A Sit Down with Dena Abergel

When one looks back at the Covid-19 pandemic, great sacrifice, isolation, and loss come to mind. I think each of us can recognize this. It was no different for ballet dancers around the world, both professionally and recreationally.

What was seeded in this most difficult time was connectivity that barely existed pre-Covid. Suddenly, through Zoom and Instagram, world class teachers were at our fingertips. On any given day, you could log in from your living room, back porch, or bathroom and take class with teachers you only once dreamed of learning from. Never in my wildest ballet dreams could I imagine one day studying in the direct lineage of George Balanchine’s School of American Ballet, the only school in my mind and dreams.

And this is where our story begins. The School of American Ballet, or SAB as it is affectionately called, is the first preeminent professional school of ballet in America. Founded by George Balanchine and Lincoln Kirstein in 1934 in New York City, it is the school that trains dancers for the New York City Ballet (City Ballet) and over 80 other major ballet companies around the world. The dancers’ speed, musicality, and athleticism are unsurpassed.

I started dancing at the ancient age of 14 in the late 1980s and quickly became obsessed with all things City Ballet and SAB. My age, unfortunately, gave little chance to ever fulfill the dream of dancing at SAB. Fast forward many years and deep in a pandemic that had not touched the world in over a hundred years, and through social media, I found my teacher—a teacher who filled a void, which was a longing to learn to dance like a Balanchine ballerina. Suddenly, I was standing under the watchful eye of Dena Abergel, former New York City Ballet ballerina and current faculty member at the School of American Ballet, as well as New York City Ballet’s Children’s Repertory Director. Journey with me, friends, as I ask Dena a lifetime of unanswered questions…..

I saw you recently perform in a clip you shared on your Instagram. Seeing a pro ballerina perform post-retirement in my mind signals a change in the dance world and a world of more inclusivity in dance.

I love to perform. Even those two minutes with my dancing friends on stage at a summer camp was thrilling. We got a high just from creating the dance, having fun in the studio together, putting on the music, and just moving together. As I get further and further away from my performing days, it does feel like it’s less and less possible for me to really perform, so I don’t have the same yearning. Dancing in pointe shoes is no longer realistic. But I still have the yearning to be swept by my waltzing partner across the room any time, any day. Balanchine’s Vienna Waltzes was like a dream for me. I was in three different gowns with many different partners—from the woods to the ballrooms with chandeliers. I could go back to that world forevermore. I was so aware of what was happening at the time—that I was living my dream. I did it, I loved it, and it’s in my heart and in my memory. Would I do it again? Sure, in a second, but it’s not realistic. I am grateful that I am in the world that I love so much and I feel like I can share my passion with eager children, and that it’s not just tucked under a mattress somewhere.

How old were you when you retired?

Almost 39, 38.

Dancing the First movement Solo Girl in Balanchine’s Brahms Schoenberg Quartet 

Photo by Paul Kolnik 

And 40 is around the average age, right?

Much sooner for dancers in the corps. People don’t usually go past early 30s. I was considered old. If you’re not a soloist or a principal, you’re usually gone after 10 years, because to dance in the corps you have to be doing it because you love it so much, which I
did. I would have gone on and on and on. And once I retired, I was ready in the wings if I ever got the chance to get back on stage. I was lucky because Peter Martins called on me to do some character roles after I retired. I will never forget the first year that I was working with the children at SAB. I was teaching them Sleeping Beauty and then I was suddenly on the stage performing as the queen alongside them. It was so incredible to have these little kids turn to me, present their flowers, bow, and walk off. It was the sweetest thing.

And it probably gave them confidence having their teacher out there?

Yes. I was like, “…and 5, 6, 7, 8. turn one and stand, now breathe.” Just kidding, they knew their choreography but it was mutually thrilling and comforting to be on stage together.

Dancing the Prayer solo in Balanchine’s Coppelia 

Photo by Paul Kolnik

Did you have nerves all the way through your career or was it all joy? I know
everyone is different but for you?

