Dance Advantage » Tap

Tap Classics: In-The-Trenches and Over-The-Tops

Tristan Bruns — Mon, 23 Jan 2012 14:45:00 +0000

Toots Davis is one of the unsung innovators of tap dance flash steps, and his contribution of the in-the-trenches step is testament to that fact.

He was a chorus member of the Darktown Follies and by 1916 worked his way up to a solo spot, where he began to develop his dancing amongst an atmosphere of competitive camaraderie. Each evening’s performance found cast members inventing new steps and embellishing on old ones.

In-the-trenches may be the most universally known flash step.

Created by Toots Davis, in-the-trenches is not limited to tap dance; jazz dancers aren’t afraid to throw down this traditional dance step.

A dancer, bent ninety degrees at the waist, alternates extending straight arms and legs, giving the performer the appearance of a full-on sprint, while at the same time being unaffected by gravity as the dancer’s staccato toe tips glide frictionless across the floor.

In-the-trenches has remained intact for just about one hundred years! When performed correctly, it matches descriptions of the original, described as a bent over version of the popular circle dance, the cakewalk.

The origin of the step’s name has to do with a little something called (...)

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Tap Classics: Paddle and Roll Heroes, Lon Chaney & Bunny Briggs

Tristan Bruns — Tue, 06 Dec 2011 14:42:08 +0000

Lon Chaney and Dr. Bunny Briggs did not invent the paddle and roll, but instead developed the step to its maximum potential.

There are four elements to the paddle and roll: a dig, a back brush of the ball of the foot, stepping on the ball of the foot, and a heel. The “paddle” constitutes the dig and the brush, while the roll is the action of dropping the toe and heel in a smooth and controlled motion.

Other names for the paddle and roll include the drumming term paradiddles and the gangster-inspired Tommy Gun.

Some say that the paddle and roll originated in the Midwest as an answer to the East coast style of dancing, and dancer/choreographer Buddy Bradley owes the step to the Flamenco style of dancing. Regardless of its origin, the paddle and roll has become one of the most popular tap steps and is often the first step that comes to mind when students are asked at random to show off some steps.

To say that any tap dancer is king of the paddle and roll may land you in hot water.

There have been plenty of contenders for that title. The first man to proclaim himself master of the paddle and roll was Walter Green, a tap dancer who had arrived in New York from Chicago in 1937. Green put out a challenge to all dancers that no one would be able to best his superior foot technique, the paddle and roll. Local tough guys Ralph Brown, Freddie James, Albert Gibson, and Chuck Green set him straight.

No other dancer is identified more with the paddle and roll than another tap icon, Lon Chaney.

A short, stout man, Lon Chaney danced into the floor, and his rippling paddle and roll variations created quick, staccato tapping combined with bold phrases of rhythm. At the end of tap dance performances, it is not uncommon for the tap dancers to form the so-called “Chaney track” or the “Hoofer’s Line”; at the climax of the show, the dancers form a line and rattle off a long stream of paddle and rolls. Each performer takes a small solo accompanied by the steady call and response chanting of “Ho-yeah, Ho-yeah, Ho-yeah, Ho-yeeaaahhh!” Needless to say, most tap dancers hold Lon Chaney in the highest regard.

http://www.youtube.com/watch?v=rXTInxL1qG0

(Hoofer’s Line beginning at 1:12. Lon Chaney – farthest Stage Left)

Bunny Briggs is the antithesis of Lon Chaney; Briggs is slender, doe-eyed, and dances his signature paddle and roll style by lightly smattering a string of bop-inspired, staccato rhythms. Peppered with comedic body gestures, these lampoon popular dance vernacular of the ‘30s, ‘40s, ‘50s and ‘60s.

Bunny Briggs’ style of dancing, in contrast to Lon Chaney’s chunky rhythmic phrasing, sounds more akin to a Dizzy Gillespie melody sped up double time, which is no accident. Commenting on his time working as a singer and dancer in Earl Hines’ band, “Both Dizzy Gillespie and Charlie Parker were in that band, and it helped me work out my own style of paddle and roll,” says Briggs.

