CHAPTER 9 FROM LEARNING ABOUT DANCE TEXTBOOK BY NORA AMBROSIO

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Origins of jazz can be traced back to Africa
In the 1600’s slaves were brought from Africa to America
The slaves continued to dance and drum on the plantations
Slave owners banned drumming
Slaves kept their rhythms alive by clapping, stomping their feet, and singing the songs of Africa
Slaves danced for their own enjoyment, for the entertainment of the slave owners, and for competitions between each other and other slaves on different plantations

 Minstrel shows began in the
1830’s
 They showcased black songs and dances
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They were performed in theatres
Blacks were not allowed to perform in public
 Whites performed the black dances in “black face” and performed parodies of songs and dances from black culture
Minstrel Show Video

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Blacks began to perform in minstrel shows in the 1860’s
They performed for other blacks and
Irish immigrants
Black minstrel shows soon became as popular as white minstrels because of the “cakewalk”
Cakewalk came directly from the plantations
It “was a contest among dancing couples who attempted to outdo each other in the mock imitation of the white man’s manners and behavior”
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Dancers showcased their best struts, high kicks, and showstopping footwork
1. Richard Kislan, Hoofing on Broadway (NY; Prentice Hall Press, 1987), p. 19.
Cakewalk Video Clip

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Vaudeville Historic Footage
Blacks and Vaudeville - PBS documentary
(caution: racial language)
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Vaudeville included a wide variety of song and dance
Uniqueness and diversity were encouraged
Vaudeville was a training ground for performers destined for Broadway, nightclubs, and film
Black performers continued to create new movements in line with
African technique and rhythms
(staying connected to the earth) – hence the repeated use of plié in jazz technique
Jazz music emerged during this time period – Ragtime and the Blues
Dancers began to connect movements to the syncopated rhythms of jazz music

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The Harlem Renaissance lasted from 1921-1933 (The Roaring
Twenties)
Exclusive clubs in Harlem, New
York, such as the Cotton Club, were the social places to be for the white people of New York
The clubs had elaborate shows that featured black dancers and singers
White people came to the clubs to learn the latest dance crazes from the black dancers
This was the only public place that Blacks and Whites were allowed to intermingle
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Dance crazes during this time period were the Charleston and the Black Bottom.
The Charleston became famous through out the United States and Europe
Flappers – women with short bob hair cuts and short fringe dresses are often associated with the Charleston
The Charleston
The Charleston 2
Black Bottom
Black Bottom 2

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Jazz was mainly seen in movies, night clubs, television, and on the stage
In the 1950’s and 1960’s variety shows such as “The
Lawrence Welk Show” and
“The Ed Sullivan Show” featured jazz dance.
Many great jazz dancers, such as Fred Astaire, Gene
Kelly, Ann Miller, and Ray
Bolger often danced on television.

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Jazz can be defined in several ways Sensual, visceral, improvisational, syncopated, hot, cool
Essential characteristics of jazz are:
Use of syncopated rhythm
Varying rhythms and dynamics
Ranges of energy
Changing levels, directions, shapes and floor patterns
Use of diagonal, curved or asymmetrical lines
Summary of Jazz History
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Jazz should not be just high kicks, multiple turns, “dance tricks,” dancers staying in one place and dancing to one set rhythm, always having symmetrical lines, and
“squareness” where all movements happen on the count of 1.
Jazz is very theatrical – dancers should perform with full commitment to the energy, focus, facial expression and intent of the character or situation that the choreographer created.

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 Early musical theatre examples can be traced back to Ancient
Greece and Rome. 18 th century
France, England and Germany also had productions that combined music, dance, and theatre.
American musical theatre has its roots in jazz dance.
The Black Crook (1866) is one of the first notable musical theatre productions . It used dance to move the story along. It started a trend that is now musical theatre.
I’m In Love with You Pre-show Dance Number (1929)
Great Gabbo – I’m In Love with You Production Number
(1929)
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1921 the musical, “Shuffle
Along,” was the first major musical by African Americans to gain national fame. It featured music by jazz great Eubie Blake.
Chorus girl, Josephine Baker, later became an international star and helped to make the
Charleston and Black Bottom dances popular.
1926, dance director Seymour
Felix introduced the idea of seamlessly integrating script, music, lyrics and dance as an important aspect of musical theatre. He was determined to make the dances unified with the story and music of the show rather than just an entertainment filler.