Everyone is different. For me the performance was the freedom. It was like sigh, this is where I’m free, so I couldn’t wait. There were occasions when I had a big opportunity or solo where I had some nerves before, but normally as soon as I got out there with the music and lights, it dissipated. Dancing is not scary to me, it’s what I feel I should be doing, it’s where I feel I belong—on the stage with the music and the costumes. I had the opportunity to dance in so many Balanchine ballets. Most of these ballets are about dancing with each other to beautiful music. You are literally dancing with your friends. It’s so rewarding.

If you are a principal, you are almost always dancing with one partner or alone. I loved that I had the opportunity to do certain solos, but the fact that I got to do both was a pleasure. When I came back after having my daughter, I always thought about the fact that the principal dancers who had children had to go back into carrying the entire ballet, whereas when I went back I was just dancing with my friends. It was a much less burdensome role.

What made you decide to retire when you did?

The offer of working with the children came. Peter said, “I need someone to do this and I want it to be you.” I was already 38. I was dancing at my peak at that point, my body was in the greatest shape it was ever in, I was enjoying myself tremendously. It was, in a way, hard to leave, but I said to myself, “This is the way to leave—when I feel great, not injured and hurting.” If I didn’t take the position right then, he would have had to find someone else. He really believed this was the place for me, and I trusted him. I believe Peter noticed certain things about me that I wasn’t aware of myself. He had known me since I was 17 years old and over the course of 20+ years he took an interest not only in my dancing but also in who I was, how I approached dancing, and the way I worked.

Teaching at SAB

What an honor to have someone say to you, “Here, I want you to lead the children at SAB.” That’s huge.

Yes, it was huge and I didn’t quite realize it at the time, and I didn’t see myself that way either. Now I can’t imagine doing anything else!

Sometimes it takes someone to recognize something in us before we see it in ourselves ☺ How does post-retirement look for Dena the dancer? Do you have goals and aspirations for yourself?

The truth is I always love to dance. It has been a loss in my life in terms of missing the performing, missing the daily routine of taking class. Especially before the pandemic, whenever I did have the opportunity I took company class. As a performer, my entire day used to be spent on taking care of myself—my physical body, my nutrition, massage,
everything that had to do with what I needed to do to get on that stage. It was all-consuming. I was lucky because my husband was very supportive. As I got older and had a family I was always balancing and juggling.

Kids, career, college. That’s amazing!

That’s how I felt fulfilled—by doing everything. I have had to slow down a bit as I’ve gotten older because I have gotten injured. The first 10 years post-retirement I really was always looking for that opportunity to get back on that stage. I am past that now because my body can’t do what it used to do. I do get that fulfillment now when I teach. When I’m warmed up and I can really show a class, I make up combinations that I would love to dance, and I get that fulfillment by sharing with my students. So much of learning for everyone is by watching and absorbing, by seeing. It’s visual. When they can see a feeling of movement they can replicate and not imitate but they can understand what you’re saying. When Suki [Schorer] was teaching me, which was, I guess, 35 years ago, she was 100 percent full out. So much of my movement quality and musicality I learned from her because she was doing it all. And she pretty much still does at 83. Suki is one of a kind and continues to inspire students and others alike.

And like you said, it’s so important that you move and demonstrate for your students. For me this past summer was the summer of Balanchine. I have been reading Suki’s book all summer, taking classes with you, and watched all
the essays. It’s one thing to read the theory and watch the videos, but it’s another thing entirely to work directly with a teacher whose teacher literally wrote the book.

On one hand I feel that my experience is so narrow because my entire dance life has been going from SAB to City Ballet back to SAB. Since I began teaching at SAB, I have become so much more aware of the building blocks of technique and not just getting to the final
product. I love helping people understand their bodies and achieve positions and movements that will give them the freedom to dance. Watching young people discover themselves and their abilities is so fulfilling, and to be a part of that process is rewarding for me

Teaching at Belvoir Ballet

Do you have a routine every day for yourself?