Bunny Briggs worked with the cream of the jazz world, with musicians like Charles “Luckey” Roberts and Erskine Hawkins. But to me and many others, it was his work with Duke Ellington, and in particular the piece David Danced before the Lord with All His Might as part of a series of sacred music concerts that Ellington toured across the country, that was a stand out example of Bunny Briggs’ style and ear for musicality.

http://www.youtube.com/watch?v=WVZ9WnUyf9k

(Bunny Briggs: The most Super-Leviathonic Rhythmaturgical Syncopated Tapstamaticianisimist)

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Tap Classics: Frank Condos and 5-Count Wings

Tristan Bruns — Thu, 17 Nov 2011 13:30:57 +0000

Many steps straddle the line between “flash” and “rhythm” steps, but unique amongst the aerial steps are wings. To quote Marshal and Jean Stearns in Jazz Dance, “The Wing, with its combination of taps with an upward spring, holds two opposing impulses in balance, creating a dramatic fusion which can be thrilling.”

In the 1920s, wings were all the rage, and many variations existed. The Pump, the Pendulum, the Saw, the Double Back… like time steps, most dancers had a signature wing variation.

Gibson's New Standard Theater, Philadelphia, PA, circa 1919

But there was one variation in particular that caught the public’s attention, and it was the 5-count wing, created by Frank Condos.

The step gave him and his partner Mateo Olvera, billed as the more memorable moniker of King and King, that earned them the title as “the greatest of all Wing teams.”

Basically, the 5-count wing is a shuffle and a wing done without any break in the rhythm and can be enunciated as shuh-full-and-a-wing. This may seem like no great feat, but at the time, tap dance was just getting off of flat feet and up onto the toes. While a respectable wing usually had dancers getting three inches off of the ground, Condos and Olvera were getting five or six inches of lift.

“There wasn’t many teams copying Mattie and me,” says Condos, “because we did those Wings faster than anybody else.”

Frank Condos grew up working in his father’s restaurant, the Standard Restaurant, across the street from the Standard Theatre in Philadelphia. It was while running orders to the theatre that Frank was exposed to the best Negro acts in Vaudeville, class acts like Covan and Ruffin and Buck and Bubbles. It wasn’t until he saw The Three Eddies, which featured dancer Chick Horsey, whose specialty was the wing, that Frank got the idea for what would become the act of King and King.

After his split with Olvera, Condos formed the team of The Condos Brothers with his brother Nick, whom he trained in his trademark step. Later, he would train his other brother Steve, who would take his place in the group after Frank Condos’ retirement from performing in 1937.

Nick and Steve Condos went on to have illustrious careers, stars of both stage and screen. But it all started with Frank Condos, whose daring and innovative spirit is felt even today as tap dancers continue his legacy of pushing the art form to its creative and physical limits.

http://www.youtube.com/watch?v=E5clBG8-elU

(The Condos Brothers, Nick and Steve Condos. See Steve hitting their signature 5 count wings at 2:15.)

More Tap Classics:

Tap Classic: Jimmy Slyde and his Signature Sliding

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Tap Classic: Jimmy Slyde and his Signature Sliding

Tristan Bruns — Sun, 06 Nov 2011 13:25:48 +0000

Sliding has long been a very popular move as it gives the impression that the dancer is off-balance and could fall at any minute, like a juggler trying not to drop his pins.

The ease at which this step garners “ooos” and “ahhhs” makes sliding an appealing step for tap dancers, but few tap dancers have as broad an appeal as Dr. Jimmy Slyde, whose popularity is in part due to his signature move: his slides.

While no two slides were ever exactly the same, his technique, grace, and laid back composure made his brand of sliding unmistakable.

The novelty of the slide comes from the illusion that the floor has somehow slicked, replaced with an invisible, icy layer. This is accomplished by jumping in the air and sliding one or both feet, usually flattened by pressing the heel into the floor. The tricky part is adjusting to the disorientation of momentary weightlessness.

Especially difficult is sliding a single leg inward, towards the center of the body, or outward, to the side. It is difficult because (...)

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Tap Shoe Review: The Capezio K360 (Brazilian)

Tristan Bruns — Tue, 04 Oct 2011 13:33:13 +0000

About Shoe Reviews:

For my reviews, I personally wear, practice, and perform in the shoes. The demands that the shoes are subjected to are rigorous and must be considered when compared to the skill level for which the shoe is intended. ~ Tristan

Look for more tap shoe reviews in The Great Tap Shoeganza.

