Dance dance in America: a short story (2023)

Glover and Dunn: A competition between beat and feet

On the evening of the nine-nine-thirty Grammy Awards, which were broadcast on national television on February 27, 1997, Colin Dunn and Savion Glover stood in the most violent tack dance challenge of their life.Colin Dunn, the star ofRiverdance - das MusicalSavion Glover, the choreographer and star of it, challengeBring it in there, bring 'there' radio in ', to a battle of the feet that was staged to present and celebrate the two hottest musicals on Broadway, but the Challenge Dance for these two stars was nothing.The predominance of the percussive dance forms, which represented every show -Irish step dance and African -American jazz tap dance.

Dunn went on first. He was big and straight, his back to the audience and the hands, which were placed properly on the waist of his slim black pants, quickly turned around with his introduction and pulled onto the feet balls with the stamp of his high snack shoeAt around and clicked on the spot and cross -backs on the spot.who hurt himself and struggled on Dunn's feet.deep knee curve down and repeated the striking rhythms with his heels, toes and peeling of his hard-boiled tapUhe.dunn heard the challenge. He took his hands off his hips and turned to Glover, provided a few shit kicks that cut the air in centimeters of the Glover face.-Back steps that brought the noise volume on a whisper. Glover interrupted Dunn's meditation over the "Ssssh" with short and jagged hee-haw levels, which mocked Dunn's beautiful line and forced the conversation to sound.

They exchanged steps, spit out shards of rhythmic phrases and made each other to pick up and one-up. Dunn's crispy heel clicks were absorbed by Glover with heel-and-foot clicks, which were turned into airy flutter by Dunn, the glover then fromrepeated a locked position. As they were fed up with politely, they used the lines of the other and interrupted each other with biting noises that let the audience scream, summon and pounding the feet.For a moment to politely recognize the applause with a smile, Glover found the moment and found his edge by sitting at the top of a toe and delivering a flick kick with the dangling other, which was brushed within centimeters of Dunns.The entire movement came to a standstill and for a long moment the dancers were simply there, flat and stared at each other.Chen melted her eyes, she pulled her hands and turned away from each other and went off the stage without smiling and never looking back.

An American genre

This performance is a sublime example of the Tap Dance Challenge, the general term for every competition, every competition, every collapse or showdown in which dancers compete in front of an audience of spectators or judges.Concentrated on your own opponent and developed by the theft and trade with steps, the TAP challenge is the dynamic and rhythmically expressive "engine" that dancing dancing -our oldest of the American colloquial language. What fascinating on the TAP challengeIs that took place between Colin Dunn and Savion Glover at the Grammy Awards in 1997, is the Glovers Style of Dance style, which it referred to as "beating"-a unusually percussive combination of jazz and hip-hop dance rhythms that useful partsof the foot to drum the ground - differs radically from Dunn's level of steps, a high musicIchen and slim modern translation of the traditional Irish staff dance, but both dance forms follow their origins and their development into a percussive dance tradition that developed in America a few hundred years ago.

Tap Dance is an indigenous American dance genre that has developed over a period of about three hundred years. Beginning of British and West African music and step dance traditions in America (a form of music and dance) was created in the 1700s.West AfricanJuve(Holy and secular kick dances) mutated into the American jig and Juba, which in turn were in a form of dance entitled "Jigging", which was recorded in the 19th century by white and black minstrel show dancers, which in a popular stage entertainment of the19th century were recorded. Years of hard -boiled shoes, clogs or hobnailed boots. First of all, metal plates (or taps) appeared on shoes of dancers on Broadway -Musikbühne in the early decades of the 20th century.The jazz dance as a musical form in parallel to jazz music and shared rhythmic motifs, polyrhythm, several meters, elements of swinging and structured improvisation. In the late twentieth century, the typing dance developed into a constructed performance on the stage of the music and concert hall.Absorption of Latin American and Afrocaribical rhythms in the fortiesdriven rhythmic complexity. In the eighties and nineties, the absorption of hip-hop rhythms by TAP has attracted a violent and multi-ethnic generation of male and female dancers who continue to challenge and develop the dance form, which Tap on today's dance expression in America in Americadoes what does the latest dance expression in America in America today.

In contrast to ballet with its codification of the formal technology, the dance dance developed by people who listened to on the street, in the dance hall or in the social club and danced each other, in which steps were shared, stolen and reinvented. "Technology" is transferred visually, aural and physically in a rhythmic exchange between dancers and musicians. Mimikry is necessary for the control of the form. The dynamic and synergistic process to copy the other in order to invent something new is for developmentmost importantly from Tap and has maintained its most important features such as the TAP challenge. The heavily competitive TAP Challenge "listed" the stage for a fight, which involves dancers in a dialogue of rhythm, movement and funny repair while he is involved in the audienceinvites you to answer with a whisper of praise or roaring stamps.The cable dance are full of challenge dances, of Jigging competitions on the plantation staged by white masters for their slaves, and challenge dances in the walk-around finals of the minstrel show on showdowns on the street, displays of one-upsmanship inSocial Club and jury Buck-and Wing-Contents on the variety stage.Concentrating dancers on technical virtuosity of citizens' elder. Regardless of the competition, all the challenge dances requires the ability to look, listen, copy, change creatively and further perfect what came before.Where the dancers gathered to take their steps and compete: "You shouldn't take the steps of anyoneCopy em - exactly! "

1600 and 1700: Jig andJuve

The possibilities for white and black to observe each other started in the 1500s when the enslaved Africans were brought to the deck and forced to the cover or twoHours to accompany bag pipes, harps and violins (Emery 1988: 6-9) dancing. In the absence of traditional drums, slaves danced to the music of converted buckets and tubs. The rattle and restriction of chains may have been the first subtle changes in African dance, becauseHe developed into an African -American dance style. Seepers who witnessed these events were among the first of white observers who later dance slave as social referees, spectators and participants of the plantation, the urban slave balls.West Indies were also Africans such European court dancesn such as quadrille and Cotillion, which they have taken over by keeping the numbers and patterns, but keep their African rhythms (Szwed 1988).

In the 1650s, during the thirteen war between England and Spain (1641-54) and, under the command of Oliver Cromwell, the widows, abandoned women and middleosis to push back families from soldiers, and thousands of Irish men, women and children were kidnapped, deported, banished, borrowed with low interest or in the new English tobacco islands of the Caribbean.Thrown from mostly Atlantic coastal Africans to the so -called coffin ships and transported it to the Caribbean. In an environment that was dominated by the English sugar plantation owner, Irish Indian and West African slaves worked together and slaves together. "For a whole, these two people are on the FElders exuberant to hybridize something completely new and to look wrong and enlarge, "writes Irish historian Leni Sloan." Ibo men play Bodhrans and violins and kerryms who learn to play jubi drums and set dances thatcan be syncopated with African rhythms.Saturday evening, Ceili dances, in complete voodoo rituals "(Sloan 1982: 52). The cultural exchange between enslaved Africans of the first generation and the Individual Irish would be on plantations and in urban centers during the transition from the white-indicated bondage to AfricanSlave work continued in the late 17th century.

It is believed that on the island of Montserrat in the smaller Antilles of the Caribbean, the first European language of Africans Gälisch was Irish and that retentions and new interpretations of Irish forms in music, song and dance (Messenger 1975: 298). And in JosephWilliams' book,Where the black Irish of JamaicaThe sheer number of Irish family names of former African slaves - Collins, Kennedy, McCormick, O'Hare - supports the claim that black and white lived together and durated whites together and danced.York was led by John Cory, an Irish dance master, and Caesar, a free African, who together burned down the symbols of British rule, the villa of the governor and the main weapons chamber of the governor. Corey and Caesar died together in the following brutal oppression.

Jigging and Juba

Since the Africans were transplanted to America, African ritual district dance rituals, which were of central importance for their lives and culture, were adapted and transformed (Stuckey 1987).workorJuve, moved in the clock -clockwise circle and became the body through the rhythmic mixture of feet, clapping hands and "patting" the body as if it were a great drum. With the adoption of the slave laws in the 1740s, which the drums out of fear of slave updatesForbid, developed creative replacement for drums such as bone clapping, jawboning, hand raps and percussive footwork. There were also retentions of the indistinctly Irish and parallel retention between the Irish and enslaved Africans of certain music, dance and storytelling traditions.Dancing while a glass of beer or water is balanced on the heads and on complicated rhythmic patterns when singing or lilde of the same rhythms occurred.to imitate and satirize, outA Irish tradition of competition for a cake. And that the Africans may have turned the Irish custom of jumping the broom into their own unofficial wedding ceremony at a time when slaves were denied Christian rites.

The oral traditions and expression cultures of the West Africans and Irish who were brought together and collided in America can be best heard.a distinction is made between the polyrhythm of the West African drums with its driving or swinging quality.Winked into the hips and relaxed, and favored sailing, towing and mixture levels, merged with the Irish-American dance style, which stiffened the torso, minimizes the wall-mounted movement and emphasized clever footwork, the limitation, hopping and mixed favored (Kealiinohomoku 1976).

Until 1800, "Jigging" became the general term for this new American percussive hybrid, which was recognized as a "black" dance style in which the body was bent on the waist and the movement was restricted from the waist down;And wing levels made it possible for the dancer born out of the air when lifting or landing to produce a quick and rhythmic slug in the feet.Dancing was encouraged and enforced.All rounds try to give someone to pass him.He could ... "(Stearns 1968, 37) .Jeder dance in the so-called negro style was called a collapse, and it was always a favorite with the white riverboat-männers.ohio flatboats treated themselves to virginiaLife on the Mississippi(1883) Mark Twain wrote that "Keelboatmen got an old violin and played one and another swab of juba and the rest has loose with regular, old-fashioned keelboot encryption."

Clock and horn pipe

The Lancashire Clog was another percussive form that contributed to the mix during this time. In the 1840s, the clog in wooden shoes from the Lancashire region in England danced to America and quickly had new styles such as Hornrock, Socket in the next forty years, Trick, statue and Waltz clog. The constipation also merges with forms of jigging to produce a variety of percussive styles that range from ballroom dances with articulated footwork and formal figures to fast -vating competitions soli, which is listed by men at the borderHowever, these percussive shapes had a syncoped rhythm; in other words, all the lack of rhythms that would later come in percussive forms such as the money and wing and wing and essence dances that would lead to soft shoe.

Die Minstrel -Show

Although African Americans and European Americans were borrowed and copied in the development of a dancing style of the one of the one -sided, there was a stronger draw in African -American folk materials of white actors., in America an.john Durang's "Hornpipe" from 1789, a clog dance that mixed ballet with African-American Shuffle-and-Wings was performed in Blackface Make-up (Moore 1976). In 1810 the singing "Negro Boy"Founded by Blackface Imitator as a dancehall figure, who performed Jigs and Clogs for popular songs. In 1829 the Irish Thomas Dartmouth Rice "Jump Jim Crow", a black version of the Irish jig, who tended and dance a negro work and danceA phenomenal success became. After Rice, the Irishmen George Churty and Dan Emmett organized the Virginia Minnstrels, a troop of Schwarzface facilityRn and consolidated so Irish American and African American song and dance styles on the minstrel stage (winter 1978) .bis 1840 was the minstrel show, a blackface act of songs, rapidly speaking repair in Negro-dialects and shuffle-and-wing-tap-Tanz, the most popular form of entertainment in America. From the minstrel show, the TAP Act inherited the walk-around final with dances, which contained competition sections in a performance that combined songs, jokes and special dances.