I took yoga for dancers classes diligently with Hilary Cartwright from the time I joined the company and I continue to do those stretches and exercises most days before I teach. When I have time and the schedule works out, I love to take company class. It feels like a huge breath of fresh air for me. But normally, once my kids have gone to school, I walk the dog, do my exercises, eat lunch and then head to work. Classes at SAB start at 4 and I rehearse the children for NYCB performances until about 9pm.

If you had to describe Balanchine technique in a few words, how would you
describe it?

I would say one of the biggest things is the musicality of it. You don’t take your time, you dance exactly on the music, but you can also play with the music. Balanchine himself was a musician. That influenced his style and therefore his training. Also clarity. Everything is
crystal clear and precise. Sharp, but also full, huge, the energy and line go beyond the body.

I would describe it as challenging. I feel like an absolute beginner studying Balanchine with you. At what point did you feel Balanchine technique was not challenging? Suki describes in her book that he would push and push and then when the dancer achieved, he would push harder. I assume Suki was the same as a teacher too, right?

Yes, there is no end. I felt that I worked toward goals and in trying, I achieved the best I could at that moment. It was never a final destination.

Does that bring doubt and self-criticism in or do you say I’m on a journey, it’s the journey, not the destination, and I’m on a journey?

That’s the Wendy Whelan idea. It’s about the journey, it’s about the process. There’s always more. The leg can always go higher. The reach can always be longer. I never felt that there was even going to be an end to the journey.

So that was OK? You know how every dancer has something they don’t like about their body or something they want to work on.

Yes, for sure, and of course I have those too, but I think that that has more to do with the person than the technique. Just how you process critical information and corrections. We really have to clarify with students that a correction is not criticism. A correction is a good
thing. It means we are helping you find a way to achieve the result that you want. Plus, even if I got it right one day, it could disappear the next. But knowing I had done three pirouettes the day before, meant that it was possible and achievable. It’s not like you got there and you’re there. I teach these ideas to my students as well—how to think productively about one’s self so that they don’t self-sabotage or become negative.

That’s really refreshing to hear from a professional ballerina. You have the same feelings all dancers have even at the highest level. What is a day at SAB like for you?

It’s different for every dancer and teacher. Because I have two jobs—NYCB Children’s Repertory Director and SAB faculty, both involving the students at SAB, my typical day at SAB is not like other faculty members’. I am creating a whole schedule that has to fit with
City Ballet’s schedule, the kids’ academic schedules, SAB’s class schedule, and studio availability. It’s a huge puzzle so a big part of my job is organizational and on the computer. My mornings are spent arranging, scheduling and emailing, while my afternoons and evenings are spent teaching and watching performances.

How does teaching adults differ from teaching children?

The pandemic gave me my first opportunity to teach anyone above 16. What I loved about it was that I could discuss and explain the workings of the body and artistic ideas in a very different way than I do with children. I can talk so much more freely about everything with
adults. You don’t have the concern about discipline or of hurting anyone’s feelings. I found more freedom for me as a teacher speaking with adults. Adults come to class for a different reason, and I love that they want to learn ballet. They love to move to music and there is
something about ballet that is appealing to them. And I am just so happy to share my passion with people of any age. It’s another kind of fulfillment teaching and working with people closer to my age, a little older, a little younger, to share what I love on a different level. I find it admirable to dedicate part of your day on a regular basis to learning this beautiful art form. I feel that there is so much value and pleasure that one can get out of teaching adults.

And the hope is that the ballet world becomes more inclusive to adult ballet dancers. My last question is whether there is any hope of an adult summer intensive at SAB?
Dena, can you please make it happen? There are so many of us that dream of this!!

That’s highly unlikely at SAB. Maybe City Ballet one day. You never know.

Since sitting down with Dena and writing this, I found NYCB offers a summer adult workshop I am beyond excited to attend and have been kindly invited by Dena to visit SAB to observe classes while there finger crossed the timing is right. This adult ballerina’s dream come true.

