Although dancers may have risen to their toes as early as the 18th century, Italian ballerina Maria Taglioni made dancing on pointe standard practice in the 1830s when she completed the entire ballet "La Sylphide" on pointe. Taglioni and her father designed and pioneered an early version of the pointe shoes worn in the 20th and 21st centuries. Since Taglioni's time, dancing on pointe has become a requisite skill for female professional ballet dancers. In the late 20th century, some men began performing on pointe, too, often with companies that specialize in performing comedic ballets.
The technique of pointe dancing has evolved drastically since Taglioni's time. As pointe shoes have grown more supportive, ballerinas have mastered higher levels of technical skill and are able to complete more complex, difficult steps on pointe. Various schools of ballet technique teach slightly different methods for rising onto the toes. Both are equally correct technically but possess a different quality of movement. Due to harder pointe shoes, Russian schools teach students to "spring" or hop on the the tips of the toes with rising en pointe. This method gives a strong, athletic quality to the movement. French and Italian schools instruct dancers to roll through the entire foot when rising on to the toes, which creates a smoother movement. Many dancers and schools use both methods, depending on the demands of the choreography.
Well-trained ballerinas make dancing on the tips of their toes look effortless, but executing pointe work correctly is one of the most challenging aspects of ballet. As you rise on pointe by rolling, springing or stepping, you must keep your leg completely straight. Your abdominal muscles should engage to keep you on balance, while your feet and legs work to lift you onto the box (or tip) of your shoe. It is incorrect to "sit back" on your shoe by keeping your weight on the edge of the box so that your heels tilt toward the ground. Instead, point your foot so that it is straight up and down with your weight completely over your toes. When coming off pointe, you should lift up with your upper body, using your calf muscles to lower your feet to a flat position, rather than "falling" off of pointe abruptly and ungracefully.
Pointe work can be dangerous, even for seasoned ballerinas, but dancers who do not have the physical characteristics necessary for pointe work may be at even greater risk for hurting themselves. Dancers should not attempt to begin working on pointe until the bones in their feet are fully developed, usually around the age of 11 or 12. A dancer should have the permission of her teacher before buying pointe shoes. Because standing correctly on pointe requires that the foot be in a constantly pointed position, dancers with flat feet or very low arches may find it exceptionally challenging and even impossible to master pointe work. Dancers who have very arched feet will have more aptitude for standing on pointe but may be tempted to roll over their box due to the flexibility of their arches. When a dancer rolls over the box, it puts strain on the metatarsal, toes and ankle, making the dancer more likely to injure his or her feet and ankles.