It is mostly because of William Henry Lane (approx. 1825-52) that typing in the minese period could maintain his African -American integrity. As a free man, Lane grew up in the five -point district of Lower Manhattan, the passage of whichBo -brothels and salons were lined, most of which were occupied by free black and needy Irish immigrants. Learn to dance from an "uncle" Jim Lowe, an African -American jig and a roller dancer from extraordinary skills.In 1844, Lane was defeated in a number of challenge dances as the "king of all dancers" after defeating the Reining Irish-American Minstrel (1823-1857) in a number of challenge dances and "Master Juba" proclaimed. He was the first African-American dancer, with the purely white minstrel troop, Pells Ethiopian Serenader, on tour and without Blackface make-up for Queen VOn England (winter 1948) performed. Lane is considered the most influential performer in the dance of the 19th century.the earliest form of the American discussion dance was viewed.

When the black actors finally gained access to the finishing stage after the civil war, the TAP vocabulary was infused with a variety of new steps, rhythms and choreographic structures from African-American forms of social dance.Dance, which was performed on the minstrel stage, was slowed down and popular in the 1870s by the African-American Minstrel Billy Kersand.to become the most elegant style of the dance dance on the musical stage.

Rebuilding

The reconstruction era was also the time in which technical perfection in the cable dance was valued and forgiven, and when the obsession with precision, lightness and speed - which had long been estimated at the traditional Irish Jig dance - recorded the prevailing standard of the judgment in publiccontested challenge dancesNew York Clipper(April 11, 1868) reported that in such a challenge "Charles M. Clarke, a professional jig dancer ... on the evening of the 3rd in the Metropolitan Hall had a competition for a silver cup with 12 US dollars. ClarkeichI made a straight jig with two -way steps and won the trophy. Edwards collapsed after taking sixty -five steps. "In the 1880s, big touring shows like how howSam T. Jacks kreole FirmaandSouth before the warBring new styles from black handling of the audience throughout America. Waring black Vaudeville troops such as Black Pattis Troubadours CakeWalk and Buck-and-Wing specialists in wasteful stage productions, travel medicine shows, carnival and jig-top circus choir lines and comicswho danced an early style of jazz-infused rooster, contained, contained the combined shuffles, dancing, dancing, dragging and sliding with a flat buck and eccentric dancing.

Turn of the century

Around the turn of the 20th century, when the syncopated and cheated rhythms of ragtime were introduced on the music stage, the table dance was subjected to its most important transformation.And the syncopation from Africa was created, the earliest form of jazz also developed the dance dance in its absorption of early ragtime and jazz rhythms to jazz -tischt dance. The purely black broadway musical,Clorindy or the origins of the cake walks(1898) presents a sterling example for this jazz and tap fusion of the turn of the century.Clorindywas identified by the clearly syncopied rhythm of the ragtime, while Paul Laurence Dunbars were listed in a syncopied Negro dialect ("Dam de Lan", gaining nest Hogan's choreography showed rash cocks of the head, mixed pigeon wings and sliding buzzard lops.In Dahomey(1902), another black musical of the turn of the century, Bert Williams played the role of the low fool and his partner George Walker in the role of the high-striving dandy. Armam wore Blackface make-up and shoes that expanded his already heavy feetHopelessly and mingled with grotesque and unusual slides between choirs, while Walker, as a "spic-and-span-Neger", transformed his highly qualified selection into a highly qualified selection, which he was different.-And-wings, bantam twists and rubber leg cake to a "ragged" stencil, which introduced a black colloquial language to the Broadway, which was an eccentric mixture of the shuffle, the shuffle, the shuffle, the colloquial language,Introduced the tide of henstroke and grinding and grinding or moss.

At the turn of the century, TAP dancers were essential to take part in Buck-and-Wing and CakeWalk competitions to earn the status of a professional and reach the Broadway music stage. Bill Robinson arrived in New York in 1900 and demanded HarrySwinton out, the Irish-American dance star ofIn Old KentuckyRobinson was sought as a new man as a new man to challenge with a gold medal and the valuable advertising to win.In merged, who preferred the elegant sowing shoe of the famous Irish-American dancer George Primrose, "King" Rastus Brown was known for a flat foot style called Buck Dancing. Buck Dancing workedThe entire foot with shuffling, slipping and sliding steps, whereby the movement was mainly down from the hips.The time step and an improvised stop time break consisted of six tones.

Women in the barrel

The conceptualization of the cover dance as an Afro-Irish fusion, which is fueled by the competitive ban of the challenge in a struggle for virtuosity and authority, poses focus of the focus of the breed and ethnicity. And inevitably takes the painful history of breed, racism and racial relationshipAmerica. In this way, there are problems of teaching in which Tap was considered a popular entertainment and laid in the "low kind" category and is therefore not worth being presented on the concert stage.In early reports on Jigging competitions, a consideration of gender in the development of the dance dance, which was considered the majority of the 20th century as a "game of a man".Women blindly. After an inference or more direct AussaGE was communicated that they were "weak"; they lacked the physical strength required to carry out the rhythm-controlled piston steps, several wing steps as well as lightning and acrobatic steps that the (male) tap virtuoso finish a routineSymbolized. Women were "nutrition devices", no competitors, and therefore did not take part in the TAP challenge.The role of a woman was not as a soloist, but as a member of the chorus line.

Racial and ethnic lines were clearly drawn in New York around the turn of the 20th century, but not so strictly pulled, geographically and culturally between Irish and African American Americans who live in some districts. From the 60,666 Blacks in the city in 1900The majority concentrated in Manhattan, with most of them pressed into two quarters-of the so-called Tenderloin district, which generally covered the west of the twenty height, and San Juan Hill, who from 60 to sixty tensions from tenth to eleventh paths.newYork also had 275,000 inhabitants born in Ireland (without their American descendants, which, together with Irish immigrants, made 26% of the population) in Brooklyn, which was considered the largest Irish settlement among the population in 1900.

The social conversations in the announcedBrooklyn Daily EagleDuring this time, dozens of Buck-and-Wing services through semi-professional male and mostly Irish dancers. There are also a surprising number of messages in theBrooklyn EagleAnnouncement of Buck-and-Wing appearances by dancers: Miss Florence Brockway, "Singer and Buck and Wing Dancer" in the Knights of Columbus Hall near the Douglas Street in Brooklyn (April 23, 1902); Agnes Falkner, "Buck andWing Dancing in an artistically produced show in Asbury Park, New Jersey (17.04.1902); Mame Gerue ", a very graceful dancer, both in the imitation of the Spanish Fandangos as well as on the sand as onebuck and wing Stepper" in the Orpheum Theater in Brooklyn(03.12.1901); Miss Belle Lewis in "her famous Buck and Wing Speciality" at a "happy party that gathered on the premises of Mr. and Mrs. William E. Houtain ISTIN 282 Putnam Avenue, Brooklyn (November 30, 1901); Belle Gold, who "showed in a variety bill in the floating roof garden in the Manhattan Beach Theater (16.07.1901) considerable prudence in hinge and wing dances"; the Newell Sisters, "Buck and Wing Dancers" in the unique variety house (25.02.1902); and the esher sisTers, "Buck and Wing Dancers", who appeared in a show headliner Pauline Hall (21.05.1901) in the Orpheum in Brooklyn.and Wing Dancer "was known (November 12, 1901); another as" Buck and wing and rock dancers "in the Jefferson Club of the sixteenth meeting district in Brooklyn, headquarters of the Democrats under the leadership of James S. Regan. (February 14, 1900).

With only the last name, addresses (Miss, Mrs.), event locations, occasions for dance, performances and generic titles as a buck and-wing dancer, it is difficult to recognize the style of money and wings that each of these women danced.let alone their breed or ethnicity, who call such artists such as "Mame" and "Belle". Many of the occasions for female buck-and-wing dancers were clearly for social and political functions in small variety houses, which are normally soloActs and some duos contained. With security, these performances went from a strong tradition of the female Schwarzface Irish Jig and Clog Dancing, which had started in minimum and variety stage shows of the 19th century.

Lotta (Mignon) Crabtree

Lotta (Mignon) Crabtree was born in the Nassau Street in New York City in 1847 and grew up during the gold rush where she learned ballet, Fandangos and Highland Fling.sure that she had stood out in the stencil. As a dancer touring mountain farm, she was introduced to an African-American dancer who taught her pens, soft shoes and buck-and-wing dances.Since she was a performer for JIGS and roles with acrobatic hesitation.Heels that were hollowed out with tin -lined boxes and kept two balls), it made it sound as if it were dancing faster than it really was.Crabtree didn't have the same age when she really was when she really had the same age, when she really was when she really was when she really had the same age when she really had when she really had the same age when she had itIt really was. "It came to Jig and Clog." She can dance a regular collapse of the true burned cork style and gives an Irish template that we have ever seen "New York Clipper1864 (Rourke 1928). In her later years, she became a popular actress and the toast of Broadway. During the forty-four years at the age of four, she retired as a female template and a breakdown dancer until the earlyDecades of the 20th century.

Ada Overton Walker

Ada Overton Walker was born in 1880 on Valentine's Day in New York Greenwich Village. As a child, she received dance lessons from a woman Thorp in Midtown Manhattan. After completing the Thorps dance school, she toured briefly with Black Pattis Troubadours.to model with Bert Williams and George Walker, who had just achieved a hit in the Varieté debut in Koster and Bial's Music Hall.dancing after he had joined John W. IshamOktoron,A critic for theIndianapolis Freemanexplained: "I had just watched the biggest maiden dancer." With Grace Halliday, she founded the sister dance Act by Overton and Halliday. She appeared as a couple Honolulu Belles in the Williams and WalkersThe political players(1899), and from there overton began to develop as a soloist with considerable roles. In the musical comedyThe sons of ham(1900) She sang and danced "Miss Hannah von Savannah" and "League Lady"; and in his second edition "Society" and "Sparkling Ruby", who brought their cheering recognition. James Weldon Johnson wrote that she "" a low voiceWith a natural sob, from which she knew how to explain a song "(Johnson 1933) .Tom Fletcher remembered her as a singer who did the ragtime and ballads equally well. And as a dancer", who almost everythingIt could be done and whether it was Buck-and-Wing, Cakewalk or even a form of grotesque dancing ... she gave the performance a proper grace of the movement, which was unmatched by anyone (Fletcher "(Fletcher" (Fletcher "(Fletcher "(Fletcher" (Fletcher "(Fletcher" (Fletcher "(Fletcher1954).

On June 22, 1899 after the closure ofA happy raccoon, Which from Ann Charters as "a Hodge podge in the" Coon "line of Buck-Dancing and Ragime melodies to a selection of the Grand Opera," married overton married George Walker.Transform African American folk dance into a black modernist expression, a high art that is worth it to be listed in front of license fees, for the white elite and on the concert stage.

Williams and Walker'sDahomey(1903) was one of the first black musicals that realized the transformation of the cake walk.Become a lady "and the" CakeWalk final, "CakeWalk Finale," partner of her husband. "The line, the grace, the insured ecstasy of these dancers who bent back until their heads almost touched the ground, a performance,The an incredible amount of strength demanded her enthusiastic dancing, almost in slow motion, had never been achieved in this.Dahomeywas brought to London, where it was presented in Buckingham Palace at a command presentation in front of King Edward VII. The British High Society followed the royal family with a difficult enthusiasm for cake walking.In Dahomey,which was opened in the Grand Opera (1904).