Thank you Dena for your time and dedication to this adult ballerina as well as the recognition of the adult ballet world’s rightful place in the world. Your meticulous eye and firm yet kind corrections have fueled the love of this art form for a lifetime. Follow Dena through her Instagram as well as in the Disney documentary, On Pointe.

A Sit Down with Lynne Charles

If you have not heard the name Lynne Charles before, ballet friends, you’re welcome. She will change your pointe work forever. She is an American who has spent most of her adult life living and working in Europe.

Former principal dancer with John Neumeier and the Hamburg Ballet, Béjart Ballet Lausanne, and principal permanent guest artist with English National Ballet, as well as professor of classical ballet, Lynne has made it her mission postretirement to push the evolution of pointe work in a holistic and safe way. It was so exciting to have the opportunity to sit down with my amazing teacher and pick her brain. 

How was 4 Pointe conceived?

As a dancer, pointe work or articulation in the legs and feet was my specialty. I was well known for being an extremely articulate dancer, which I learned from my teacher Robert Scevers, who has since passed away. The first year I moved to Europe, I would go to his home every night and hang on his stove and do barre with him. He retrained me. He promised me that if I listened to him and did everything he said, I would become a very articulate, wonderful dancer like Elizabeth Carol, a ballerina with Harkness Ballet who we both were big fans of. I trusted him. He also said, “It will make you have a long career,” which was true because I danced until I was 53. I didn’t have injuries or problems like most dancers have. 

When I retired and started teaching and coaching, I started noticing that dancers today are being required to do, ever since Billy Forysyth, such incredibly difficult pointe work—so much turned in and over the foot and back on the foot and just much more than is required in a simple classical ballet. I thought there must be a way to add something to the pointe class to make sure that in doing this, dancers can do it well but don’t get injured. 

I was a Professor at the Folkwang University in Essen and worked with contemporary dance students for five years. I learned a lot about the contemporary side of dance. This opened my mind to more possibilities. The only way dancing will survive is if everything evolves and changes. One does not want to ever lose in classical ballet the classical, pedagogical background or the essence, but over the last twenty years classical ballet has changed and evolved through pilates, Gyrotonic exercise, and sports medicine. I pride myself on being a teacher who’s very open minded and also looking to evolve my class. 

This all led me to wanting to do 4 Pointe. I had also watched a lot of things on YouTube and discovered there has been no evolution in pointe training. Pointe training has basically stayed the same as it was 50 years ago. I decided to use aspects of everything I’ve learned and work with dancers to discover and develop how to make pointe training better. 

I always say that right now, in the phase where my 4 Pointe is, it is never meant to replace a pointe class where you do piqués and all the classical pointe stuff. It is meant to be an addition. Within a year, I hope to have developed it so that it is a whole class. That being said, if you do my whole 4 Pointe barre, you have worked your whole body. 

What are some of the most important elements for an adult dancer preparing for pointe?

The correct shoes. If an adult beginner does not have a good pair of pointe shoes, it’s miserable. They will get blisters, have sore feet, it’s going to be an uncomfortable experience. Do some research. You may want to wear the same shoes as your favourite ballerina, but maybe those shoes are not good for you. You have to invest time and find out what kind of shoes there are. Try on 4 or 5 different shoes. Invest and try 2 different kinds, alternating until you see which works better. Your first time on pointe is an experience and you want it to be a good one, so you need to have good shoes. Pick a teacher that is interested in your well-being, not interested in making a buck. Otherwise you become one of the crowd. 

What advice would you give to adult students going on pointe for the first time?

I think in the beginning it is painful in the knees, hips, and lower back. This is normal. I would advise strengthening their feet with a TheraBand. Do some relevés at the stove when cooking to strengthen the ankles. I think if they are interested in doing it, more power to them. 

I have great respect for adult beginners. For someone at 40, starting ballet puts tremendous strain on the body. It’s a tremendous investment of your time and your energy. I think that sometimes adult beginners are not treated with enough respect for who they are and what they have achieved in their life. Some are double, triple mothers, have had a full-time job, and take care of families. It’s a whole different kind of person. It’s not a 12-year-old, it’s a mature adult. I think sometimes they are not taken seriously enough. 

