Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects 8-29-2016 Steps in Time: An Exploration of Tap Dance Education Sara Pecina Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the American Popular Culture Commons, Curriculum and Instruction Commons, Dance Commons, and the Performance Studies Commons Recommended Citation Pecina, Sara, "Steps in Time: An Exploration of Tap Dance Education" (2016). Honors College Capstone Experience/Thesis Projects. Paper 646. http://digitalcommons.wku.edu/stu_hon_theses/646 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. STEPS IN TIME: AN EXPLORATION OF TAP DANCE EDUCATION A Capstone Experience/Thesis Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky University By: Sara Pecina ***** Western Kentucky University 2016 CE/T Committee: Approved by Professor Amanda Clark, Advisor Professor Meghen McKinley ______________________ Advisor Dr. Dana Bradley Department of Theatre & Dance Copyright by Sara Pecina 2016 ABSTRACT Tap dance is an indigenous American art form that not only holds a valuable presence in the world of entertainment but also boasts an important historical background. From the slave quarters on plantations to Hollywood’s silver screen, the development of tap dance mirrors the story of American history. Tap dance must be preserved because of its cultural significance in American history; likewise, it is imperative for dancers to understand its development in order to appreciate the art and for today’s artists to continue the growth and presence of tap dance in America. However, many dance educators today focus solely on teaching a vocabulary of steps to students and fail to also impart knowledge of the traditions and significance of tap dance. This study examines the development of the styles and education of tap dance from both historical and contemporary perspectives by using traditional research methods as well as personal experiences of taking dance classes from a variety of instructors, performers, and choreographers, conversing with other artists, and teaching practice. The collected information has been analyzed from a pedagogical standpoint in order to develop a tap dance curriculum with syllabi and lesson plans for students of varying skill levels. Keywords: Tap Dance, Pedagogy, Dance Styles, Curriculum, American History, Culture ii Dedicated to the late Professor Robert L. Reed and the other tap dance masters who set the stage for future artists and taught us to respect and cherish the dance. iii ACKNOWLEDGEMENTS This thesis project would have never been possible without the guidance of a few incredibly bright and generous individuals. First and foremost, I am thankful for the direction, encouragement, and patience of my faculty advisor and first reader, Professor Amanda Clark. Her mentorship throughout this project and my college studies is truly invaluable. From the beginning of my thesis project, she has helped me envision its potential, lead me through the appropriate process, and discover valuable research opportunities. My deepest gratitude goes to Professor Clark for her unwavering support. Additionally, I would like to thank Professor Meghen McKinley for her assistance and counsel as my second reader, as well as Dr. Dana Bradley for serving as my third reader. Much of the knowledge collected in this research would not have been attainable without the generous funding awarded to me by the Western Kentucky University Office of Research and Honors College. I extend my sincerest appreciation to the university for its support of my academic endeavors. I also would like to thank my lifelong dance teacher and mentor, Becky Seamster for instilling in me a passion for dance and providing me a strong foundation of dance training. Finally, I would like to thank my parents for their unwavering support of my dance training and education. iv VITA April 19, 1993 ................................................................... Born- Kokomo, Indiana 2011................................................................................... Northwestern High School Kokomo, Indiana 2012-2016 ......................................................................... Dance Company Western Kentucky University 2013-2016 ......................................................................... President National Dance Education Organization WKU Student Chapter 2014................................................................................... Membership Induction National Honor Society for Dance Arts 2014................................................................................... Faculty-Undergraduate Student Engagement Grant 2014, 2015......................................................................... St. Louis Tap Festival 2015................................................................................... Big Apple Tap Festival 2015................................................................................... Dance in Italy, Study Abroad Western Kentucky University FIELDS OF STUDY Major Field: Dance Minor Field: Performing Arts Administration v TABLE OF CONTENTS Page Abstract ...............................................................................................................................ii Dedication ......................................................................................................................... iii Acknowledgements ........................................................................................................... iv Vita .................................................................................................................................... v List of Figures ................................................................................................................... vii Chapters: 1. Introduction .............................................................................................................1 2. A Concise History of Tap Dance ............................................................................5 The Development of Tap Dance in America ..........................................................5 Tap Dance Education ............................................................................................ 14 3. Descriptions of Selected Styles ............................................................................. 20 4. Personal Experience .............................................................................................. 34 5. Curriculum ............................................................................................................ 47 6. Conclusion ...........................................................................................................108 Bibliography ....................................................................................................................110 Appendices: Appendix A: Dictionary of Terms .......................................................................112 Appendix B: Notation Abbreviations ..................................................................119 Appendix C: Suggested Videos ...........................................................................121 Appendix D: Video Curriculum and Choreography DVD vi LIST OF FIGURES Figure Page 1.1 Rhumboogie Chorus Line (c. 1940).................................................................. 21 1.2 Shuffle Along ..................................................................................................... 23 1.3 42nd Street.......................................................................................................... 24 1.4 The Band Wagon ............................................................................................... 24 1.5 Class Act ........................................................................................................... 27 1.6 Broadway Melody of 1940 ................................................................................ 27 1.7 Challenge .......................................................................................................... 29 1.8 Hoofing ............................................................................................................. 30 1.9 Buck and Bubbles ............................................................................................. 30 1.10 Brenda Buffalino ............................................................................................. 32 1.11 Savion Glover ................................................................................................. 33 vii CHAPTER 1 INTRODUCTION Billions of audience members have been dazzled by performers donning dance shoes that double as instruments called tap shoes. Tap dance is a unique genre of dance because it is not only visually but also audibly stimulating. An artist in this field essentially works to create his or her own music using four metal plates on a pair of shoes. This requires the dancer to have finite control of the smallest muscles in the ankles, feet, and legs, an impeccable sense of rhythm,