In Williams and Walkers next show,Abyssinia(1906) Overton Walker was both a performer and choreographer of the show.Headscarf(1908). An in the evening of George Walker, who played the role of Bud Jenkins, became sick. His symptoms were later diagnosed as syphilis. 1909 he left the show and his role was rewritten for overton walkers, who attracted his striking clothesAnd his numbers sang, including his main song "Bon Bon Buddie". Since the condition of her husband slowly deteriorated and faced her future, she decided not to extend her contract with Williams and Walker and instead stepped in the occupation of Bob Coleand J. Rosamonde Johnson atThe red moon(1909), in which she was seen in two music numbers: "Pheobe Brown" and "Pickaninny Days", danced Buck-And-Wing with the choir. Next, she opened in the New York American Theater with a variety-act with oneNew dance, the "Kara Kara" or danceAfrica.1910 she joined thisSmart Set, a black theater company, and played inHis honor of the hairdresser(1911).

Until July 1911, six months after her husband George Walker died, overton Walker founded a new variety law that comprises a male and eight female dancer. Sang "Shine" as a male who spent her late husbandThe new dance madness "The Barbary Coast" in close hug with her new young male partner. From 1912 until her death in 1914 she choreographed for two black female dance groups, "The Happy Girls" and "Porto Rico Girls"whose dancers Lottie Gee and Elida Webb belonged.

In 1912 she danced "Salome" in a spectacular variety performance at the Victoria Theater in Oscar Hammerstein in New York, she also resigned Bert Williams for the annual frog of the frog and appeared on stage with Bill Robinson and the minstrel showman Sam Lucas.1914 she switched from dance in African style to the ballroom dance. With her new partner, Lackaye Grant, Aida presented several ballroom dances, the roots of which made it clear that they were in black colloquial language: "Maxixe", "SouthernDrag "," Jiggeree "and" Tango ". It took part in the Tango fashion appearance by giving a" Tango -Picknick "(July 1914) in New York Manhattan Casino, where she and Grant participate in your ballroom -Tat -actcarried out by the "Southern Drag" and received most applause from the black audience. "Tango Picnic" was overton Walker's last shame. He died on October 11, 1914 of kidney diseases.

Overton Walker's interest in African and African -American indigenous material that mourned the most important African American artist of the African -American female stage artist, and her translation from these on the modern stage awaited the choreographic work of modern dance pioneers Katherine Dunham and Pearl Primus.Sowohl in their solo work asAlso in the inevitable and precision choreographies for the female choir, she claimed a female presence on stage. She also gave the black rhythm dance presence and thus opened prime time, public professional space for TAP performance.Black performance with its own version of Black Specialization and Innovation established overton Walker on stage.

1920s and 1930s: Broadway Jazz

In the teenage age of the 20th century, the Americans went with the foxtrot "dancing", a syncoped ragtime dance that bounced couples with hops, kicks and capers along the floor.Hasenkramung and Bull Frog Hop were danced to ragtime rhythms. During the New York clubs in the city center of "Jassing Up" (adding speed and syncopation), such dances were such as the gruesome bear and kangaroo dip for their white customers, wereRocked Uptown Harlem's audience to theDeltown Follies.J.Leubrie Hills purely black musical revue from 1913 expressed an unstoppable rhythm of his dancers, which "driven around and clapped their hands and got angry with their bodies" (van Vechen 1974). The show led the "Texas Tommy", the prototype of theLindy Hop, as well as the new styles of the TAP dance, was an "stage dance style", in which every movement took a beautiful picture.Another was the acrobatic and high -flying style of Tots Davis, whose "roof" and "by the trenches" named Warmanöver.The dance finale "At the Ball" was a spiral, pounding circle dance, whose rhythms Carl van Vechen wrote. Ziegfeld bought the entire show for hisFollies from 1914And thus helps to transplant the black vernacular and jazz rhythms to the Broadway stage.

In the twenties of jazz, both black and white dancers discovered the rhythmic power of jazz. In this decade, in which jazz music became a popular nightly entertainment, jazz dance, which was due to their complicated rhythmic motifs, polyrhythm, severalMeter and elements of -as the most rhythmically complex form of jazz dance, the jazz tap dance differed from all previous forms of dance dance.He fit at his speed to jazz music and often doubled him. Hier was an extremely fast but subtle form of the drum dance, which the dancer center demanded to be balanced between the balls and heels of both feet. During the alignment of the dancerwas, there was a significant angle in the body line, which enabled the fast downward course of the weight.

It is generally assumed that theMix(1921) presented the purely black musical with music by Eubie Blake and texts by Noble Sissle the most exciting form of jazz tap dance ever seen on the Broadway stage.The traditional and early jazz styles included. During the jazzMixWas never expressly referred to as the "tap dance", the styles of the percussive step, which certainly belonged to the jazz tap dance, were often described and edited as the most exciting aspects of danceLyles listed boxing games was listed as two potential mayors and time steps.Wing dance performed, who did the audience. In other places in the musical, Tommy Woods led an acrobatic dance with a slow motion that started with temporal variations that included flips that landed at the beat of the music.Well-known TAP dancer, carried out an eccentric soft shoe with rubber-leg-legacy. The most obvious indication of the dance inMixIs the "shuffle" of the title, a faster and rhythmic brush step that is the most basic step when typing the tip.drags and scratches along his feet that he ground. During the book inMixThe old caricature of the black and mixing fool embodied the musical part of the show a new picture of the black dancer as a rhythmically driving energy source.MixThe musical comedy on Broadway in the twenties recorded a new rhythmic life when choir began to dance to new rhythms.

While Broadway chorus lines carried out simple steps in square rhythms and complicated formations of choreographers such as Ned Wayburn, the elite of the white Broadway stars worked with the African-American choreographer Clarence "Buddy" Bradley.moved to New York in the 1920s, where he danced in the Hoofer Club and appeared as a choir dancer in Connie's Inn. After the renewed choreographing of theGreenwich Village FolliesIn 1928 he worked in Billy Pierce Dance Studio Off-Broadway, where he created dance routines for White Broadway stars such as Gilda Gray, Jack Donahue, Ruby Keeler, Adele Astaire and Ann Pennington.Reserved hiking steps for engenues and considered the lowest common denominator in show dancing. Udtown, African-American HAP dancers invented complicated steps with complex rhythms. Bradley formula to create dance routines for white dancers was to simplify rhythms in their feet while the bodyForms of black folk dances were shaped.

Bill Robinson and John Bubbles

The rhythmic revolution that startedMix(1921) continued on Broadway withStrut Miss Lizzie(1922),Liza(1922) andRunnin 'wild(1923), in which a new Tap-Dancing version of the Charleston was performed, while the choir hit the time with hand claping and pounding foot (the blows made of complex rhythms had never been seen on a New York stage). First as Lew Leslie'sAmsel from 1928This jazz tap dance was shown as the rhythmically most complex "cream" of the jazz dance.blackbirdBill "Bojangles" Robinson, an experienced performer in Varieté and the most popular dancer in the black community, which was "discovered" at the age of fifty by the Broadway audience and "King of Tap Dancers".

Robinson was born in Richmond, Virginia in 1878 and had earned Nickel and Dimes with dancing and scatsing on the street. He had started his career as a member of a "Pickaninny" choir, and in the twenties he was both on the Keith andAlso on the Orpheum circuits for the headliner. And New York's prestigious Palace Theater.inblackbird, Robinson played his famous "stairt dance", which he presented in Varieté around 1918., Was loose), each step was set to a different pitch and used a different rhythm.To be cleaned, followed by a two-fir break, Robinson's taps were tender, articulated and understandable.The light and demanding footwork is said to have brought an earlier, earthy, flat mixed dance "onto the toes". Langston Hughes, who described these TAP rhythms as a "human percussion", believed that no dancer will ever do the art of dance dance to a more delicative perfectionhad developed, rollicking little nuances of tap-tap-toe or staccato runs like a number of shot."VerificationAmsel from 1928Watched Mary Austin inDie NationThat the attitudes of Robinson's smooth body and the movements of his slim floor were underlined and restored to his rhythmic pattern and restored for his audience."A Bojangles performance is excellent Vaudeville," wrote Alain Locke, "but listen with closed eyes and it becomes an almost symphonic composition.Investable African heritage. "

In the 1920s, John Sublett Bubbles, who is attributed to the "rhythm -tap", was also a more comprehensive and dimensional rhythmic concept that used the setting of the heels as accents.Six -year -old Ford Lee "Buck" Washington in an act invoiced as a "Buck and Bubbles". Bubbles sang and danced and Buck played accompaniment on the piano, after they won a number of amateur night shows, they started touring with musical engagements.At the age of eighteen Bubbles' voice began to change and instead of giving up the show business, he concentrated on dancing. After Bubbles from the embarrassment of being laughed at as a beginner from the Hufclub, Bubbles developed his technologyand returned to the club to all with a new style of knocking with an exaggerated and tripleTo win back.Well-known Varieté racing track The highlight of your singing dance comedy act with the guidance of the white Vaudeville racetrack from coast to coast.in the counterpoint.Broadway -Frolics von 1922, Lew Leslie'sAmboeicher from 1930and sensationalizedThe Ziegfeld Follies from 1931.Bubbles' rhythm dancing the revolutionized dancing. Before him, the dancers knocked on the toes, benefited at flash levels and danced to decent two-to-a-bar phrases. Bubbles invited the bar, dropped his heels and hit unusual accentsAnd syncope to open the door of modern jazz percussion.

While most white professional dancers learned dance dance in the twenties and thirty in the studio, black dancers usually developed alone, on the street or in the dance hall, where dancing was hotly contested as a basketball game, and it was in the Hoofers Club in Harlem -An old pool hall that was next to and the stairs from the Lafayette Theater, where rookie and veteran dancer gathered to share, steal them and to challenge each other.Bill Robinson, John Bubbles, Honi Coles, Eddie Rector, Dewey Washington, Raymond Winfield, Roland Holder, Harold Mablin, "Slappy" Wallace, Warren Berry and Baby Laurence.

Cora Laredd

The rhythmic brilliance, sportiness and open sexuality of Cora Laredd's dance made them, not only the best -known female soloist in the Cotton Club in the 1920s and 1930s, but also the most exceptional jazz tap dancer of these decades., when she became the main actress for arranger and band leader Charlie Dixon (the Fletcher Henderson Band)say when(1928), in which she was "combined with a sepia-toned Zora O'neal, which was combined with the singing of Wah-Wah with Limber legs". The Broadway saw a large part of Laredd.The "at the end of the 1920s"All -colored musical novelty ",Playing around(1929) With music by James P. Johnson, texts by Perry Bradford and Dances by Eddie Rector, Laredd showed in "Tapcopation", "Put Your Mind Your Mind Right" and a Woltz Clog specialty with Charles Johnson.Black musical comedyChange your luck(1930), with music and texts by J.C.Johnson and Dances by Laurence Deas and Speedy Smith, was Laredd in "Can'tan Now", "My Stulle Man" and "Percolatin". The audience was blinded by Laredd in the Cotton Club, where she regularly as the leading song-and-dance-Diva was seen. In autumn 1930 Cotton Club Revue "Brown Sugar (sweet but not speaking)" Laredd was a soloist on the bill with Wells, Mordecai and Taylor in "Hittin 'The bottle".