If you can teach an adult beginner and a child, then you can teach anybody. The easiest thing to teach is a very talented dancer. Half your work is done. If you can get something out of an adult, that is a real challenge to your teaching qualities. 

Any final thoughts for the adult ballet world?

Don’t let anybody demotivate you. If you have two kids, three kids, a husband, a house, and a job and you still want to do ballet, oh my God, more power to you. And even if you don’t have any of those things and you want to go to ballet and you’re not 18, you’re 35, 40, 50, whatever—if it makes you happy, ballet is a wonderful thing to do and it’s a way to get in tune with yourself. I think anything you do that makes you happy, you should just do it. And ballet is not just wonderful for the body, it’s a wonderful art form. Don’t give up, don’t let people discourage you or make fun of you, just go for it. 

Thank you so much Lynne for sharing with us. I leave you all with Lynne’s mantra….

“4 Pointe is meant to be a somatic and mindful method of training dancers on pointe. I believe a dancer’s body is their tool and it must be cultivated with wisdom and respect, kept in good health, well fed as well as artistically nourished. This is the challenge of our generation. Therefore as leaders we must learn enhanced ways of transmitting valid and timeless information as well as further developing how classical training methods can be updated without losing the sense of what art is and why we do it.”

Find Lynne on Youtube….

On her Instagram…


And meet Lynne in person at our upcoming Adult Ballet Weekend Intensive on June 13th. Details here…..

Until our next plié ❤

A Sit Down with Marie Walton-Mahon Part One

“PBT is about the feeling before the form”

In the last decade the adult ballet world has grown exponentially. Adult dancers are wanting more than a class where they are sandwiched between two perfectly molded teenage dancers in their community’s weekly class. It is a global phenomenon where we have created our own place in the ballet world, and rightfully so. We can dance beautifully, build strength and flexibility, and, with the right encouragement and teacher, meet our own personal dance goals.

PBT is the perfect way to safely meet these goals. What is Progressing Ballet Technique or PBT? It is a gift from Australia to every dancer, young or old. According to PBT’s website, Progressing Ballet Technique “is an innovative body-conditioning and strengthening program that has been designed to enhance students’ technique by focussing on training the muscle memory required in each exercise in all forms of dance. It is a unique training system using ballet-technique specific exercises to train skill acquisition in a graded and progressive manner from junior through to advanced levels. PBT helps teachers around the world prepare their students to receive the strength they need to achieve their personal best.”

Founded by Marie Walton-Mahon, PBT is the ingredient missing in every dancer’s regimen. She has been changing the dance world at as rapid a pace as the pandemic and the pandemic has pushed her to expand her latest program in the PBT repertoire-Progressing Ballet Technique for adults.

Her decades of experience, both dancing and teaching professionally, have led her to create a program taught in the best schools and practiced by professionals. It was such an honor to sit down and chat with her and be able to share with you, the reader. Our lovely hour plus interview was intended to result in a single post but has now evolved into a two part series. There was just too much valuable information not to share.

PBT has a new program for adult ballet students.  Thank you for thinking of us. What inspired you to create these courses just for adults?

The inspiration came really from the need and request from so many adults and I know there’s a whole resurgence out there for this love of movement, love of music. At first I kept telling them to just follow my Junior Program and work through the Junior Program and when they feel strong enough, move into the Senior Program. I had so many adults saying, “that’s great but I feel intimidated watching the children and I would like my own.” It came from requests and fair enough, adult students deserve their own program.

If they are going to take their training serious, students need to know the how and why before the movement. It’s a little bit like peeling apart an onion and then putting the layers together. PBT is about the feeling before the form. The ethos underneath it is that if they don’t understand where the movement comes from how can they stand up and do it. They are intrigued by it so why not give them all the information. They’ve got plenty of freedom to ask questions as my daughter and I are the ones answering questions every day.

