Help! The heels of my dance shoes keep slipping off!

Slipping heels can be a common problem in the dance world.  Fixing it is usually simple enough, but the best methods to keep heels on vary depending on the kind of shoe you are wearing.  In this post, I will outline the most efficient methods for keeping your heels on for a variety of different dance shoes.

--Pointe shoes, flat ballet shoes, and jazz shoes: First, make sure your shoe is not too big or too small (either will cause heel slippage).  If your shoe is the wrong size, get re-fit.  It it’s ok, try pulling the drawstring if your shoe has one.  If your shoe has no drawstring or the slippage doesn’t improve, you will need to do something to increase the friction between your shoe and your foot or tights. 

Try putting rosin on the heel of your foot, heel of your tights, and inside the heel of your shoe.  You only need a little bit, so just take a little on your fingers and rub it on the area you want to rosin up.  If your studio or theater does not allow rosin, you can spray hairspray on the heels of your tights (or feet) before putting on your pointe shoes. 

Another good method is sticking waterproof Nexcare medical tape to the heels of your tights and the heels of your shoes.  The tape is foamy in texture, so when two pieces of it touch (regardless of whether or not the adhesive side is up), they want to stick together rather than rub past each other.

--Hard enclosed shoes like tap shoes, character shoes, and men’s oxford ballroom shoes: Again, make sure your shoe is the right size.  Many dancers become uncomfortable when they can feel the end of the shoe with their toes, so they go a size up.  Remember that gently feeling the end of a dance shoe shoe with your toes is a GOOD thing; it means that the shoe is snug and supportive.  The shoe is only too small if your toes feel crunched up or painful.  Wearing a shoe that is too big will cause the foot to slide forward so your toes will crunch up even more, and the heel will slip. 

If you have a very narrow foot, see if the shoe you are wearing comes in a narrow width.  Sometimes narrows can be ordered even if the dancewear store doesn’t usually carry them.  Certain brands also tend to run narrow or wide.  Bloch and Capezio run more narrow, while Sansha and So Danca run more wide.

If the shoe fits properly and the heel still slips, consider what you are wearing inside the shoe.  If you are wearing tights or trouser socks, the thin nylon material may be taking away any friction that would help keep the heel in place.  Try wearing the shoes with nothing on your feet or with cotton or wool socks. 

If this still doesn’t fix the problem, try attaching a heel grip to the inside of the shoe.  This device is a small fabric or gel pad that is adhered to the inside of the heel of a shoe to minimize heel slip.  You can usually buy heel grips at shoe, dancewear, or department stores for about $5-$10.  Because heel grips are adhered to the inside of shoes (with either pre-applied adhesive or fabric glue), they can ruin the lining of a shoe if they are applied then removed.  Try other methods of reducing slip before resorting to heel grips.

--Open toe and/or strappy Latin/ballroom shoes:  First thing’s first: make sure the shoes fit.  Your heel should be all the way against the back of the shoe, and your toes should be at the end of the front of the shoe with ¼ inch or less extra space.  If the shoe is too big, it will probably slip at the heel, and it will be unstable to dance on (which increases the risk of injury).  If your foot is very narrow, try to find a shoe that comes in narrow widths or is from a brand that runs narrower.

If the shoe fits and the heel still slips, try using a shoe strap (available at most dancewear stores for $2-$6).  This clear plastic adjustable strap is meant to wrap around the arch of the shoe and fasten on top.  It holds the shoe tightly on your foot so it moves around less. 

            If you don’t want to use a shoe strap or can’t find one, try using the waterproof Nexcare     medical tape method.  This is especially effective if your shoes are very lightweight and you wear them with tights or fishnets.

The truth about understudies

Are you understudying a part (or parts) in this year’s Nutcracker or winter show?  Are you feeling disappointed that you aren’t performing that role as part of the main cast?  Here’s why you should actually feel good about being an understudy.

 1.  The artistic director trusts you.  He or she thinks you are reliable and won’t get sick or hurt and have to drop out of a performance. 