The best example of Laredd's dance can be seen in the twelve-minute black and white musical short formThat is the ghost(1933), is considered one of the greatest, fully black jazz shorts that have ever been made. Darin sings and dances Laredd. The small and compact dancer shows fiery vitality. She wears a white satin blouse with adult sleeves and black shorts that openMake your strong, shiny legs and feet aware of and dances at shimmering speed.the ongoing and swinging.

1930 and 1940s: Tap the film

In the thirties and forty, Jazz Tap Dancing continued to develop in direct relationship with jazz music. Jazz in the swing style of the 1930s emphasized the rhythmic dynamics with relatively equal weight, which the four strokes of the bar (hence the tern "with four beat), emphasizedSolo improvisation and a forward drive that gives every grade of an instrumentalist through manipulation. Timbre, vibrato and intonation. TAP dancers were often performed before the swing bands in dance halls such as Harlems Savoy Ballroom. The vibrating four/four jumpOf bands like Count Basie and Duke Ellington have proven to be ideal for Hoofers, while they contained intimate intimate intimate, such night clubs such as the Cotton Club, which contained excellent taps and special dancers as well as Tap Chorus lines such as The Cotton Club Boys.

It was also in the 1930s and 1940s that the dance dance in Hollywood film musicals was immortalizedDIS HANA(1930) with Bill Robinson;4-second road(1933) MIT RUBY COALER;The little colonel(1935) with Robinson and Shirley Temple;Swinging time(1936) with Fred Astaire;Atlantic city(1944) with Buck and Bubbles;Lady is good, with the Berry Brothers,Stormy weather(1943) with Bill Robinson and the Nicholas Brothers; andThe time, the place and the girl(1946) With the Condos Brothers. The continued separation and different budgets were largely refused to access the white film industry.Flights percussive improvisation continued. Worked white artists like Gene Kelly a balletical, Broadway -Style of Tancing in film and Broadway musical, in which jazz rhythms were less important than the integration of dance into the narrative structure of the musical.As Tap zurThe preferred form of American theatrical dance appeared, new styles appeared: the eccentric style was illustrated by the attention -grated routines of puzzles Jackson, who creeps up and knocked on the ground.Tipped and scratched; and alBerta Whitman, who executed top -class Legomania as a male imitator. The Russian style, which Ida Forsyne led in the teenagers of Russian Kazotsky Kicks, was popular by Dewey Weingass and Ulysses "Slow Kid" Thompson.The four covans, three small words and the four step brothers that specialize in flips, Somersault, car bikes and splits.Stunts has been combined. Black comedy dance teams such as slap and happy, Stump and Stumpy, Chuck and Lichles as well as Cook and Brown Infused Dancing with jokes, clockabout acrobatic, grass root characterization and wild translations of the dance of interpretation in a physically robust style.

Eleanor Powell

Eleanor Torrey Powell was born in Springfield, Massachusetts in 1913 and grew up by her grandparents, while her mother Blanche Torrey worked as chamber machines, waiters and bankmillers. She studied ballet and acrobatics with Ralph Mckernan.In Atlantic City, New Jerseyze in a Dinner Club in Ambassador Grill. In summer 1927 Powell returned to Atlantic City to work in Silver Slipper and Martin's high -priced dinner. They went to New York in autumn 1929Three months in Ben Bernie's nightclub, they also danced at private parties, where she met and appeared on the same bill as Bill Robinson, with him developed a dance routine in which they challenged each other.Powell and Robinson stepped on various private partieson the organized by Vanderbilts, Rockefellers and others for the SIE 500 dollars paid per night. Robinson became her lifelong girlfriend and later taught her his famous staircase dance.

Powell continued with the audition of Broadway shows and decided to take lessons for the dance dance and wrote down in Jack Donahue's School, where she studied with Donahue and Johnny Boyle.To start her career on Broadway. She debut inFollow through(1929), thanks to Donahue's class routine for "Button up your coat", which she used for her audition.Queen high(1930) and returned with the BroadwayFine and dandy(1930), in which she explains three numbers: "I will be a new one", "Jig Hop" and "Waltz Ballet". Then came the Florence Ziegfeld-produced musicalHot -Scha!(1932), where Powell is dancing "There is nothing with me." She stepped inGeorge White Music Hall(1933) with two rhythm -tap numbers thatNew York TimesShe calls her "an excellent dancer who stands out clearly".

In the early thirties, Powell was reduced by Louis B. Mayer for a small role in depression in the worst and most Broadway producers.Broadway melody from 1936- The fighting dancer comes to the big city to become a star. Routine combined elements from ballet and acrobatic dancing, rotations and arabesques and male dancers let them in the air.ThatNew York Timeswrote that she had "the most eloquent feet in the show business" and compared them to Fred Astaire; withtimeclaimed that the film confirmed its status as "the biggest dancer in the world of the world. She immediately received a long -term contract with MGM with which it startedBorn to dance(1936), a wasteful musical, with songs by Cole Porter. You were with an MGM-Beauty-Makeover with ultraviolet light summer writing, decorated teeth and a curly, feminine hairstyle.At MGM, however, Powell had full control over her choreography and received a studio in which he could rehearse; she also called her own tap steps.

Powell was paired with Fred Astaire for his first Post-Finger Rogers film.Broadway melody from 1940Astaire and George Murphy showed it as a dance team, who compete for a role in a Broadway show and Powell as the main actress and romantic interest. In "Begin the Beguine", the dazzling final Astaire, Astaire met his match -not in the romantic partnershipthat he was looking for with Rogers, but in the lively and energetic rhythmic sense.

After thisBroadway melody from 1940In a film version of the Broadway Musical, Powell and Astaire spokeCrazy girlBut Astaire was less than enthusiastic about the project, which meant that it was put on. Powell started as independent on the stage and remained so for the rest of her career.Lady is good(1941) she reset her independence as a star soloist. They danced with a legion of men who frame them frame and in dizzying forward rolls into the eye of the camera frame and turn around.

Are you a legon

Jeni Legon's musical talent, which was born in Chicago in 1916 1916, developed on the streets of the south side of the city in the neighborhood tramp bands. As a child, she won during a visit to Savannah, Georgia, a dance competition.Her first job in the music theater and danced as a soubrette - in pants, not pretty skirts - in front of the choir line. With sixteen, she danced in a choir that was supported by the renowned Graf Basie Orchestra. Bald then toured with the famous WhitmanSisters through the Toba racing course and danced in a purely female choir who, she said, "all the colors for which our race is known to be pale ... a rainbow beautiful girl." After dancing special files in Detroit Nightclub, she wentWith a children's unit to Los Angeles and stopped the show with her flips, double games and knee drops.Fats Waller in the film from 1935 with Bill Robinson and Fats Waller to appearHurray for loveFrom the press called the "chocolate princess", MGM was impressed enough of her dancing to sign it to a long-term contract and pay the teenager $ 1250 a week.

Legon was commissioned to work on it for her first contract film with MGMBroadway melody from 1936, the first of MGMS melody musicals to play the Tap-Dancing Eleanor Powell on the leading role. Annex of the music started Legon with rehearsals and at a cast dinner party to advertise the show in front of Powell, and next morning Legon became Legon about itinformed that MGM executives had decided that Powell was already needed as a star -soloist for the production of two female dancers.At home abroadwhere she performed the dances of Eleanor Powell and the songs by Ethel Waters, both of which appeared in Broadway Stage Production in 1935.

Legon in C.B. on the London stage in C.B.Cochran's appearedAt home abroad, as "one of the brightest spirits", The New Florence Mills ", the Sepia Cinderella Girl, which London got on the way with her clever dance.to play from servant that can be imaginedOsterparade(1948) with Miller and Fred Astaire, who never spoke to her "as stars" on the set.

In a conscious and misleading detour of Legon's contract, MGM put her behind the scenes and worked as a dance consultant and dance director and had her stage like "Sping" for Lena Horne in her first filmPanama Hattie(Mgm 1942). The only time that Legon was recognized as an actressDouble agreement(1939),Take my life(1942) andHi-di-h(1944) with Black Jazzman Cab Calloway. In these films, she had the chance to "be kissed the heroin".

Bill Robinson after working with Legon inHurray for love, did not decide to work with her again in the new film of the 20th centuryCafe Metropole(1937), where he chose Geneva Sawyer, a white dancer on the Fox -Lot, who taped the teacher to the Shirley Temple; and those who agreed to appear in Blackface make -up in the film. "The white girl will face her faceDancing as a partner of Bojangles in production, "wrote theAmsterdam News"And speculations are widespread when Robinson has chosen a colored girl for the preferred place because there are so many capable dancers who want to share the preferred place." The reference was of course on Jeni Legon, who was the most talented black manfemale dancer of her generation was viewed.

Ann Miller

Ann Miller, the raven-haired, long-legged, sexy dancer with the machine gun taps, was born in Chireno, Texas, as Johnnie Lucille Collier in 1923.Dance school, partly to build up her legs affected by rickets. Ballet was not her strength, and after seeing Bill Robinson in a personal appearance in Houston at the age of eight, she threw her view of the cable.The first tap lesson and she soon appeared in clubs and local theaters. With nine years she moved to Los Angeles with her mother, where she joined the fanchon and Marco dance school.Miller.She played dance routines at meeting local civil organizations and earned 5 US dollars per night and tips. After watching Eleanor PowellBroadway melody from 1936She addressed her attention to sharpening her capabilities in the area of country.was arranged a film discussion that led to her first film, a non-speaking part inNew faces from 1937With her lively personality, her great legs and her dazzling dance style, RKO awarded her a seven -year contract when she was only thirteen years old (she claimed eighteen); and would later insure her legs for a million dollars.

Miller was a remarkable, self -driving young talent. With fourteen years she played Ginger Rogers' dance partner in the filmStage entrance(1937). A year later she was loaned by Columbia Pictures to appear as Essie Carmichael, the Fudding Ballet dancing daughter, in the Oscar awardYou can't take it with you(1938), directed by Frank Capra.Room service(1938) .1939 she gave a smashed Broadway debut inGeorge White's scandal, Creation of a sensation that dances "The Mexiconga". They then signed a new seven-year contract with Columbia and was played in a series of B rating musicals in times of war, as they were playedFaithful to the army(1944), where their solo routines were the climax.

Her fame as "Queen of the B's" came from her musical adaptability at work with a number of big band, swing and Latin Orchestern.Time out for rhythm(1941); Freddie Martin and Orchestra inWhat is Buzzin 'cousin?(1943); The Orchestra of Louis Armstrong, Duke Ellington, Alvin Rey, Charlie Barnet, Glen Gray and Teddy Powell inJam meeting(1944); das kya kaiser orchestra inCarolina Blues(1944); and in the musicalReveille mit BeverlyAccompanied by the orchestras by Duke Ellington, Count Basie, Bob Crosby and Freddie Stack with the singing of Frank Sinatra and the Mills Brothers.

In 1948 Miller left Columbia and was signed by MGM to stand in the leading roleOsterparade(1948), played the role of Nadine Hale - the former dance partner and one who loves Don Hewes, played by Fred Astaire, who loves Judy Garland, who loves Peter Lawford, who loves Judy Garland, danced with a fantastic grace with Astairein "It only happens when I dance with you", despite the 5 '7 "tanzer who had to wear ballet shoes. In the"Ziegfeld Follies from 1912"Number-Sie sang" shaken the blues "and delivered the musical film of the 1940s.

