U.S. patent application number 11/918467 was filed with the patent office on 2009-04-23 for shoe.
Invention is credited to Cherie Petrea Broadley.
Application Number | 20090100715 11/918467 |
Document ID | / |
Family ID | 36694530 |
Filed Date | 2009-04-23 |
United States Patent
Application |
20090100715 |
Kind Code |
A1 |
Broadley; Cherie Petrea |
April 23, 2009 |
Shoe
Abstract
A shoe (100) provides a sole (105) under the ball of the foot
(110) but none below the arch (112) or heel (113). An upper (104)
encircles the metatarsal bones and the distal end of the tarsals.
An inelastic ankle band (102) shaped as "C" holds the shoe on the
foot. Support is mainly longitudinal, includes over the arch, may
be adjustable, and is provided without causing foot distortion.
Sensation from exposed parts of the foot promotes kinaesthetic
procedure for teaching and learning dance. Variations enclose the
dorsal part of the foot, some enclose the toes, and one optio is a
toe box for en pointe.
Inventors: |
Broadley; Cherie Petrea;
(Tuakau, NZ) |
Correspondence
Address: |
YOUNG & THOMPSON
209 Madison Street, Suite 500
ALEXANDRIA
VA
22314
US
|
Family ID: |
36694530 |
Appl. No.: |
11/918467 |
Filed: |
April 13, 2006 |
PCT Filed: |
April 13, 2006 |
PCT NO: |
PCT/NZ2006/000073 |
371 Date: |
December 30, 2008 |
Current U.S.
Class: |
36/102 ; 36/103;
36/106; 36/114; 36/25R; 36/50.1; 36/8.3 |
Current CPC
Class: |
A43B 5/12 20130101; A43B
7/145 20130101; A43B 7/1435 20130101; A43B 7/1425 20130101; A43B
7/1445 20130101 |
Class at
Publication: |
36/102 ; 36/103;
36/114; 36/8.3; 36/25.R; 36/50.1; 36/106 |
International
Class: |
A43B 13/18 20060101
A43B013/18; A43B 13/00 20060101 A43B013/00; A43B 5/00 20060101
A43B005/00; A43B 5/12 20060101 A43B005/12; A43C 11/00 20060101
A43C011/00 |
Foreign Application Data
Date |
Code |
Application Number |
Apr 15, 2005 |
NZ |
539463 |
Claims
1. A shoe adapted for use in modern dance, contemporary and jazz
style dance, ballet, and other forms of athletic activity,
characterised in that the shoe includes a flexible, inelastic sole
that is held, when in use, beneath the plantar aspect of the ball
of the foot, although the shoe does not provide any covering
beneath the plantar aspect of the heel nor beneath the plantar
aspect of the arch so that the wearer's heel and instep are
directly exposed to contact with a floor surface or the ground and
so that in use the shoe encourages or permits sensations from
proprioceptive nerve endings in the foot thereby encouraging use of
kinaesthetic methods of performance; the shoe includes a flexible,
inelastic upper, the upper having a first side and a second side
each of which sides is attached along a corresponding edge of the
sole so that the sole and the upper form a tunnel surrounding at
least a portion of the foot including the metatarsal bones and a
dorsal covering over at least an anterior portion of the tarsal
bones; the upper being capable when in use of serving as inelastic
support for said portion of the foot; and the upper of the shoe has
produced therefrom a flexible yet inelastic ankle band extending as
a closed loop in a posterior direction from the posterior, dorsal
part of the upper, the size of the loop being selected so that when
in use the band is capable of being slipped over the ankle and
calcaneus and holding the shoe on the foot without crossing over
and without passing below the heel or instep.
2. A shoe as claimed in claim 1 characterised in that the ankle
band, when in normal use, tends to be bent into a downwardly
directed curve between the ball of the foot and the posterior
aspect of the calcaneus both by the shape of the band as cut, and
by tension applied from an attached border on the plantar side of
an elastic material; the bent shape thereby providing the ankle
band with functional resilience, as compared to a straight band
made of the same material, so that the strap retains sufficient
tension to hold the shoe in place, and continues to provide support
and proprioceptive stimuli during actions of the foot.
3. A shoe as claimed in claim 2 wherein the ankle band comprises an
added strap.
4. A shoe as claimed in claim 2 characterised in that the material
from which the sole, upper and band of the shoe is made is selected
from a range including leather, suede leather, cloth and
combinations of leather overlaid with cloth.
5. A shoe as claimed in claim 4 characterised in that the external
aspect of the shoe has an applied decorative finish, so that the
appearance of the shoe is compatible with functional use of the
shoe in a performance.
6. A shoe as claimed in claim 4 characterised in that the flexible,
inelastic upper includes a posterior slit aligned in an
antero-posterior direction, and the shoe includes fastening means
capable of maintaining the width of the slit across the
antero-posterior direction; the fastening means is selected from a
group comprising shoelaces passed through apertures, clips, a
zipper, and hook-and-eye fasteners, so that the inelastic support
and retention band can be fastened firmly over the portion of the
foot including the metatarsal bones thereby providing firmer and
adjustable support.