2.  The choreographer believes in you.  He or she thinks you are able to pick up choreography and perform it on stage with fewer rehearsals (and probably no dress rehearsals) than the main cast.

3.  The artistic director recognizes your hard work and humility.  He or she knows you are good enough to dance the part, but also knows that you are mature enough to handle not being in the main cast.

It can be totally boring to stand in the corner of the studio and mark steps while the rest of the company rehearses, but try to remember that being an understudy is an extremely important part of what makes the company run successfully.  Even though it may not feel like it, being an understudy is an honor.

Ballet summary: The Nutcracker

The Nutcracker Ballet was originally performed in 1892 at the Mariinsky Theater in St. Petersburg, Russia. The music was composed by Tchaikovsky and the original choreography was set by Marius Petipa. The story is loosely based on the book "The Nutcracker and the Mouse King" by E.T.A. Hoffman, a German writer.

Though every company produces a different version of the iconic ballet, the story follows the same basic plot. Since the story is a bit nonsensical, children and adults sometimes become confused during performances of the Nutcracker.  This post is dedicated to explaining the plot of the ballet and preparing audience members for what to expect to see during a show.  I will also try to point out all details that could be considered offensive or inappropriate in any way so you can decide if the show is a good choice for you and your family to see.

At the beginning of the show, a family is preparing for a Christmas party.  (If Christmas offends you, this is not the ballet for you to see.) In the most versions, the family consists of Mr. and Mrs. Stalbaum, their son Fritz, their daughter Clara (sometimes called Marie or Masha in versions of the ballet), godfather Drosselmeyer (sometimes grandfather or uncle Drosselmeyer), and sometimes other relatives like grandparents. In most versions of the ballet, the time period is Victorian and the geographic location is assumed to be European. (However, some companies do more modern versions.)  

The scenery shows a big Christmas tree in the center of a living room or parlor. At the Christmas party, Mr. and Mrs. Stalbaum welcome their friends to the celebration. (In some productions, adult female party guests may be comedic parts played by both female and male dancers in over-the-top, drag-like costumes). Many of the visiting families have children who play with Clara and Fritz. The children can be a bit naughty (they may push each other or engage in mild kid-violence), but everyone is having a good time.

After the celebration has been going on for a while, Drosselmeyer arrives. He is a mysterious gentleman, so some of the children are a bit frightened. Drosselmeyer proves himself to be a nice man by handing out gifts and entertaining the children. 

As a toy maker, Drosselmeyer has the most impressive toys.  (In most versions of the ballet, Drosselmeyer is assumed to be a wizard or at least using magic to create his toys.  If magic or the suggestion of supernatural powers offends you, this is not the ballet for you.) He winds up life size dolls, which dance for the party guests. (Sometimes the dolls are played by male and female dancers, and they wear a variety of different costumes.  In some productions, they may wear tight unitards.)

Then Drosselmeyer hands out a special gift. He gives a nutcracker that looks like a large wooden soldier to Clara.  Fritz is disappointed that the nutcracker is not for him, so he snatches it away from his sister. In the scuffle, the nutcracker is broken, and Clara is very upset. (Fun fact: in most productions, the nutcracker's head or hat is attached with velcro so the toy can be "broken" and "fixed" on stage). Drosselmeyer is able to fix the nutcracker, so Clara's tears do not last long. 

Soon the guests have to leave, as the party is over. Clara and Fritz are ushered off to bed, and Drosselmeyer leaves with the other guests. The nutcracker is left in the living room with the other Christmas gifts. Clara cannot sleep, so she goes back to the living room in her nightgown to find the nutcracker. She decides to cuddle him on the couch in the living room, where she falls asleep. 

At this point, Drosselmeyer may reappear and seem to be conjuring "magic" in the living room. This awakens Clara. In other versions, Drosselmeyer does not come back and Clara simply wakes up. As she awakens and moves around the room, the Christmas tree grows to be very tall (Fun fact: the christmas tree is usually attached to the ceiling with a cable, and the cable is pulled to make the tree grow.) and mice as big as Clara begin to invade the room (it is not usually clear whether Clara is supposed to have shrunk or if everything else is supposed to have grown).