Capezio’s K360 (Brazilian)

I chose to review the Brazilian-made K360 on the grounds that it is the shoe that the majority of professional and pre-professional dancers will buy. Costing roughly $200 and up, these are the shoes you are more likely to find on store shelves and on the internet.

The Capezio website directs buyers to Amazon.com to purchase their “Kays”, and the only make available on the site is the Brazilian-made K360. An American-made pair is only available through select retailers, like Dancing Fair, and if you are lucky enough to find one in a retail store, be prepared to dish out up to $400 for a pair (taps not included).

VS

There is a heated debate among tap dancers concerning the Capezio K360 and where it is made. A dancer spends a good deal of time and money getting what is considered the Cadillac of tap shoes only to hear, “Oh, those are the Bazilians? I like the Americans much better.” Good luck getting them to tell you WHY they don’t like the shoe. I think and I heard are more than likely to accompany their lambasting lamentations.

I sat down with my tap shoe consultant, Matthew A. Shroepfer, to get the rundown on the actual differences between the Brazilian and American made Capezio K360.

Let’s take a look at the similarities:(...)

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Brand Spotlight: Capezio and their Tap Shoes

Tristan Bruns — Sun, 02 Oct 2011 13:27:09 +0000

Capezio

Photo courtesy Crossett Library Bennington College

Salvatore Capezio opened his first store in New York City in 1887, the sign above the door reading The Theatrical and Historical Shoemaker. Located diagonally across from the old Metropolitan Opera House, Capezio made a name for himself repairing pointe shoes for the Met’s dancers. Capezio tried his hand at dance shoe construction and, appreciating the challenge of combining his cobbler expertise with the complex engineering of dance shoes, Capezio made the transition from cobbler to shoemaker.

Today, Capezio is considered by many to be the leading brand producing shoes for dance as well as dance wear. What began with pointe shoes has now expanded to soft ballet, jazz, modern/contemporary, TAP, character and theatre dance, as well as offering a full line of bodywear, legwear and accessories. Though spread out across the globe, Capezio has kept up it’s homely pretense of being a “family business” by involving family members in almost every aspect of the enterprise. The company’s reputation for maintaining long-lasting professional relationships and willingness to produce custom orders for individuals is well known.

Capezio Tap Shoes

Receiving my first pair of Capezio K360s as a child felt like an initiation into the the larger tap community. At the time, all of the best tap dancers were wearing the K360, or “Kays” as they are affectionately called, and soon all the best tap dancers in my studio had a pair. The Kays were heavy, both in weight and in price tag, and pressure to use them was a task that I was delighted to undertake.

Photo by Metromoxie (CC BY-NC-ND 2.0)

Recently there has been an undercurrent of disapproval for the Capezio K360. Claims that the quality has dropped while the price has risen has caused much movement in the tap shoe industry. Hearing the outcries of distressed dancers, other companies have stepped up to the plate to appease the rising number of tap dancers looking for professional level shoes, in particular Bloch and So Danca. Regardless, many dancers still stick with their Kays claiming that, while admitting frustration with the manufacturer, that the Capezio K360 is so far ahead of the game that it is still the optimal choice for advanced and professional level tap dancers.

The way I see it, a chain is only as strong as its weakest link. While the K360 may be the reigning king of tap shoes, we must not forget that they have an extensive line of tap shoes to choose from. As a professional tap dancer I always wondered if the shoes make the man, or vice versa, and the only way to find out is to wear them and practice in them myself.

For information regarding key terms, types of tap shoes, shoe making materials and shoe making procedures, please refer to the previous TAPography articles in The Great Tap Shoeganza, whose table of contents can be found at Introducing The Great Tap Shoeganza!

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Customizing Your Tap Shoes: The Taps

Tristan Bruns — Tue, 05 Jul 2011 18:10:31 +0000

Confessions of a Tap Geek

I am dismayed at the lack of information available for taps. Sure, they are just hunks of metal, but they are hunks that completely reshaped an art form. I continually find misinformation when searching the internet, and it appears that everyone who writes about taps has cut and pasted from the same unreliable source. For example:

“Generally, three different types of tap shoes are available: teletone, duotone and supertone.” -About.com

This is not true. Teletone and Duotone are trademarked brand names of Capezio and are not universally regarded as a type of tap, and Supertone has been applied to a number of taps from a couple different companies. To say that these are the only types of taps available is like saying all shoes are classified as either Jordan’s, Air Jordan’s, or Limited Edition Jordan’s. The worst part is that you can more or less find this EXACT SAME SENTENCE on numerous websites.

