Marie Anne de Cupis de Camargo (15 April 1710 in Brussels – 28 April 1770 in Paris), sometimes known simply as La Camargo, was a French dancer. The first woman to execute the entrechat quatre, Camargo was also allegedly responsible for two innovations in ballet as she was one of the first dancers to wear slippers instead of heeled shoes, and, while there is no evidence that she was the first woman to wear the short calf-length ballet skirt, the now standardized ballet tights she did help to popularize these. She is said to have been as strong as the male dancers. Early life Camargo was born on 15 April 1710, and baptised the same day, in Brussels, the daughter of Ferdinand Joseph de Cupis and Marie-Anne de Smet. She had two younger brothers, Jean-Baptiste who later became a composer and violinist, François Cupis de Renoussard a composer and cellist, and a sister, Madeleine. Her father, who was of Spanish ancestry, earned a meagre living as violinist and dancing-master, and from childhood she was trained for the stage. At ten years of age, she was given lessons by Françoise Prévost (1680–1741), then the first dancer at the Paris Opéra, and at once obtained an engagement as premiere danseuse, first at Brussels and then at Rouen. Career She made her Paris debut on 5 May 1726 at the Paris Opera Ballet in Les Caractères de la Danse. The piece was choreographed by her teacher Françoise Prévost to music by Jean Ferry Rebel. Prévost herself originated the role, and subsequently taught her popular solo to both Camargo and her other student, Marie Sallé. Camargo dazzled audiences with her stunning technique and spritely energy, performing entrechats and cabrioles with brilliant execution. She became the first woman to execute the entrechat quatre, and she at once became the rage. She popularized two innovations to ballet, changing from heeled shoes to slippers, and she was one of the first ballet-dancers to shorten the skirt to what afterwards became the regulation length. Every new fashion bore her name; her manner of doing her hair was copied by all at court; her shoemaker — she had a tiny foot — made his fortune. Her increasing popularity at the Paris Opera inspired jealousy in Prévost, who demoted her to the corps de ballet. However, a later incident involving a missing male dancer saw Camargo unexpectedly step into his