The mice are harassing Clara (they usually mime scratching at her, and sometimes they push or otherwise drag her around), and their leader, the mouse king (also called rat king) is scary to Clara and armed with a sword. (Sometimes the mouse king has multiple heads, light-up glowing eyes, or scruffy matted fur.  This character's appearance can be scary to young children.  However, elementary school aged boys usually love the mouse king more than any other character.)

Seeing that Clara is in distress, the nutcracker comes to life as a wooden soldier the same size as Clara and the mice. He calls to other toys in the house to assemble in an army to fight the mice. Toy soldiers appear, and they engage the mice in combat. (All the dancers move close together and may mime hitting, shooting, pushing, or otherwise engaging in violent activity with one another.  Sometimes characters mime sword fighting and may actually cross swords, which can make loud noises.  Note that all swords are made safe for the stage, and the dancers are not in any danger beyond the normal risks of dancing with props.) The mice seem to be winning, and the mouse king is hurting the nutcracker (the mouse king usually pushes the nutcracker to the floor). Clara is angry to see the mouse king hurting the nutcracker, so she throws her shoe at him (in some versions she pushes him or stabs him with a sword instead), which defeats him. After the mouse king is defeated, the mice go away. 

By saving the nutcracker, Clara has proven her love for him. The nutcracker turns into a prince. (In the original story, the mouse king put a spell on the prince, which turned him into a nutcracker. It is assumed that Clara's love had broken the spell. In some versions of the ballet, Drosselmeyer has been trying to remove the spell on the nutcracker, but has been unsuccessful, so he deliberately gives the nutcracker to Clara in the hope that she will fall in love with the nutcracker and break the spell.) To reward Clara and to prove he loves her back, the nutcracker prince takes Clara on a magical journey to the mystical kingdom where he is from.  (Despite the fact that the nutcracker prince is in love with Clara, they usually show few PDAs aside from hand holding and perhaps a hug.)

In order to go to the magical kingdom, the nutcracker prince and Clara must travel through an enchanted forest of pine trees and snowflakes.  (On this journey, the nutcracker prince and Clara may walk or ride in a sleigh or other vehicle such as a hot air balloon that moves or flies across the stage via wheels or cables.  It is also possible that the journey is made to be a dream sequence with the nutcracker prince and Clara sitting on a bed or couch that spins or moves across the stage.)

Many dancers dressed in white costumes represent the snowflakes.  They dance for approximately 7 minutes and perform high energy choreography.  As they dance, fake snow falls from the ceiling and covers the stage.  (Fun fact: in most cases, the snow is held in a huge porous net-like bag above the stage.  It is swung back and forth to get the snow to fall.  Most dancers get just one or two dress rehearsals to practice dancing on stage with the snow falling.)  Clara and the nutcracker prince may walk or otherwise move across the stage during the snow scene to represent their journey toward the nutcracker prince's kingdom.  After the snow scene, there will be an intermission to give the audience a break and to allow the stage hands to sweep the fake snow off the stage.

When the second act begins, Clara and the nutcracker prince will have made it to the magical kingdom, sometimes called the kingdom of sweets.  Angels or seraphim may accompany the nutcracker prince and Clara as they arrive.   The couple is greeted by some of the other residents of the kingdom.  Usually a female monarch or leader figure (sometimes the Sugar Plum Fairy or Dewdrop) will be the first to welcome them.  Other members of the kingdom may also be present.

The nutcracker prince will dance a solo that explains the battle with the mice and how Clara's affection turned him back into a prince.  The female leader and other subjects of the kingdom listen with interest, then bow or otherwise show their respect to Clara and the nutcracker prince.  Clara may be offered a dress, crown, or other luxurious item.  The nutcracker prince and Clara may be taken to a pair of thrones or seated behind a table piled high with desserts. (Fun fact: if the dancers are seated behind a table of food, the food is usually made of papier mache and cannot be eaten).