But let’s face it: the most interesting part of a tap shoe is the taps. As a kid I put flat tacks on the bottom of my sneakers because even before my first tap class I knew that it was the sound that gave tap dance its novelty. The Great Tap Shoeganza wouldn’t be complete without focusing on the tap dancer’s most versatile tool.

Before The Taps

A tap dancer does not need metal taps to produce great percussive art. By flipping through Marshall and Jean Sterns’ Jazz Dance, which is considered by many to be the tap dancer’s bible, I can’t find mention of the art form being called “Tap” until (...)

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Customizing Your Tap Shoes: Fashion and Functionality

Tristan Bruns — Thu, 23 Jun 2011 13:42:08 +0000

Customized pair of Capezio K360s by Matthew A. Schroepfer

Making Your Shoe You

Tap shoe customization has reached fantastic proportions, and days can be spent designing the look of a tap shoe that is uniquely “you.” I’ve seen people sewing on patches of their favorite bands or cartoon characters. There are tiny taps that can be screwed onto the sides for easier metal-on-metal notes. Leather now comes in every color of the rainbow and then some. Straps, laces, Velcro, high tops, low tops, sneakers, boots, socks… anything that you can imagine going onto or into a tap shoe probably can.

“The Basic” Tap Shoe

In 1925, Ned Wayburn, head instructor and proprietor of the Ned Wayburn Studio of Stage Dancing and one of the most influential dance studios of the early 20th century, published The Art of Stage Dancing. In it he describes what he considers an appropriate shoe for tap class.

“For tap and step dancing there are several types of shoes, the most common being that known as the “Mary Jane” or juvenile shoe with ankle strap and button or buckle. Another favorite is the laced low shoe, known as the Oxford, made for both men and women…There is also a low shoe for “Tap” dancing called the “Split-clog” shoe, used by very advanced pupils only…”

The basic look of the tap shoe has not changed too much in the last 100 years. Normally made to resemble a dress shoe, the Oxford-style and Mary Jane-style tap shoe can be traced back close to the turn of the century. Though your shoes may appear to be a dime-a-dozen, specialized modifications can increase the synergy between your feet and your tap shoes.

Shaving the edges of the outsole on the sides of the front tap makes it easier to hit those great scraping sounds produced where the edge of the tap meets the wood. This adjustment is ideal for dancers with less flexible ankles.

A rubber pad can be applied to the bottom of the outsole if you find yourself (unwontedly) slipping and sliding around the stage. The rubber is applied behind (...)

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Customizing Your Tap Shoes: Health and Comfort

Tristan Bruns — Tue, 07 Jun 2011 13:36:26 +0000

In Deconstructing a Tap Shoe, I discussed the use of orthotics as a means to prevent and treat foot ailments. But what if you could achieve the same results by modification? Modifying your tap shoes for health and comfort is like cutting out the middle man and can make tap dancing much more enjoyable for those with new and/or congenital foot disorders.

For Health and Comfort

Tracing your feet is an option that gives the shoe maker a good idea of the width and length of your foot. Put your foot on a piece of white paper and trace around it. Be sure to do both feet. Consider this: A foot exists in three dimensions, while tracing your foot only deals with two. Information like the height of your instep and certain deformities may go unnoticed. Tracing is a good tool, but an even better idea may be to…

Send in a photograph of your foot. By taking pictures of all the sides, the shoe maker can get a 3-D model of your foot. A trained eye can spot problem areas that may be treatable by shoe modifications.

Spot stretching is useful for people that need accommodations in specific areas. Using a tool like a ball and ring stretcher, a distinct area in the shoe can be stretched, which can alleviate discomfort for bunions, calluses and corns, exostosis and heel spurs.

