the ones you see here, creates the pleating at the toe of the shoe. The shoe is then "stitched". This is the process that joins the sole to the upper by means of a wax thread. SHAPING THE PLATFORM AND THE BLOCK Once stitched, the pointe shoe can be removed from the last and "turned" right side out. The insole is then inserted and the shoe put back onto the last. At this stage of the making process the glue in the block is not yet dry and hard. This, therefore, allows the maker to fashion and shape the block. This he does with the aid of a "glass-faced" smooth hammer. The same tool is used to create the all important "platform". MEASURING & BINDING Following the shaping of the platform and block the Maker stamps his own individual mark onto the sole. His part is now complete; he has given the shoe its identity. The shoe is placed into an "oven" overnight where it bakes and hardens. Now the dancers measurement requirements are attended to. Vamp, side and back - all the dancer´s individual specifications are measured and marked by hand prior to the cutting down and binding of the shoe. The shoe is socked, cleaned, checked and bagged, ready to be sent to one of the more than 50 countries across the world with which Freed deals. Voor een ruim assortiment spitzen; www.edmundvangroningen.nl  Evolution of the Pointe By Michele Attfield, written by Bronya Seifert

pointes

Pointes blijven het beeld dat men over ballet heeft bepalen. 
Toch kunt u niet zomaar op spitzen gaan staan: het gevaar voor voet, knie- of rugletsel is dan te groot.
Maar als je een correcte balletbasis-techniek bezit, is er geen enkel probleem om deze les te volgen.
De spitzenles wordt makkelijker als je goed passende spitzen draagt, als de welving van je voet (le cou du pied) gemakkelijk helt en als je beenspieren goed getraint zijn..

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En pointe (pointe) is a form of ballet presented on the tips of the toes, made possible by specialized pointe shoes.. There are different varieties of ballet en pointe, but for the most part they focus on grace and specific technique. Both men and women are capable of learning to dance en pointe, but it is commonly done only by women.

There are different styles for pointe shoes, also commonly referred to as toe shoes or blocked shoes, and different dancers find that one style or another may fit better.

Dancers must have sufficient strength in the feet, ankle, leg, knee, and abdomen, as well as strong technical skills, before beginning pointe work. This work can take anywhere from six months to more than three years. Students usually must be at least twelve years of age before going en pointe. This is because bones and growth plates in the feet are not yet fully hardened and developed prior to this age, and they can be injured very badly by pointe work, even if the student is otherwise strong and skillful. Attempting to dance en pointe before the feet and toes are fully grown can cause career-ending damage that will prevent dancing en pointe for a lifetime.

Young children interested in a career in ballet usually start dancing en pointe after they are over the age of eleven or if they are accepted in one of the ballet academies (acceptance age range varies), at the end of the first year of study or during their second year; therefore in some ballet academies girls may start to take pointe classes when they are as young as ten . The reason that girls do not start when they are younger is because the bones in their feet are still growing and can be permanently damaged; also their foot and leg muscles are not yet strong enough to support them. They should also be in an intermediate or advanced level of ballet, be able to hold their turnout from the hips while performing center combinations and hold a proper ballet position (straight back, good turnout, etc.). No one should start pointe before authorized to by a teacher under any circumstances. In the more serious dance academies, where girls tend to start pointe work at an earlier age, a physician's advice is required to make sure the dancers' feet have ossified sufficiently; serious foot deformities can result from starting pointe too early. Moreover, in ballet academies, children take several ballet classes per week and are closely supervised by their teachers for any weaknesses. Injuries, such as breaking the ankle, can occur because of young, weak, and untrained bones and muscles. Pedicures are not a good idea for pointe dancers and pointe dancers must always make sure that they cut their toenails at least one day before dance class or concerts to let the toes adjust to the new length of the nails. Layers and layers of dead skin, calluses, etc. on the feet are helpful, like insulation against the strain of the shoe. Things like blisters, boils, athlete's foot, cuts of the feet, and even bleeding are to be expected.

