- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
- Buy A Single Issue
- Give A Gift Subscription
During the dream scene of Singin’ in the Rain, Gene Kelly finds himself eye to foot with Cyd Charrise’s long, luxurious leg—and her emerald high heel. As he stands up to retrieve his hat from the tip of her stem, the spike points straight at him until she raises her leg to the heavens. It’s pure bliss. Throughout her seduction of Kelly, she remains perched on a demi-pointe both required by and accentuated by her footwear.
From Charrise’s green glory to Dorothy’s red slippers, it seems that shoes, particularly high heels, have the transformative ability to awaken a woman’s sense of power. But why does a shoe so greatly affect the wearer’s self-perception? When the foot is slipped into a high heel, the calves tighten, the bottom lifts and the chest thrusts forward, exaggerating a woman’s curves. From there, it seems the seeds of confidence shoot up from the foot to the mind. Carolina Giannini, a dancer with Tango Fire, says, “Heels make a woman feel like a cat—filled with stealth,” she says. “It’s sensual like nothing else.”
A Heel With History
Before heels were used in dance, they were used in life. In the Middle Ages, cork wedges and stilts helped wearers stay above mud. Catherine de’Medici brought high heels into vogue in the 1500s when she wore two-inch heels in order to compete with the tall mistress of her betrothed, the Duke of Orleans (later the King of France). In the 1700s, King Louis XIV wore heels adorned with mini-murals including complete battle scenes. He also decreed that only nobility could wear red heels, establishing the shoes as a status symbol.
Considered a mark of wasteful nobility, heels fell into disfavor during the French Revolution, but they later reemerged in varying styles. Traveling through countries and decades, heeled footwear morphed into recognizable form during the flapper era of the 1920s. Since then, the jabbing lift has outlived many other fashion phenomena.
Dance, Lifted Up
As high heels moved into the mainstream, parallel versions kept pace in the dance world. From classic court dances performed in low heels, to folk dances including the jig, tarantella and the Scottish fling, dances called for structured shoes. Phil LaDuca, former Broadway dancer and creative director of LaDuca Shoes, explains: “When the traditional dances were established, there was so much stomping, jumping, scuffing and pounding. So they all required inflexible, hard-soled character shoes that capitalize on the sound of a heel dropping to the floor.”
Since then, heels in dance have diversified and evolved to include options like tango shoes, character shoes, and styles for gliding waltzes. While some dancers seem to have been born with heels attached to their feet (like Charisse, or comma-footed Elizabeth Parkinson), many others find it takes diligent practice to master dancing in them.
For Ballet Hispanico dancer Angelica Burgos, learning to love heels took time. “Before Ballet Hispanico I had only done pointe work,” she says. “Dancing in heels is night and day from pointe shoes, including the posture, balance, and weight shifts. It’s taken me five years, but now heels are like my running shoes. I love the way they make your leg so long, show off your foot, and pop your arch.”
Broadway dancer Donna Marie Asbury wore her first pair in a summer stock tour of Bye Bye Birdie at age 16. Now, she loves the heels she wears as a merry murderess in Chicago on Broadway. A dancer in the Fosse musical since 1999, Asbury says she prefers character shoes with a suede sole, two straps that cross over the instep and an extra platform under the ball of the foot for extra support—plus they add height to her 5'3" frame. “In the ‘All I Care About’ number, we are sexy and wanton, strutting around with the heels,” she explains. “Then, in ‘Cell Block Tango’ we are angry, and stomping in heels is really empowering for that moment.”
Making Heels Work
Depending on the style of dance, heels are used in different ways. “In tango, you need to put the whole foot down and push off from the heel,” explains Giannini. “The heel is what allows you to glide forward from the momentum of pushing through it.” She adds that three points of the foot are all in use: two in the front, and one in the heel, creating a triangle of support and rebound for the earthy movements of traditional Argentine tango.
For Burgos, some pieces require character shoes with a wider heel and toe box, and others call for ballroom shoes with a very thin heel and tapered front. The diversity in footwear makes special demands on Burgos. “I am always on demi-pointe, pulled up with my stomach in and shoulders back,” she says. “Sometimes, in transitions you have to go through your whole foot. But even when you do, you aren’t on your actual heel; you’re on the shoe.”