Plastic parts can be remolded. Certain parts of a tap shoe may contain supportive structures made out of hard plastic. Plastic can be found in the counter, a built-in structure that sits behind the heel of the foot and is used to stiffen the back part of the shoe, and the toe box, a protective area built in to the front of a shoe to protect the toes. These parts can be remolded to better suit a dancer’s individual requirements.

Padding can be designed into the tap shoe during its construction to support all parts of the foot, including(...)

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When To Buy New Tap Shoes

Tristan Bruns — Thu, 05 May 2011 13:28:54 +0000

It is no secret that tap dancers grow very fond of their tap shoes. With the high level of aesthetic customization that exists today, it is easy to attribute fond memories with a particular pair of tap shoes.

I loved my blue Capezio K360s. I kept them around for over two years. When the lateral side, or outer edge, of my feet started to ache, I figured I must have landed wrong during a difficult step. When they got really sore, I thought that I must have been doing something chronically wrong. When sharp, electric jolts of pain kept me from dancing, I realized I had been doing something wrong. I needed new shoes.

Three days after receiving my new pair of shoes, my pains from the previous six months had disappeared. If I were to put on my old blue shoes, the pain would come back. I had learned my lesson the hard way.

A new pair of tap shoes are not only important for correcting current problems, but are necessary in preventing a smorgasbord of potentially painful ailments.

Signs of tap shoe deterioration include:(...)

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Deconstructing A Tap Shoe

Tristan Bruns — Wed, 04 May 2011 14:53:43 +0000

In our introduction to The Great Tap Shoeganza series, Tristan emphasized the variety of tap shoes available on the market and a just a few things you’ll need to think about before buying your shoes.

Further considerations include how much room you want to leave for your toes, how tight or loose you like your shoe to fit and how high you want the back of the topline to raise up. Knowledge of the different designs of tap shoes, plus your own awareness of what you consider comfortable, will make the task of buying tap shoes a painless one. Literally.

Shoe Anatomy

Here is a short glossary on different shoe terms, explaining what they are and how they relate to choosing a tap shoe:

Heel – The large heel at the back of the shoe can also be modified for sound and comfort. A plastic heel, found on most entry level tap shoes, is inexpensive, but has a poor sound quality. A thick leather heel will produce a rich, deep tone, though the higher the heel, the more pressure to the front of the foot, which could end up being responsible for discomfort while dancing.

Pattern – The pattern of the shoe, or how the housing material is cut, should be taken into consideration for style and function. The cut of the shoe is important when considering the length and width of your foot. Pay attention to how the pattern is stitched together. More stitching can mean greater durability, while less stitching will mean a more flexible shoe.

Toe Box – A toe box is a reinforcement of the area that houses the toes and can be useful for tap dancers that dance forcefully and/or do a lot of work with the tip of their toe. However, a reinforced toe also means less flexion in that part of the shoe and compacted toes can be painful, in which case a soft leather toe may be more desirable.

Topline – The top edge of the sides and back of the shoe is the topline. A lower top line will enable greater ankle flexibility, while a higher top line will promote ankle stability. The topline can be padded to prevent painful chaffing where it meets the skin, or notched out in the back to give extra room to the Achilles tendon.

Oxford style Capezio K360

The Standard Oxford

The most common tap shoe is an Oxford style shoe with the housing and sole made from leather and the taps made from aluminum. Sounds simple enough, but within those parameters you will find that therein lies a vast array of customizable options. From different types of leather to exotic aluminum alloys for taps to advanced support, you will find that knowledge of what goes into a tap shoe can directly affect what you get out of it.

An Oxford style shoe is a low top, leather shoe that is laced over the instep and has a low heel. Appropriate for casual or formal attire, the Oxford style shoe is as versatile as it is timeless.

While the vast majority of tap shoes tend to look the same, the specialized attention to design and engineering in modern tap shoes gives each brand traits and attributes unique unto itself. A narrow foot may prefer (...)

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Introducing The Great Tap Shoeganza!

Tristan Bruns — Tue, 03 May 2011 13:25:55 +0000

The tap shoe has evolved into a precision instrument that, in the hands of a capable dancer, becomes the ultimate tool for self-expression in contemporary percussive dance. Joining Tristan as a consultant for this series, is Matthew A. Schroepfer, Certified Pedorthist and owner of Dancing Fair Inc., a manufacturer and wholesale distributor of quality dance footwear, bodywear, legwear and dance accessories.

