The Turn Out The "plié - tendu" The balance The flexibility The "cambré" Ballet Shoes The floor

Ballet Shoes

The shoes worn for classical dancing have thin soles that allow the dancer to "feel the floor". There is no difference between the left and right foot. Female dancers move around on point and demi-point shoes, male dancers on demi-point shoes in order to give the impression of greater agility.

Demi-point shoes are made of canvas or leather, sewn on to a thin and extremely supple sole. This sole is shorter and narrower than the sole of the foot. It begins at about 2cms from the posterior edge and ends under the metatarsophalangeal articulations. This sole can also be in two pieces which frees part of the arch of the foot.

Thus, demi-point shoes take on the shape of the foot perfectly and do not hamper the arch during plantar flexion. The choice of leather or canvas, a whole sole or one in two sections, a high, medium or low vamp, depends on aesthetic criteria, comfort enjoyed, the floors and the choreography.
The sole and the canvas or leather are stitched together under the metatarsal heads. A prominent stitch causes incapacitating metatarsalgia. The problem of these metatarsalgia can often be resolved by an examination of the shoes.

Point Shoes

Point shoes are made from satin, lined with canvas with a leather sole. The shoe comprises the pointe, the vamp, the sole and the arch support.


In a balanced posture the full weight of the body rests on the pointe which has a canvas and paper binding to make it stiff. It has a flat or rounded, load-bearing surface of about 4cm2.
The pointe is roughly rectangular or square in shape, varying according to the brand and model.
The vamp is an extension of the pointe that finishes on the top of the foot. It varies in height but it does, at least, cover the dorsal side of the toes as far as the metatarsophalangeal articulations. Manufacturers offer a choice in width, stiffness and height. The width must be chosen when in a "demi-plié" position, toes spread out and extended. However, for aesthetic reasons the vamp is often chosen very tight as it gives the dancer the impression of improved support. Length and stiffness must give an anterior counter-balance. They must make flexion of the metatarsophalangeal articulations impossible, without hampering the going up on to pointes. Cutaneous and ungual injuries are a continual problem when breaking in new shoes as the vamp is often stiff.