7. A shoe as claimed in claim 4 characterised in that the upper and
the sole are terminated in the anterior direction by an amount
sufficient to leave the toes exposed on their dorsal and plantar
surfaces while retaining coverage under the ball of the foot and
over the metatarsal bones and the tarsal bones of the foot, so that
in use the shoe encourages or permits sensations from
proprioceptive nerve endings in the toes thereby encouraging use of
kinaesthetic methods of performance.
8. A shoe as claimed in claim 7 characterised in that the shoe
further includes a short cord extending from the upper, passing
(when in use) directly between the first and second toes, and
finishing at the anterior aspect of the sole, thereby serving to
improve retention of the shoe.
9. A shoe as claimed in claim 4 characterised in that the upper
forms a dorsal part of a blind tunnel, completed by the sole below
the ball of the foot; the blind tunnel forming a pocket enclosing
the toes and the metatarsal bones.
10. A shoe as claimed in claim 9 characterised in that the pocket
enclosing the toes includes a substantially rigid enclosure for the
toes of the type known as a toe box; so that the shoe can be used
in the performance of en pointe ballet dancing and like
performance; the shoe providing support for the foot over the
dorsal aspect yet leaving the plantar and posterior parts of the
foot exposed, so that the foot can maintain natural arching and
strength.
11. A shoe as claimed in claim 6 characterised in that the upper
forms a dorsal part of a blind tunnel, completed by the sole below
the ball of the foot; the blind tunnel forming a pocket enclosing
the toes and the metatarsal bones.
Description
FIELD
[0001] This invention relates to the field of footwear; in
particular to footwear adapted by shape or construction for use
when performing various types of dance, including modern,
contemporary jazz dance, and in ballet, as well as for use in
relevant forms of gymnastics and martial arts.
DEFINITIONS and NOTES
[0002] The usage of "foot" and "shoe" or synonyms herein in the
singular (which is for convenience) should always be interpreted as
referring to one of both feet, or one of the pair of shoes that
would be worn on both feet.
[0003] Anatomical orientation terms, such as "plantar" for the sole
aspect versus "dorsal" for the upper aspect, "posterior" for the
heelwards direction of the foot and "anterior" for the toewards
direction of the foot are used.
BACKGROUND
[0004] Many aspects of current dance genres place strains on the
feet which are unusually large for a novice or a young person. Such
strains lead to some risk of stress-related injury to dancers'
feet; more particularly to the bones and ligaments as well as some
risk of damage to the subcutaneous tissues under the sole of the
foot. Many previous types of shoe have exacerbated the problem by
totally enclosing the foot and forcing the foot to alter shape to
fit the shoe, which it will do in time but often with the result
that the foot becomes damaged. Children's soft feet are easily
damaged.
[0005] The present invention was developed in response to
requirements of modern dancers who need to feel the floor with
their bare feet, spin with ease, and have a measure of protection
and support. The present invention for a shoe is in part driven by
an appreciation of kinaesthesiology in the performance of dance in
particular, although many other human physical activities may also
benefit from the invention. Some underlying drivers include:
1. Usefulness of lighter "minimised" protective shoes which
actually stay in place and which permit all kinds of activity. 2.
Avoidance of the pathological consequences of tight or binding
shoes, perhaps coupled with incorrectly applied over-stressing of
the musculoskeletal system; both of which can distort and damage
the foot. Consider the results of the ancient Chinese practice of
binding a girl child's feet and consider that even today it takes
only about a month to damage a child's feet with inappropriate
shoes. The barefoot mode of life has many advantages. 3.
Recognition of the place played by kinaesthesiology in movement and
in performance. By this word the inventor refers in particular to
neurophysiological processes (a) starting with activation of skin,
joint, ligament, muscle, balance receptors (including inner ear and
visual cues) and other sensations derived from sensors, that (b)
use reflex (non-aware) and/or consciously aware integrative
activity carried out within neural pathways responsive to
recruitment and encouragement probably at the synapse and dendrite
level for neurones in the nervous system (in both the brain and the
spinal cord), and (c) development of motor actions such as muscle
strength in muscles that are driven, immediately or indirectly by
the above neural pathways. The conscious aspect extends to thinking
about one's movements in terms of the musculoskeletal system. One
can make progress in performing a complex action by thinking about
one's muscles. Kinesthesiology is particularly applicable to
teaching and training, and to physiotherapy. In relation to a
dancer, awareness of where one's feet are, which way they are
pointing, how close they are to other objects, and general
awareness of the feet and what they are doing can commence as
conscious activities in a suitably encouraging environment, and
with time and practice will become subconscious, "reflex" actions
while the dancer concentrates on higher level matters.
