Wednesday 2 June 2021 15:00 BST FREE
In this session, we carry on with our journey of exploring tap dance from different perspectives in academic study. We will be looking at tap dance through the lens of popular culture.
We will discuss where tap dance may fit into different approaches in popular culture studies. We will also address the pros and cons of considering tap dance within popular culture to inform how we dance, learn, educate, promote, discuss and research in tap dance. Sally Crawford-Shepherd will introduce the topic before opening it up to a conversation where different perspectives and experiences can be shared.
Connect with other people that are interested or involved in doing research around tap dance. Hear from researchers and practitioners about what they are working on and have learned through their projects. Learn about different approaches to learning in the field and pick up valuable tips and insights to help you pursue your own tap dance learning. A great opportunity to ask questions, swap tips for researching and developing projects, share information about resources and opportunities.
We are thrilled to be presenting a Panel at the Modes of Capture Symposium held by the Irish World Academy, University of Limerick, Liz Roche Company & Dublin Dance Festival. This year’s symposium explores the theme of decolonising structures, thinking and embodiment within current modes of dancemaking and documentation.
‘Tap Dance Knowldges’ is a panel exploring the concepts of legacy, tradition, innovation and authenticity within today’s global tap scene.
This paper/practice sharing discusses tap improvisation practices as knowledges in teaching, creative process and performance. We explore the concepts of legacy, tradition, innovation and authenticity, as well as reflecting on the rich and diverse global tap scene of today. An important part of skill acquisition, transmission and dissemination of information about the art form is from preservation of twentieth century American tap performance repertoire and understanding of improvisation practices from jazz music. Applying a historical framework reveals how this initiated with the performances of American tap dancers being celebrated and presented as a form of legacy. Our questions are: How and where are these knowledges held? What role does legacy have in evolving performing knowledges? How do we acknowledge the history and legacy of American tap dancers and produce new knowledges in the twenty first century?
Furthermore, we explore the under-representation of tap dance in UK Higher Education, in teaching and research. We advocate for rethinking curricula and decolonization of tap dance as a form created through African American cultural practices. The UK has a particular context within which tap dance sits, linked to the US, Ireland and other communities. We seek ways to highlight cross-disciplinary connections and evolving interpretations of tap dance legacies, different methods of practice and performance that may evoke new knowledges, the importance of communities of practitioners in disseminating information, performer identities and embodying new knowledges.
Tickets: £6 / £4 book here
Presentation by Sean Mayes and Sarah Whitfield followed by Q&A and open discussion.
Though some key Black practitioners like Louis Armstrong and Cab Calloway’s visits to the UK are reasonably well known, the influence of Black dancers, choreographers and practitioners in the 1930s is little discussed despite their extensive presence in theatre in the UK. Many African American dancers like the Nicholas Brothers, Nyas Berry and Peg-Leg Bates performed not only in the West End but across the UK. Another aspect of Harlem theatre’s influence on the UK has been little considered, through the work of choreographers like Buddy Bradley who reshaped not only tap in the UK but also jazz ballet, and Clarence Robinson (known for his work at the Cotton Club and Stormy Weather) who worked in the UK for a year transplanting revues. We explore the work of these key figures, and the influence of practitioners from both the Caribbean islands and the mainland Caribbean region who had visited and worked in Harlem in the 1920s like Ken ‘Snakehips’ Johnson (born in Guyana) and Sam Manning (born in Trinidad). Join us as we uncover how Harlem theatre reshaped British dance practices.
Sean and Sarah are co-authors of An Inconvenient Black History of British Musical Theatre 1900 – 1950.
Sean Mayes is an MD & conductor, his work has involved productions on stages across the United States, Canada and the United Kingdom. He is an active member of the Broadway community as an MD, orchestrator-arranger, vocal coach, accompanist & pit musician. In Spring 2019, Mr Mayes was Music Director and Conductor of the all-Canadian premiere of The Color Purple. He is based between New York City and Toronto.
Sarah K. Whitfield is a Senior Lecturer in Musical Theatre at the University of Wolverhampton. She writes about the history of musical theatre, and recovering the work that women and minoritised groups through archival research and digital humanities. She is based in the West Midlands, UK.
Members of the steering group will host these informal but structured sessions that are FREE and open to all. You can connect with other people that are interested, or involved in doing research around tap dance.
Hear from researchers and practitioners about what they are working on and have learned through their projects. Learn about different approaches to learning in the field and pick up valuable tips and insights to help you pursue your own tap dance learning. A great opportunity to ask questions, swap tips for researching and developing projects, share information about resources and opportunities.
The next few sessions will explore what happens when we consider tap dance from certain perspectives such as Folk tradition, vernacular and pop culture, visual music… What does each of these viewpoints offer and what is the relationship between them?
15:00 BST | 10:00 ET | 16:00 CEST
Following on from our last session that explored what happens when we consider tap dance from the perspective of Folk tradition, we now continue the journey through vernacular dance, pop culture, and social dance.
We will discuss how tap dance relates to these ideas before taking a deeper dive into vernacular dance. We will ask how appreciating tap dance as vernacular dance informs the way we dance, learn, educate, promote, discuss and research in tap dance…
Jess Murray will introduce the topic before opening it up to a conversation where different perspectives and experiences can be shared.
Book a FREE ticket
Wednesday 17 March 2021 19:00 GMT
By Annette Walker with special guests.
Ticket price per event £6 full price/ £4 students, unwaged, low income. Book here
In the late 1920s and early 1930s, Buddy Bradley was coaching many stars of Broadway musicals, including Fred and Adele Astaire, Ruby Keeler, and Eleanor Powell. However despite being well known (and well paid) within show business he never received credit for choreographing a show with a white cast in America. In 1930 Buddy was invited to London to choreograph for Jessie Matthews’s show, Ever Green at the Aldephi Theatre for which he received his first choreographic credit. It was a great success for both Jessie and Buddy and in 1934 it was made into the first British musical film, Evergreen, launching him into the emerging English film industry. Buddy staged over thirty musical productions during the 1930s and choreographed a number of British musical films during his thirty-eight years in Britain.
There is little reference of Buddy’s creative work but researcher Annette Walker has sourced clips of his choreography from several British musical films, including an uncredited, rare glimpse of Buddy himself. There’ll be a presentation about Buddy’s life and work in America and Britain and a closer look at his style through film footage as well as a discussion about his wider influence on dance.
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