This research report examines a contemporary debate within the ballet world about Gaynor Minden pointe shoes. Gaynor Minden represents the first disruptive innovation to pointe shoe designs in 200 years. These innovative shoes reduce the severe pain of learning to dance on pointe, but ballet traditionalists disapprove of Gaynor Minden on the grounds that they dilute the pointe tradition. This report presents an opposing view through an historical analysis and the recontextualization of pointe shoes as invented traditions. This analysis shows that pointe shoes are morphological and have undergone constant reinvention throughout ballet history. Diverse inventors, including choreographers, dancers, and shoemakers, commodified and mystified pointe shoes, linking the pain of dancing on pointe with aesthetic and social values. Hence, Minden shoes do not dilute the tradition of dancing on pointe insomuch as threaten pointe shoes as markers of exclusivity within ballet.

这份研究报告探讨了芭蕾舞界关于 Gaynor Minden 足尖鞋的当代争论。Gaynor Minden 代表了 200 年来足尖鞋设计的第一个颠覆性创新。这些创新鞋减轻了学习足尖舞蹈的痛苦，但芭蕾舞传统主义者不赞成盖诺·明登，理由是它们冲淡了足尖传统。本报告通过历史分析和将足尖鞋重新定位为发明传统，提出了相反的观点。该分析表明，足尖鞋具有形态学特征，并且在整个芭蕾历史中都经历了不断的改造。不同的发明者，包括编舞家、舞者和鞋匠，将足尖鞋商品化和神秘化，将足尖舞的痛苦与审美和社会价值观联系起来。因此，