Tips for Extending the Life of Your Pointe Shoes

Remove Sweaty Padding
All lamb's wool and toe pads should be removed from your shoes after  each wearing. This helps your shoes to air out and dry. Your shoes  will also dry quicker if you don't keep them in a plastic back or  closed up in your dance bag. You can tie them onto the outside of  your dance bag or set them out by an air vent.
Alternating Shoes
If you wear your shoes more than twice a week, and your foot has  stopped growing, it is a good idea to buy two or three pairs of  pointe shoes at a time and rotate them. This gives your shoes a  chance to dry out and reharden before you wear them again. This seems  more expensive initially, but it saves money in the long run.

  - Capezio Website

Carbs: Debunking The Myths 

Known as 60-20-20, here's an ideal nutrition plan for dancers.
By Courtenay Schurman

Just as every rule has an exception, every nutrition strategy, or  diet, will work for some and fail for others. It's also important to  remember that most popular diets target the general public, not the  serious dancer. Non-athletes need a bare minimum of 50-100 grams of  carbohydrates per day (the amount found in one baked potato) to  support normal body functions. Dancers need significantly more than  that for sustained energy during long rehearsals. Without enough carbs the body destroys lean muscle tissue for energy,  resulting in decreased metabolic rate -- the last thing dancers want.  Daniel Gastelu and Dr. Fred Hatfield, authors of Dynamic Nutrition  For Maximum Performance, suggest that what seems to work best for  most dancers is a plan that includes a blend of 55-60 percent carbs,  20-25 percent protein and 20 percent fat. Thomas Incledon, MS, RD,  agrees "as long as the calorie values are high enough to fuel the  demand of their active lifestyle. However, if the individual is  ingesting insufficient calories per day, then using a  percentage-based system may result in inadequate nutrients in the  diet." Let's explore which carbohydrates will provide the best fuel  for you.

Carbs' Two Faces
"Sugar: Friend Or Foe?" in the March 2001 issue of DS addresses the  issue of sugars, the simple carbohydrate form that includes brown  sugar, molasses, fructose and honey or other substances commonly  found in foods such as candy, pastries, colas, ice cream and cookies.  Many of those foods provide "empty" calories that lack significant  nutrients, but supply energy. They tend to provide an initial burst  of energy and then leave you craving more as your energy levels sag. Complex carbohydrates include starchy or fibrous foods that rank low  on the Glycemic Index. This index compares how quickly a carbohydrate  raises blood glucose versus white bread (or glucose, in some  studies). Foods with a high Glycemic Index rating, like sugars, are  very quickly converted into energy and will not leave you feeling  satisfied for long. Raw foods, such as fruits and vegetables or foods  high in fiber, such as wheat breads and bran cereals, rank lower on  the Glycemic Index. These take more time for the body to digest,  providing you with sustained energy.

Low-GI foods should constitute about 45 percent of your total caloric  intake and are the ones you want to consume a few hours before your  classes or rehearsals, as well as throughout the day. Finally,  combining high-GI carbohydrates with protein, fat or low-GI foods  lowers a meal's total GI and leaves you feeling satisfied for longer.  See page 124 for ratings of common snack carbohydrates.

Will Carbs Make Me Fat?
Any food eaten in the appropriate serving size will not make you gain  weight, but calories in excess of your body's metabolic needs will,  whether they come from fat, carbohydrates or protein. Often it's  fat-laden goodies piled on top of carbs that are the weight culprit,  such as sour cream on potatoes, butter on bread and cream sauces over  pasta.

Identifying realistic portion sizes for carbohydrates can be  challenging. A single serving of pasta (2 oz. dry) is 220 calories.  Most restaurants serve you two or three times that, plus all the  bread you can consume. Cereal boxes usually suggest a serving size of  one ounce, but depending on the cereal, quantities can range from 1/4  cup of raisin granola (123 calories), to one cup of corn flakes (110  calories). Learn what constitutes a serving and pay close attention  to food labels.

