Hops on pointe are small, quick jumps performed while staying up on the box of one pointe shoe, with the other leg held in a position such as arabesque, passé, or attitude. They are sometimes called sautillés, and they are an advanced skill that appears in well-known classical variations. The keys are a fully pulled-up supporting leg with the knee straight, weight centered directly over the platform of the shoe, very small hops powered from the ankle and foot, and a calm, lifted upper body. Hops on pointe should only be learned with a qualified teacher once you are strong and stable on pointe, usually after several years of pointe training, and they should be built up gradually at the barre before being attempted in the center.
Safety note: hops on pointe place high loads on the foot and ankle. Never try them without your teacher’s approval and supervision, and stop immediately if you feel pain or instability.
What hops on pointe look like
In a series of hops on pointe, the supporting foot never fully comes down. Instead, the dancer makes tiny, rhythmic jumps that just lift the platform off the floor and land it again, often traveling slightly forward, backward, or on a diagonal. Because the working leg holds a clear position throughout, the effect is of a sustained pose that floats across the stage. Hops on pointe are especially associated with the classical repertoire; the Act I variation in Giselle, for example, is widely known for its sequence of hops on pointe.
Are you ready?
| Requirement | Why it matters |
|---|---|
| Several years of pointe training | Builds the foot and ankle strength and familiarity with the shoe |
| Stable single-leg relevé on pointe | You must be able to balance fully over the box before adding jumps |
| Strong calves and ankles | The ankle and calf provide the spring for each hop |
| Strong core and turnout muscles | Keep the body aligned and stable over one foot |
| Well-fitted, supportive shoes | A soft or dead shoe cannot support repeated hops safely |
| Teacher approval | Your teacher can judge readiness based on strength and technique |
Step-by-step technique
- Rise fully onto pointe. Step or relevé onto the supporting leg, getting completely over the box with the knee straight and the leg pulled up.
- Place the working leg. Hold it in the required position, such as arabesque, passé, or attitude, with turnout and energy through the foot.
- Engage the core. Pull up through the torso so the upper body is light and stable.
- Make tiny hops. Push from the ankle and foot to lift the platform just off the floor, then land back onto the box. Height should be minimal.
- Keep the knee straight. Most of the spring comes from the ankle, not from bending the knee.
- Travel slightly, if required. Each hop can move a small distance, but the priority is staying over the box.
- Keep the upper body quiet. Avoid bouncing the shoulders or head with each hop.
- Come down with control. Finish by rolling down through the foot into a controlled position.
Common versions
| Version | Where you might see it |
|---|---|
| Hops in arabesque | Traveling sequences in classical variations |
| Hops in passé or retiré | Codas and solos |
| Hops in attitude | Variations with a lyrical or romantic quality |
| Hops with a développé of the working leg | Choreography that combines hops with unfolding extensions |
| Hops with small turns | Advanced virtuoso choreography |
Building up safely
- Master single-leg relevés on pointe. Practice slow relevés on one leg at the barre, focusing on getting fully over the box.
- Hold balances. Balance on pointe on one leg with the working leg in passé, then arabesque, for several seconds.
- Try hops at the barre, facing it. Holding the barre with both hands, try a few tiny hops on pointe, with your teacher watching.
- Move to one hand on the barre. Once hops are controlled with both hands, progress to one hand.
- Add the center only when ready. Begin with a small number of hops in place before traveling.
- Increase gradually. Add more hops, then travel, then different working leg positions, over weeks and months rather than in one class.
Conditioning for hops on pointe
Hops on pointe demand strength and endurance in the lower leg, foot, and core. Helpful exercises include single-leg calf raises, eccentric calf lowering off a step, theraband work for pointing and ankle control, doming exercises for the small muscles of the foot, and single-leg balance training. Core and hip strength, including planks, side planks, and clamshells, help keep the body stable over one foot. Consistent conditioning two or three times a week alongside class makes the skill much more achievable and helps reduce the risk of strain.
Musicality and performance
Once hops on pointe feel secure, the challenge becomes making them look effortless and musical. Hops are usually set to a steady, light rhythm, and each landing should land precisely on the music. Count the phrase carefully so you know how many hops fit and where the sequence ends. Keep the working leg and arms still and expressive rather than letting them shake with the effort. In performance, the audience should notice the floating quality and the shape of the pose, not the work happening in your ankle. Filming rehearsal runs helps you see whether the upper body stays calm and whether the hops remain even in size and timing from start to finish.
Choosing and preparing shoes
Your shoes need to support you firmly on the box. Shoes that are too soft or dead make it very difficult to stay over the platform and increase the risk of rolling the ankle. Some dancers darn the platform of their shoes or use products that improve grip and durability, depending on their teacher’s advice. Always check that ribbons and elastics are secure before practicing hops.
Health note: repeated hopping on pointe loads the toes, metatarsals, ankles, and Achilles tendons. Warm up fully, keep the number of repetitions moderate at first, and report any foot, ankle, or shin pain early to your teacher and a medical professional.
Common mistakes
- Not getting over the box. Hopping while sitting back on the shoe puts strain on the ankle and makes balance unstable.
- Bending the supporting knee. The spring should come from the ankle and foot, not the knee.
- Hopping too high. Large hops are harder to control. Keep them tiny.
- Bouncing the upper body. Shoulders and head should stay calm and lifted.
- Dropping the working leg. Keep the position of the working leg clear throughout the sequence.
- Practicing in dead shoes. Soft shoes reduce support and increase injury risk.
- Rushing progression. Adding too many hops too soon overloads the foot and ankle.
Frequently asked questions
What are hops on pointe called in ballet?
They are often described simply as hops on pointe, and are sometimes called sautillés. Terminology varies between schools and methods, so follow your teacher’s terms.
When can I start doing hops on pointe?
Usually only after several years of pointe work, once you can balance securely on one foot on pointe and your teacher agrees you have the strength and technique. There is no fixed age.
How do I stay up on pointe during hops?
Get fully over the box with the supporting knee straight, engage the core, keep the hops very small and powered from the ankle, and build strength through calf raises, relevés, and balance work.