Miller's lexicon of the tap levels was similar to Eleanor Powell's hip-standing, from head to toe rear bend, multiple Mercuric movements, but Miller preferred a strong approach for these steps that were sporty and quick, they claimed with 500 taps perMinute to be able to dance what nobody had controversial. In the popular imagination as a sporty, long-legged tap dancer with painted raven hair and nefertiti-eyes make-up.In the TAP world she is known for her dazzling and brave dance style, which was as measly containing and kind -hearted as this show girl roles that she played in her films.Almost hoof in the golden age of the film musicals.

The class act

The style of the class dance dance perfected the art of dancing dance. From the first decades of the century, the elegant man-man song and dance teams of "Johnson and Cole" and "Greenlee and Drayton" traveled across the stage to a nice picture of everyoneTo make movement. The soloists belonged to Maxie McCree, Aaron Palmer and Jack Wiggins. Rector's "stage dance" has taken a step into a seamless flow of sound and movement into a different step. "Pete, Peaches and Duke"In unison work at a climax. In the 1940s it was the dance team of Coles and Atkins by combining high -speed rhythm with the elegant soft shoe dance that danced the class.

Charles "Honi" Coles (1911-1992) learned to dance on the streets of Philadelphia, where the dancers in Time Step "Cuting" competitions challenged each other. He made his debut in the Lafayette Theater in 1931 as one of the three Müller, oneGroup, the exaggerated, barrel change and wing appeared on six feet high base, after noticing that his partners had commissioned another dancer to replace him, he retired to Philadelphia, decided to perfect his technique, and returned in 1934Back, confident and clever in his ability to put several steps into a music bar. He appeared in Harlem Opera House and Apollo Theater and supposedly had the fastest feet in the show business. And in the Hufclub he was celebrated as one of the most graceful dancers whoever seen. After he had performed with the Lucky Seven Trio (they knocked on large cubes that looked like cubes), he toured with the big swing bands fromCount Basie and Duke Ellington and Melktwo the legs and feet did most of the work. In 1940 Coles scored as a soloist with Cab Calloway's Orchestra Charles "Cholly" Atkins, a jazz tap dancer who later for the best rhythm blues-Singing groups of the 1960s was choreographed. Atkins was an experienced wing dancer, while Coles' specialty was precision. They combined their talents by forming the class act of Coles & Atkins. The duo wore nicely tailor-made suits and opened with a fast-moving song andTap number and then moved into a precision swing dance and a soft shoe that ended with a tap challenge in which its specialty showed.To be used ", which was played at an extremely slow pace, was a drop of smooth slides and sliding curves in crystal cutter precision. The team of Coles & Atkins embodied the class dancesr.

No dancer or a dance team fits a category. The Nicholas Brothers, Fayard (1914-2006) and Harold (1921-2000) created a lush style of the American Theater-Danzz-Jazz rhythm with tap, acrobatics, ballet and blackVolksumsch.Pit Orchestra -Band carried out, presented with the best TAP -ACTS in Black Variety.Cotton Club opened. They danced with the orchestras of Cab Calloway and Duke Ellington and developed a classic and swinging style of the musicalisChen performance, in which comic jetty and eccentric dance were combined with precision numbers and virtuoso rhythm tips.Cake, cake, Amsel, with Eubie Blake in 1932 and her first Hollywood film,Children millionsFor Samuel Goldwyn in 1934. On Broadway inZiegfeld Follies from 1936andBabes in Armen(1937) they worked with choreographer George Balanchine and played in the London West End production by Lew Leslie'sAmsel from 1936, in which they worked with the choreographer Buddy Bradley. In the theaters Apollo, Harlem Opera House, Palace and Paramount, the brothers danced with the big bands by Jimmy Lunceford, Chick Webb, Count Basie and Glen Miller.20th century fox on suitcases inThe big American show(1941) jumped from the walls in back flips and split upOrchestra(1942) and jumped down on top of each other over a stair flight and ended up in a split in every step inStormy weather(1943) These dazzling performance always delivered with a smooth effort.

In the 1940s after the war there was a radical transformation in American jazz dance, since the constant and danceable rhythms of swing made the dissonant harmonies and rhythmic changes in the late 1940s to 50s.Feet reserved were included in the body, and a new style of the "modern jazz" dance - without polyrhythmic and without metal taps - popular in Hollywood and at Broadway. dancers like the Nicholas Brothers, Condos Brothers, Jimmy Slyde and especiallyBaby Laurence Jackson was able to endure the radical musical changes, which Bebop had initiated at a high speed, full -bodied and improvisatory reaction to music.

Baby Laurence Donald Jackson in Baltimore, Maryland, Baby Laurence (1921-1974) was a boy who sang with McKinney's cotton pickers when the band leader Don Redman discovered him and brought him on a tour of the Loew racetrack.Journey to New York he visited the Hoofer's Club, saw the dance of Honi Coles, Raymond Winfield and Harold Mablin and decided to become a tap dancer.called him "baby". He continued to visit the hoof club, took ideas and collected steps by Eddie Rector, Pete Nugent, Tots Davis, Jack Wiggins and Teddy Hale.in in the 1940s as a soloist who became his chief dance rival.In the forties he danced with the big bands by Duke Ellington, Count Basie and Woody Herman and made the transition in the 1950s by dancing in small Harlem night clubs. Listening musicians like Charlie Parker, Art Tatum, Dizzy Gillespie,Bud Powell and Max Roach, Laurence in his feet what these musicians played, thereby developing a way to improvise solo lines and variations as well as a hornman as a preparatory scientist. He was more of a drummer than a dancer, he did little with theUpper half of his upper body, while his legs and feet were speed and thunder, a number of explosions, machine gun rattles and scolding. "In the consistency and fluidity of his beat, the bending of the melodic lines of his phrasing and its general instrumentalized concept, baby isJazz musician, "wrote Natoff in the Liner Notes for Baby Laurence/Dance Master, a recording of Laurence from 1959, a recording of Laurence from 1959rhythmic virtuosity, which shows the inseparable bond between jazz music and dance.

1950s: Tap in the decline

In the 1950s, the TAP had decreased sharply due to a number of causes, including the decline of Varieté and the variety law.Federal tax on the dance floor, which put the ball rooms and the big bands in the shade; and the advent of the jazz combination and the wish of the musicians to play in a more intimate and concerted format. "Tap has not died," says Howard "Sandman "Sims." It was only neglected. "The neglect was so thorough that this indigenous American dance form was almost lost, with the exception of the Hollywood Musicals' TV.Dancers in America reached their lowest ebbh, and many dancers were no longer in work.charles "Honi" Coles in what he called "The Pulle",Didn't call for dancers as a production manager in the Apollo Theater. Heading hooves took jobs as Bellhops, elevator men, bartenders and carpenters. The television had come to almost every American house at the time, but the regular weekly variety were the rarer "television special". With the exception of these specials with an occasional performance by Ray Bolger or John Bubbles, there was little or no dance dance at all.

1960s and 1970s: a slow awakening

The only event that took place on July 6, 1963 when Marshall Stearns at the Newport Jazz Festival Honi Coles, Chuck Green, Charles "Cookie" Cookie "Brownie" Brown, Pete Nugent, Cholly Atkins, Ernest "Brownie", presented and baby laurence in a show with the title Old Time Hufs. This "Seven virtuoso dancers of the old -fashioned Pounding School of Hoofing, who got their strength out of the ground in the dance magazine.Years began to return strongly, and it was a strive to show that the tradition of the rhythm dance had not lost its fire., presented a mini-music story of the tately dance in America and saw the Nicholas Brothers and Donald O'Connor demonstrated a tap challenge. The performance was less a challenge and rather oneBrilliant demonstration of Signature Nicholas Jazz Tap combinations, which O'Connor was able to record and record as the third member of the team.

From April 7, 1969, Leticia Jay presented herTap eventsIn the Bert Wheeler Theater in the Hotel Dixie in the West 43rd Street at Times Square in New York. And there for several consecutive Monday evenings, such out of work and underemployed hooves such as Lon Chaney, Honi Coles, Harold Cromer, Bert Gibson, The Hillman Brothers, RaymondKaalund, Baby Laurence, Ray Malone, Sandman Sims, Jimmy Slyde, Tony White, Rhythm Red, Derby Wilson and Chuck Green took part in "Jam Sessions" of the traditional tatta dance.Tap eventsreopened later likeThe hoovesOn the Mercury Theater off-Broadway, where it played for two months and became a toast of the dancing. After the new production ofThe hoovesand the 1970 Broadway resuscitation of the musical from 1925,Nana(Choreographed by the seventy -five -year -old Busby Berkeley and with the sixty -year -old Ruby Keeler) developed a kind of nostalgic interest in the typing dance, and all New York dancers wanted to learn what the experienced bunch gave the chance that they knew, what they knew, to a new generation of dancersto pass on.

In the mid-1970s young dancers, many white women, older tap champions began to teach them. Tap Dance, who previously ignored as art and was dismissed as a popular entertainment, now made one of the greatest layers in its long history and moved to theConcert stage. As describes the historian Sally Sommers: "African -American aesthetics fits the post -modern dance taste: it was a minimalist art that merged musicians and dancers; she celebrated pedestrian movement and improvisation; her art seemed casual and democratic; and tip could be inEach will be listed from the street to the stage. "The enthusiastic critical and public reaction stated in the larger context of dance as art, whereby the flames of its Renaissance work.

The 1970s produced video controlsJazz hoof: The legendary baby LaurencePresentBig feet, andNo cards on my taps. One of the best moments of the decade was the last three days in 1979 the Brooklyn Academy of music'sSteps in the time: a tately dance festival, in which veteran tap dancers were accompanied by some of their current heirs, the stage affected to show their collective skills. The four-hour program included a one-hour music department of Dizzy Gillespie and his band, appearances by members of Copasetics and Nicholas Brotherswho closed the show with its own dazzling mix of ballet, jazz and acrobatic dancing.

Modern women of taps revive

In the 1970s, many of them wede-trained, modern dancers and forged professional relationships with black male hiefs of the rhythm tap tradition.and born in 1950s and were out of the social and political awareness of the black power movements of the 1960s, the anti-war student movement and the women's movement-had encouraged all of them to commentversusRacism and separation, war and violence,andThe suppression of blacks and women - and to speakProEarth and arts save to save the best of the human expression. Many of these women had come from the tradition of modern dance, the roots in the feminist art form of the early 20th century, since it was the standards for beauty and behavior of westernClassical ballets in question to promote sportiness and shape of the female body questioned newly discovered freedom to move. This attitude has violated it in order to exercise its own freedomto let in that seemed exciting and something dangerous.

Brenda Bufalino

Brenda Bufalino was born in 1937 in Swampscott, Massachusetts, from English, American Indians, Scottish and Italian descent, and received her first teaching from athlete dance in Professor O'Brien's normal dance school in Lynn.Strickland Sisters, her mother and her aunt sings and she danced Dutch Medleys (in wooden shoes), Spanish Medleys (in Tap shoes) and Hawaiian. With eleven she was inscribed in Alice Duffy's School of Dance in Salem, Massachusetts, where sheDances with jumps, top hats, sticks and suitcases and solos learned on plinths and suitcases.1950, one day after her thirteenth birthday, she started a way to Boston to study under the renowned dance teacher Stanley Brown, a black West Indian thatHaving a successful career in Vaudeville and working with John Subett Bubbles. Brown was her first rhythmuS -Tap teacher. In the age of eighteen, Bufalino moved to New York City in 1955 to promote her dance studies, and found her way to dance Craft, a new studio in 52nd street, that of Charles Honi Coles and Pete Nugentwas staged. Coles was forty-three years old, but his speed and stylish arm and leg work were unsurpassed during the rhythm tap dancing.