[0006] By an "encouraging environment" the inventor refers to
minimising the masking effect on proprioception caused by
encompassing, protective shoes as are worn by custom in most
civilised societies when seeking either or both appearance
(fashion) and protective functions. This category includes many
customary types of dance shoes or slippers. Encompassing,
protective shoes may have disadvantages for dancers especially if
not fitted well. One cause of the development of modern dance has
been a desire to escape from the prescriptive, limiting notions
held in ballet such as the use of special slippers many of which
are adapted for dancing on the tips of the toes (en pointe
dancing). Barefoot dancing has developed from that desire to
escape. Accordingly there is a need to minimise the masking effect
on proprioception caused by encompassing, protective shoes as are
worn by custom in most civilised societies, for both appearance and
protective functions. This category includes many existing dance
shoes or ballet slippers.
The "First-Aid Stretcher" or "Hammock" Analogy.
[0007] Further, the present invention is in part based on a theory
that the inventor has developed and on which the range of dancing
shoes to be described herein is based. It should be noted that even
if the theory, which is offered here in a spirit of "giving the
best possible description", is not correct or not well explained,
nevertheless the dancing shoes provide significant benefits that
have not hitherto been available. The theory draws an analogy
between a human foot and the "first-aid stretcher"--the Army-style
stretchers made from two lengthwise poles that support the sides of
a canvas sheet forming a bed, used by two porters carrying a prone
person. A shoe of the invention provides support at each side of
the foot, alongside both the medial and lateral metatarsal bones,
by means of the upper in combination with the sole, which are under
some tension. The point is that a surface made of a flexible,
inextensible material can provide support from its middle regions
when opposite edges are held. The same effect is seen in a hammock
with rigid "spreaders".
[0008] Excess forces may jeopardise the structural properties of
the bones and ligaments within a foot--and tendons and muscles in
the remainder of the body as well. A well-designed shoe can
supplement and protect the anatomical structures while allowing as
much interaction between the foot and its substrate as
possible.
PRIOR ART
[0009] One patent document has a superficial similarity to the
present invention: WO99/51117 Wilkenfeld refers to a soft leather
sole, the edge of which is bordered by an elastic band, the sole
covering just the ball of the foot and is held in place by elastic
straps extending over the top of the metatarsals and further held
in place by an elastic strap extending under the sole (where it
crosses over) and around the ankle. In the corresponding U.S. Pat.
No. 6,018,888, some claims to a void formed in the sole between the
points where the ankle strap is attached to the elastic band around
the sole have been deleted.
[0010] The present invention also provides a flexible sole covering
the ball of the foot and no covering below the arch or the heel,
but differs in other respects, such as with a different structure
in which neither the ankle band nor any other part of the shoe is
made of an elastic (resilient) material (although the ankle band
may be edged with an elastic strip). The ankle band is not crossed
and does not dive under the sole but instead is produced from the
somewhat abbreviated upper of the shoe. The ankle band of the
present invention, assisted by the pattern from which the upper and
band have been cut, forms a "C" curve as seen from a medial or
lateral aspect and hence provides the foot with medial and lateral
alignment and support not unlike that of a slingback sandal, yet
continues to provide some "give" as compared to a straight strap or
band. The present invention applies the principles of
kinaesthesiology, and provides support for the bones and ligaments
of the foot, as will be explained later.
OBJECT
[0011] It is an object of the present invention to provide an
improved dance shoe that will optimally support and protect, yet
expose at least parts of a dancer's foot while dancing or at least
to provide the public with a useful choice.
STATEMENT OF INVENTION
[0012] In a first broad aspect this invention provides a shoe
adapted for use in modern dance, contemporary and jazz style dance,
ballet, or other forms of athletic activity, wherein the shoe
includes a flexible, inelastic sole that is held, when in use,
beneath the plantar aspect of the ball of the foot, although the
shoe does not provide any covering beneath the plantar aspect of
the heel nor beneath the plantar aspect of the instep so that the
wearer's heel and instep are directly exposed to contact with a
floor surface or the ground.
[0013] Preferably the shoe includes a flexible, inelastic upper,
the upper having a first side and a second side each of which sides
is attached along a corresponding edge of the sole so that the sole
and the upper complete a tunnel surrounding a portion of the foot
including the metatarsal bones and at least an anterior portion of
the tarsal bones, the upper being capable when in use of serving as
inelastic support for said portion of the foot.
[0014] Preferably the upper of the shoe has produced therefrom a
flexible yet inelastic ankle band extending in a closed loop in a
posterior direction from the posterior, upper part of the dorsal
enclosed upper, the length of the band being selected so that when
in use the band is capable of being slipped over the ankle and
around the wearer's calcaneus without crossing over and without
passing below the heel or instep of the wearer's foot.
