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Tap Dance and Important Figures

Tap dance, a vibrant and rhythmic form of dance has a rich and diverse history that stretches

across continents and cultures. It is a style that formed in America through the blending of different dance

traditions. Originating from America during the time of slavery, African slaves brought rhythmic

footwork and their cultural dances which emerged with the ideas and movements of the Irish and English

immigrants. It started with clog dance and soft shoe dance, and it was not until 1920 that “taps [were]

nailed or screwed onto shoe soles at the toes and heels” (Frank 2020) popularizing this art form. Found

most of its popularity through minstrel shows which “[peaked] from approximately 1850 to 1870” (Frank

2020) Its relationship with these shows brought this style of dance to the stage. As this creation continued

to grow and develop the introduction of jazz music in America further influenced tap dance, with dancers

using syncopated rhythms to complement the improvisational nature of jazz, an aspect that we can see

translate into many distinct aspects of musical theatre today. style of dance and its roots have been

shadowed from the history of musical theatre as it remains another idea appropriated for commercial use

by white people. This art form is often overlooked within the history of musicals and what an impact it

has made on the modern day. Even within the entirety of this community, there are three individuals that I

believe deserve more recognition in the history of musicals and crafting the musical theatre genre into

true showmanship: Bill “Bojangles” Robinson and The Nicholas Brothers.

Bill Robinson, known as “Bojangles”, is considered to be the grandfather of Tap dance. He

pioneered the way for tap to have a space in mainstream media and made significant contributions to the

music theatre genre. Robison's style of tap is very congruent with the style of tap we tend to see within

music theatre, with exceptionally light and rhythmic movements that focus on elevated tap sounds

dancing on the balls of the feet. Robison performed in vaudeville acts and on Broadway throughout his

career. Most notable is his collaboration with Shirley Temple, through which we paved the way for future
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generations of African American performers within musical theatre. He was one of the first African

American performers to be shared with mainstream white audiences and break the racial barriers both on

stage and in the audiences.

Fayard and Harold Nicholas are two brothers who brought a style of showmanship to the world of

theatre that till this point was unheard of. They brought creative rhythmic footwork but also

show-stopping physical tricks to their performances. Much like the integrated musical the Nicholas

brothers worked to combine many assorted styles of dance and acrobatics into their performances and

“elevated tap dancing with their singular elegance and sensational showmanship” (Frank 2020). While

they are most famous for their features in Hollywood such as Kid Millions (1934) and Stormy Weather

(1943) they have also done work within the Broadway and vaudeville scene along with Robinson. They

worked alongside Broadway stars such as Fanny Brice and worked with Choreographer George

Balanchine. The brothers changed the way that showmanship and dance appeared within the musical

scene and created more space for black performers within film and media.

The Art of Tap dance paved the way for Black performers within the theatre and film scene and

figures like Robinson and the Nicholas Brothers were driving figures in the fight against racial

segregation within the arts. They have also contributed to the style and integration of showmanship and

dance performance within the music theatre genre that we see featured in golden age style musicals and

still added in modern-day shows for an act of flare seen as in the 2023 musical Boop which recently

premiered within Chicago centring around the famous character Betty Boop. The effect that these figures

have had on the entertainment industry is not shared to the extent that they have profoundly affected the

work.
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References

Morrison Marget, Dance Research Journal, August 2014, Vol. 46, No. 2, Special Issue: Body Parts:
Pelvis, Feet, Face, Hips, Legs, Toes, and Teeth, 2014
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Frank Rusty, Nicholas Brother, American Dance Team,

https://www.britannica.com/topic/Nicholas-Brothers 2020

Morrison Marget, Tap and Teeth: Virtuosity and the Smile in the Films of Bill Robinson and Eleanor
Powell 2014

The Editors of Encyclopedia Britannica, Bill Robinson American Dancer, 2021

Valis Hill Constance, Tap dancing America: a cultural history, 2010