At this point, the residents of the kingdom of sweets will begin to perform to entertain the nutcracker prince and Clara.  The first dance may be the dance of the Sugar Plum Fairy, or this dance may take place later in the ballet.  Sometimes Clara dances to the sugar plum music, and she may perform first before taking a seat to enjoy the other dances.  It is also possible that the other residents of the kingdom will perform first and the Sugar Plum variation will be the last one.  (Fun fact: the dances representing the different inhabitants of the kingdom of sweets are called "variations" or "divertissements".)

The different inhabitants of the kingdom will begin performing short pieces to entertain Clara and the nutcracker prince.  These dances are usually associated with both a country and a food or drink item that is consumed around Christmas and comes from that country.  Some of the country associations are very stereotypical and may not accurately represent the culture of that country.  Remember that the dances and there themes were originally imagined by older European men in the 1890's, and they probably did not have a super progressive worldview.  In honor of the original choreography, most versions of the ballet have not been updated much.

 The dances usually happen in the following order, but sometimes the order may be a bit different.  Dancers representing Spain and the winter treat of hot chocolate perform an upbeat dance.

 Next, Arabian dancers representing coffee perform a more smooth and sensual piece.  (The Arabian dancers usually wear costumes that show more of the body.  Female dancers may wear harem pants and bra tops, and male dancers may dance bare-chested.  In other versions, dancers wear tight unitards and portray snakes or birds in the Arabian theme.)

After that, Chinese dancers in brightly colored costumes perform a very short and fast piece representing tea.  (Sometimes dancers of many races wear full "Oriental" makeup and black wigs to make them appear Asian, and some choreography requires dancers to make specific shapes with their hands.  Both of these aspects are regularly seen as culturally insensitive.  Not all companies do these things, but be prepared to see them.)

Following the Chinese dancers, Russian dancers take the stage to perform a wildly athletic piece representing candy (it can be either nougat, ribbon candy, or peppermint/candy canes, depending on the production).  Sometimes male dancers are included in the piece to represent Cossack dancers, and their appearances can sometimes be a little "rough" with facial hair and fur hats.

Next, French dancers come on to do a gentle piece.  (This is one of the most diverse variations across different productions.  Sometimes called "Mirlitons," "Marzipan," "Reed flutes," or "Shepherdesses," the dancers usually wear brightly colored costumes with "country" touches.  They may represent marzipan or ribbon candy, or they may represent the peasants of the kingdom who make music or tend sheep instead of being a particular sweet.)

 After that, Mother Ginger and her children or puppets do a cute and joyful dance.  (Fun fact: Mother Ginger is usually a male dancer in drag.)  A motherly figure with a huge dress comes on stage, and small children (called polichinelles, or little clowns) come out from under the skirt to perform.  (Occasionally Mother Ginger can be a little rough with her kiddos and engage in actions such as shoving them back under the skirt.) This dance is associated with gingerbread or other sweets, and it sometimes has a German or French theme.

At this point, if the Sugar Plum Fairy variation will be performed if if has not already.  It can be danced by the Sugar Plum Fairy or by Clara.  If the variation has already been performed (or after it has just been performed), there will be either a pas de deux (dance between one male and one female dancer) or the waltz of the flowers.  The pas de deux is usually danced with either Clara and the nutcracker prince, Sugar Plum and the nutcracker prince, Sugar Plum and a cavalier (male dancer and member of the kingdom of sweets), or another female dancer and a cavalier.  Either before or after the pas de deux, there will be the waltz of the flowers.  In this piece, dancers representing flowers will perform a long and beautiful piece to honor Clara and the Nutcracker prince.  After this, the residents of the kingdom of sweets assemble to give their final honors and usually a goodbye to Clara and the nutcracker prince.

At this point, one of several endings will take place.  They are all "happily ever after" or at least emotionally neutral.  You will never find a Nutcracker Ballet with a sad ending.

