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Inside England's Tap Jams

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Inside England's Tap Jams Inside England’s Tap Jams: Improvisation, Identity, and Community Sally Crawford De Montfort University, Leicester September 2014 This thesis is submitted for the partial fulfilment of the requirement for the award of the degree of Doctor of Philosophy Abstract This thesis examines tap dance practice and performance in England. The study is based on a multi-sited ethnography of two tap dance communities in Manchester and London. Participants in the communities ranged in ages from eighteen to eighty and were from a variety of social backgrounds. The investigation focusses on the tap jam, an informal performance event that showcases improvised tap dance to live music. Many individuals disclosed that they joined the tap communities despite possessing limited knowledge and experience of tap improvisation. Improvisation in tap dance is traditionally studied within the context of performance technique and the historical evolution of tap practice in the United States. American tap practitioners and historians such as Hill (2010), Knowles (2002), Frank (1994), and Stearns and Stearns (1968) state that tap improvisation contributes to unique performance styles but do not clarify how these identities are achieved by tap dancers. In order to understand how performance styles are generated, a symbolic interactionist approach is applied to the act of tap improvisation in the two communities. Viewing tap improvisation through a symbolic interactionist framework revealed that the tap jams are a shared social process that does not limit participation based on dance training or socio-cultural background. The improvised performances at the tap jam created performance identities that focussed on the individual rather than on an English interpretation of tap dance. The thesis delivers an analysis and discussion of how the tap community members cultivate these identities within a social context, exploring how tap dance is evolving beyond American identity and practice. ii Acknowledgements The foundation of this thesis is formed by the passion, curiosity, and boundless creativity of the many participants from the Manchester and London tap communities. To the tap jam organisers: Jess Murray, Junior Laniyan, Melody Lander, and Dan Sheridan many thanks for your patience and enthusiasm in answering countless questions. In the Manchester community I want to acknowledge a core of individuals that shared my first steps of my fieldwork: Heather, Sally, Aiden, Kevin, Justine, and Karen your insights and support were invaluable. My thanks to the London community members, especially Michele, Miriam, Lee, Simeon, Vicki, and Annette who never failed to answer emails, texts, or share photos. Musicians played an integral part in contributing observations and I must acknowledge the Michele Drees Trio and Michael Creitu Trio for providing wonderful inspiration onstage and insight off the stage. Many additional vocalists and instrumentalists also contributed to the atmosphere of the tap jams and as a tap dancer I thank you. Tap practitioners Heather Cornell, Lisa LaTouche, Roxanne Butterfly, Constance Valis Hill, Susan Hebach, Margaret Morrison, and Billie Mahoney are not considered regular members of the tap communities in Manchester and London. They are part of the global tap community and for their insights, support, and inspiration I am very grateful. To the late Will Gaines, it was an honour and privilege to learn your personal tap story and hear your joyful rhythms on stage. iii To the creators and crew of PhD Comics I want to thank you for including my thesis as part of your PhDetours programming and introducing tap dance to your academic communities. I was proud to share the stage with Jorge and Crystal in their first ever tap improvisations. Despite extremely difficult financial conditions, the funding from the DMU Dance Department and School of Arts contributed to the completion of my fieldwork. I also want to thank Emma Manning for answering countless emails and phone calls in her assistance to secure the loans that supported my studies. There are too many colleagues and friends on both sides of the Atlantic that shared in my triumphs and struggles during my thesis. To the staff at HCA, LC, UWI, friends and performers from home, thank you all for your supportive ears and creative minds. I want to extend a very warm thank you to my supervisors at De Montfort University. To Professors Ramsay Burt and Simon Featherstone for their excellent guidance and to all the members of the Dance Department for their feedback. I extend my most sincere thanks to Professor Theresa Buckland. Without her seemingly endless patience, extensive expertise and support this thesis would not be possible. Ms Dorothy Thomas taught me my first shuffle ball change, Mrs Donna Frogge offered me riffs and chugs to keep me going, Ms Ryan-Strati tapped beside me on so many nights, and Mr Sefton reminded me to shine. However, I can honestly say this research iv would not have been possible without the love of rhythm that Angie Allendorf Price instilled in me. Thank you to all my mentors in rhythm. To my family, dear friends, and the Shepherd family: thank you for always answering the phone and your endless encouragement. Mom and Dad, thank you for that first pair of tap shoes that started me on this journey and for listening to every single shuffle step on the way. And finally, to Neil for his never-ending patience, support, and love. v Table of Contents Abstract ............................................................................................................................ ii Acknowledgements ......................................................................................................... iii List of Illustrations ....................................................................................................... viii Chapter 1 Initial Explorations ....................................................................................... 1 Chapter 2 Historical Perspectives: The Tap Jam in the United States and its Implementation in England .......................................................................................... 12 American Origins ....................................................................................................... 14 English Implementation ............................................................................................. 28 The Role of Music in American and English Tap Jams .......................................... 40 American and English Tap Jams: a Comparative Perspective ................................ 45 Summary ..................................................................................................................... 51 Chapter 3: Ethnographic Methodologies .................................................................... 57 Designing the Ethnographic Study ........................................................................... 57 Participant observation .............................................................................................. 70 Multi-sited Ethnography ............................................................................................ 78 Netnography ............................................................................................................... 81 Individual Case Studies .............................................................................................. 92 Analysis of Fieldnotes and Data ................................................................................ 98 Summary ................................................................................................................... 103 Chapter 4: Inside the Tap Communities and Tap Jams ......................................... 107 The Tap Communities as Affinity Groups .............................................................. 107 The Manchester Tap Community ............................................................................ 114 The London Tap Community ................................................................................... 121 Introducing the Tap Jam to England ...................................................................... 131 Tap Jam Venues ....................................................................................................... 133 Renegade Stage ........................................................................................................ 138 On the Stage and in the Moment ............................................................................. 143 Mercy, Mercy, Mercy and the Shim Sham .............................................................. 151 Summary ................................................................................................................... 152 Chapter 5 Tap Improvisation: Approaches and Processes ..................................... 156 Tap Improvisation .................................................................................................... 156 Tap Classes: Changing Focus ................................................................................. 160 The Hoofers Lounge ................................................................................................ 165 Tap Dance Online: Social Networking Sites and Improvisation ........................... 170 Summary ................................................................................................................... 176 vi Chapter 6: Improvisation, Interaction, and Identity ..............................................
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