[0015] Preferably the overall curved shape of the ankle band is
determined by the profile used during cutting out the band,
supported by the elastic edging sewn to the plantar side of the
band and around the upper bordering the sides of the instep, the
overall curved shape resembling the letter "C" as seen from the
medial or the lateral aspect, so that the band continues to provide
medial and lateral alignment and support while transitions and
actions such as plantar flexion, dorsiflexion, inversion, eversion,
and flexion and extension of the foot are made.
[0016] Preferably the strap also has a kinaesthetic function by
stimulating proprioceptive sensory nerve endings under the
strap.
[0017] Optionally the ankle band is adjustable in length and this
may be effected by use of a hook-and-eye fastening system or zipper
or lacing or ligature means.
[0018] Optionally the ankle band is made from a separate strap
[0019] Preferably the ankle band, when in normal use, tends to be
bent into a downwardly directed curve between the ball of the foot
and the posterior aspect of the calcaneus by tension applied from a
lower attached border of an elastic material; the bent shape
thereby providing the ankle band with functional resilience, as
compared to a straight band made of the same material, until the
ankle band is stretched, so that the strap retains sufficient
tension and continues to provide support during movements of the
foot and thereby holds the shoe in place.
[0020] Preferably the material from which the sole, upper and ankle
band of the shoe is made is selected from a range including
leather, suede leather, and cloth and combinations of leather
overlaid with cloth.
[0021] Optionally the external aspect of the shoe has an applied
decorative finish, so that the appearance of the shoe is compatible
with use of the shoe in a performance.
[0022] In a first related aspect, the upper of the shoe is provided
with tensioning means thereby providing firmer and adjustable
support.
[0023] Preferably the tensioning means includes a posterior slit
aligned in an antero-posterior direction, and the shoe includes
fastening means capable of maintaining the width of the slit across
the antero-posterior direction; the fastening means is selected
from a group comprising shoelaces passed through apertures, clips,
a zipper, and hook-and-eye fasteners, so that the inelastic support
and retention band can be tied firmly over the portion of the foot
including the metatarsal bones and at least an anterior portion of
the tarsal bones thereby providing firmer and adjustable
support.
[0024] In a second related aspect the upper and the sole are
terminated in the anterior direction by an amount sufficient to
leave the toes exposed on their dorsal and plantar surfaces while
retaining coverage under the ball of the foot and over the
metatarsal bones and at least an anterior portion of the tarsal
bones of the foot, so that in use the shoe encourages or permits
sensations from proprioceptive nerve endings in the foot, thereby
encouraging use of kinaesthetic methods of teaching and carrying
out performance.
[0025] Preferably the shoe further includes a cord extending from
the upper, passing (when in use) directly between the first and
second toes, and finishing at the anterior aspect of the sole,
thereby serving to improve retention of the shoe.
[0026] In a third related aspect the upper forms a dorsal part of a
blind tunnel, completed on the plantar side by the sole below the
ball of the foot; the blind tunnel forming a pocket enclosing the
toes, and the metatarsal bones.
[0027] In one option the pocket enclosing the toes includes a
substantially rigid surround or enclosure for the toes of the type
known as a toe box; so that the shoe can be used in the performance
of en pointe ballet dancing, contemporary dance and the like; the
shoe providing support to the foot over the dorsal aspect yet
leaving the plantar and posterior parts of the foot exposed, so
that the foot can maintain natural arching and strength.
[0028] Desirably the shoe is made without metal components.
[0029] In a fourth broad aspect this invention provides an example
shoe based on shoes previously described in this section; this shoe
comprising a "versatile shoe" wherein the shoe has enclosed toes
and an extended sole, extended towards the arch from the ball of
the foot.
[0030] Optionally this shoe is made without fasteners and the upper
is made of one piece of material.
[0031] In a fifth broad aspect this invention provides a shoe
according to principles previously described in this section; the
shoe of this aspect comprising a "T shaped upper shoe" wherein the
shoe has a minimised upper and no fastening means.
[0032] Optionally the shoe has an extended sole, extended towards
the arch from the ball of the foot.
[0033] Optionally the sole is extended towards at least the
underside of the big toe.
[0034] Optionally the upper of this shoe encloses the toes.
[0035] In a sixth broad aspect this invention provides a "wrap
shoe" type of shoe according to principles previously described in
this section, wherein the shoe has a minimised upper, covering
substantially the dorsal part of the foot between the bases of the
toes and the ankle.
[0036] Optionally the "wrap shoe" has a maximised upper, covering
substantially the dorsal part of the foot between the bases of the
toes and the ankle.
PREFERRED EMBODIMENT AND DRAWINGS
[0037] The present invention may be more clearly understood from
the following description of a specific and preferred embodiment
read in conjunction with the accompanying schematic and detailed
drawings; wherein:
[0038] FIG. 1: as FIGS. 1a (medial view), 1b (view from behind), 1c
(lateral view), 1d (front view), to 1E (oblique view of sole) are
tracings made from photographs of a prototype shoe in use; and in
FIGS. 1a-1d the dancer has her heel on the ground. Laces are
omitted for clarity.
