Tap Resources

DID YOU KNOW? The Guiness World Book of Records holder lists ROY CASTLE on January 14, 1973 – at 1,440 taps per minute (24 per second)

DID YOU KNOW? The phrase “tap dance” was first used, perhaps as early as 1900, but it didn’t appear in print until around 1928.

DID YOU KNOW? Aluminum heel and toe taps did not appear until after 1910.

DID YOU KNOW? Bill “Bojangles” Robinson wore wooded-soled shoes. Unlike clogs, which had a sole made out of one complete piece of wood, these shoes has a split sole, in that the wooden sole and heel were fitted on the front and back of the shoe, and the space under the instep was leather, allowing flexibility of movement in the foot.

DID YOU KNOW? On November 7, 1989, a US Joint Resolution passed a Bill declaring May 25 th as National Tap Dance Day, the birthday of Bill “Bojangles” Robinson.

The History of Tap Dance

National Tap Dance Day

Tap Terminology

Basic Tap Steps

The History of Tap Dance

tap dancen: a step dance tapped out audibly by means of shoes with hard soles or soles and heels to which taps have been added.

-from Merriam-Webster New Collegiate Dictionary

THE DEVEOPMENT OF TAP STEPS

Tap steps evolved in many ways. Sometimes traditional movements were simply recombined in a new way and new steps were created by reworking or reorienting older existing forms. Sometimes existing steps were intensified, exaggerated or emphasized to such an extent that they became totally new. This especially happened with the dance was moved from urban environments into theatrical settings.

Steps were also varied as different cultures interacted with each other which often resulted in oversimplifications and stereotyping. Interesting enough these overblown stereotypes were often then taken over by the same group they were originally applied to and incorporated into that group’s identity. This was clearly done when plantation dances were used by minstrel performers and later taken over by black entertainers.

Tap steps and terminology were traditionally handed down from dancer to dancer; in addition, dancers developed their own styles as steps were taught, borrowed, or stolen.

from TAP ROOTS, The Early History of Tap Dancing, page 206

TAP TERMINOLOGY

In 1919, Ned Wayburn formed the first tap dance school in New York City. Steps and combinations took on a more formal structure which could be taught within a classroom setting. As tap dancing gained prominence on the stage, it also gained acceptance in the classroom. The first codified set of terms was put down on paper in the 1930s by physical education teachers who wanted to include rhythm movements in their curriculums.

Tap terminology became fairly standardized between the 1930s and 1950s, although many variations continued to exist. Even today, new terms are continually being coined. Most modern tap dancers agree upon the basic vocabulary even though there is not a general consensus about the names of all steps - from TAP ROOTS, The Early History of Tap Dancing, (page 207).

NED WAYBURN -

The most successful dance director was Ned Wayburn, born Edward Claudius Weyburn, (with an “e”), on March 30, 1874, in Pittsburgh, Pennsylvania. As a dance director and choreographer, he staged more than 200 vaudeville acts, as well as 300 musical spectacles for such producers as Oscar and William Hammerstein, the Shubert Brothers, Lew Fields and Florenz Ziegfield. His New York School of dance, which promied “Health, Beauty, Fame, Popu-larity, Independence”, trained many of the top performers including Fred and Adele Astaire. It was Ned Wayburn who supposedly convinced Fred Astaire to give up ballet and become a tap dancer. Astaire’s later style was based on the training he had first gotten under Wayburn’s tutelage.

Wayburn also influenced many other entertainers. Richard Kislan, in his book “Hoofing on Broadway”, wrote: “Ned Wayburn allegedly guided and inspired Eddie Cantor, Al Jolsen, W.C. Fields, Marilyn Miller, Marion Davies, Ann Pennington, Will Rogers, Vivienne Segal, and no fewer than 122 other stars”.

Like John Tiller, Wayburn’s style stressed precision and exact execution. When he devised a special stylized walk for the Ziegfield girls so they could negotiate the many staircases used in the staging of the Follies, he created what became known as the “Ziegfield Walk” which was used in all of the other Follies shows and is still used by showgirls today. Wayburn’s use of geometric patterns best seen from overhead was also instrumental I the development of later movie musical dance sequences.

Although the majority of Ned Wayburn’s work happened after the dates covered in this book, the words he used to describe the dances in one particular show became the deciding factor for the cutoff date itself. In the winter of 1902-03, Wayburn created a show called “Ned Wayburn’s Minstrel Misses”. The act consisted of: ….. a chorus of sixteen women [who] marched on stage wearing “the long coats of fantastic design and color and high hats of a Minstrel parade”. Then, “in full view of the audience”, the dancers made themselves up in blackface at tables set at the rear of the stage. The sequence took ninety seconds to perform, but made the reputation of the act, which ran for eleven months on tour.

“Ned Wayburn’s Minstrel Misses” combined African-American inspired minstrel movements with feminine gestures. They wore light clogs with split wooden soles.

To describe this new hybrid form, Wayburn coined the phase “Tap and step dancing”. This was the first time that the term “Tap dancing” had been publicly and professionally used.