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1943 – Agnes De Mille choreographed the dance sequences for Oklahoma
She created an artistic dance sequence called the “dream sequence”
The sequence added to the story line while also being its own dramatic piece.
This piece raised choreographers to the same status as the director, composer, and playwright in the musical theatre production.
Oklahoma
Dream
Sequence
(part 1)
Oklahoma
Dream
Sequence
(part 2)

 Many ballet and modern choreographers choreographed for musical theatre.
 George Balanchine
 Jerome Robbins
 Katherine Dunham
 Twyla Tharp
Balanchine – The Goldwyn Follies
Jerome Robbins – Broadway works
Katherine Dunham
Twyla Tharp - Movin’ Out
Twyla Tharp -Come Fly Away
Jack Cole – Kismet
Jack Cole – Beale Street Blues
Bob Fosse – Clips of Bob Fosse Dancing
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Today’s style of jazz is often credited to Jack Cole who used his Denishawn training
(greatly influenced by Eastern dance styles) to create a jazzethnic-ballet style that we still use in musicals, films, commercials, and television today.
Cole is considered the “father of jazz”
Bob Fosse and Jerome
Robbins were greatly influenced by Jack Cole’s jazz style.

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Most musicals are made for live theatre and then recreated for the movie screen.
It is extremely expensive to produce a musical for
Broadway. This is why there are fewer and fewer musicals being made every year.
 Some of the most popular musicals are:
 Rent
 Chicago
 West Side Story
 Cats
 Beauty and the Beast -
Continued
 Wicked
 Lion King
 Phantom of the Opera
 Les Miserables

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Tap is a blend of the Irish Jig,
English Clog, and “Negro”
Shuffle
Rhythmic sounds are produced by the feet
Metal taps are worn on the bottom of the shoes
Tap gained popularity in minstrel and vaudeville shows in the late
1800’s
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Tap has a vocabulary of steps, but it is also highly improvisational
Hoofers – call attention to their intricate footwork (Savion
Glover and Gregory Hines)
Class Acts – have elegant body movements and execute steps in a refined manner (Fred Astaire and Ginger Rogers)
Flash Acts – Combine tap dance with acrobatics (Nicholas
Brothers)
Soft Shoe – Skim the floor and produce soft muted sounds
(George Primrose)

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– Vaudeville tapper who joined the
Vaudeville circuit at the age of 12. He is one of the first African
American performers to have regular employment in the white theatre and movies. He is famous for tap dancing with Shirley Temple .

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– started on the Vaudeville stage. He was known for being a triple threat – singing, dancing, and acting. He became one of
America’s most popular entertainers. His movie,
Tap, inspired the general public to gain a new interest in tap dancing.
Sammy Davis Jr. and Gregory Hines tapping together

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made tap popular in musical theatre productions. They also included ballroom dancing in their dance sequences.
Top Hat – The Piccolino
Dancing Dancing Cheek to Cheek
Swing Time
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popularized tap dance.
He was known for his athletic ability. His style of tap was very athletic – not graceful like Astaire and Rogers. His most famous tap dance is in
Singin’ in the Rain .
I’ve Got Rhythm
It’s Always Fair Weather

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starred in several movies that highlighted tap sequences. He danced and trained with some of the best known tappers,
Sammy Davis Jr., The
Nicholas Brothers, and
Sandman Sims.
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– used tap in her music videos.
By placing tap in music videos, it introduced tap to a younger audience and increased the popularity of the dance form.
Tap with Steve Martin
White Nights
Dancing with the Masters
Tapping at a concert
Opposites Attract

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– was a child tap prodigy. He trained with Gregory Hines. Glover developed the choreography for the
Broadway show Bring in ‘da
Noise, Bring in ‘da Funk which mixed tap, hip hop, and break dancing. He won a Tony award for this. He has tapped on several TV shows and movies. His focus now is to bring tap back to its
African roots and back to the forefront of black culture. He is known as the greatest tap dancer in the world.
Bring in ‘da Noise,
Bring in ‘da Funk
Sesame Street
Dancing with the
Stars
Happy Feet

Jazz Dance Musical Theatre Dance Tap Dance
Strong use of syncopated rhythms.
Shoes are worn with metal taps on the bottom.
The repeated use of the plié.
The dancing has an improvisational feel.
Individual style is developed and demonstrated.
The dancing is presentational, visceral and sensual.
There is a strong use of varying dynamics.
Dance in musical theatre productions can be used to enhance the storyline and to move the storyline along.
Dance sequences can also stand alone as artistic works.
The script, music, lyrics, and dance have a strong relationship.
Musical theatre dance can be seen on the theatrical stage and in movie musicals.
Rhythmic sounds are produced by moving the feet.
Tap dance has a strong use of syncopated rhythms.
Tap dance has a vocabulary with prescribed steps, but mostly, tap dance is improvisational.
There are different styles of tap and tap dancers: hoofers, class acts, flash acts, soft shoe, etc.
Tap dance can be seen on the theatrical stage, concert stage, and in movies, movie musicals and popular dance videos.
Jazz dance can be seen on the theatrical stage, concert stage, and in movie musicals and popular music videos.