A Tap Shoe Is A Tap Shoe Is A…

No, not all tap shoes are created equal, and choosing the right pair is an important step in developing your style as an artist. The proper tap shoe should be matched to a dancer based on the dancer’s physicality and musicality.

In other words, dancers should choose their tap shoes based on how hard or how much they dance and what notes they wish to incorporate into their musical palate. Special attention should be paid to the quality of the materials used to build the shoe, the actual construction of the shoe, and the durability of the shoe.

Of course, it never hurts to exercise frugality. Thanks in part to the tap dance festival circuit, the Internet, and an outcropping of young talent, there is an informed and active consumer base for all things tap dance, from the shoes to the floors to the type of microphone best suited to capture the warm, organic sounds of tap. With a larger consumer base and a more competitive market, the modern tap shoe is not only constructed better than ever before, but is on the verge of a major break in price.

Talent is talent, there are no two ways about it, and there is no magic shoe that transforms poor technique into artistry. However, the right tool is necessary for optimal self-expression. Would John Marin’s watercolors be as captivating if he had a crummy paintbrush that left molted bristles from its tuft?

As your interest in tap grows, your body and skill level will demand new and better constructed tap shoes.
Warning: After you’ve found the perfect pair, be wary of the most neglected aspect of tap shoe ownership: knowing when it is time to get a new pair.

The Great Shoeganza

In this series, I will deconstruct the modern tap shoe to provide you with enough information to confidently evaluate and buy the ideal pair, let you know when it’s time to buy a new pair of tap shoes, and give hands on reviews of the top shoes in the industry. Bloch, SoDanca, Capezio, Leo’s…whose shoe will come out on top?

I: Deconstructing A Tap Shoe (be a more informed buyer)

II: When To Buy New Tap Shoes

III: Customizing Your Tap Shoes:

Health and Comfort

Fashion and Functionality

The Taps

IV: Shoe Reviews:

Capezio

Capezio K360 (Brazilian)

more to come…

Help us expand this series!

We’ve got plenty in store for you in the coming posts but…

What are your tap shoe questions? Put your burning questions and top concerns in the comments below.

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Chloe Arnold’s ‘My Life, My Diary, My Dance’

Tristan Bruns — Tue, 05 Apr 2011 13:40:00 +0000

Chloe Arnold is confident in her life’s journey, as is evident in her one woman show, “My Life, My Diary, My Dance,” that debuted in New York City on February 11^th at ‘The Club’ at La MaMa. The stage was devoid of scenery, except for three musicians and a blonde, wooden floor. (You can see for yourself in the video at the bottom of the page.) Through entries of Chloe’s ‘diary’ we come to understand the relationships and circumstances that developed her into the powerhouse performer that she is today. While the style and flow of the evening was uniquely Chloe Arnold, she makes it very clear that this show is not just about her. Through a first-hand account of her performance and from my one-on-one correspondence with Chloe, I aim to prove just that.

Through home videos and spoken word accounts, we come to understand Chloe’s dance lineage completely. At 10 years old she began working with Savion Glover. She studied under him for several years and would develop friendships that would continue to shape her dancing. One of these friends, Bakaari Wilder, introduced her to the cast of Bring In Da’Noise, Bring In Da’Funk, a production that many consider the pinnacle event in contemporary tap. Chloe credits the spontaneous jam sessions that would break out backstage of the production as her initiation into the tap community as well as her trial by fire.

It is through her experiences growing up as an adopted, African-American female coupled with the talent that she surrounded herself with that forged the dancer and entrepreneur that she is today. Her attack is ferocious, and it is her fearlessness that aids in her rapid growth as a performer. In tap dance terminology, Chloe has a deep pocket.

What do you mean, deep pocket?

By pocket, I refer to a wealth of stored movements, rhythms, and styles.

Are you familiar with your favorite dancers’ signature moves? That’s their pocket. For those of you who are just beginning to explore choreography and improvisation, you may find yourself going back to certain movements or rhythms repeatedly. That’s your pocket. This memory technique gives your choreography and improvisation a flavor that is unique to your personal experiences. Developing the pocket is essential for anybody who is seriously considering a career in tap dance and/or cares to participate in the tap community and communicate effectively.