Ending 1: Clara and the nutcracker prince stay in place on their thrones in the kingdom of sweets.  They may be crowned king and queen, and the other residents of the kingdom continue to honor and bow to them.  In some versions, it is assumed that the nutcracker prince and Clara are getting married.

Ending 2: Clara and the nutcracker prince get in another vehicle such as a sleigh or balloon and travel away.  It is usually not clear where they are going, but it could be either back to Clara's world, or to another kingdom where they will either visit or reign as monarchs.

Ending 3:  Clara and the nutcracker prince travel back to Clara's world.  Sometimes they walk, sometimes they ride in a vehicle, or sometimes they take the spinning couch or bed (it's usually the same way they arrived in the kingdom of sweets).  Clara may be asleep, or she may be conscious.  Either way, the couple arrives back in Clara's world.  The nutcracker prince usually says goodbye and departs.

Ending 4: Expansion on Ending 3, Clara wakes up after the nutcracker prince departs.  Sometimes the wooden nutcracker toy will be back, denoting that the experience was a dream. (In some productions Clara's mother, Drosselmeyer, or another character will come back on stage and greet Clara, sometimes treating her as if she has been ill overnight and therefore having vivid fever dreams.)

 Sometimes Clara will have a flower, crown, or other relic from the magical journey to leave a sense that the trip may not have been a dream after all.  This ending usually leaves it up to the audience to decide what really happened.

Occasionally another scene will show the family's Christmas day celebrations.  Sometimes the dancer who portrayed the nutcracker prince will turn up as a guest at the Christmas celebration.  As he is introduced to Clara, it is made clear that they have a connection and will end up courting and eventually marrying.  It can be assumed that he is the nutcracker prince in his human form, and he and Clara really did spend the last night together, or it is possible that Clara's dream was a fantasy premonition letting her know that this young man is her soulmate in the real world.  This is usually left up to the audience's interpretation.

I hope this explanation, as long and confusing as it may have been, gives you a better understanding of the Nutcracker Ballet and prepares you to attend a performance this holiday season.

Capezio Airess pointe shoe review

Several months ago, Capezio released their newest innovation in pointe shoes: the Airess.  Murmurings surrounding this “next big thing” flew for almost a year before local and online dancewear retailers and began carrying the Airess in the summer of 2015.  Now that the Airess has been widely available for about 5 months, I have enough information to give you my well-formed and honest opinion.

(Note: I have not purchased or danced extensively in Airess pointe shoes.  I have thoroughly examined and tried them on in the store, and I have done some simple exercises like bourees and eleves in the shoes.  I have seen about 5 different dancers at my ballet school purchase the Airess and have the same issues with the shoes.  I am using this information along with my personal observations to make somewhat general statements that I believe apply to the shoe in general.  It will become clear that I am not a fan of the Airess.  If you like the Airess, I do not mean to disrespect you or your choices.  I am expressing my opinion as well as pointing out factual problems from the point of view of a dancer and shoe fitter.)

Let’s start with some basic specs.  The Airess is supposed to be the culmination of “Russian” and “American” innovation in the “perfect” pointe shoe.  The shank is made of compressed particle board and balsa wood (yes, this is the exact shank that can be found in Russian Pointe shoes).  The drawstring and casing are elasticized for a smoother line (a very “Capezio” trait in a shoe).  The shoes are also lined with a suede-like material that is supposed to help the shoes not slip on the heels (this trait is taken from Bloch’s stretch European).  The wing is medium to high, and the crown is relatively high.  These factors severely limit the types of feet that can comfortably wear the Airess, even though there are supposed to be options for every dancer.

As far as sizing goes, The Airess comes in sizes 4- 12.  Dancers should go up about 1.5 sizes from street size to find the correct Airess size (Usually Capezio requires going up about 1 size, so the Airesses are running small.  Capezio’s website tells dancers to order their street size; this is not a good recommendation.  Go one size up for no or very thin toe pads, 1.5 sizes up for thicker toe pads, and 2 sizes up for wide square feet with normal to thick toe pads).  The smallest available size (4) fits approximately a children’s size 13.5 or 1 foot.  I (size 5.5 ladies) felt most comfortable in a 7.  Dancers with feet larger than a ladies’ size 10 will probably not be able to wear the Airess.