Eating For Yourself
The ideal meal to eat before dancing is the one that works best for  you. If you find that having any solid food in your system 90 minutes  before a recital leaves you feeling nauseated, a fruit smoothie  consisting of carbs and protein in liquid form may be easier on your  butterfly-filled stomach. Another dancer may need to eat a piece of  wheat toast with boysenberry jam and yogurt. A third may prefer  leftover thick-crust vegetarian pizza with nonfat cheese.

TRY THIS: Two hours before a class or performance, eat a small meal  (200-300 calories) consisting of a serving each of grain,  fruit/vegetable and protein -- for example: a turkey, lettuce and  tomato sandwich on a bagel, no butter. Bring along some water or an  energy drink to sip during breaks. And have a healthy snack (75  percent carbs, 25 percent protein) handy for right after your class  to replenish depleted glycogen stores in your muscles. Finding the appropriate formula that works best for your body takes  time. Start with the general guidelines of 60-20-20 and then add or  subtract five percent to each until you find the blend that helps you  to feel good, maintain energy levels and dance your heart out. ds  Certified Strength And Conditioning Specialist Courtenay owns an  outdoor conditioning coaching business in Seattle, WA, and also does  freelance writing.

  - Capezio Website

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Stimulating Creativity 

Author: Karen Dito
Published on: March 20, 2001

The act of creating choreography can be difficult, with such  obstacles as finding rehearsal space, finding the dancers to do the  job, and finding the funding for both. Even worse than working these  issues out, though, is the period of creative frustration suffered by  most artists known as a "dry spell" or a creative block. Creative  people in all fields are affected by periodic bouts with feeling a  lack of direction in their work. For some artists, simply taking a  break from their craft is enough to revitalize them back into  creative fertility. For others a more active approach is needed to  get their creativity flowing once more. To follow are some thoughts  on stimulating creativity for the choreographer. Some of these ideas  cross over easily into other artistic disciplines as well.

Do some other creative task outside of dance. For example, try  painting or sculpting. Take a class in some new discipline. Cooking,  building something, or organizing your photo albums are all creative  endeavors you might enjoy. Try something you think would be fun and  promise you will not judge yourself on your proficiency in your new  creative efforts. Even if this does not spark the choreographer in  you, maybe you will find a new hobby and a new way to relax and  connect with other aspects of your creativity, and that can only be a  good thing for you in the long run.

See a performance/go to a gallery or museum. Seeing others perform is  a great way to remind yourself why you love it so much. It does not  have to be a dance performance; theater and multi-media events often  incorporate movement in their presentations that can be just as  inspirational as technical dance concerts. However, I have found  great inspiration in seeing dance concerts at times of a creative  low. See what is available in your area; from major companies to free  shows in the park. There are many local or small companies worth  seeing and the ticket prices will be much more reasonable than the  nationally touring groups. I was inspired out of a dry spell once by  seeing a really bad performance! I thought, "If they can be on the  concert stage doing this, I'm sure I could be here doing something  better!" Spending time at an art gallery or museum is also a fun way  to surround yourself with the creative spirit. Look for showcases on  styles of art that interest you, take your time, and see what new  ideas are ignited. The creativity of other types of artists is bound  to awaken some new ideas in your own creative process.

Observe the world around you. I took public transportation to San  Francisco State University where I studied dance. On my daily treks,  I used to watch people in the subway stations, at bus stops, and on  the trains themselves. I noticed the beauty and humor in everyday  movements and began to write down my observations. For me, this  translated into a ten-minute piece of choreography two years later.  Carry a notebook with you! Keep your eyes and ears opened - you never  know what could become creative material for your new works. Even the  most pedestrian movements, with a little crafting by you, can  transform themselves into something unique on stage.

Read books on the creative process and choreography. If you are  producing your own work for your own purposes (not for a school  project), it is often difficult to keep your focus. Sometimes even  the most experienced artists need to go back to the fundamentals.  Review the principals of choreography, found readily in a great book  that I encourage every choreographer to have in her dance book  collection: "The Intimate Act of Choreography" by Lynn Ann Blom and  L. Tarin Chaplin. This book outlines activities you can try yourself  to generate movement ideas and get your creative juices flowing. You  might have a favorite fundamentals book of your own to use as a  reference. I have also benefited greatly from reading books by other  choreographers at times of low creativity for me. Reading first hand  the creative process of other respected artists can be not only  stimulating reading, but also give you some good ideas of your own.  Pick choreographers that you admire for your reading. Some favorites  of mine are Twyla Tharp's "Push Comes to Shove" and "Last Night on  Earth" by Bill T. Jones.

