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zapatosardientes
3 juin 2006

Tap dance ou "claquettes"


Claquettes
Vidéo envoyée par mojitoforever

Le Tap Dance, danse rythmée souvent vue dans les films ou comédies musicales, héritage des afro-américains et popularisé dans les années 30 par Fred Astaire, est impressionnant et accessible!

Très populaire et à la portée de tous, la danse à claquettes a connu une vogue particulière chez les Noirs américains qui l'appellent tap dance. Souvent utilisée dans les comédies musicales, elle atteint sa pleine effervescence dans les années 30 alors que les Blancs comme les Noirs se sont mis à la danser.

Impliquant l'engagement total des pieds qui frappent le sol de la pointe ou du talon, cette danse est caractérisée par le port de chaussures équipées de plaquettes de métal grâce auxquelles les danseurs peuvent marquer le rythme en traçant par terre une infinie variété de patrons propre à créer un rythme musical

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Tap dance was born in the United States during the 19th century, and today is popular all around the world. The name comes from the tapping sound made when the small metal plates on the dancer's shoes touch a hard floor. This lively, rhythmic tapping makes the performer not just a dancer, but also a percussive musician.

Its evolutionary grandparents may well have been:

African dance to drum rhythms
African welly boot dance
Spanish flamenco, where nails are hammered into the heel and the front part of the dancers' shoes so that the rhythm of their steps can be heard
Step dancing
Clogging, for example from Lancashire, where there may be no accompanying music, just the noise of the shoes
Irish Sean-nós dancing (different from step dance)

Characteristics of tap dance
Tap dancers make frequent use of syncopation. Choreographies typically start on the eighth beat, or between the eighth and the first count. Another aspect of tap dancing is improvisation. This can either be done with music and follow the beats provided or without musical accompaniment, otherwise known as a capella dancing. Hoofers are tap dancers who dance only with their legs, making a louder, more grounded sound. This kind of tap dancing, also called "rhythm tap", is typically found in cities or poor areas. The majority of hoofers, such as Sammy Davis Jr., Savion Glover, and Gregory Hines, are black dancers. Dancers like Fred Astaire provided a more ballroom look to tap dancing, while Gene Kelly used his extensive ballet training to make tap dancing incorporate all the parts of the ballet.

Steps in Tap Dancing
A simple step is the ball tap, which involves striking the ball of the foot on the floor and releasing it immediately, using an ankle movement. The same can be done with the heel (a heel tap), which involves striking the heel of the foot on the floor and releasing it immediately. A ball dig involves "digging" the ball of the foot into the floor (with or without a change of weight), and can also be done with the heel. Another step is the heel drop, which starts by standing on the balls of one or both feet and then "dropping" the heel on the floor, with or without a change of weight; it can also be done with the ball.

Ball digs and heel drops can be combined to make a cramp roll which produces a rolling sound like a horse gallop or a drum roll. It is performed by doing two ball digs (right then left), similar to two steps on the balls of the feet; it is followed by two heel drops (right then left), releasing the right heel immediately upon completion. In other words, it is performed as "ball (R) ball (L) heel (R) heel (L)" and is counted as "1 and a 2." It may be preceded by a brush (counted as "& 1 & a 2" and known as a flap cramp roll) or done double time, known as a "bite cramproll" and counted as "a & a 1."

Another step in tap dancing is the brush. Standing on one leg (i.e. the left), the other foot is "brushed out" by striking the ball of the foot (i.e. the right) on the floor in a sweeping motion forward or backward. The brush may be turned into a shuffle by combining two brushes, one forward and one backward and is counted as "& 1." Making the step faster must be done by making smaller movements that are closer to the body. There are actually many different ways to perform a shuffle. Broadway-style shuffles use knee movement to swing the foot into a shuffle. Hoofers perform shuffles in 2 different ways. The more common shuffle comes from movement in the upper leg and hip. The first sound of the shuffle is almost like a drop, while the second sound is the foot being pulled up. The other type of Hoofer shuffle is from the ankle. This is used in more impressive, fast tap dancing. The difference in the sounds of the brush and the pull back is almost none; this shuffle is more of a "double tap".