[0039] FIG. 2: as FIGS. 2a (medial view) and 2b (view from in
front) are tracings from photographs of a prototype shoe in use
made when the dancer is raised upon the ball of the foot.
[0040] FIG. 3: as FIGS. 3a (lateral view) and 3b (view from in
front) are tracings from photographs of an early prototype shoe as
per Example 2.
[0041] FIG. 4: is a tracing from a photograph of the shoe of
Example 3, in use, as seen from the lateral side of the dancer's
foot.
[0042] FIG. 5: is a diagram of the shoe of Example 4 as seen from
in front of the dancer's foot.
[0043] FIG. 6: is a diagram of the shoe of Example 5 as seen from
in front of the dancer's foot.
[0044] FIG. 7: is a diagram of the shoe of Example 6 as seen from
in front of the dancer's foot.
EXAMPLES
[0045] At this time, the inventor has created several versions or
examples of the shoe; some of which are described in this
specification. In general, as to materials, a flexible, inelastic
sheet material is preferred. Soft leather, tanned in various ways,
is a suitable material as is well known to shoemakers. Suede
leather is an option. The sole is made of a harder leather (though
no sole as such is an option, when the leather of the upper is used
instead. The collagen fibres of leather allow flexibility if not
over-stretched and while the fibres are in a wavy, unextended mode,
but once they extended into straight lines the material cannot be
stretched any more. Laminates such as dress fabrics glued to
leather may be used. Some plastics whether in sheet or in woven
fibre form, canvas, and the like may be used as equivalents. The
use of elastic materials is limited. An elastic lower edging (FIG.
4: 101) is usually used around the ankle band 102 on the lower
(plantar) aspect, and a trimming or upper edging (FIG. 4: 109) may
be sewn to the dorsal aspect of the ankle band along its
circumference.
Example 1
Original C-shape Shoe
[0046] Note that all examples can be made in a range of sizes and
in forms suitable for both men and women. The shoe is normally
provided as a pair but for simplicity in this specification the
shoe is referred to in the singular.
[0047] Taking the first Example in detail, (see the five parts of
FIG. 1) in which the dancer is in the flat-footed stance, FIG. 1a
shows a prototype shoe 100 when in use, as seen from the medial
side. The dancer's foot 110 is shown as a dotted outline in FIGS. 1
and 2. FIG. 1a shows that the toes 111 are not covered in this
Example. Exposure of the toes is considered desirable for enhanced
kinaesthetics and the freedom and enjoyment of (nearly) barefoot
dancing. The arch 112 and heel 113 are also not covered. The ball
of the foot is the only ground-contacting portion that is given
protection. In FIG. 1e, the weight-bearing sole under the heel is
emphasised as a series of lines 113. An upper of the shoe includes
a functional tunnel 104 of a flexible material which surrounds and
encloses the distal end of the foot, covering the lower parts of
the metatarsal bones yet leaving the toes exposed, and is sewn
(seams 105S) or otherwise fixed to the medial and lateral sides of
the sole 105. Shoe laces are not drawn here for reasons of clarity.
The laces are threaded through the holes made through the upper and
tied conventionally. A series of holes 106 for use in lacing the
upper with a shoelace is best seen in FIG. 1d. Although eyelets
might be considered, it is preferred that no parts of the shoe are
made of metal because they may cause trauma on occasion.
[0048] The tightness of the upper is adjustable (in this particular
embodiment) by means of a shoe lace passing through holes or
eyelets 106 on both sides of a slit 107 in the upper that is
arranged more or less over the position of, and in alignment with
the second metatarsal bone. (Note that the shoelace itself is
deleted from most drawings). The slit allows the upper to be made
tighter or looser in order to more exactly fit a given foot at a
given time, as for ordinary walking shoes. A person's foot may
swell under physiological conditions, or with temperature or after
exercise for example, and re-adjustability is useful. Some other
ways, known to a worker experienced in the footwear manufacturing
arts, to provide adjustability include other forms of fastener such
as a hook-and-eye fastening system (e.g. "Velcro".TM.) and/or
simple use of suitable reversibly extensible or elastic materials
for the upper 104. Some uses other than modern dance may permit
hard clips, zippers, or the like. This form of shoe is also made
with no fasteners, and the upper is cut out in one piece.