Collaborate! Consider collaborating on a project with another  choreographer that you respect. It can be a great experience for you  as an artist to see someone else's creative process first hand. You  will learn so much from collaborating and will have the chance to  teach your collaborator as well. If you don't want to collaborate  with another choreographer, think about approaching your dancers in a  new way. While you would still be in charge of the project, you can  tap into your dancers' talents and creativity by allowing them to  contribute to the creative process. You can do this by using directed  improvisation, contact improvisation, or Chance in your rehearsals.  (For more information on Chance, study the works of Merce Cunningham  and check in your choreography references). Many dancers who do not  consider themselves choreographers will really enjoy having the  opportunity for their ideas to be expressed with your help and  guidance. Musicians/composers, visual artists, and multi-media  artists should also be considered when looking for a collaborating  team. The performing arts are a changing medium. Get in on the  action, try something new, and end your dry spell.

  - Capezio Website.

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Footcare: Advice from a Podiatrist

by Dr. Richard T. Braver, Sports Podiatrist

Englewood, New Jersey

The dancer's foot requires special attention. Redness, swelling or pain is a warning sign of impending danger and can be helped by icing the affected area for 10 minute periods several times a day. The following advice may help you avoid or care for dancer's injuries; however, if pain or problems persist, see your sports physician / podiatrist.

Ingrown Toenails

Ingrown toenails are regularly caused by the edge growing inward or piercing through the surrounding skin. This may first present with a red, pusy and painful nail border and can lead to infection. To avoid this problem, trim the nails straight across. However, if your nails appear to hook or excessively curve downward into the skin, then cut your nails at an angle to remove the offending portion of the nail, which is growing inward. Over the counter ingrown nail medications are not recommended.

Fungus Nails

Thickening of the nails may be due to chronic trauma to the nail root area. The nails may appear whitish or yellowish and be significantly thickened. Over the counter medication is available which may help to soften the nail plate, making cutting the nails more manageable, especially after bathing or soaking the feet. It is important to keep the nails cut short and to use an emery board to reduce nail thickness.

Toenail Blisters

Blood blisters form under or around the toenail usually as a result of an enlarged toenail pressing against the tip of the pointe shoe. This forces the toenail back up into the skin at the nail base. This can be avoided by trimming the nails shorter and ensuring a large enough pointe shoe. Some dancers have a longer second toe than their neighboring toes, causing the second toe to receive extra pressures. Pad the neighboring toes with a foam toecap or lamb's wool so they take their fare share of the pressure, thereby relieving the second toe of pressure.

Blisters

Blisters are caused by friction irritation, which causes the layers of skin to rub back and forth against each other, usually a result of sliding of the foot in the shoe or a prominent bone rubbing against the shoe. This should be treated like a burn so ice may be applied. Painful blisters may be drained with a sterile needle. The roof of the blister should be left intact for protective covering. Accommodative felt prefabricated or self-made donut or "U" shaped felt pad should be applied around this area to reduce pressure and to protect it from further irritation. The blister is then covered with a triple antibiotic ointment or petroleum jelly, which further helps to reduce friction.

Warts

If you note red dots within a rough appearing callous lesion and you have tried to accommodate this area with padding as discussed, but the lesion still persists and is growing in size, then a wart may be present. It may present as a singular lesion or as a cluster of lesions. A wart is a virus infection and can be treated with application of either a liquid or disc shaped pad containing acid medication after soaking and filing the lesion. A wart is a skin disease and may spread; it is not caused by blisters, pressures or bone deformities. Seek medical care if problematic.

Corns

Corns are hard skin lesions, which may develop on top or between the toes. If red, swollen and painful, then use ice. The corn should then be covered with an accommodative pad as described for blisters and covered with a piece of cloth athletic tape. The idea is to reduce pressure to the corn by transferring weight to the pad which surrounds this lesion. Felt pads are better than foam pads because they are less compressible.

