BALLETTAN on tour (Part 1)

As you might have noticed in the "About Me" section of my blog, I consider myself an aspiring dancer, or at least I'm trying to be. I am currently part of a mini dance company named BALLETTAN and I think it is about time I told you about it.

 Our Central Square BALLETTAN poster

One of my dance instructors, Yiannis Margaronis, is the founder of this company. Undertaking the roles of artistic director, choreographer and ballet master, he has a number of performances in his history since the company was first established in 2004, earning it a good reputation throughout the city of Thessaloniki. Quite a few dancers have passed through the company, this being my second year, but at the moment there are only four of us. Initially, someone would probably ask themselves "how in the world can you have a dance company consisting of only four dancers?", but in my opinion, I think we couldn't be better off.

This year we have been working on a new two-pieced perfomance, the first one named "Looking back, I moved on", the second "In my present I stand alone". The preparation behind these choreographies really helped us grow as dancers and the experience gained could only have a positive effect. The fact that there aren't many of us may have its difficulties, mostly limiting choreografic options, but on the other hand, I think that we have an advantage that other companies in Thessaloniki aren't fortunate enough to have. Our strong point is the bond between us, not only as dancers, but as friends. The fact that we can communicate well in such an environment and help each-other without the slightest hint of jealousy or competitiveness, takes our relationship beyond the typical dancer-to-dancer relationship.

BALLETTAN: Me, Fenia, George and Mika

Last week, April 21st, we presented this new production for the first time to a new audience in Orestiada. It was the first time I was travelling to another city for a performance, and the nerves were coming down hard, because it's harder to impress an audience that is watching you for the first time and doesn't know you personally; in Thessaloniki performances, all your friends and family come to see you, and only few of them will point out weak points. Everyone else will just comment on how lovely you looked and how they were blown away by the music.

When we first arrived in Orestiada, a car came to pick us up and take us to our hotel. It was only a five minute walk, but they insisted on driving us. That's something I definitely won't forget; how hospitable and accommodating everybody was. They treated us as if we were top-notch principle dancers, always with a smile on their face, ready to satisfy our every wish. It was strange being treated like that. It didn't feel normal. But I was glad to see that at least some people in the Greek Arts field can be real professionals.

Fenia & George mucking around on stage

Later that day, after we had eaten lunch and taken a nap at the hotel, the four of us went to find Yianni at the theatre for our rehearsal. We had been informed in advance that the stage floor was wooden, so we had rosin with us, just in case it was slippery. Unfortunately, once we stood on the stage and started examining the friction with different ballet steps and turns, we knew we had a problem. Even after rubbing rosin on the soles of our shoes and socks, some parts of the stage still remained slippery. There wasn't really anything we could do about it though, and that's when the tension started to rise.

We started our warm-up lesson, and then continued with a placing walk-through of the choreography, just to get used to the new dimensions. We later changed into our costumes and prepared for the dress rehearsal. While I was in the wings, waiting for the music to start, I could feel my legs trembling and found it hard to stand still. I ignored the feeling, knowing it would all disappear once I was on stage. But when I stepped out, it was still there. I finished my first appearance, it still hadn't budged.

I couldn't put my finger on what was bothering me during that dress rehearsal. But I could see that the others were having the same problem as me. "This is a disaster", was all I could think of, seeing myself and my dance-mates making mistake after mistake, after mistake. The floor was slippery, the lights were too bright, the music sounded different, our energy was lousy. As the dress rehearsal came to a close, I was left with a rotten feeling, thinking that tomorrow's performance would be, if not like today's uncoordinated rehearsal, then worse.

Pointe shoes 101

As last week we covered the history of the point shoe, this week's post is going to be about the most important parts of the point shoe and what they are for.


The first thing to understand is that every dancer's foot is unique, meaning that toe length, arch flexibility and strength varies from one pair of feet to another. For that reason, pointe shoe manufacturers make more than one model of pointe shoe, with each one offering a different fit, as well as custom made shoes. However, regardless of the shoe manufacturer or model, each pointe shoe has two important structural features that enables dancers to rise on to the tips of their toes: a box and a shank.


Box
When we talk about the box, we're referring to the hard enclosure at the front part of the shoe that encases and supports the dancers feet. The front part of the box is flattened, forming a platform and enables the dancer to balance. Satin covers the exterior of the box (as well as the whole pointe shoe) for an aesthetically pleasing look. However, some dancers take the satin that covers the platform off, to make the shoe less slippery.


Shank
The shank is a rigid piece of material that is placed on the inside of the shoe and supports the arch of the foot when on pointe. It is usually made from leather, plastic or layers of glued-hardened burlap. The flexibility of the shank is determined by its thickness and type of materials used. Standard pointe shoes usually have a full shank, where the shank covers the full length of the shoe, or a fractional shank (covering half or 3/4 of the foot). Pointe shoe manufacturers offer a variety of shank materials, making them stiffer or more flexible, depending on the model of pointe shoe.


Other than the box and shank, there are a few other essential parts that define the modern day pointe shoe.


Sole
The sole is constructed from a single piece of leather that is attached to the shoe and reinforced by stitching along the edges. The sole overlaps and secures the fabric of the shoe's satin exterior fabric. Depending on the shoe model and manufacturer, some pointe shoes have soles with a scraped surface, enhancing traction, whereas others offer smoother soles to reduce traction.


Ribbons and elastic band

With every new pair of pointe shoes, the dancer receives two ribbons and elastics. These are to secure the best fitting of the shoe. Most of the securing is done by the ribbons. The two ribbons wrap around the dancer's ankle in opposite directions, overlapping one another so as to form a cross at the front. They are then tied into a double knot that is tucked under the ribbon on the inside of the ankle to hide it from view. The elastic keeps the heel of the shoe in place against the foot when the dancer is on pointe.
The locations where the ribbons and elastic should be sewn is critical, as incorrect placing can result in a poorly fitting shoe. As every dancer has different feet, there is no completely correct place to sew them, but they should be placed where they offer the most support and comfort to the dancer's feet. After purchasing a new pair of pointe shoes, the dancer must determine the appropriate locations for the ribbons and elastic bands and then sew them onto the shoes.

Gaynor Minden Pointe Shoes

Of course, dancers must break in their new pointe shoes to make them softer and more flexible in some places, to make dancing on pointe a little easier and more comfortable. There is a wide range of methods for breaking in pointe shoes, including bending the shank with your hands to make it more flexible, watering the box and then wearing the pointe shoe so it can take the shape of the dancer's foot, striking the box with a blunt object and many more. Generally, it is known for dancers to nearly "destroy" their new shoes to make them wearable.

Bloch TMT Pointe Shoes

Of course, all this, along with the amount of time and strength a dancer consumes dancing on pointe, causes the pointe shoes to become weary and not very long-lasting. Dance students will usually get three to four months out of their shoes, whereas a professional may go through up to thirty pairs a month.


 For the past few years, however, pointe manufacturers such as Bloch and Gaynor Minden have been researching on how to make pointe shoes longer-lasting and more comfortable without requiring breaking in. Gaynor has been experimenting with new materials, such as plastic and foam, while Bloch's new TMT technology, allows the dancer to mold the pointe shoe to the shape of their foot by heating it up and then placing it in the fridge to cool and stiffen.




Source: Wikipedia
Photos: Wikipedia