[0049] The sole 105 covering the ball of the foot is visible in
FIG. 1e. The sole 105 is shaped to lie beneath the ball of the foot
and is made of one or more materials adapted for bearing weight and
for allowing gliding over or gripping of the floor to a desired
degree. A typical sole is made of a leather outer and a canvas
inner, or a double leather. The thickness is typically up to about
3 mm. For the exposed-toes versions, a short leather (or the like)
cord (108) runs between the distal end of the upper, downwardly
between the first toe and the second, to the distal edge of the
sole at 108A (see FIG. 1e). That toe cord/separator helps to bond
the shoe to the foot, avoiding any tendency for sideways slipping
of the sole under the ball of the foot, and assists with
proprioception. The shoe is also held in place by means of an
extension from the posterior side of the upper, here called an
ankle band 102, that forms a closed loop which is directed in a
curve to behind the ankle--specifically, passing over the
calcaneus--as shown in FIGS. 1a, 1b, and 1c and in FIG. 4. There is
no crossing over. When the shoe is on the foot, the band does not
pass below the heel or instep of the wearer's foot. The band is
preferably an extension of the upper and is made of the same
material, rather than being a separately made item, subsequently
attached to the upper. The curve forms a "C" curve between the ball
of the foot and the ankle, and, by comprising a distortable bent
shape rather than a straight unit, has some "give" as compared to a
straight inelastic strap, so that it continues to provide an
effective amount of support and holding function at any amount of
extension of the foot, such as in FIG. 2. A seam may be present.
Optionally the ankle band is adjustable in length and this may be
effected by use of a hook-and-eye fastening system or lacing or
ligature means. Preferably the overall shape of the ankle band is
determined by the elastic edging sewn to the plantar side of the
band and around the upper bordering the sides of the instep. The
ankle band continues to provide medial and lateral alignment and
support while transitions and actions such as plantar flexion,
dorsiflexion, inversion, eversion, and flexion and extension of the
foot are made.
[0050] As to materials and constructional details, the shoe 100 is,
so far, made of leather. Despite no elastic materials being used
for structural components, an elastic binding or edging 101 is sewn
to the plantar and posterior edges but not the front of the upper
from where the toes 111 emerge, and not on the dorsal (upper) side
of the ankle band. This assists with comfort and retention of the
"C" shape. A seam 103 is just a constructional aspect of
manufacture. The upper 104 of the prototype shown is made of a
suede leather and the sole 105 is made of a thicker leather. The
toe strap 108 is, in this prototype, made of a flexible material
but could be provided with means preferably at the upper end for
adjustment of length. A reader skilled in the art will be able to
select a type of leather, suede leather, or other materials such as
canvas, optionally as a multi-layered construction for the purpose
from the wide range available. Note that the heel strap 102 is not
crossed over and does not lie in contact with the sole of the foot.
Nor does the strap encircle the ankle like the ribbons of a ballet
slipper. This helps maintain foot circulation and helps the
integrity or health of the Achilles tendon.
[0051] Visual acceptability (such as by an audience) could be
greatly influenced by external appearance. The inventor also notes
that ballet slippers have not previously been decorated for the
sake of appearance. For any type of shoe, the upper 104 and/or the
strap 102 may be lined externally with satin or other decorative
materials according to taste, or may be coloured to merge with the
skin. An edging 109 may be sewn to the upper part of the ankle
band. The sole may be coloured. A shoe lace may be coloured. The
structural parts of the shoe can be trimmed with satin, or have a
leather or suede binding 101. Fashion finishes can be provided,
perhaps with matching accessories such as clothing or tote bags.
Example finishes include leopard-skin spots, zebra stripes,
chevrons, splotches, flecks and specks, fake grass, faux fur,
holographic and metallic decorations, parka-type nylon and quilted
effects, vinyl and photographic designs, diamante appliques,
sequins, beads, and buttons. Any colour is possible, including
fluorescent colours, Luminous decorations include phosphorescent
paints or other materials and lights (such as light-emitting
diodes) which may be activated by pressure or perhaps by sound.
Ethnic designs and fantasy figures or character merchandising
images may be used. Users may paint and decorate their own shoes,
starting with neutral coloured shoes and a kit of basic art
materials.
[0052] The inventor has found that protection for the ball of the
foot by the sole 105 of the shoe protects against development of
blisters and calluses, and protects against splinters or cuts. The
reader will note that all forms of the shoe are "minimised"; there
is no provision for a sole beneath the arch or heel in any of the
versions. All dancing shoes are compromises between protection and
exposure. This shoe, lacking any heel or plantar arch support and
with many versions (but not all) also exposing the toes, allows
people to better explore the limits of their capabilities and is
relatively unobtrusive either to the user or to an audience. The
following table sets out some differences.
TABLE-US-00001 Aspect Example 1 shoe Prior art shoe Balance
Unrestricted toes permit natural Cramped toes limit and change
3-point balance the balance action Freedom of movement vs The shoe
tightening means Ribbons around the ankle restriction (laces etc)
is on the dorsal encircle and constrict the surface and does not
constrict Achilles tendon. An enclosed the ankle. The shoe does not
heel can prevent full plantar encircle the leg or ankle. flexion.
Pelvic stability Bare heel in contact with the Shoes with heels
encourage a floor encourages correct pelvic pelvic tilt and can
shorten the alignment. Achilles tendon. Maturation of the Supports
and allows normal Normal growth of the foot can musculoskeletal
system growth and correct be distorted. Bone strengthens
development of foot structure. and thickens in response to
pressure, while cartilage (in children`s` feet) is distorted.
