Authors: Jessica Aquino, MS and Tal Amasay, PhD

Corresponding Author:
Tal Amasay, PhD, CSCS, EPC
11300 NE 2^nd Ave
Miami Shores, FL 33161
tamasay@barry.edu
305-899-4893

Jessica Aquino has a master degree in movement sciences, is a certified athletic trainer, and work with professional Ballet dancers. Tal Amasay is associate professor at Barry University and the head of the Motion Analysis Center. He is a certified exercise physiologist and certified strength and conditioning coach 

Biomechanical Comparison of “Dead” and “New” Pointe Shoe in Female Professional Ballet Dancers

ABSTRACT

Purpose: Available research on pointe shoes often compare pointe shoes to other dance footwear, however there is a lack of studies comparing dancers’ biomechanics when using “new” pointe shoes and pointe shoes that have worn down, “dead”. The aim of this study was to examine the biomechanical differences exhibited by professional ballet dancers while performing relevé, sous-sus, and pirouette in “dead” and “new” pointe shoes. Methods: Thirteen female (20.9 ± 1.9 years old) professional ballet dancers were asked to perform three trials of relevé, sous-sus, and pirouette in “new” pointe shoes and “dead” pointe shoes. Center of pressure sway area and ground reaction forces in the anterior-posterior, medial-lateral, and vertical directions were recorded using one AMTI force plate. Results: The “dead” pointe shoe condition had significantly higher sway area during relevé, sous-sus, and single pirouette (103 ± 95 mm²; 256 ± 133 mm²; 178 ±129 mm², respectively) than the “new” pointe shoe condition (50 ± 65 mm²; 110 ± 64 mm²; 77 ± 39 mm², respectively),  p-value < 0.05. In addition, peak ground reaction force in the anterior-posterior direction during relevé movement was higher in “new” pointe shoes (35 ± 6% body weight) than in “dead” pointe shoes (32 ± 6% body weight), p-value = 0.019. No significant differences were observed for the other dependent variables. Conclusions: A larger sway area was observed in “dead” pointe shoes compared to “new” pointe shoes, which indicates that the participant had less balance in the “dead” pointe shoes than in the “new” pointe shoes. The larger sway area in “dead” pointe shoes may indicate that decrease in shoe integrity may contribute to decrease in the support and stability of the pointe shoe while the ballet dancer maintains the ‘en pointe’ position. Moreover, higher forces in the anterior direction state that the dancers can apply more forces in the “new” point shoe. Application in sport: These results can educate ballet teachers and ballet dancers about the mechanical changes in “dead” pointe shoes, which may lead to injury and reduce in performance. Furthermore, these results may lead to enhancements in footwear design.