Check the fit of the shoe for irritation ensuring proper width and toebox depth. Dance technique should also be examined to make sure the toes are not clawing or gripping inside the shoe during releve or pointe position. For a corn between the toes, wear a foam toe separator or felt donut pad between the toes.

Hammertoe, Mallet and Claw Toes

Appearing as knuckled or clawed toes. Either flexible or rigid, these create a bony prominence over the toe joints with resultant rubbing of this area against the top of the shoes. This irritation causes redness and an eventual corn (hard skin) formation. Because the toe now appears clawed, the tip of the toe often presses and rubs against the bottom of the shoe again resulting in pain and eventual hard skin.

Accommodative donut shaped padding as discussed in blisters should be applied for corns on top of the toes. If there is a callous at the tip of the toe, then a foam toecap or lamb's wool should be wrapped around the sore toe. Corns and callouses may be reduced in size after bathing or soaking in soapy water by use of a pumice stone or corn callous file. While this will give temporary relief, a true hammertoe bone deformity will not disappear and may require medical attention.

Morton's Toe

A second toe which is longer than the big toe causes increased pressure to the tip of this toe. This longer second toe may buckle causing it to claw with resultant irritation to the top of this toe. The dancer should accommodate for the longer second toe by placing lamb's wool in the toebox of the shoe to fill in the gap underneath the shorter toes, effectively lengthening them. There should be less or none of the lamb's wool at the tip of the longer second toe. This will help to better balance pressures to all the toes equally, thereby preventing abnormal pressure demands. Alternatively, the dancer may wrap the lamb's wool around the shorter toe or wear foam toecaps on the shorter toes.

Metatarsal Pain

Often this develops across the bottom of the foot to the bones just proximal to the toes (ball of the foot). Swelling, pain or a callous often develop. An underlying bone problem may e the culprit of this pain, i.e., the second toe and metatarsal may be longer than the large toe and its respective metatarsal.

When the dancer rises into releve, the longest metatarsal bone receives pressure first and in increased proportions. A similar single pressure spot occurs to a dropped metatarsal bone. Furthermore, many dancers have a high arched foot, angling one or more of the metatarsal bones more downward. All these inherent structural characteristics of the individual dancer's foot increases pressures to the ball of the foot, either in single or multiple spots, which is further aggravated by releve or jette movements.

If there is a singular callous present, then an accommodative "U" padding using 1/8" felt should be applied around this sore spot. If the callous is underneath the first metatarsal head just proximal to the large toe or underneath the first metatarsal head just proximal to the small toe, then an "L" shaped felt pad should be applied around these respective points. For a diffuse callous or pain across the ball of the foot, a metatarsal pad may be placed either on the foot or inside of the shoe to transfer pressure away from the metatarsal bones (ball of the foot) and back into the arch.

In fact, a removable orthotic device has been developed, which is worm on the foot inside in the ballet slipper or pointe shoe to reduce painful pressure spots and better support the arch. It is called the Braver Ballet device and is available from your sports podiatrist.

Bunions

This is seen as an enlargement of the inner side of the big toe joint. Occurring more commonly in feet that excessively collapse (pronate), it is often due to an inherent flat foot or low arch structure or due to improper dance technique, which causes the foot to roll inward. These foot faults eventually cause the big toe to shift toward it's neighboring toes. The bunion (first metatarsal bone) shifts the opposite way making it prominent and susceptible to pressure irritation against the shoe.

There are silicone gels and felt pads which will help to cushion this area and reduce such irritation. Icing helps to reduce swelling and pain. Wearing arch support helps prevent collapsing of the foot. However, proper dance technique and correcting for improper foot structure must be addressed to prevent progression of this problem.