Support Support system is laterally and Support is minimal, or
applied medially longitudinal, running under the arch and
transversely along the sides of the foot (cf oriented. the
Stretcher Analogy).
Example 2
Pointe Shoe; Enclosed Toes and Toe Box
[0053] This variation of the invention (see FIG. 3a and FIG. 3b) is
a point shoe, based on the original "C" shaped shoe of Example 1.
The inventor, a teacher of dance, has noted that pain and
difficulty is often experienced by dancers when commencing or
during execution of point work, that may indicate incomplete and/or
incorrect development of foot strength. If early training is
carried out using a shoe as previously described in Example 1, a
smooth transition to the demands of point work is facilitated, and
natural and healthy development of the foot configuration will have
been encouraged.
[0054] This C shape pointe shoe allows the dancer to retain gains
made during earlier training, assuming that the dancer does not
progress to point work until physical strength and maturation is
appropriate. Here, the use of the core (a term applying to the core
of the dancer's body) is highly preferred because the lift is
initiated from the core, not just from the feet, and should not be
substituted in any other way.
[0055] This shoe has enclosed toes (surrounding the toes with an
internal rigid toe box). The outline of the concealed toe box is
shown at 306. One preferred toe box construction for this shoe may
include a fibreglass shell, an optional internal lining of a
polymer gel, and an innermost lining of cotton, leather, suede
leather, wool, or absorbent synthetic fibre. Alternatively it may
be a standard toe box toughened with epoxy resin for longer life.
There is a "feathering" of firm rubber or leather that emerges from
the opening of the toe box, within the shoe. This feathering, which
tapers away from the toe box towards the seam line behind, provides
a more gradual transition between the hard toe box and the flexible
body of the shoe, and provides support and comfort for the
phalanges (toes), metatarsal, and tarsal bones. The sole 305 of the
shoe is made of two or more layers of firm but flexible leather.
The sole extends slightly further back towards the arch of the
foot--by up to about 37 mm to 50 mm (for an adult size of shoe)
beyond the ball of the foot. Further, an option for the shoe
includes coverage of the plantar area under the foot with an about
2.5 cm wide strip (307) of a reinforced fabric or wide Elastic
material. This would be sewn to the posterior edge of the extended
sole. The upper includes the cover over the toe box and is dorsally
reinforced. Note that the heel and arch is still exposed.
[0056] This shoe has a longer life, has a slight shock-absorbing
function, and is suited to both demi and pointe performance work.
The next table compares this example shoe to prior-art pointe
shoes.
TABLE-US-00002 The invention (C-shape pointe shoe) Prior art pointe
shoe The dorsal area of the foot is enclosed and The dorsal area of
the foot is not covered, preferably with a laced upper. This
enclosed/covered. No support is given to the gives support to the
over-arch area from the arch from the top/dorsal side of the foot.
dorsal side of the foot. The underside (plantar area) of the arch
of The underside of the foot (including ball, the foot is not
enclosed, covered or arch and heel) is covered. Nearly all pointe
surrounded by this shoe. shoes have a rigid sole; one kind has a
two- part rigid sole. The underside (plantar area) of the heel of
The heel of the foot is enclosed/covered. the foot is not enclosed,
covered or surrounded by this shoe. The shoe is contemporary and
can be made Pink satin is the available choice. in all types of
fabrics and materials The shoe fastens dorsally and adjustably with
Ribbons that encircle the lower leg about the laces, elastic,
hook-and-eye fasteners, or the ankle, including the Achilles
tendon. shoe is provided in one fitted piece.
[0057] Note that the shoe of the invention provides more support to
the dancer's foot, and does not feel as if it is about to slip off,
as the prior art pointe shoe does when the sole pulls away from the
foot s the foot arches. A dancer who performs pointe procedures in
the ball of her/his foot, or on the toes, most of the time, and the
usual principles of foot support do not apply. With this Example,
the dancer's foot has the freedom to reach its own natural arch in
which the maximum of natural strength is expressed, because there
is no constraint from a rigid sole or the like, as does occur with
use of the prior art shoe. (Marieb E N in "Human Anatomy &
Physiology (5th edition) 2001 Addison Wesley Longman states under
"Arches of the Foot" "A segmented structure can hold up weight only
if it is arched. The foot has three arches; two longitudinal arches
(the medial and lateral) and once transverse arch, which account
for its awesome strength" Given the stresses involved in pointe
dancing, it is important to maximise the strength of the foot and
not to disable any of the arching motions that should occur.