Burgos and Asbury both say they wouldn’t trade dancing in their heels for flat slippers. But they do admit that wearing heels creates physical challenges, from dealing with the shift of the body’s center to added stress on the balls of the feet and strain on the lower leg.
Burgos says her lower back is a source of pain due to the altered position of the spine when wearing higher shoes. For Asbury, the discomfort on the balls of her feet is the worst aspect, especially on days with both matinee and evening performances. “You have to give your feet a break sometime,” she says. “Because I wear heels for a living, it takes a special occasion for me to put on a pair outside the theater.”
On top of discomfort, wearing heels also requires serious readjustment in larger movements. For Asbury, sliding into a full split during “All I Care About,” is the hardest move to maneuver in heels. To avoid wrenching her ankle, she slides on the outside part of her foot, essentially sickling it.
Burgos finds large jumps difficult. “Unless you have a partner to support you on your landing, when you jump in heels you have to compromise your height and power,” she says. “You have to make the jump smaller and increase the plié for a softer landing.”
To acclimate to the specific way a shoe affects movement, Burgos suggests dancers wear the same style and heel-height in rehearsal as those worn in performance. She also says that adding a metal brace between the heel and arch portion of the sole creates extra stability.
Both Burgos and Asbury recommend exercise programs that strengthen the core, like Pilates and Gyrotonics, because you have to readjust your center when dancing in high heels. After workouts or shows, they stretch their calves and Achilles tendons daily. They also soak in hot baths with mineral salts. Ginnini does extra strength training for the ankles.
Fortunately for heel addicts, more help is available from shoe companies that take an interest in comfort and functionality. LaDuca founded his company based on his own experience in dance and observations of frustrated female dancers.
“Watching my gypsy friends slam their shoes in door jams really resonated with me, especially as they got injured,” says LaDuca. “When you jump or do a big movement, you have to be able to roll through the foot as you land and brush it as you take off. So my shoes are flexible enough to point and brush, but are still supportive and stable in the heel cup and toe box.”
Many other companies are following suit, with character shoes more closely resembling a pliable ballet slipper with added heel than a wooden clog. But while this change is very welcome to dancers, heels would have a place in dancers’ hearts regardless.
“There are times that we have to rehearse a piece in flats, and it just feels so wrong,” says Burgos. “The minute you put on heels, you become a different woman—sexy, powerful. It’s like Cinderella.”
Lauren Kay is assistant editor at Dance Spirit magazine, and is also a dancer and writer in NYC.
While dancers love how heels look and have learned to accommodate to their demands, Dr. Lori Weisenfeld, a New York-based sports podiatrist, sees the effects on her patients. “Heels do elongate the leg and make the calves contract. But there’s nothing less sexy than women having difficulty walking in them.”
Weisenfeld explains that the discomfort has several sources. The first is pressure on the ball of the foot below the big toe joint on the two small bones called sesamoids. The second is on the paddy part of the ball of the foot, just below where the toes attach, which is stressed from the added weight. The last can come from corns on the top of the toes, when they are pushed forward in a narrow toe box.
“High heels do not allow us to walk in a regular heel-to-toe fashion,” she says. “Also some high, narrow heels are unstable and leave the wearer vulnerable to twisting the ankles, tightening the calves, and shortening the Achilles tendons.”
Weisenfeld says that character shoes are the best choice for dancers due to their wide heel, deep and wide toebox, and common T- or ankle-strap that adds support and stability. In some styles, low platforms in the front of the shoe offset some of the heel height. Wider heels that are placed more firmly below the ankle also help.
Weisenfeld reminds dancers that whatever the issue, foot health is vital. “Foot pain is never normal. Any repetitive pain, swelling, or discoloration should be evaluated by a podiatrist.” For a podiatrist in your area, visit apma.org. —L.K.
New York City–based dancers know Gibney. It's a performance venue, a dance company, a rehearsal space, an internship possibility—a Rubik's Cube of resources bundled into two sites at 280 and 890 Broadway. And in March of this year, Gibney (having officially dropped "Dance" from its name) announced a major expansion of its space and programming; it now operates a total of 52,000 square feet, 23 studios and five performance spaces across the two locations.