Dancing en pointe requires one to use the entire body for support, including the legs, back, and abdominal muscles.

Once a dancer is ready, preparation for pointe work is a gradual process. At first, it is just strengthening exercises at the barre - for example, simply rising en pointe and returning. According to the teacher's preferences and syllabus, the dancers might first be taught to "roll-through" from flat to demi pointe to pointe and down again (unless the Russian or Italian method is being taught, in which the dancer springs directly from flat onto pointe). Another example is learning how to properly wing out the foot and point the foot as the dancer would do in technique shoes. Then variations in speed and position may be introduced—for perhaps no more than five or ten minutes. It is often only after six months to a year of such exercises that the student can start dancing en pointe in the center.

The first exercises at the barre are usually relevés and échappésdone on both feet. Only once the student is fully comfortable in executing the steps on both feet (and the tendons are strong enough), steps ending on one foot are introduced, such as pas de bourrée en pointes and retiré en pointes, first at the barre and later on in the centre. In centre practice, Mme Vaganova suggests as first exercises on both feet relevés and échappés en pointe.

There are several methods that dancers use to rise on the toes. In one method (French school, RAD syllabus), the dancer rises on her/his toes by passing through half-pointe or demi-pointe; in the second method, the dancer springs onto her toes with a small hop (Russian and Italian schools). In the latter case, less stress is put on the calf muscles. More experienced dancers use a combination of the two techniques, usually rolling through for adages, and springing on pointe in allegros combinations. The two techniques arose early in the history of pointe technique, as the Italian cobblers designed harder toe boxes for the Italian ballerinas (for instance Pierira Legnani the first ballerina to regularly perform the 32 fouettés of Swan lake); this allowed them to execute more difficult steps and stand on their toes for longer. To imitate the feats of the Italian dancers, Russian ballerinas introduced even stiffer soles to support them during these difficult steps. As it was nearly impossible to pass through half-pointe in these hard shoes, the small hop was introduced (also compare modern day French shoes with Russian ones: the latter have a very stiff shank). The effort exerted to remain en pointe must be shared by the whole body, not only the legs; the abdominal muscles must be engaged and the back should be kept straight, while the neck muscles should be relaxed. There are also different styles of dancing en pointe. In the classical style, the dancer stands on the tips of their toes; in the neoclassical style, the feet are overarched so that the dancer is literally dancing on their toenails.

In dancing en pointe, the pointe dancer will warm up by doing exercises at the barre and in the center before performing routines or combinations en pointe. These exercises can include slower relevés, échappés and arabesque. When ready, the dancer will do his/her combinations in center. This will usually be led by an instructor who will be stressing proper turnout, pointing of the toes when raised, and proper use of ballet technique while en pointe. In preparation for productions, the pointe dancer learn and practice a dance with a choreographer and instructor. In smaller dance schools, such as local ones, the roles of choreographer and instructor are combined. The choreographer will add movements and pieces to the dance during preliminary practices, and will oversee intermediate and final ones to insure the dancers are performing the moves properly to their vision. The instructor will teach the dance to the dancer, as well as insure proper technique is used. They will also aid the dancer in learning in costume and with partners, if needed.

Dancing en pointe can place stress on the dancer's feet. Common injuries related to dancing en pointe are:

The tendons at the back of the ankles can sometimes be strained and in bad cases even snap.

Athlete's foot 

Athlete's foot is a fungal infection which grows in a dark, moist environment such as that of a perspiring foot in tight, closed shoes. It is also contagious. It can be prevented by washing the feet once a day and if contracted, can be cured by over-the-counter remedies or a prescribed anti-fungal.