Another simple tap step is the flap. The flap involves a brush forward and a step (which is striking the ball of the foot on the floor with a change of weight; similar to a walking step, only done on the ball of the foot--the heel does not touch the floor). The flap is counted as "& 1." It is similar to the shuffle, but instead of brushing the ball back after the brush forward, the dancer steps (i.e. brush step instead of brush brush, as in a shuffle). Both the shuffle and the flap make two sounds.

All tap dancing steps are a combination of simple movements that build upon each other. Most movements, simple and complex, include "taps," "brushes," "drops," "brushes" (including shuffles and flaps), and "steps." For example, "shuffle ball change" is a shuffle followed by a ball change. A ball change is a combination of two "steps" (right then left), with an accent done on the second step (and must be done on the balls of the feet, as steps are only done on the balls). Tap dancing steps may be learned and mastered by children and adults alike and are a good way to express/learn rhythm, dance, and percussion.--Fowlers 04:40, 3 July 2006 (UTC)

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The purely American art form of Tap Dance was originally associated with the names Master Juba, George H. Primrose, King Rastus Brown and Bill Robinson.

William Henry Lane (1825 - 1852) was known as Master Juba and the "Juba dance," also known as "Pattin' Juba," was a mix of European Jig, Reel Steps, Clog and African Rhythms. It became popular around 1845. This was, some say, the creation of Tap in America as a theatrical art form and American Jazz dance.

MASTER JUBA

Tap dancing started with the Africans in early America who would beat out rhythms in their dances with brushing and shuffling movements of the feet.

These dancers came to be called Levee Dancers throughout the south. White performers copied many of these intricate steps and the Shuffle Dance style would eventually find fame within the minstrel shows around 1830.

Tap Dance and Irish Clogging share deep roots. The most difficult of the Irish clogs are the Irish Jigs and Hornpipes. In some of these the feet can tap the floor more than seventy times in fifteen seconds. Irish clog dancer, John "Jack" Diamond (1828 - 1850) was considered one of the greatest "Jig dancers" of all time.

In clog dancing, no thought is given to the upper body. Almost rigid -- the shoulders and the arms are kept motionless. This trait is evident in the early, Black "Buck and Wing" style tap dancing. The Irish clog dance all but disappeared by the end of the 19th century because of the mixing of the Clog and the African-American tap dances. Modern tap dancing evolved though the years 1900 to 1920.

Irish dancer - 1905

The Lancashire Clog is a complicated Irish dance associated with George Primrose who danced the clog without the wooden soles and is said to have invented the Soft-Shoe routine. Barney Williams in 1840, was the first professional clog dancer to come to the U.S . The first professional dancer troupe in the U.S. were the Irish Clog Dancers.

The Soft Shoe is a form of tap only done with soft soled shoes without metal taps attached. Performers originally wore all kinds of shoes to perform the Soft Shoe and as time went on the term soft shoe was applied to many eccentric styles of tap. The characteristics of the soft shoe however was the humor, wit, and delicate nature of the tapping performed with a very smooth and leisure cadence. Occasionally this is referred to as the Sand Dance.

The dancers that follwed were called "Song and Dance Men" in the Minstrel-Vaudeville shows. Clog contests in the 19th century would have the judges sit behind a screen or under the dance floor, judging the sounds rather than the body movements of the dancers. This dance also is performed in wooden soled shoes. For several decades tap and clog would flourish successfully.

In 1866 "THE BLACK CROOK," considered to be the first musical, featured Minstrel and Clog dancers who danced very stiffly and gave rise to the term "Pedestal dancer". The Pedestal dancer would climb upon a marbled pedestal with a 24 inch base, and tap out a routine while posing as motionless as a statue.

In 1902, Ned Wayburn who created a show called Minstrel Misses coined the term "Tap and Step dance" in this musical play. This was the first time these names had been used professionally. Wayburn's dancers wore light clogs with split wodden soles.

Aluminum heel and toe taps did not appear until after 1910.

Buck and Wing

The history of the Buck and Wing (Buck Dance and Pigeon Wing) or Buck dancing is an early tap dance routine and was done by Minstrel and Vaudeville performers in the 19th Century portraying the African-American males, known as "Bucks." It is said that the Buck and Wing routine was invented by James McIntyre of N.Y.