Early Influences

The lights dim as Chloe recalls the musical influences of her youth. She is no longer the strong, confident performer. She has become more introverted. Her shoulders slump a little bit. Her voice tightens and becomes whinier. Her entire attitude is (...)

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Spring Fever Giveaway 2011: Dance Dot

Nichelle (admin) — Wed, 23 Mar 2011 13:40:47 +0000

This giveaway is now closed to new entries.

Check the Spring Fever main page to enter those still open.

Welcome to DAY THREE of the Spring Fever Giveaway 2011!

Keep Dancing!

Today’s giveaway comes from Dance Dot.

Dance Dot is an individually handcrafted, portable practice floor featuring a fun, lightweight, personalized design, perfect for tap dance students of all ages that want to Keep Dancing!

Dance Dot started when two dancers, Jackie and Codey met on tour (now they are engaged!) When the tour ended and the two moved back to New York City (NYC), Jackie resumed teaching tap dance and realized her students needed a practice floor that was light enough to carry on the subway and small enough to fit conveniently in apartments. Lucky for Jackie, Codey is not only a great dancer, but an awesome carpenter as well and together they created Dance Dot.

The environment is important to Jackie and Codey, that’s why every Dance Dot is individually handcrafted in NYC and made with recycled materials whenever possible.

Dance Dot comes in three different sizes. The size Small is 24 inches in diameter and weighs less than 5 pounds and is recommended for students ages 3 and up. The Medium is 30 inches in diameter and weighs less than 8 pounds and is recommended for students ages 7 and up. The Large is 36 inches in diameter and weighs less than 12 pounds. This one is recommended for students ages 11 and up. All sizes are light enough to be carried alone by the recommended age groups.

Dance Dot has a fun design that you won’t mind leaving on display after practicing. It is perfect for use over wood, carpet or vinyl floors, though it’s advised to avoid using Dance Dot on concrete or other dense surfaces so that dancers can Keep Dancing! Each Dance Dot is personalized by choosing color choices and studio owners will be excited to learn that you can customize Dance Dots with your own logo and colors for dance students

For more details and ordering information visit www.mydancedot.com.

The Giveaway

Jackie and Codey would like to give away a Medium Dance Dot to TWO Dance Advantage readers.

Jackie tapping on the Medium Dance Dot

The Medium Dance Dot measures 30 inches in diameter and is made from tempered Maronite (what legendary tap dance teacher and choreographer Dr. Henry LeTang practiced on in his home studio). The backside of the Dance Dot is equipped with a non-slip traction mat that doubles as a stretching area.

Winners of the Dance Dot may choose the design of their liking, selecting a base color of silver or black with a lime green or hot pink accent.

How To Enter:

Dance Dot has a brand new website design that they can’t wait for you to see. So for fun, you’ll need to do a bit of scavenging for the answer to today’s giveaway question!

Visit www.mydancedot.com to find the answer to the following question: Which tap steps does the website say are fun to practice on the Medium Dance Dot? THEN come back here to leave your comment with the answer!

A little hint: check out the many ways you can customize your Dance Dot! Please note: Entrants will not be disqualified for wrong answers.

This giveaway is open to those in those in the United States and will close Sunday, March 27 at Midnight EDT.

Contests must be restricted to those 18 and up. If you are under 18 and would like to be one of our two Dance Dot winners, please have an adult enter and comment for you.

Winners will be drawn and contacted one week from today. I hope you’ll be one of them!

Check back tomorrow for another giveaway.

Once contacted via the email used to comment, winners have only 48 hours to respond and claim their prize. Each giveaway is treated as a separate contest. Subscriber PLUS members are given daily opportunities to earn additional entries on each giveaway. PLEASE READ our giveaway policy before entering.

© Nichelle Strzepek for Dance Advantage, 2011. | Permalink | Category: Blog, Dance Styles, Dancethropology, Dancing, Giveaways, Practice, Product/Website Reviews, Tap | Who's talking about this article?

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Tools for Tap Improvisation: The Time Step

Tristan Bruns — Tue, 01 Mar 2011 14:45:23 +0000

Join me in welcoming guest, and new TAPography columnist, Tristan Bruns! Tristan is a Chicago-based tap artist and instructor. You can learn more about him via his bio below but what you may not discover there is that Tristan is making this debut on his birthday! Happy Birthday, Tristan!