So, with Ned Wayburn’s chorus line of 16 girls, percussive show dancing was officially dubbed “tap dancing” - from TAP ROOTS, The Early History of Tap Dancing, (pages 162-163).

RESOURCES:

TAP ROOTS, The Early History of Tap Dancing. Mark Knowles
TAP DANCE, A Beginner’s Guide. Trina Marx
TAP DANCING, Rhythm in Their Feet. Heather Rees
TAP! The Greatest Tap Dance Stars and Their Stories 1900-1955, Rusty E. Fran
MODERN TAP DICTIONARY, Glenn Shipley
THE COMPLETE TAP DANCE BOOK, Anne Schley Duggan
CLOG DANCING, Earl Atkinson

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National Tap Dance Day: May 25th

The passage of US Joint Resolution declaring May 25 th National Tap Dance Day, was the result of hard work by Nicola Daval, Carol Vaughn and Linda Christensen of the Tap America Project. It was introduced and shepherded through the process by Congressman John Conyers and Senator Alfonse D’Amato and signed into law by President George Bush on November 7, 1989. May 25 th was chosen because it is Bill “Bojangles” Robinson’s birthday. Many cities have tap dance performances to coincide with this date, with the day’s event ending with a mass performer and audience rendition of the Shim Sham Shimmy, a dance style made popular by Bill “Bojangles” Robinson.

TAP DAY BILL

HOUSE JOINT RESOLUTION 131

Introduced by John Conyers, Jr. (D-MI)

SENATE JOINT RESOLUTION 53

Introduced by Alfonse D’Amato (R-NY)

TO DESIGNATE MAY 25 TH AS NATIONAL TAP DANCE DAY

Whereas:

the multifaceted art form of tap dancing is a manifestation of the cultural heritage of our Nation, reflecting the fusion of African and European cultures into an exemplification of the American spirit, that should be, through documentation, and archival and performance support, transmitted to succeeding generations;

Whereas:

tap dancing has had an historic and continuing influence on other genres of American art, including music, vaudeville, Broadway musical theater, and film, as well as other dance forms;

Whereas:

tap dancing is a joyful and powerful aesthetic force providing a source of enjoyment and an outlet for creativity and self-expression for Americans on both the professional and amateur level;

Whereas:

it is in the best interest of the people of our Nation to preserve, promote, and celebrate this uniquely American art form;

Whereas:

Bill “Bojangles” Robinson made an outstanding contribution to the art of tap dancing on both stage and film through the unification of diverse stylistic and racial elements; and

Whereas:

May 25 th, as the anniversary of the birth of Bill “Bojangles” Robinson is an appropriate day on which to refocus the attention of the Nation on American tap dancing: Now therefore, be it

Resolved

By the Senate and House of Representatives of the United States of America in Congress assembled, that May 25, 1989 is designated “National Tap Dance Day”. The President is authorized and requested to issue a proclamation calling upon the people of the United States to observe such a day with appropriate ceremonies and activities.

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Basic Tap Steps

BREAK STEPS - A two-measure movement that follows a six-measure movement
I - SINGLE BREAK (R) (L) (R) (L) (R) (L) (R) Shuffle Hop Step Shuffle Shuffle Shuffle Step	II - SINGLE BREAK (R) (L) (R) (L) (R) (L) (R) (L) (R) Shuffle Hop Step Shuffle Shuffle Hop Brush Step Step 8 and 1 2 and 3 and 4 and 5 and 6 and 7
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DOUBLE BREAK (R) (L) (R) (L) (R) (L) (R) (L) (R) Shuffle Hop Brush Shuffle Shuffle Hop Brush Step Step 8 and 1 and 2 and 3 and 4 and 5 and 6 and 7	TRIPLE BREAK (R) (L) (R) (L) (R) (L) (R) (L) (R) Shuffle Hop Shuffle Shuffle Shuffle Hop Brush Step Step 8 and 1 and a 2 and 3 and 4 and 5 and 6 and 7

BUFFALO STEPS - a movement normally traveling to the side but may be executed in place.
KEY - XB of L: cross in back of left foot

I – BUFFALO (L) (R) (R) (L) (R) (R) Step Shuffle XB of L Leap Shuffle XB of L 8 and 1 2 and 3	II – BUFFLAO (L) (L) (R) Brush L fwd Leap Shuffle and 8 and (R) (L) (R) (R) Leap XB of L Brush Shuffle Leap XB of L 1 and 2 3

GRAPEVINE - a movement that may be traveled in any direction
KEY - XF of R: cross in front of right foot - XF of L: cross in front of left foot

GRAPEVINE (right side) (R) (L) (R) (L) Step Step XF of R Step Step XF of R 1 2 3 4	GRAPEVINE (left side) (L) (R) (L) (R) Step Step XF of L Step Step XF of L 1 2 3 4

IRISH STEP
KEY - XF of R: cross in front of right foot - XF of L: cross in front of left foot

SIMPLE IRISH (R) (L) (R) (L) (R) (L) Shuffle Hop Step XF of L Shuffle Hop Step XF of R and 4 and 1 and 2 and 3

Tap Terminology

ACCENT A stress or special emphasis on a sound. The primary accent in music refers to the first beat of each measure.