She also studied modern jazz dance with Jack Cole Dancers Matt Mattox and Bob Hamilton.that sing and dance in the Calypso Room, African Room and in the Café Society in New York.

Until 1960 this event resorted; TAP decreased, after she married in 1959 and gave birth to two sons, she spent most of the 1960s, games and poems. As a Bufalino in the early 1970s returned to dance, should you integrate it into avant-garde performance art. In 1973 New York South Street Seaport "" broadcast "Bufalino the sound of her tap shoes into a synthesizer that is one of the first that is experimenting with electronic modulation and re-sounding the Taps.In 1974 she founded the Dancing Theater in La Grangeville in the state of New York, where she taught a mixture of Afro-Cuban, modern and jazz dance.The copase of their earliest lecture preparations in New Paltz what they put on video tapes. This culminated in the documentary from 1977Big feet.subtitle"A portrait of the jazz and tap dancer: "This two -hour intimate portrait of this dancer was the first of its kind to remember the success of rhythm dancers who had occurred in the Golden Age of the Hahn in the 1930s and 1940s.

In 1978 Bufalino presentedSinging, swinging andWings in the Pilgrim Theater am Bowery; This was the first big exhibition of her tap choreography in New York, three members of her dance theater society, a jazz trio, and Charles Honi Coles as a guest artist. Bufalino continued to work on the creationTAP choreography for togetherDas Morton Gould Tap Concerto, performed with the Philharmonic Orchestra of the Brooklyn Academy. It would continue to establish deeply creative relationships with Coles in the next fifteen years, while she continues to build her own career as a tap soloist, performance and choreographer.

Bufalino shot like a comet through the decade of the eighteen years, lit dancers who flocked to their classes, designed new structures of the choreography and formed new tap companies, while working as a jazz tap soloist., to pick up the tap choir as a tattanz orchestra-a ensemble in black ties and cocks, which were placed on stage like a symphony, only dancing, and founded the American tap dance orchestra (ATDO), which had the first major booking on July 4, 1986At the Liberty Festival in Battery Park, New York City.

Jane Goldberg

Jane Goldberg was in Washington in 1948, D.C. This was the ground on which she stood with her feet.1974 She moved to New York City and soon took private teachings from various members of the Copasetics, including Charles Honi Coles, Chuck Green, HowardSandman Sims, Charles "Cookie" Cook, Bert Gibson, Leon Collins and Leslie.bubba "Gaines. He also wrote about Tap Dance and published her first interview with Paul Draper," It's all in your feet "in Boston'sPatriot Ledger(24. April 1974).

The teaching of the rhythm -tap tradition also became part of Goldberg's charges, as it knew that the form that the form could survive had to be passed on by the masters. 1977 They and Cook applied for a national foundation for the arts (NEA)In choreography to create a lecture. It was an interracial and cross-generational mix of dancers, which, together with Cook and Goldberg, Rhythm-Tap veterans Jazz Richardson and Bert Gibson as well as Andrea Levine, Goldberg's student.It's time(February 24-26, 1978), began as an informal event in the city center, but proved to be a sold-out show that was visited by jazz critics, dancers in the city center, musicians, visuals and performance artists and received a preview listDance review in theNew York TimesWhat Jennifer Dunning pushed to the public to see the show: "Break off the doors when you have to."

With the critical success ofIt's timeNext, they were invited to the American Dance Festival (1978) as part of his archive project. This show led to Jacob's Pillow Dance Festival in the same year.Goldberg and Company in his American Theater Laboratory in New York City inShoot me while I'm happy(1979) with Goldberg and Cook, Ernest Brown, Leroy Meyers, Phace Roberts, Honi Coles, Louis Simms, Bubba Gaines and Marion Coles. This production marked the formal foundation of Goldberg's change times -tap dance company, which was used to maintain, promote and create new onesTap performance with a mixture of dancers dedicated to young and old, black and white, male and female.

In 1980 the dance company organized by Word of Foot of the changing Times, the first one -week TAP festival, was "a rare assembly of the leading dancers of TAP" to pass on their tradition.Americas gathered to talk about tradition and teach dancers from all over the country their own developed styles. During some of the shows of Goldberg, they were just a thin veil that are still serious problems around Campy Plotsmasked the tip dance in the 1970s and 1980sThe back of the depression, and tap (1983);andThe knock talk show(1984).

In the last two days of 1979, the crowning power of the decade for the barrel has occurredSteps in the time: a tately dance festival -Anarly four-hour program with members of Copasetics (Honi Coles, Leslie Gaines, Charles Cook and Buster Brown), Leon Collins, Sandman Sims, The Nicholas Brothers, Chuck Green and a short appearance by Jane Goldberg.Barry Laine for theNew York Timeswrote that Goldberg's "own style respects and preserves the past, but she uses her whole body, rolls her arms and fluctuates her upper body. In view of her modern dance background, it was different to differ from what it was.": "While the hooves are mainly older black men, today's harvest new tapper seem to be most young, white women. Many take off in new directions."

Lynn Dally & Jazz Tap Ensemble

There was another modern dancer on the west coast, which was entered into new directions in 1941 in Columbus, Ohio, Lynn Dally's father, Jimmy Rawlins, and mother Hazel Capretta Rawlins and led the local Rawlins dance studio.Rawlins was her first dance teacher: "As a child, I had a nice training for the taps and try to determine what we heard. We always had to do with rhythm."

In 1973, after graduating from Ohio State University as a modern dance major, abroad, at Smith College in Massachusetts and taught modern dance and improvisation at Ohio State University and founded her first all-freers company Lynn Dally & Dancers.Da's company in 1974In August 1979 in the American Theater Laboratory in New York City Aufdas Jazz Tap Ensemble.The newly organized west coast collective of jazz percussionists ventured into the rather unusual territory of a simultaneous research of jazz music and modern dance traditions in a new approach of the cable site.Arslanian, Tom Dannenberg and Keith Terry; The dancers were Dally, Camden Richman, a modern and jazz tap dancer who had studied with Charles "Honi" Coles and Eddie Brown, and Fred Strickler, who at Ohio State UniversityHad studied dance and founded its own modern dance company. The ensemble established itself in the SchLaboring different worlds of modern dance and taps, Dally's interests in improvisation and concepts of structure and shape in the dance composition, which are merging with Strickler's interests, not only in jazz, but also in Mozart and other western classical music.

In January 1979 the ensemble presentedRiffs, a dance concert in the Pacific Motion Dance Studio in Venice, California. The key characteristics and the focus of their percussive collective were designed - pieces with musical structures, unusual time signatures or no music; tap dances that had no music;Role of the dancer and companion, and instead dancers and musicians in interaction and equal foundations; and compositions, tested the limits of the form for the concert stage. In April 1979 at the University of California Berkeley, Jazz critic Derk Richardson in inDown BeatMagazin wrote: "Dance dance as a jazz percussion, a tradition that was carried out of the heel rhythms by John Bubbles by the Bebop of Baby Laurence was not a new idea, but ... The jazz-tap-percussion ensemble demonstrated vitalityAnd the growth potential of this almost lost American art form. "

In the first four years of existence, JTE grew from small studio performances to sold-out houses in distant places such as Honolulu, Hawaii and Paris, France, with enthusiastic reactions to work.Council and the National Endowment for the Arts and were invited in April 1982 to perform a homage to Honi Coles at Honi Coles in Smithsonian. In 1984 Richman and the three jazz musicians of the group gave the announcement that Dally and Strickler reformed the ensemble (Linda Sohl-Donnell was stopped as a replacement for Richman, later Heather Cornell and Terry Brock). And Sam Weber replaced knuckles who left the company in 1987 and left JTE as the sole director and main choreographer from JTE.

Dianne Walker

White "liberated" females were not the only dancers who were freshly attracted to the black rhythm -tap dancing in the 1970s. Dianne Walker was born in 1951 in Boston, Massachusetts, and studied with Mildred Kennedy (Bradic), who led the respected Kennedy Dancing School in Boston, Massachusetts, but her Renaissance of tips was in 1978. The seven -year -old mother of two children lives in the Jamaica Plain from Boston and worked as a staff psychologist in the Boston City Hospitalmet in a social matter, the Black Varietéville dancer Willie Spencer. He sent her to the studio of Leon Collins, the master Bebop dancer, who inspired a new mix of jazz tap and classical music the next day, she went to the studio, to see how this little man sits at his desk and put his taps with a screwdriver. "Hi Dumplin", said Collins. "I have been on youtet.Willie called and told me you wanted to learn the dance. "

Collins started his teachings with routine No. 1 and led to the routines 2, 3 and 4, which formed the core of his teaching. Walker, eager, talented and ripe, soon taught Tap Collins' day of children and became his protégé and with it1982 member of Collins & Company. For young blacks in Boston in the 1980s, which were built in with the new rap and hip-hop, the inspiration of jazz tap was not there.to impress that she visited in an advertising trip through the documentaryNo cards on my taps; and Dormeshia Summ, The Walker for the Tipp Tap Festival in Rome, Italy, went.

Although she pursued a career as a soloist, Dancing Collins' classic work,Hummel flight,and in the Paris and Broadway productions of performanceBlack and blue, Teaching and mentoring remained central passion. Through the body of Collins' work, she developed her own more feminized, sensual translation of this style, which opens the body into an expansive rhythmic experience."If you do not jump; attention to detail; recognize the little things; and your core mantra," simplicity, simplicity, simplicity. "

Walker would continue to become ubiquitous in the TAP community and make less committed to establishing "art" as social connections with the young generation of dancers that were inflamed by the resurrection of (black) rhythm tap.Between the young generation of female dancer - Domeshia Summwards, Idella Reed, Michelle Dorrance, Ali Bradley - and the "forgotten black mothers of TAP," Like Edith "Baby" Edwards, Jeni Legon, Loismiller and Florence Covan.Walker is the owner and durationof the classic black rhythm -tap canon and ensures that it thrives with absolute perfection.

1980s: The Renaissance

In the 1980s there was a renaissance in the interest in the dance dance that began to grow and spread. "It is satisfactory to know that Tap did not die," remarked James "Buster" Brown in George Nirenberg's filmNo cards on my taps(1980), which documented the hooves that contributed to keeping the tap on their lean years. Michael Blackwood's documentary filmmakerTapdancin '(1980) followed the performances of experienced dancers such as the Nicholas brothers, which built their routines at irresistible highlights to excite the audience in 1981 the Broadway opening ofSophisticated ladies, A musical homage to Duke Ellington with Gregory Hines.in1982 the new TAP Musical,Tappin 'Uptownat the Brooklyn Academy of Music with Honi Coles. With the spread of TAP festivals across the country and films likeWhite Nights(1985),The Cotton Club(1984) andBeat(1989) and the Broadway productions ofThe TAP dance child(1983) andBlack and blue(1989) everyone proclaimed that the rooster was back. In television the PBS production ofTanztanz in America, moderated by Gregory Hines, with Tap -Masters and Young Virtuosen Savion Glover, brought the gap between the tap dance and mainstream entertainment.