Blisters 

Blisters are caused by repeated rubbing of skin against the rough, hardened inside of the shoe's box. Shoes that are poorly fit can cause blisters, as can the breaking in process. Blisters can form within thirty minutes of dancing. Blisters should be dealt with before they burst or become infected. Blisters can be prevented or lessened by carefully wrapping the dancer's toes with medical tape, or using some type of thin padding.

Bunions 

a joint deformity usually in the dancer's big toe, caused by cramping of the toes within the shoe's box. Dancers can prevent bunions by putting a spacer between the big toe and the next toe and wearing properly fitted shoes.

Bunionette 

a joint deformity usually in the dancers little toe.

Bursitis 

Bursitis is the inflammation of one or more bursae (small sacs) of synovial fluid in the body. The bursae rest at the points where internal functionaries, such as muscles and tendons, slide across bone. Healthy bursae create a smooth, almost frictionless functional gliding surface making normal movement painless. When bursitis occurs, however, movement relying upon the inflamed bursa becomes difficult and painful. Moreover, movement of tendons and muscles over the inflamed bursa aggravates its inflammation, perpetuating the problem.

Bruises 

bruising is common, especially if no padding is used, on the tip of the toe.

Bruised toenails 

caused by heavy pressure on the front of the nail when the nail is not cut short. This can be very painful and may cause the dancer to burn a hole in the nail to relieve some of the pressure.

Heel spur

Bone spurs on backs of heels - calcium build-up on the heel due to tiny stress fractures, can be very painful if not treated well or removed.

Calluses 

Calluses are thickened areas of skin which form on the bottom and sides of the feet. While a small amount may be helpful, too much callusing can indicate poor posture or poorly fitted shoes. Especially thick callus may crack or bleed and can be painful, causing a burning sensation. Calluses can be kept under control by soaking the feet in warm water and mild soap for 10 – 15 minutes. Excess callus can then be filed off gently, not removing the whole.

Contusion 

A bruise, also called a contusion

Corns 

Corns result from incorrectly fitted shoes and form in places that do not bear weight.

Cuts between the toes 

Cuts can occur between toes as a result of the pressure of a dancer's toenails digging into the toes next to them. However, with proper trimming, filing and fitting, this can usually be prevented.

Dancer's heel (Plantar fasciitis) 

When the tendon on the instep of the foot tightens, causing the instep and heel to hurt very badly.

Dermatitis 

Dermatitis is caused by allergens or stress, resulting in skin irritation which manifests in itching, burning, or reddened areas. Contact dermatitis is caused by skin contact with an allergen; neurodermatitis is related to stress.

dorsal exostosis

Extensor tendinitis

Fungus nails

Hallux limitus and rigidus

Hammer toes 

when the toes bend up permanently at the middle joint.

Heel bruises

Ingrown toenails

Jammed big toes

Neuromas

Plantar warts

Sesamoiditis

Sprained ankles

Stress fractures

Thickened toenails

Because pointe work can cause friction between the toes and the hard box of the pointe shoe, dancers use several methods to prevent chafing and blisters. Dancers often use lamb's wool or "toe pads" made out of soft material or gel. Folded paper toweling is also a popular padding material. Wads of lamb's wool may also be used just in certain areas where a dancer feels the most pain. Any type of padding can be used excessively, but using it in excess impairs the ability to "feel the floor." Many dancers also use sports tape to tape around their toes in order to further prevent blisters and bruised toenails. Also, keeping the toenails clipped as short as possible (without bleeding) is useful in preventing bruised toenails. Some pointe dancers, however, are able to wear their pointe shoes without any padding. Injury can also be prevented by starting pointe work only when physically ready, as assessed by a qualified ballet teacher.