There are a lot of other options to choose from when fitting the Airess.  The shoe comes in “tapered” and “broad” toe options (noted as TP for tapered and BT for broad).  These can be generally applied to tapered and square feet respectively.  The “tapered” option is similar to a Russian Pointe Entrada(quite tapered with a smaller platform), and the “broad” option is somewhat like a Bloch Seranade (a bit tapered with a larger platform).  However, in my opinion, there is not a huge difference between the toe shapes.  I don’t think it’s really necessary to have both toe options since the shoes also come in narrow, medium, and wide widths (noted as N, M, and W).  There is a pretty obvious difference between a narrow tapered and a broad wide, but the combinations in between can really look and feel the same. (Note: in pictures of the shoe on their website, Capezio uses a tapered Airess.  Even in places noting broad, the picture is of the tapered version of the shoe.)

In addition to toe and width, the Airess also comes in 3 different shanks that can be called soft, medium, and hard (noted flexifirm or 5.5 for soft, firm or 6.5 for medium, and  maxifirm or 7.5 for hard).  “Soft” is supposed to be the same as a Capezio Tiffany 126, and “medium” is supposed to be the same as a Capezio Tiffany Pro 128.  I think that in reality all of the shanks are harder than they are supposed to be, so “soft” is more like a typical Capezio medium, and “medium” is more like a typical hard.  “Hard” is very hard and should only be used by advanced dancers or others who need a super hard shank.

Because the crown is high, the wing is medium/high, and the shank is pretty hard, the Airess is a very poor option for young, petite, beginning point dancers, or those with narrow tapered feet.  Anyone who prefers a soft shank, low crown, or low wing will not find an ideal shoe in the Airess. 

The platform and pleating area (the Airess is pleatless) are very rounded to the point of being bulbous.  This is supposed to assist with roll-up and stability.  In reality, it does not.  Most dancers, especially beginners, are held back by this feature.  Dancers get “stuck” in roll-up and cannot get all the way up on the platform.  The bulbous look is also really not aesthetically pleasing; it makes the feet look chunky.  The Airess is also a relatively heavy shoe, which can be tougher to work with (especially for small or beginning pointe dancers).

Some of my friends at my ballet school have purchased the Airess and worn it in class and at rehearsal (5 dancers total).  Every single one has noticed a very fast breakdown of the platform of the shoe.  It has become squishy (and I mean severely squishy and unsupportive, like a dead Freed) after about 3 or 4 hours of wear.  Pointe shoe glue can repair some of the damage, but nothing can completely bring the platform back to its original supportive form.  Since this has happened to multiple dancers on multiple occasions, I believe that it is a widespread problem.

Overall, I am very disappointed in the Airess. This “next big thing” has turned out to be “no big deal.”  I would not recommend this shoe to any dancer.  The shape is poor for narrow feet, and it exacerbates the “chunky” look of wide square feet.  The hard shanks may be nice for advanced students who frequently kill shoes, but the weak platforms completely nullify any benefits to shoe lifespan.  Many dancewear stores bought large quantities of the Airess because of its buildup as the “next big thing” in pointe technology.  If you go for a fitting, be prepared to be offered the Airess.  Try it on and see what you think for yourself, but I would not purchase a pair. 

If the Airess seems like it would be a good fit for you, see if you can also try a Russian Pointe Rubin (most of my friends who have tried the Airess have found more satisfaction with the Rubin).  This shoe has a generic semi-tapered fit that can work for many foot shapes, and with 6 width, 3 vamp, and 3 shank options it is as customizable as the Airess.  The Rubin is sleeker, has a more stable platform, and has a much longer lifespan that can be easily elongated with pointe shoe glue.

I can see what Capezio was trying to accomplish by combining the best of American and Russian pointe shoe designs.  However, all the pieces of the design did not come together in a great way.  Unfortunately, this one is kind of a flop.

