Pointe technique ( ) is the part of classical ballet technique that concerns pointe work, in which a ballet dancer supports all body weight on the tips of fully extended feet within pointe shoes. A dancer is said to be en pointe () when the dancer's body is supported in this manner, and a fully extended vertical foot is said to be en pointe when touching the floor, even when not bearing weight. Pointe technique resulted from a desire for female dancers to appear weightless and sylph-like. Although both men and women are capable of pointe work, it is most often performed by women. Extensive training and practice are required to develop the strength and technique needed for pointe work. Typically, dance teachers consider factors such as age, experience, strength and alignment when deciding whether to allow a dancer to begin pointe work. Technique Pointe technique encompasses both the mechanical and artistic aspects of pointe work. In particular, it is concerned with body alignment, placement of the feet and the manner in which a dancer transitions to and from en pointe. A dancer is said to have "good" or "proper" technique when in conformance with the best practices of pointe technique, which in turn are generally referred to as proper technique. Placement and alignment En pointe dancers employ pointe technique to determine foot placement and body alignment. When exhibiting proper technique, a dancer's en pointe foot is placed so that the instep is fully stretched with toes perpendicular to the floor, and the pointe shoe's platform (the flattened tip of the toe box) square to the floor so that a substantial part of its surface is contacting the floor. Proper technique is also evident from a dancer's body alignment, by visualizing a straight line that extends from the center of the hip through the toes. When a properly aligned dancer is viewed from the side, the line passes through the knee, ankle joint and big toe joints. When viewed from the front, the line passes through the knee, ankle joint and the joints of the second toe or middle toe or the area between those toe joints. In cases of unusually high instep or metatarsal joint flexibility, it is sometimes necessary to flex the toes to achieve proper alignment. Movement into en pointe A dancer may transition to en pointe by any of three possible methods: relevé, sauté or piqué.