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Tapschoenen

Iedereen die lichamelijk en geestelijk gezond is en ritmegevoel heeft kan tapdansen leren ongeacht leeftijd, geslacht of lichamelijke bouw. Het is een gezonde vorm van lichaamsbeweging en boven
dien is de kans op vallen bij het draaien of springen, en daarmee de kans op blessures, erg klein. Tapdans is goed voor de conditie.
Het maakt de spieren sterker waardoor het lichaam krachtiger en beter gevormd zal worden. Vooral de beenspieren zullen bij het regelmatig beoefenen van tapdans sterker worden. Tevens bevordert het de muzikaliteit en het ritmegevoel. Wie taplessen gaat nemen zal een schat van klanken en wijzen van tellen aanleren, die bij het beoefenen van andere dansvormen zoals bijvoorbeeld jazzdans en klassiek ballet goed van pas komen. Tijdens het dansen verklappen de oren het resultaat waardoor de tapdanser direct beloond wordt voor zijn inspanning. Veel leerlingen zullen dan ook merken dat als ze de tapschoenen aan de voeten hebben, en de smaak te pakken krijgen, ze als duizenden vóór hen niet meer willen stoppen. Slechts ernstige dreigementen van de buren zullen hen wellicht kunnen weerhouden te tapdansen. Een ieder die begint met tapdanslessen te nemen moet zich dus voorbereiden op een plezierige en opzienbarende danservaring.

Dit alles wil niet zeggen dat tapdansen gemakkelijk is. Bij ervaren tapdansers schijnt het alsof de voeten moeiteloos en vanzelf bewegen. Zij hebben echter vaak jarenlang en intensief getraind om dit resultaat te bereiken. Veel mensen onderschatten dit en hebben de illusie na 10 lessen de sterren van de hemel te kunnen dansen. Een tapdocent moet uiterst zorgvuldig te werk gaan. De lesstof dient methodologisch en chronologisch te worden gedoceerd. Kennis van zaken en een jarenlange ervaring vormen de basis van een goede les. Tapdansen kan het best onderwezen worden als een complete vaardigheid. De passen die men tijdens de les leert kunnen al vanaf het eerste begin volledig worden uitgevoerd. Daarna blijft men de betreffende passen natuurlijk steeds perfectioneren. Op deze manier worden de reeds geleerde passen steeds uitgebreid en wordt de techniek verbeterd. Het aanleren van een goede techniek hoeft bij tapdansen geen frustrerende bezigheid te zijn. Het produceren van een klank op de muziek kan iedereen leren. Wie een fout maakt kan dit gelijk zelf horen en zich zodoende direct verbeteren. Het belangrijkste is dat men zich ontspant en er een vrolijk gezicht bij trekt.

Nederland heeft geen tapdanscultuur. Vanaf het midden van de jaren 70 heeft tappen zich moeizaam ontwikkeld. De laatste jaren is er echter een groeiende populariteit waar te nemen. Veel dansscholen en dansvakopleidingen bieden tegenwoordig tapdanscursussen aan. Sommige scholen organiseren zelfs weekends waarbij gespecialiseerde tapdansdocenten worden uitgenodigd. Met de toenemende interesse is er ook een toenemende vraag merkbaar naar geschoolde docenten. Sinds kort bestaat er op enkele dansvakopleidingen dan ook de mogelijkheid zich te specialiseren in tapdans. Zoals gespecialiseerde tapdansdocenten voorals nog schaars zijn, is ook goede literatuur over tapdans weinig voorhanden. Wat er te vinden is komt uit Amerika en is niet voor iedereen even gemakkelijk te lezen. Dit boek is een poging om in de groeiende behoefte aan goede informatie te voorzien. Iedereen die zich met tap bezighoudt, als hobbyist, als beroepsdanser, of als (aankomend) docent zal dit boek als een waardevolle aanvulling op zijn of haar kennis beschouwen. In het streven naar een zo groot mogelijke volledigheid komen respectievelijk de geschiedenis, de techniek en de uitvoering van de tapdans aan bod. Kortom: voor u ligt een boek vol wetenswaardige en praktische informatie waarmee ik u vele uren tapdansplezier toe wens.

Willie de Vries

www.tapdance.nl