Dancewear trend: patterned leotards

Leotards with patterns on them (or areas of patterned fabric) are currently popular choices for ballet and jazz.  If you attend a dance school with a relaxed dress code, patterned leotards can be a great way to show your colorful personality while wearing tight fitting attire that makes it easy to see the lines of your body.  Pieces with patterns tend to be a little pricier than their plainer counterparts, so make sure you love the leo before you buy it.  More subdued patterns (like those from Mirella and Ashley Bouder) tend to keep their fashionable status for longer periods of time than brighter ones that may be "out" next season.

If your studio has a stricter dress code, you can still get the patterned look by choosing leotards with embroidered or mesh burnout patterns in black or solid colors.  You can also pair a patterned skirt or top with your plain leo for a milder dip into the patterned trend.

What should I wear to my adult beginner ballet class?

Ballet is a great way to stay in shape and have fun.  Most dance studios offer adult classes at beginner and intermediate/advanced levels.  Whether you have a child in dance or you are just looking for a fun exercise class, ballet can be an awesome choice.  

Don't let the fear of looking weird in a leotard keep you from signing up for class.  Usually leotards are not required.  If you are new to dance and don't own any dancewear, simply wear tight fitting exercise clothes like leggings or yoga pants (think lululemon's tight fit) and a top that fits close to the body.  You will probably be jumping and doing some aerobic movements, so wear a sports bra if you feel you need the support.  Male dancers can wear a close fitting t-shirt (avoid shirts with big logos or pictures) and sweat pants or long athletic shorts.  If you don't have ballet shoes, wear thin athletic socks to your first class.  Most teachers are ok with this as long as you get some ballet shoes for subsequent classes.  

If you want to get some dancewear, I recommend choosing styles that are modest and comfortable.  Tank, short sleeve, and long sleeve leotards come in various styles that look nice and can hide a bra if you feel like you want to wear one.  Black footless tights or ankle-length black leggings are more opaque than the pink tights most younger students wear, so they can make you feel more covered.  A dance skirt (wrap or pull-on, above the knee length) or a pair of warm-up shorts can round out your look and provide some extra coverage.  Male dancers can look into getting jazz pants, tights or leggings, and dance shirts, but any exercise wear will always be appropriate for class as well.  

When you get ballet shoes, first consider whether or not you want to wear them with tights.  If you prefer footed tights or wearing your convertible tights "down" over your feet, get shoes in the same color as your tights (black shoes with black tights, etc.).  Especially if you wear black footed or convertible tights, do not get pink or nude shoes.  It does not look good.  If you wear footless tights, choose ballet shoes in any color you like.  

The most important thing about ballet shoes is the fit.  For an adult, I recommend choosing split sole ballet shoes in leather or canvas.  Avoid imitation leather if possible.  Leather and canvas stretch and mold to the foot after some wear, so you need to have shoes that are snug to the foot.  Workers at your local dancewear store can help you find a good fit.  Make sure the shoe does not gap at the sides and there is not extra room at the toe of the shoe.  The shape of your big toe should be visible through the material, and you should feel the end of the shoe with the tip of your toe (but it should not "squish" your toes or hurt).  This may be tighter than you are used to, but it will really help you dance your best.

Happy Breast Cancer Awareness Month!

As you all know, October is breast cancer awareness month.  I did a photo shoot with Grishko's pink ribbon warm up line to bring some awareness through the beauty of ballet.  Some of the other photos are on Instagram (follow me @dancejcupp01).  

Remember that even healthy athletes are at risk for breast cancer.  Self exams and regular medical testing can save lives.  Dance is a great way for breast cancer survivors to exercise, socialize, and have fun while sharing their stories.  Remember to "think pink" every time you pull out your pointe shoes!

I hope you enjoy the photos; I did my own editing for the first time.  Good luck with the start of your Nutcracker rehearsals!  I've been busy with mine.  Regularly scheduled programming will be back next week!