When did tap dance come about?

Tap dance - an art form between dance and percussion
The tap dance is not only something for the ears, but also for the eyes. Rhythm and movement are important components of stepping. The audience describes stepping as a step with "iron underfoot". But the irons are only the starting point for many forms of expression. Tap dance never worries too much about the past, it was and is always open to new trends. Its development came to an abrupt end in the 50 years when rock'n roll emerged. In the 70 years, more precisely in 1963, it was rediscovered for the first time at the "Newport Jazz Festival" and the dancers now drew on the fullness of the past. The different styles were linked to the surroundings and the corresponding traditional surroundings. The dance style is comparable to the music style at the place of performance. The step dancer uses his whole body to represent his arts. This answers the question of how expression and personality are represented in dance. With simple dance movements in connection with accents in the feet, excellent percussion effects can easily be conjured up. In order to live out the rhythm, the movements have to come from within. And then do the whole thing on stage, enjoy the reason for the presence with the audience ... the tap dance!

On the history of tap dance
The TAP dance comes from the United States of America. Its history goes back to two original dance cultures, the English - Irish and the African culture. Most of the English and Irish dancers have a violin to accompany them. They perform single, double and triple serves with the ball of the foot, which they exercise easily and lightly. Her posture is straight and stiff. The intricacies of Irish tap dance are limited to the "foot game". The whole body is used in African dance. A "wild" drumming accompanies the dancer. The "hot" rhythms are emphasized by the flat foot. It is usually invented spontaneously and has a great variety. These two dancer cultures have found each other on the new continent, America, preferably in the southern states, partly through the immigration of the British and Irish, but partly also through the deportation of slaves by the Africans. Before the invention of television and radio, dancing and singing were very popular pastimes. Now both cultures slowly mixed and, as far as dance was concerned, copied each other. At the beginning of the 19th century there was a great wave of British and Irish immigrants. The so-called "clogs" were in her luggage. These are work shoes that are designed to protect against moisture during work. These workers, who were at the bottom of the social ladder, were housed in the same neighborhoods as the slaves that had just been released. This meant that the cultures exchanged even more. Many of the emigrants joined traveling groups at this time, which shot up like mushrooms. In this epoch, show business was the last; this briefly gave blacks access to it. Initially mainly steps from europ. Originally danced such as jigs, reels and the Lonccshire clog with costume. In 1840 a new form of entertainment became popular: the Mistrel Show. The performances were a loose sequence of skits, singing and dancing performances. A confèrenciè duo led through the program. The white dancers mimicked the black dancers more than ever, and so the first American dance style of "softshoe" was born. He was danced with "soft" street shoes. The "clog dance" was also created during this time. He was carried out with "hard" wooden shoes. It oozed elegance and flowing movements. These were the hallmarks of Gene Kelley, especially in "On the Town" and Fred Astaire, in "Top Hat". The audience of the popular entertainment shows, around 1850, consisted mainly of men. People smoked and drunk, and accordingly the skits were obscene, noisy - nothing for fine hearts. In 1860, a theater manager named Tony Pastor ran a cleanup of the shows to make them accessible to families with children. He had theaters built that resembled palaces. The new formula was: "das Vaudeville", a kind of variety show. This new formula was primarily responsible for the further development of tap dance. In this show the attractions were put together freely, plus "audible" dance numbers. Very soon there was great success. Hotel chains shine today with their asterisks. Back then, theater chains were divided into first, second and third class establishments. The Palace in New York was the icing on the cake. Depending on the category, there were two to five shows a day. More and more dance numbers in the shows involuntarily led to increased competition, which was a decisive factor in the development of pace and foot technique. Copying with colleagues was the order of the day. For example: the Russian dancers specialized in jumps over their own legs and floor combinations. The Italian dancers, on the other hand, loved flips and splits. Inevitably, specialists developed for dancing on pedestals, with rope and pointe shoes, on stairs and for perfect synchronization within groups. In 1880 "Buck Dancing" came up. It was a cross between shoftshoe and clog dancing, but was done with clogs. An important element was the time step, which is known worldwide today. In the structure of buck dancing, the time step is a kind of refrain. He gives the dancer the chance to take a rest in between, in the dance. Buck dancing focuses on the speed of the feet. At the end of the 19th century ragtime was on the rise, so the rhythms became more syncopated and sophisticated. Now the time was ripe for the rhythm buck. The development of buck dancing took place mainly in the south of America among black dancers. With the advent of ragtime, step dancing finally became fashion. As a fad, this form of dance was danced to the hits of that era. Costumes are increasingly replacing folkloric and all-too-traditional garments. In the meantime, the clogs had become more sophisticated, becoming the split clogs. The wooden sole now consisted of two parts. Bill Robinson used an average of about 36 pairs per year. This expensive consumption led to the invention of the metal plates, the taps. Definitive name for the genre: tap dance. The blacks now had to fight hard for the right to dance on a stage at all. During the "Mistrel period" there were some black groups, as well as white groups with black dancers. In the 1920s, there were shows with all black dancers produced by whites. These shows were more successful in Europe than in the United States. The dancers loved Europe because there was less racism there.