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BALL CHANGE A change of the weight on the balls of the feet from one foot to the other executed forward or in place.

BEAT The regularly recurring and periodically accented pulse which constitutes the unit of measurement in all measured music.

BREAK A two-measure movement that follows a six-measure movement, such as a Time Step.

BRUSH A one-sound kicking movement; in any direction, with the knee in a flex position, strike the ball of the free foot against the floor. May be executed in any direction but normally forward or backward.

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CHUG A forward movement accenting the heel drop; with the weight on one foot, force the heel of the foot to the floor with exaggeration, thus moving the foot forward approximately 3 inches.

CRAMPROLL A movement employing steps and heel drops in a specific pattern.

CROSSOVER A movement employing a crossing of one foot in front of the other.

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DIRECTION The direction in which a dance moves on the stage such as: Downstage, Left Stage, Right Stage and Upstage.

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FLAP A forward brush step: with the knee in a flexed position, strike the ball of the free foot against the floor, stepping forward on the same foot; the step takes weight. May be executed in any direction but normally forward or backward.

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GLIDE A very striking movement wherein the point of one toe strikes the floor across and in front of the opposite foot followed by a leaping over the toe and landing on the opposite foot.

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HEEL DIG A striking of the heel of the free foot (toe up) in any direction; this movement may or may not take weight.

HEEL DROP A forceful dropping of the heel to the floor while the weight is placed on the ball of the same foot.

HEEL ROLL Heel drops executed one after the other; normally used in cramproll patterns.

HEEL SCUFF A heel movement executed in the same manner as a forward brush wherein the tip of the heel strikes the floor in a pendulum like movement.

HEEL TAP A striking of the heel of the free foot against the floor with the toe up. This movement does not take weight.

HOP A jump into the air on one foot; with the weight on one foot and the free foot in the air in any direction, flex the knee of the supporting foot; spring into the air and land on the same foot.

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JUMP A spring into the air from both feet, landing on both feet in any direction.

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LEAP A leap into the air from the supporting foot, landing on the opposite foot. A leap always involves a change of weight from one foot to the other.

LUNGE An exaggerated movement executed to the side; with the weight evenly divided on both feet, slide one foot to the side with the knee well flexed, the weight falling on this foot; the other foot and leg is extended straight out to the opposite side with the knee turned out.

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PIVOT A pivot always has reference to a turn or any part of a turn as executed on one or both feet.

PULLBACK With the weight on one foot, extend the other foot in the air, usually to the rear, executing a back brush with the supporting foot, landing on the same foot.

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RHYTHM A symmetrical and regularly recurrent grouping of tones according to accent and time value.

RIFF A movement combining a forward brush and a scuff on the same foot; usually followed by a heel drop on the opposite foot.

RIFFLE A tap combination of a riff and a back brush.

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SHUFFLE A front brush followed by a back brush executed to the front, side or back.

SLAP The term “slap” was originally defined as an emphasized back brush; however, it is now generally accepted as a brush step forward or a flap.

SPANK A forward brush step, with the knee in a flexed position, strike the ball of the free foot against the floor followed immediately by a stepping on the ball of the same foot.

STAMP A step on the entire flat of the foot, taking weight.

STEP A placing of the front part of the foot firmly on the floor, taking weight; always executed on the ball of the foot unless otherwise noted.

STOMP A striking of the floor with the entire flat of the foot not taking weight; sometimes referred as a flat tap.

SYNCOPATION A temporary displacing or shifting of the regular metrical accent.

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TAP A striking of the ball of the free foot to the floor in any direction; this movement does not take weight.

TEMPO The rate of speed at which the dance is executed.

TOE DROP With the weight on the heel (toe up), force the ball of the foot to the floor.

TOE TAP A striking of the point of the toe in any direction and immediately raising the foot from the floor. Normally, this movement does not take weight.

TURNS The four basic turns are:

RIGHT INSIDE TURN – pivoting on the right foot, execute a complete turn to the right in a forward movement.
RIGHT OUTSIDE TURN – pivoting on the left foot, execute a complete turn to the right in a backward movement.
LEFT INSIDE TURN – pivoting on the left foot, execute a complete turn on to the left in a forward movement.
LEFT OUTSIDE TURN – pivoting on the right foot, execute a complete turn to the left in a backward movement.

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Through education and performance, Cincinnati Taps Inc. works to inform the public about tap-dancing and its current and historical place in the world of dance. We work through education and performance to develop, foster, and promote tap dance as an art form.

National Tap Dance Day

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American Tap Dance Foundation
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Tap Resources

The History of Tap Dance

National Tap Dance Day

Tap Terminology

Basic Tap Steps

The History of Tap Dance

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National Tap Dance Day: May 25th

TAP DAY BILL

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BREAK STEPS - A two-measure movement that follows a six-measure movement

BUFFALO STEPS - a movement normally traveling to the side but may be executed in place.

GRAPEVINE - a movement that may be traveled in any direction

IRISH STEP

Tap Terminology