Nothing brings out ‘the fear’ in a dancer more than the word improvisation. Improv for short, it is a shame that many dancers feel uncomfortable when asked to join an improv jam. Most dancers flat out refuse to participate and I used to be one of them.

Improvisation is an absolutely essential part of dance education and perhaps more so in tap than in other styles. Tap dance is a very virtuosic art form and the ability to ‘think on your feet’ is absolutely necessary in order to experience everything that tap has to offer.

“Get out there and do something.”

When I joined a professional tap dance company during my last year of high school I was vaguely aware of the importance of improvisation. At one of our first performances the director turns to me and says, “Go out there and do something.” “Like what?” I asked. “You know, just turn off your brain, don’t think about it and let it come naturally.” So I did. I wish that I had video of that performance only so I could burn it to make sure that nobody else ever saw it.

In retrospect, I could not disagree with his advice more than I disagree with thirteen fouette turns in a tap number. When I decided to get serious about my improv, I started out practicing in that way. I would clear my mind and hope something good materialized.

What came out? Nothing. There was no foundation with which to build. I had no insight into the correlation between spontaneous improv and how to apply my years of training to it. A tap dancer divided against him self will not stand. In fact, you end up falling, both physically and emotionally.

Dropping Eaves

What is an essential skill for a dancer to learn? Eavesdropping. It is a skill, right up there with cheating and stealing, that, when applied to dance, takes on a different meaning. (...)

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© Tristan Bruns for Dance Advantage, 2011. | Permalink | Category: Blog, Dance Styles, Dancethropology, Dancing, Featured, For Classroom, Improvisation, Tap, Teaching | Who's talking about this article?

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Dance Advantage » Tap

Tap Classics: In-The-Trenches and Over-The-Tops

Toots Davis is one of the unsung innovators of tap dance flash steps, and his contribution of the in-the-trenches step is testament to that fact.

In-the-trenches may be the most universally known flash step.

Tap Classics: Paddle and Roll Heroes, Lon Chaney & Bunny Briggs

Lon Chaney and Dr. Bunny Briggs did not invent the paddle and roll, but instead developed the step to its maximum potential.

No other dancer is identified more with the paddle and roll than another tap icon, Lon Chaney.

Tap Classics: Frank Condos and 5-Count Wings

More Tap Classics:

Tap Classic: Jimmy Slyde and his Signature Sliding

Tap Shoe Review: The Capezio K360 (Brazilian)

Capezio’s K360 (Brazilian)

VS

Brand Spotlight: Capezio and their Tap Shoes

Capezio

Capezio Tap Shoes

Customizing Your Tap Shoes: The Taps

Confessions of a Tap Geek

Before The Taps

Customizing Your Tap Shoes: Fashion and Functionality

Making Your Shoe You

“The Basic” Tap Shoe

Customizing Your Tap Shoes: Health and Comfort

For Health and Comfort

When To Buy New Tap Shoes

Deconstructing A Tap Shoe

Shoe Anatomy

Here is a short glossary on different shoe terms, explaining what they are and how they relate to choosing a tap shoe:

The Standard Oxford

Introducing The Great Tap Shoeganza!

A Tap Shoe Is A Tap Shoe Is A…

The Great Shoeganza

I: Deconstructing A Tap Shoe (be a more informed buyer)

II: When To Buy New Tap Shoes

III: Customizing Your Tap Shoes:

IV: Shoe Reviews:

Help us expand this series!

Chloe Arnold’s ‘My Life, My Diary, My Dance’

What do you mean, deep pocket?

Early Influences

Spring Fever Giveaway 2011: Dance Dot

This giveaway is now closed to new entries.

Welcome to DAY THREE of the Spring Fever Giveaway 2011!

The Giveaway

Jackie and Codey would like to give away a Medium Dance Dot to TWO Dance Advantage readers.

How To Enter:

Visit www.mydancedot.com to find the answer to the following question: Which tap steps does the website say are fun to practice on the Medium Dance Dot? THEN come back here to leave your comment with the answer!

Tools for Tap Improvisation: The Time Step

“Get out there and do something.”

Dropping Eaves