Pigeon Wing: also known as "Pistolets" and the "Ailes De Pigeon" in Ballet.

In the Can-Can the "Pigeon Wing" was kicking high and throwing the shoulders back while "carrying on the arm" (holding one leg up against the cheek while hopping lightly on the other leg).

Bring the bust into play by leaping forward, lifting of the leg and move the leg to beat the back calf of other foot. Can also be done in front of other leg as in Michael Jackson's modern version.

The Hornpipe of England was a elaborate pantomime of English sailors, mimicking their duties while patting the feet to a tune.

The "Shout" or "Ring-Shout" was a union of dance and song which gave birth to what were called camp meeting hymns and work hollers in the old south.

The Shim Sham or Shim-Sham Shimmy was a Tap dance routine done by Vaudeville performers in the early 1900's and is still taught in most tap dance classes today. (Shuffle-Step, Shuffle-Step, Shuffle Ball-Change, Shuffle-Step) The Sham's basic is the "Time Step" that is done by tap dancers except the dancers use a more shuffled rhythm than lifting of the feet. The Sham also incorporates the "break".

The Shim Sham Shimmy can be done as a solo, couple or group dance with each person's arms around the next, and originally was done at the Savoy ballroom to a song entitled "The Song of the Freaks," written by Luis Russell. Cab Calloway's "Jittering Jitterbugs" musical short has this form of shim sham routine.

Bill "Bojangles" Robinson

The dance known as the Black Bottom started in New Orleans and later worked its way to New York. Some say the Black Bottom was introduced by blues singer, Alberta Hunter, however -- it has been reported that the Black Bottom was derived from "The Echo," an earlier dance.

The Black Bottom was formally introduced by Perry Bradford in Nashville, Tennessee in 1919 when he wrote the song "The Black Bottom Dance." Bradford's sheet music had the music as well as the dance instructions printed on them. In 1926, the stage play "Dinah" featured the Black Bottom and almost overnight the dance became as popular as the Charleston.

The Black bottom was basically a solo challenge dance, predominately danced on the "Off Beat." It is thought to be the rhythmic prototype for modern tap dance phrasing. The dance featured the slapping of the backside while hopping forward and backward, stamping the feet, and gyrations of the torso while making arm movements to music with an occasional Heel-Toe scoop.

Basic Step: (from Dance Magazine -- September 1927): This, as with all other dances, is a mixture of Jazz steps. The Basic step, however, is one dependent entirely on rhythm. This step is 2 long stamps, first right, then left, followed by 4 short ones; they are done off the regular beat of the music. Accompanying this, the index finger on both hands is pointing up, and the eyes are rolling. Any other steps may be done to lengthen the dance.

Black Bottom Lyric's: (from George White Scandals -1927)
Hop Down front and then you doodle (Slide) back,
Mooch to your left and then you mooch to your right,
Hands on your hips and do the mess around,
Break a Leg (Wobble) until you're near the ground

Flamenco Dancing

The Malagueña (Flamenco) shares with the Fandango the rank of the principal dance of Andalusia. The Flamenco is a Spanish-Sevillian gypsy, (also Sevillian or Sevillinas) is a non-formal folk dance from Andalucía, Spain. The Flamenco is rich in rhythm and refined technique.

The Baile flamenco was originated by the gypsies of southern Spain and may be of some Indian origin, however the gypsies believe they are descendents from the Moors (the Moors invaded Spain).

The granada gypsy calls himself gitano and the Sevillian gypsy calls himself a flamenco. Spain has 47 provinces and they each have their own style of dance.

The Flamenco has strict rhythmic rules one must follow to achieve the correct look. Rhythm forms include Alegrias, Soleares, Bulerias, Farruca, Zapateado, Tango and the Zambra. The foot and heel beats that the dancers perfect are called Zapateado while the heel work done in Flamenco is called taconeo. La Argentina was one of the first to put Flamenco on stage.

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Vous pouvez visionner des Cours en ligne et en vidéo de claquettes, avec toutes les subtilités possibles

Vavez de très bons cours sur Bordeaux Leïla Bénac



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