How can PBT help adult ballet students as they begin or continue their journey?    

First of all if they have danced before they have to retrain and align things. If they have danced when they were young and had a big break, they’ve got an idea of their body but those muscles need to be tweaked again. The alignment needs to be there. It’s not about how high, but how the alignment is for the pelvis to sit right instead of just throwing things. And they can go into it just too fast. This prepares the mind and body to then train safely. It’s all about safety. Adults deserve this and should be treated seriously but it has to be safe or it’s not worth doing at all. It’s the feeling before the form. It works best if they have a PBT class and the elements of that PBT class molds into the ballet class to follow.

Where did the idea originate to use a fit ball in ballet class?

I have taught with a fit ball in the room forever-since they came on the market. Tweaking that alignment is so important. Because the ball is moving constantly, it gives the student that instant feedback. It resonates quite quickly. In ballet class if something is amiss, I’ll just bring the fit ball and put that same déveoloppé or grand battement onto the fit ball to feel it then stand up and repeat it. I am constantly referring back to it.

I have always been interested in trying to keep myself to be able to demonstrate enough, I started to work on a Reformer and did some Pilates. And that’s expensive. I love the feeling of it – the taking the weight out of it and using the Reformer. That feeling is wonderful, but how many of those students can afford those sessions? The cross training is so necessary, but ballet is expensive and they’ve got the shoes and everything else. How many can afford that? So I thought I’ll get a fit ball and just trial some of those things with a fit ball because they are cheap.

I bought fit balls for a ten-year-old class. I started to substitute a class every couple of weeks and we just called it BB Day, Ballet Ball Day. The parents viewed the class at the end of the term and commented how much the children loved it and were practicing at home. They said that instead of substituting a class, they would like to have a special class. And they improved drastically. It was absolutely amazing. It went from there and I kept creating more.

And so PBT began its inception and evolution. It is truly amazing how one creative teacher’s need to help her young students has evolved into one of the most in demand teaching programs in the dance world and beyond. This kind and generous woman is making the dance world a safer place one fit ball at a time. Stay tuned for my next post as we dive deeper into Marie’s personal advice for you, the adult dancer, on your journey.

Until our next plié ❤

A Sit Down with Madame Olga

“Adult students should be taken as seriously as anyone”

Most Saturdays post Corona have become a new routine consisting of two cups of tea before the day starts followed by one of many amazing virtual ballet classes with the best the ballet world can offer. I have taken every chance to train with the best. Most days I find it hard to decide. Do I want a taste of ABT? A taste of Balanchine? The decision is daunting. That is until my first plié with Madame Olga. She had me at “one,” her hilarious shrill and signal that class had begun, and has had me ever since.

Amid her tough love approach to teaching, lies a kind and sensitive lady that just wants her students to believe in themselves and be the best they can be. In one breath she will say you are lazy and in the next she has you repeating a positive affirmation. Anything from “I am free to I choose freedom to I create my own reality,” she somehow knows just what her students need to hear on that particular day. Her hysterical comparison of an American’s turn out to a Russian’s will have you crying with laughter mid barre. Some days she will sing you a song at the end of class and if you don’t already know, Madame Olga is a triple threat.

But who is Madame Olga? She is the alter ego of Michael Cusumano, native New Yorker and former dancer with American Ballet Theatre. His professional life has extended beyond ballet including spending six years on Broadway in the musical Chicago as well as teaching. He teaches both as himself and Madame Olga all over New York. In his own words, “Madame Olga has been inside Michael since he was a kid. She was just always there.” The following is our recent sit down with his alter ego.

What is the secret to success for all ballet students?

The secret to success is you have to be resilient and never give up. You have to really love what you do or you can’t sustain the career.

What do you expect from your students?

I expect my students to stay open to different ways of learning, be kind in the world, and absorb as much as they can from all of their teachers. 

How do your students in America compare to your students in Russia?

My students in America and Russia are honestly very similar. I believe we connect on an energetic level and it just becomes an exchange of knowledge and love.