Savion Glover

Savion Glover, Virtuoso Rhythm Tap Dancer, Choreographer, director and actor, who was the dance dance for the Millennium generation on November 19, 1973 in Newark, Newark, Newark, Newark, New Jersey. His father Willie Mitchell was carpenter;And his mother Yvette Glover was an gospel and jazz singer who tall him up.The TAP dance child, Glover is considered the artistic grandson of the most revered figures in Jazz -Taptanz - Jimmy Slyde, James Buster Brown, Honi Coles, Arthur Duncan, Chuck Green, Harold Nicholas, Lon Chaney, Bunny Briggs - and inherit the generation of dancing from GregoryHines and his brother Maurice. As a child and then as a teenager, Glover took his place next to them in Broadway productions like aBlack and blue (1989)andJelly's last jam(1991) and in the film 1988Beat!,In which he played on TV opposite Gregory and Sammy Davis Jr., Glover appeared in the PBS Dance in America Special.TAP Dance in America (1989)with Hines and Tommy melody and then regularly openedSesame roadals Tap-Dancing Cowboy.

Glover trains as a drummer and thinks his taps shoe as a drum cane of the metal tap is the Hi-Hat, the outside of the tap is the loop, the inner ball ball is the upper Tom tom, the outer edge of the pelvis, its left heel is the bass drumAnd the right heel in the Boden-Tom-tom.And not only to trigger the heel and toe. "As a hooves, we are like musicians, more in rhythms," says Glover. "It's not about sensationalism. It's not a poor or the like. Everything is just natural."

In 1991, when Glover took over his first tap choreography project, which was commissioned by Jeremy Alliger Dance Dach in Boston, it should not create a number for classic jazz melodies such as "A Train", "Cute" or "Perdido".Instead, he used a number from Quincy Jones' "Back on the Block", from himBirdlandAlbum. "It's nothing like you have ever seen," said Glover about the work, "I had people who play basketball, jump, run. It's a mixture of things, but it is usually a tip." With seventeen dancersFor the age of sixteen, Glover found new sounds by recycling old steps and younger people, making new rhythms out, which paved a new direction in the barrel for the younger generation.

Sole sisters

In 1986 La Mama presentedSole sistersAn omnipotent table dance show, which was conducted with several generations, brought together by Constance Valis Hill, the high-heeled stepper and low-heeled hooves, the veteran Grande Dames of Tap and younger Prima-Tiperinas.The veterans Josephine McNamara, Miriam Ali-Greaves, Marion Coles, Harriet Browne and Frances Neally and the younger dancers Brenda Bufalino, Sarah Safford and Dorothy Wasserman were not the only production that the door for recognition was more feminineJazz -Tap -dancer opened. The west coast Lynn Dally, who founded the Jazz -Tap -Ensemble in 1979, combined her extensive experience in modern dance with jazz tap to organize a group of dancers that insisted on it with a live-Jazz -ensemble to appear and interact.Tap Orchestra and started to experiment with rhythmic groups of dancers on the concert stage how to layer rhythmic groups of dancers and orchestrates.-Tap with the upper body forms of jazz dance and the new spatial forms from modern dance.

1990s: Contemporary Afro-Irish traditions

The decade of the nineties experienced the revival of percussive forms of dance forms that were a result of the Afro-Irish cultural and musical traditions of the cable dance.

Stepping is a percussive dance form in which African-American young people flow through routines in military lines in rapid fire movements, their hands hit their hips, stomach and legs, cross their arms into the hip-hop beat and the gospel and sing new crossing music.They praise the praise when they step and give their performance with a touch of spirituality. As he stepped down into the early 20th century, when the black veterans of the First World War, who wrote to Colleges, they wanted their blackness through their own art formSprint. Inspired by their military training they brought a high-ranking, boring-like component to their dances and combined them with elements of other black colloquial language. The today's step dance or drill teams give their combinations hip-hop movements.is based on improvisation, call and reaction, complex measuring devices, driving rhythms and perkussive attack original. Spike lees 1988 filmSchoolmasterbrought to a wider audience.

Although it would certainly not be confused with the step dance of the Trinity Dance Company that arose from a school.Weapons movements and the dazzling knee-to-foot campaign became the original form of Irish step dance.

The Trinity Dance Company is not the only society that revives the traditional Irish step dance forms.He also a main dancer at Bill T. Jones/Arnie Zane Company.Curran's dance works such as Curran Event (2000) have connected related rhythmic forms such as body percussion to create patterns that are so complicated enough to make the eyes and the pulsepound.

In the nineties, two musicals were mortal representations of the development of Afro and Irish music and dance traditions- distribution on BroadwayandBring it in there, bring 'there' radio in '.WithRiverdanceThe traditional Irish dancing, which moved to Broadway in 1996, was practically changed overnight, freed and seen all over the world.'Connor was bornRiverdance, Dozens of talented Irish dancers, but also dancers from Great Britain and America, who were dazzling world champions and main dancers who had perfected their craft by going to Irish dance courses from virtual childhood, entering competitions and brought home medals and cupsmost important Irish dance numbers inRiverdancewere choreographed by Michael Flatley (who continued to createLord of the dance), the relieved, mixed traditional Irish step dance and the sensual flamenco rhythms.Flame, the flowering verticality of the body - gushed a centuries -old Irish dance tradition.

Also in 1996, Savion Glover had the opportunity to reduce the wealth of the jazz tap and to earth its history in the heart of African -American identity when he was choreographed and played alongBring the noise, bring. "A TAP/RAP discourse on the reservoir of the beat", the show by George C. Wolfe with texts by Reg E. Gaines opened in the public theater in New York and then moved to Broadway to win for the bestChoreography in a musical.Noise/radio, wroteNew York TimesCritic Ben Brantley was "not only the collective history of a breed, but also the diverse and specific forms of expression that a tradition encompasses". Critics commented that Globers feet spoke hip-hop on the show and that he was the first young tapper in his generationWas to wake up the art form again. The show brought the story of the rhythm in America up to date and made cool again.

In the 1990s, the tatta dance continued to improve as a unique American percussive. As a tip dance artist, what was new in the technology, technology, translation or theater of the Hahn were asked, their reactions of reinforcement, concertization, were sufficientmulti -layered rhythms, verbal decoration, instrumentation, exotic rhythms, political rapeseed, modernist forms, forms, forms, forms, shapes, shapes, modern, form, modernism, forms, instrumentation, exotic rhythms, modernist forms, form new space.In the nineties, artists will not only continue the heritage of TAP, but also produce new styles for the future by not only continuing the legacy of TAP to strengthen sounds and decoration of rhythms.

The millennium

In the first decade of the 21st century, table dance was considered a national treasure, a true American colloquial language.State celebrated. Tap Festival from three days to two weeks took place every month of the year in more than twenty-five US cities. There were also hundreds of TAP courses, workshops and festivals on all six inhabited continents. In 2001, for exampleMax Pollak determined the country's first TAP festival and performed with an all-star ensemble that made up of Cuba's best jazz musicians under the direction of Chucho Valdes.

TAP dancers as performance artists were also recognized in all media forms.The New YorkerFor his show,Improvography,In the New York Joyce Theater (December 16, 2000) with a full-page photo of Fashion and Fine Arts photographer Richard Avedon.glover, also appeared on the cover ofDance magazine(May 2004), as well as Jared Grimes (June 2007) and Michelle Dorrance (May 2008). Melinda Sullivan made the cover ofDance spirit(May/June 2003), as well as Ayodele Casel (May/June 2006) and Jason Samuels Smith (May/June 2008); and Gregory Hines with Michela Marino Lerman made the cover ofDance teacher(February 2002).

In the advertising, the entire Edwards-Omar family, his wife Dormeshia and their two children's die poster family organized Capeio-Tap-shoes; Jumaane Taylor wore Brenda Bufalinos Tap-Dance clothing. And Jason Samuel Smith became the company spokesman for Bloch Dancewear, who tried to develop a new TAP shoe with the team that offers high -quality and affordable options for professional TAP dancers.

TAP had its popular home base in the in-print and online publication ofDance spirit,With feature articles to tap dancers, performances and festivals, written by Melba Huber, whose writings include a mini history of the tattan.The Whitman sisters: Kings of Negro Varieté(2000), Savion Glover and Bruce Weber'sSavion! My life in the barrel (2000), Constance Valis Hill'sBrotherhood in rhythm: the jazz tap dance of the Nicholas Brothers(2000), Mark Knowles 'Piling(2002), Brenda Bufalino'sTap the source: dance dance stories, theories and practice(2004) and Jane Goldberg'sShoot me while I'm happy(2008) broke out with the genre of the star-centered biography to contexualize their subjects within bio-historiography.Discourses in dance (2002), Taps announced worthy critical and theoretical discourses on breed and gender.Women & performance("Brenda Bufalinos to Small Blues", Volume 3, No. 2, 1987/88, pp. 67-77; -81). Kilkelly continued to theorize the feminist effects of the tap performance by lentils of breed, gender, ethnic belonging,Class, sexuality and autobiography.

Veteran Master Hooffers Hit The Academic Jackpot on February 22, 2002, when Oklahoma City University in the American dance documents for the world -famous African -American "Dance": Charles "Cholly" Atkins, Bunny Brigg., Jeni Legon, Henry Letang, Fayard Nicholas, Leonard Reed, Jimmy Slyde and Prince Spencer.Marion Coles received an honorary degree (to honor) From Queens College (Cuny) in 2002; and Harold Cromer from New Jerseys Bloomfield College in 2008.New Tap Studios, Harlem Tap Studio by Dormeshia Summ and Omar Edwards in the legendary Sugar Hill section of Harlem as serious home for tapNew tap companies were founded, like the all-wife Barbara Duffy & Company (2000); Jason Samuels Smiths everyone can get it (A.C.G.I.); and Ayodele Casel and Sarah Savellis Tandem Act Productions (T.A.P., 2006)aimed at promoting the choreography of female tap choreography.

Elka Samuel, big sister of Jason Samuel Smith and himself, founded the Divine Rhythm Productions in 1999 to produce, present, present and manage tap dancers. In 2006, Savion Glover founded on the occasion of the age of 25 in the dance theater Savion Glover Productions,a self -producing and managing company that at a formal reception and dinner in the New Jersey's performing Arts Center at the National Tip Dance Day (on the National Tip Dance Day (May 25); Glover honored fifteen "responsibility" of the cable staff, producer andPracticer - "because they tirelessly forgive the spirit and the legacy of the cable dance"., Deborah Mitchell, Cobi Narita, Frank Owens, Carl Schlessinger, Hank Smith, Hank Smith, Smith, Cobi Narita, Frank Owens, Carl SchlessingHe, Hank Smith, Smith, Cobi Narita, Frank Owens, Carl Schlinger, Hank Smith, Smith, Cobi Narita, Frank Owens, Carl Schlinger, Hank Smith, Smith, Cobi Naritaund Sally Sommer.