Example 3
Versatile Dance Shoe; Enclosed Toes but no Toe Box
[0058] The "Versatile Dance Shoe" (see FIG. 4) is based on Example
2. Otherwise it has similar design and reinforcement means, such as
in the upper (404). The sole 105 is extended posteriorly about 37
mm (1.5 inches) (although less may be satisfactory) over the
otherwise exposed arch 112 of the foot behind the ball, while the
heel 113 is exposed. The ankle strap 102 may have an upper edging
109 of (for example) satin or perhaps a fold-over, and the lower
edging 101 is elastic. The toes are fully enclosed by an extension
(401) of the upper (404). While a shoelace is illustrated (106) the
inventor realises that the footwear trade has a number of options
available to it for providing shoe tightness adjustment. The
inventor prefers to use no metal parts, for the sake of safety. In
one option (FIG. 4a) the top is cut in one piece and has no
fastening means and no seams.
Example 4
T-Shape Shoe (Toes Exposed)
[0059] The upper looks similar to a capital T character, as seen by
the wearer. This shoe (see FIG. 5) is based on Example 1 but
exposes more of the upper surface of the foot to each side of the
extension 505 of the upper 504 which (a) carries means for shoe
adjustment and (b) continues on to form a strap 102 passing behind
the heel. The gap 506 between the apposable parts could be extended
further towards the toes. Edging 101 is also shown and may be
applied at the border of the upper that exposes the toes 111. A
between-toe strap is also shown. The abbreviated upper 505 is
preferably symmetrical or close to being symmetrical. Preferably
this shoe has no fastening means.
Example 5
T-Shape Shoe with Toes Enclosed
[0060] An alternative T-shape shoe with enclosed toes (see FIG. 6)
is based on Example 4. This version is not intended to have a
toebox, although a later version may be fitted with one.
Example 6
Wrap Shoe: Top of Foot Enclosed
[0061] The wrap shoe (see FIG. 7) is based on Example 4 but covers
most if not all of the dorsal part of the foot from behind the toes
111 and approaching the ankle. 110 shows the unclad lower leg. 1.
704L shows the lateral part of an enclosing upper; 704M shows the
medial part of the upper. A strap 102 with edging 101 that is
mainly hidden in this illustration extends around the ankle, over
the calcaneus, as for the other examples described in this
specification. The edging which may be leather, suede or satin (for
example) forms a continuous loop around the region including the
eyelets or other apertures for a lace (if any). The ankle and heel
remain bare, as for the other examples described in this
specification. The C shape remains visible.
VARIATIONS
[0062] Variations suitable for use in the martial arts (such as
karate, judo, hap kido, tae kwan do, etc) retain the feedback of
bare feet or at least bare heels, while providing some
protection.
[0063] Variations that retain the basic principles as claimed may
be made for ballet, jazz, contemporary and modern dance.
[0064] Manufacturing requirements may alter some details of the
shoes but the basic principles will be unaltered.
INDUSTRIAL APPLICABILITY AND ADVANTAGES
[0065] We shall review the shoe of Example 1 in particular--re
proprioception and balance. See also Tables 1 and 2 in relation to
prior-art shoes.
[0066] The open toe structure allows the toes to participate in
sensory activities. Toe and heel alignment is encouraged through
kinaesthesiology--touch and pressure receptors within the sides of
the foot responding to gentle side bracing supplied by the design
of the shoe. This function is reminiscent of the practice of
strapping but there are no disadvantages of adhesion.
[0067] The shoe enhances natural support and balance systems rather
than requiring the foot to adapt to the shoe itself, which can
result in deformity, and loss of balance. Preferably the shoe
adapts to the foot. Prevention of sickle foot is encouraged.
[0068] The shoe retains the direct feel of dancing barefoot yet
protects the ball of the foot from wear and trauma, especially when
the weight is concentrated on the ball of the foot, and helps to
support the foot during active use. In this way, the principles of
kinaesthesiology can be adopted by a person teaching dance for use
by each student.
[0069] The shoe of the invention enhances a strong foundation in
foot action by permitting a natural foot position during movement.
This foundation can be an ideal basis for developing injury-free
point work later on.
[0070] Unrestricted toes permit natural three-point balance,
whereas traditional shoes limit and alter balance actions.
[0071] The shoe of the invention does not constrict the ankle,
whereas many prior-art shoes constrict the Achilles tendon (which
can prevent full plantar flexion) and may restrict venous return of
blood and lymph drainage. Such constriction may interfere with
propioception by receptors within the tendon or within muscles to
which the tendon is attached.
[0072] Despite having no heel or arch support, the shoes described
herein do not impede normal walking, because the included sole is
not thick.
[0073] The shoe provides a contemporary approach to foot support,
compatible with modern dance. Its design focuses on the majority of
movements made by a dancer--which use the ball of the foot. Design
of these shoes is diametrically opposed to conventional ballet
slippers and pointe shoes. Finally, it will be understood that the
scope of this invention as described and/or illustrated herein is
not limited to the specified embodiments. Those of skill will
appreciate that various modifications, additions, known
equivalents, and substitutions are possible without departing from
the scope and spirit of the invention as set forth in the following
claims.
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