Arch Pain

Arch pain usually results from a strain of the ligaments or tendons that provide support of the foot. The arch may also be strained if proper flexibility is not present. One may roll their foot over a golf ball or soup can to increase flexibility. Also helpful are repetitive strengthening exercises such as doming the arch, picking up a towel with your toes and point and flex exercises. Tension type rubber bands may be used to strengthen the arch and surrounding ankle and leg musculature. Proper dance technique is critical, as collapsing or rolling in of the arch will cause pain to this area. The use of felt or synthetic arch supports inside the ballet shoe is often helpful. For recurrent problems, use of the Braver Ballet orthotic device may be indicated.

Heel Pain

Heel pain may be caused by bruising from repetitive jumps of from a constant pulling of ligaments and tendons which attach to the bottom and the back of the heel. Prop0er flexibility of the arch as previously described is essential, as is calf flexibility.

Stretching of the calves may be performed by standing at the barre and extending one leg backward. The back leg foot is firmly on the ground and directed straight ahead. Gently lean forward to stretch the calf. Another exercise, the flex and point exercise, also stretches the calf, especially when the knee is locked and the flexion (toes toward nose) is held for 30 to 60 seconds.

There are silicone gel heel pads available to reduce shock if there is pain on landing. However, it is more common to find a mechanical fault including too much collapsing of the arch or sickling of the foot outward, which causes a teeter-totter at the bottom or at the back of the heel which causes irritation of soft tissue attachments on the heel bone. This may be addressed by various taping methods or paddings, which help to immobilize or raise or protect the heel, ankle and foot. Heat before activity and ice after activity is often helpful. Should problems persist a visit to your sports physician/podiatrist is recommended.

Tendinitis

Pain to the top of the foot or ankle may be attributed to the many tendonous structures which cross over these joints. Proper fit of the shoe is imperative, i.e., the vamp should not be too tight to cause irritation against the skin.

Minor tendon problems respond well to a few days of rest or alternative activity. This is followed by 10 - 20 minutes of heat treatment prior to activity, i.e., with a heating pad, placing the foot under the warm running water of the bathtub faucet or by use of a skier's heat pack. If pains resolve during activity, then a soft tissue injury is likely. Activity must then be followed by 10 - 20 minutes of ice. Strengthening the soft tissues with rubber tension bands or other exercises as instructed by your dance teacher are necessary after the initial onset of pain is reduced. However, if the pains persist for more than a few days, then professional care should be sought.

Hidden Factors

Often strains that do not resolve for after a few days are related to faulty technique or structural abnormalities. Technique factors should be analyzed by the dance instructor. Structural analysis includes bony alignment as well as proper balance between muscle strength and flexibility.

A screening exam by the parent may note that while the child is standing barefoot with the feet pointed straight ahead, the kneecaps should face straight over the feet. Ideally, the center of the kneecaps should be aligned over the second toe as if dropping a plumb line from this area. In the semi-plie position, the front edge of the knees should again remain over the feet and the plumb line should not fall between or in front of the feet. Ideally, in the first position the knees again should be pointed straight over the second toe.

If these parameters are not met, the dancer may have an inherent foot structure weakness or leg alignment problem. Knock-knees are more prominent in those with wider hips. They are often seen in relation to those dancers with display low arches or flat feet. For these problems, correct shoe selection from your Capezio dealer is a must. For those with a weak foot, then a higher amp shoe with a more rigid shank is recommended. On the other end of the spectrum, for those with a high arched stiff foot, then a lower vamp with a more flexible shank is generally recommended.

Improper knee position noted during hip turn out as in the first position is often related to an inadequate range of external hip rotation. In an attempt to externally rotate the hips, the knees buckle inward and are seen inwardly rotated or knock-kneed. The feet and arches also collapse making these joints more flexible so that the toes may point more outward. Unfortunately, these compensations cause unwanted stressed and strains on the joints leading to eventual injury. Adequate hip flexibility is essential to prevent injury and it should be noted that as striving for internal (turn in) hip motion should be stressed as much as external (turn out) hip motion.

If the dance instructor notices that the child's muscles are not strong enough to stabilize the joints of the feet and legs, then strengthening exercises will be given, many of them have been previously discussed. Together with proper shoe and fit for the individual dancer's foot structure, augmentative padding, if necessary, proper technique as well as balance of muscle strength and flexibility as well as proper technique, the dancer should enjoy a healthy activity level.