How do you encourage those that may never dance the role of Odette or Siegfried with a major company?

Most of us won’t dance the lead in Swan Lake and that’s okay. But you can dream as big as you want and dance it in your own world and that is just as beautiful. 

What advice would you give to an adult beginning ballet for the first time-someone that is maybe afraid of taking the first steps to join a class?

My advice is it’s normal to be afraid and have fear, but you have to do it. You literally have to just make yourself do it. You have nothing to lose and so much to gain in your life.

Should adult ballet students be taken as seriously as any other ballet student?

Yes adult students should be taken as seriously as anyone. The reason is because ballet is bigger than just dancing. It’s creativity and connection that shapes and enhances your life in a beautiful way in general. That is what makes a difference.

Thank you Madame Olga. Your kindness has inspired many of us during these challenging times. You have brought me back to my first love and given me hope when some days it feels there is little. I know I can speak on behalf of all your students when I channel you and utter your own words, “we love you.” We all look forward to your documentary and meeting you in person on November 15th.

Don’t miss our Adult Ballet Master Class with Madame Olga live via Zoom three weeks from today. Booking and info….


Until Our Next Plié ❤

See the making of Madame Olga in the award winning PBS Short Doc When I’m Her.….

A Sit Down with Josephine Lee

Photo Jazley Faith

Pointe work in ballet needs to be a more holistic approach

Amid a state of emergency in California, I had the chance to sit down and chat with pointe shoe guru, Josephine Lee from the Pointe Shop. She was forced to stay inside due to the raging wildfires and poor air quality that is plaguing her home state.

Josephine was born in South Korea and grew up in southern California. She danced for years as a child and then went off to college to study communication before returning to the dance world.

Who is the lady behind The Pointe Shop?

My mom was a pointe shoe fitter so not only did I dance as a child, but learned fitting from my mom. I started fitting when I was 14. After college, I opened a brick and mortar dance shop called The Dancer’s Choice. In 2014, I opened The Pointe Shop, my mobile shop.

What has your experience been fitting adult ballet students compared to younger students?

I love fitting adult ballet students. They are my favorite! They are so passionate. Their feet are as diverse as the children we fit. Adult students’ bodies are stronger, more set, and physically more stable than children getting fitted. While their feet are harder to mold, they can be molded and reshaped.

Are you seeing an increase in adult ballet students getting fitted?

Yes, definitely in the last 10 years. It has even become more acceptable in my native Korea where it used to be that dance was only for those training to be professionals. Recreational dance was such a revolutionary idea.

Are there any circumstances other than obvious injury, that you would not recommend or put an adult dancer in pointe shoes?

Yes, definitely. For example, those that come with injuries that they maybe did not even know they had. I trust a teacher’s discretion when it comes to pointe readiness, but they might need a physician referral from me instead of a pair of pointe shoes. It is definitely safer to fit an adult because they are stronger and more stable.

What are some tips you would give an adult student that is about to fitted for the very first time?

They need to be technically sound-taking at least 3-4 classes per week. The time period to achieve pointe for adults is a lot shorter than children, but they still have to be technically strong first. They also need to be stronger in other areas. Pointe is not just about the strength of the ankles and feet. They also have to have a strong core, back, arms. Just taking ballet class is not enough.

Any words of encouragement for those intimidated by the fitting process? Those fearful of not being taken seriously?

I see this all the time-adults that come in poorly fitted because the time was not taken to get a proper fitting. My advice is be vocal. Speak up when something does not feel right. Do a lot of research before going in to get fitted. Take your time.

Anything you would like to add?

Pointe work in ballet needs to be a more holistic approach. It is important to rest, sleep, eat well, and give time for recovery when needed. Everything accumulates, injuries don’t happen over night. Most injuries build up over time. Treat your body with more maintenance in mind rather than going through the motions.

Thank you so much Josephine for taking the time to chat and give the adult dance world the time and insight needed. We hope you and your loved ones stay safe from the fires.

Until our next plié ❤