Six of those studios and one performance space are brand-new at the 280 Broadway location, along with several programs. EMERGE will commission new works by emerging choreographic voices for the resident Gibney Dance Company each year; Making Space+ is an extension of Gibney's Making Space commissioning and presenting program, focused on early-career artists. For the next three years, the Joyce Theater Foundation's artist residency programs will be run out of one of the new Gibney studios, helping to fill the gap left by the closing of the Joyce's DANY Studios in 2016.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.
Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
José Greco popularized Spanish dance in 1950s and '60s America through his work onstage and on screen. Ensemble Español Spanish Dance Theater's American Spanish Dance & Music Festival is honoring the icon in recognition of what would have been his 100th birthday. As part of the tribute, Greco's three dancing children are reuniting to perform together for the first time since their father's death in 2000. Also on the program is the premiere of contemporary flamenco choreographer Carlos Rodriguez's Mar de Fuego (Sea of Fire). June 15–17, North Shore Center for the Performing Arts. ensembleespanol.org.
Dance Theatre of Harlem dancers Christopher McDaniel and Crystal Serrano were working on Nacho Duato's Coming Together in rehearsal when McDaniel's foot hit a slippery spot on the marley. As they attempted a swinging lift, both dancers went tumbling, injuring Serrano as they fell. She ended up being out for a week with a badly bruised knee.
"I immediately felt, This is my fault," says McDaniel. "I broke my friend."
What's on the minds of college students today?
I recently had the honor of adjudicating at the American College Dance Association's National College Dance Festival, along with choreographer Dana Tai Soon Burgess and former National Endowment for the Arts dance specialist Douglas C. Sonntag. We chose three winners—one for Outstanding Choreography and two for Outstanding Performance—from 30 pieces representing schools throughout the country. It was a great opportunity to see what college dance students are up to—from the issues they care about to the kinds movement they're interested in exploring.
Here were the biggest trends and takeaways:
It's summer festival season! If you're feeling overwhelmed by the dizzying array of offerings, never fear: We've combed through the usual suspects to highlight the shows we most want to catch.
Subscription box services have quickly gained a dedicated following among the fashion and fitness set. And while we'd never say no to a box with new jewelry or workout wear to try, we've been waiting for the subscription model to make its way to the dance world.
Enter barre + bag, a new service that sends a curated set of items to your door each season. Created by Faye Morrow Bell and her daughter Tyler, a student in the pre-professional ballet program at University of North Carolina School of the Arts, this just-launched service offers dance, lifestyle and wellness finds in four themed bags each year: Spring Performance, Summer Study, Back-to-Studio and Nutcracker. Since all the products are specifically made for dancers, everything barre + bag sends you is something you'll actually use, (Plus, it all comes in a bag instead of a box—because what dancer can ever have enough bags?).
barre + bag's Summer Collection
Today, American Ballet Theatre announced a new initiative to foster the development of choreography by company members and freelance dancemakers. Aptly titled ABT Incubator, the program, directed by principal David Hallberg, will give selected choreographers the opportunity to spend two weeks workshopping new dances.
"It has always been my vision to establish a process-oriented hub to explore the directions ballet can forge now and in the future," said Hallberg in a press release from the company. Interested? Here's how you can apply to participate.
Back in January, Chase Johnsey grabbed headlines when he resigned from Les Ballets Trockadero de Monte Carlo, where his performances had garnered critical acclaim for over a decade, alleging a culture of harassment and discrimination. (An independent investigation launched by the company did not substantiate any legal claims.) Johnsey, who identifies as genderqueer, later told us that he feared his dance career was at an end—where else, as a ballet dancer, would he be allowed to perform traditionally female roles?
But the story didn't end there. After a surprise offer from Tamara Rojo, artistic director of English National Ballet, Johnsey has found a temporary artistic home with the company, joining as a guest at the rank of first artist for its run of The Sleeping Beauty, which continues this week. After weeks of working and rehearsing with the company, last week Johnsey quietly marked a new milestone: He performed with ENB's corps de ballet as one of the ladies in the prince's court.