On TV,Marvin, the Tap-Dancing horse(PBS-TV) brought the house down in its large production number in Broadway style; Savion Glover and company were appliedDance with the stars(2007, CBS TV); and for the short-livedSecret talents of the stars(2008, ABC-TV) Jason Samuel Smith has a production number for the rhythm blues singer Mya Harrison (whose secret wish is a tap dancer) using fifteen hot young tap dancers.Precision-Tap dance of the rockettes in show topping numbers Fort-five shows per day, seven days a week.42. Straße(2001), die Tap-Dancing-Flapper inThoroughly modern Millie(2002) and the show's show dancers, which bumps into Jerry Mitchell'sHairspray(2002), certified, as well as the center addition! Production ofNene(2008), this "Tap is the language of love".

In the film of the romantic hero in the Oscar-winning animation musical by Warner BrothersHappy feet(2006) was an inconsiderably happy penguin named Mumble, who could not sing, but could dance, dance dance - and that he did it excellently, their feet made a precise spin -off from Savion Glover, which opened his feet on the icy antarctic terrainThe icy Antarctic terrain beat, his body upright and the pinball hits rigidly at his sidewarMumble-He made Mumbler's dance movements available from computer. The director of the film, lead screenwriter and producer George Miller, explained how the entire film was able to convince Glover to put on a movement body suit to knock on the knocking of "our tap-dancing-Helden ".

Tap international

merger, The union or mixture of unlikely elements to form a whole could be the term that best describes the musical and cultural mixture in the cable dance, which resulted from an explosion of global cultural consciousness in the first decade of the new centuryPollak combined with Afro-Cuban rhythms and body percussion for his company Rhumba Tap; Tamango mixed from Tap and Afro-Brazilian rhythms for his company Urban Tap; and Roxanne "Butterfly" Semadini merged with Flamenco and Rhythms from North Africa, not far from their regular roots,In your tap work.Dejallah Groove. While these fusion works come from a relatively simple equation, more complicated, multi -stranded woven fabrics have made the term fusion relatively out of date in the millennium.

CapitalStrawberry ... almost a tango

How do we call the diverse cultural intertwinings of tapage, the dance company of Olivia Rosenkrantz and Mari Fujibayashi? Rosenkrantz was moved to New York City in 1988 in Briey (Lorraine), France., a North Indian music and dancing ensemble, the jazz combined with TAP and in which she performed with the Indian tabla master Samir Chatterjee, used her choreographic interest in crossing rhythm tap with the music and dance styles., Japan, born and was the first dance artist who was awarded a grant by the Japanese government for artistic studies abroad. In New York, she danced like Rosenkrantz with the American Tap Dance Orchestra and Manhattan Tapa.to create a unique voice and a choreographic approach to typing, the dramatic intensity and rhythmic completeXity with contemporary gesture, as shown in theStrawberry ... almost a tango, performed at the New York City Tap Festival'sAll-Stars/Tap InternationalsProgram in 2005.

Herbin van Cayseele (Tamango) presentedBay mo DiloWith his company Urban Tap in the New York Joyce Theater in 2007. Born in rural Cayenne, French -Guayana, he grew up in Paris, where he studied with Sarah Petronio at the American Center in American Center.in Tap Jams by Jimmy Slyde in LaCave (a jazz club in 62nd street and first Avenue). Then he changed his name in Tamango to reflect his African roots.Bayo Mo Dilois a visualization of these rooting roots, which is not realized by a fusion of elements, but by including separate elements that refer to each other and refer each other.Raindrops that fell on a banana leaf, and similarly lush tropical visions and street scenes."Waren; Vado Diomande offered the acrobatic stelzent dance in connection with the West African ritual. Actress/dancer Jean-Claude Bardu played the lovable co-population in Limbs Akimbo; and Haitian dancer Belinda Becker (like Oshun, the Yoruba goddess or Orisha, led theliquid spine waves and swinging arms of the West African styleMangiani.Tamango appeared and carried a bell belt over black trousers that weigh so thick with fabric that they had suggested the costumes of the dancers presented in certain West African rituals.), which produce some tribes in Senegambia, Sierra Leone, the gold coast, Benin and Biafra Castle - when dancing from body music, on stage in heavily bound faucet shoes (wired to reinforce sound), sealed his track out of flat paddleAnd Rolls his family tree in the old rhythm tap tradition of the African American hooves Ralph Brown, Lon Chaney and Jimmy Slyde.

India Jazz SuiteWas the collaboration of sixty-year-old East Indian Kathak Guru Chitresh that and 26-year-old Rhythm tap dancer Jason Samuel Smith.Ka-tap, staged, choreographed and performed by Kathak dancers Janaki Patrik and Anup Kumar that, and Tap dancer Neil Applebaum and Olivia Rosenkrantz were carried out in the New York symphonier room in 1998. A conversation between the two forms that were interactive in which everyone was carefulto maintain his uniqueness. What was observed by the audience was a thinning of the boundaries between two generations. The two men met in 2004 at the American Dance Festival in North Carolina.Smith was attracted to the charisma, fascinated by the complicated patterns that theKathakThe artist was able to weave on the ankles with naked feet and five pounds; that, who had always dreamed of working with Gregory Hines, was fascinated by Smith's intensive American energy and improvisation skills, in which everyone with their own local musiciansPerformed, which showed every form conscientiously and at the same time emphasized its similarity with the other, was based on a common quality: In all cultures, two musicians came: North Indian classical music was made by the four of Ramesh Mishra (Saranji), Abhijit Banerjee (Tabla), Swapnamoy Banerjee (Sarod) and Debashish Sarkar (Vocals) represented; American Jazz was represented by the musicians Channing Cook Holmes (drums) and Theo Hill (piano).off, tap for Tap, Raspe for Raspe. What was designed as a friendly dance discussionSometimes pleasant joke and at other times violent competition, in which everyone appeared as a winner in their own way.

Women in the TAP conference

In 2008, four generations of female tap dancers celebrated their contributions to the historically dominated field at the University of California in Los Angeles (UCLA) in Los Angeles (UCLA).Jazz -Tap -Ensemble and Professors at the Department of World Arts and Culture an der UCLA, consisted of discovering stories about and contributions from women in TAP. There were keynote addresses, historical overviews and panel discussions about challenging questions for women in the barrel.The physical proof of the conference was the concert on Saturday evening primarily solos.

Miriam Nelson, the nine-to-year-old Tap dancer and Hollywood film and television choreographer, offered a sweet souvenir of "Fascinatin 'rhythm" in front of the jazz tap-and-dance. The much younger Terry Brock aimed at a cheeky profile for "Lady BeGood ", Evowell conjured up, an icon of the 1930s. Deborah Mitchell's dance for the" Sunny Side of the Street "was a moving, brilliantly rich, unpredictable and disarming hommage to her mentor leslie" Bubba "Gaines.barbara Duffy turnedThe past and danced to "Soldier's Hymn", her calm, uninjured meditation of a rumbling rumba. Then Heather Cornell smithed a new direction in her solo career by playing new sounds in her leather shoes (shoesSansMetall -Taps) In combination with the pianist Doug Walter.Lynn Dally became bluesy and bitter -sweet "You Mus Move", and Linda Sohl broke out of jazz taps musical formulasEspiritu, a collaboration with her husband Monte Ellison.Brenda Bufalino, inMy mind about Mingus, brought a conceptual rigor into the program and real jazz music - which includes her lifelong tango with her mentor and jazz counterpart Charlie Mingus.acia Gray'sTwo and threesomeGoal on a strong and complicated display dancing. The extremely gracious Dianne Walker ran over "autumn leaves" with polite delicacy, and then Dormeshia Summwards Edwards brought passionate spontaneity in her solo-mit intentionally rough penance at a maximum speed-a artist whoCentury belonged to the past regardless of her debts, regardless of her debt.

The evening was crowned - and the fate of future women in TAP supervisor - by Michelle Dorrance, Josette Wiggan and Cloe Arnold, the youngest women in the Corps, who rushed the place with their unscheduled trio, the only group work on the program.The Challenge dance - the original forum for TAP virtuosity - acted with joyful vehemence and decorated and decorated. Depending on it, Dorrance taped without music, in the dark, and reminded the audience of the essentials in this percussive art form.No-faceer's attack Maximum complexity with a dance style influenced by contemporary black culture. Arnold's lively adaptation to the Maya Angelou poem, the adaptation to Maya Angelou,Phenomenal woman, woke up the house and told people: "Pretty women wonder where my secret is / I'm not cute or built to meet the size of a model model," she recited.Section to hit the floor with sass and anger, and showed where their powers lay in the span of my hips, the step of my step ... The swing in my waist, the joy, the joy, the joy, the, the joyJoy, the joy, the joy, the joy, the joy, the joy, the joy, the joy, the joy of my feet ... The click in my heels ... I am a woman.Phenomenal woman.This is me."

Hug tradition, forge changes

Tap dancers take the revering of old souls deeply into their heart; perhaps because, as a cultural form, more than a dance practice tap, binds to a family to a family that always looks back when they are progressed.respected. could even argue that every rhythm that is dismantled on a stage, such as the African drum drums for its oldest praise.Performance in the individual rhythmia joke and the poetry that the masters have transferred into the public honor of the rhythmic joke and poetry.

It is most moving when young dancers pay tribute to the masters. And so it was in 2008 in the Tap City Youth Concert in the Symphony Space, as a thirty -fourth members of the TAP City Youth Ensemble of the American Tap Dance Foundation, a multirassical and multiethnic group ofMedium and advanced girls and boys aged ten to eighty. In their tribute to Honi Coles and the Copasetics, a historical suite of dances of this legendary tap brotherhood, which was founded in 1949, led Bill "Bojangles" Robinson.They started with "The Copasetics Song/Coles Walk" and continued with "The Mayor of Harlem", Honi Coles' texts about the big Bojangles;Amsel from 1928As executed by Robinson and the Blackbird Chorus; to end with the "CopaseTetics Chair Dance".Sisterhood that have inscribed the dance dancing:

When you feel blue
The best you can do
Tell yourself, he should forget

Sang the dancers when they clicked and worn out to walks walks that meandering around the stage.

Life is a funny thing

It's really great when you sing
And everything becomes copastically ...

The cheerful chorus remembered the happiest moments of the Copasetics on stage. In the preamble of their organization, they had "a social, friendly, benevolent club", its members ", to do everything in our power to do the communityPromote and strengthen the character in our ranks.

Never look down,
Kinning up and not frowning,
Do not let life become miserable.
Show the whole humanity a happy face
And everything will be copastically ...

And everything will be ...

"As long as we undertake to do everything in our power, to promote the community and to strengthen the character in our ranks ..."

And everything will be

"As long as it remains our wish to create only impressions that our group establish in all areas of life as decent and respectable."

And everything will be ...

As long as we have fingers to snap, clap hands, feet to increase the beat,

Heading.

Quotes quoted

Balliett, Whitney.Collected works: A Journal of Jazz 1954-2001.NY: St. Martin's Griffin, 2000.

Ben Brantley. "The history of taps as a story of black."New York Times(16. November 1995), C15, C18.

Ann Charters.Nobody: The story of Bert Williams.The: Macmillan, 1970.

Emery, Lynne Fauley.Black dance: from 1619 to today. Secondly revised edition.princeton, NJ: Princeton Book Company, 1988.

Fletcher, Tom.100 years of the negro in show business: The Tom Fletcher Story. Da Capo Press, 1986.

Glover, Savion and Bruce Weber.Savion: My life in Tap.NY: William Morrow, 2000.

Hill, Constance Valis.Brotherhood in rhythm: the jazz tap dance of the Nicholas Brothers.The: Oxford University Press, 2000.

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