Mazurka

The mazurka (in Polish, mazurek) is a Polish folk dance in triple meter, usually at a lively tempo, and with accent on the second or third beat.

HISTORY

The folk origins of the mazurek are two other Polish musical forms—the slow kujawiak, and the fast oberek. The mazurek is always found to have either a triplet, trill, dotted eighth note (quaver) pair, or an ordinary eighth note pair before two quarter notes (crotchets). In the 19th century, the dance became popular in many ballrooms in different parts of Europe. The Polish national anthem has a mazurekrhythm but is too slow to be considered a mazurek. There are many Polish versions of the mazurek but the most notable one is the mazurka.

In Polish, this musical form is called "mazurek"—a word derived from "mazur," which up to the nineteenth century denoted an inhabitant of Poland's Mazovia region, and which also became the root for "Masuria". In Polish, "mazurka" is actually the genitive andaccusative cases of "mazurek."

Several classical composers have written mazurkas, with the best known being the 69 composed by Frédéric Chopin for solo piano.Henryk Wieniawski also wrote two for violin with piano (the popular "Obertas", Op. 19), and in the 1920s, Karol Szymanowski wrote a set of twenty for piano and finished his composing career with a final pair in 1934. Also, Maria Szymanowska wrote mazurkas long before Chopin.

Chopin first started composing mazurkas in 1825, but his composing did not become serious until 1830, the year of the November Uprising, a Polish rebellion against the Russian government. Chopin continued composing them until 1849, the year of his death. The stylistic and musical characteristics of Chopin's mazurkas differ from the traditional variety because Chopin in effect created a completely separate and new genre of mazurka all his own. For example, he used classical techniques in his mazurkas, includingcounterpoint and fugue. By including more chromaticism and harmony in the mazurkas, he made them more technically interesting than the traditional dances. Chopin also tried to compose his mazurkas in such a way that they could not be used for dancing, so as to distance them from the original form.

However, while Chopin changed some aspects of the original mazurka, he maintained others. His mazurkas, like the traditional dances, contain a great deal of repetition: repetition of certain measures or groups of measures; of entire sections; and of an initial theme. The rhythm of his mazurkas also remains very similar to that of earlier mazurkas. However, Chopin also incorporated the rhythmic elements of the two other Polish forms mentioned above, the kujawiak and oberek; his mazurkas usually feature rhythms from more than one of these three forms (mazurek, kujawiak, and oberek). This use of rhythm suggests that Chopin tried to create a genre that had ties to the original form, but was still something new and different.

 

Melbourne Shuffle

Melbourne Shuffle

The Melbourne Shuffle (also known as Rocking or simply The Shuffle) is a rave andclub dance that originated in the late 1980s in the underground rave music scene inMelbourne, Australia. The basic movements in the dance are a fast heel-and-toe action with a style suitable for various types of electronic music. Some variants incorporate arm movements. People who dance the shuffle are often referred to as rockers, due in part to the popularity of shuffling to rock music in the early 1990s.

TIMELINE

Late 1980s–early 1990s

In the late '80s, the Melbourne Shuffle began to emerge as a distinct dance, incorporating more hand movement than its predecessor, Stomping. Breakbeat and techno music was gradually replaced with the more hardcore forms of rave music, such as hard trance and hardstyle.

Where the Melbourne Shuffle was originally danced, the places were not considered to be named 'raves', but rather 'dance parties'.

Mid–late 1990s

A number of videos documenting the style during this era exist as the style increased in popularity.^[2] There are many variations of this dance but the main heel-to-toe movement remained the key motion, giving it the name "the Melbourne Shuffle". Notably arm-movements are much more prevalent than in later renditions of the dance.

2000–2008

In 2004 a documentary entitled Melbourne Shuffler began filming in Melbourne clubs, raves, festivals and outdoor events, before being released on DVD in 2005. By 2005, the Melbourne Shuffle had helped to change the sound of hardstyle and hard trance music, with DJs and producers aiming at a constant 140-160bpm speed. By 2006, early hardstyle was largely replaced by nustyle and epic trance -influenced hard trance music at popular shuffling clubs and raves. Nustyle and the newer form of hard trance focused on swung euphoric orchestral-like trance melodies that would suddenly drop (such as by a house exciter) into a constant kick drum that was of preferable speed for shuffling to by the rockers. In 2006 with the rising popularity of YouTube, dancers internationally now contribute to the Shuffle online, posting their own variations and learning from others. The German band Scooter featured the shuffle performed by veterans Missaghi "Pae" Peyman & Sarah Miatt in the video for the single J'adore Hardcore, which was partly filmed in Melbourne. As more people have practiced the dance, the dance itself has changed from the majority of hand movements over feet movements, to present day, where it is mostly based on keeping in time with bass beats.

2009

In early to mid 2009 the infectious popularity of the Melbourne Shuffle on YouTube began to calm, but not die, bringing on a new age of shufflers. The dance began to revert to what some people call "Oldschool". This reversion of shuffling consisted mostly of wide variations of the "T-Step" and minimal running man, and is accented by glides and spins. Although this may be referred to as "Oldschool" this new age of style is still very different from the way rockers in the '90s danced. Many of the new wave of rockers perform in cypher. Some of the younger people of this new wave are referred to as teeny boppers (or 'TB(s)' for short). TBs are also generally described as being young people that are not old enough to attend raves, so they dance at school, in a street or in a park instead. Whereas individuals who participate in those aspects of the dance argue that enough of the current Shuffle scene is influenced by Hip Hop (such as the now widespread inclusion of the 'Running Man') that these activities are justified.

DANCING

The origins of the name "Melbourne Shuffle" are unknown. The term was first brought to the public attention by Sonic Animation's Rupert Keiller during a TV interview in Sydney. The Age referred to it as looking like "a cross between the chicken dance and a foot stomping robot" to the untrained eye, but locals simply called it "stomping".

Some dancers sprinkle talcum powder or apply liquid to the floor beneath their feet to help them glide more easily, some including 360 degree spins or jumps into their moves. Others apply smooth plastic tape or duct tape to the soles of their shoes.

Originally consisting of the "T-Step" combined with arm movements, during the 1990s the "Running Man" has been adopted into the dance, accentuating the new focus of keeping time with the beat. The "Running man" involves a 2-step motion in which the front foot is brought backwards with two hops while the back foot is brought forwards in a walking motion, creating a "running on the spot" motion, hence the name. The "T-Step" is a fast sideways heel-toe motion on one foot twisting at the ankle. The dance is embellished by spins, arm pumps, slides, and kicks. Modern implementations of the dance include motions from other dances such as Crip Walk, Toprockand Jumpstyle, which have brought the less-adaptive t-step to the background. Some dancers even omit the t-step completely.

Although Hardstyle has been a dominant genre to dance on within the Melbourne Shuffle for many years, referring to the dance with "hardstyle" is incorrect. "Hardstyle" is an umbrella term for many different rave dances globally, as well as a genre of electronic music. Hardstyle is a rave dance, while most other styles were typically performed in clubs and dance parties.

With the spread of the Melbourne Shuffle through YouTube, dancing styles have evolved from each other to a point in which people refer to styles with an abbreviation coming from the area in which the style came from, such as "AUS"/"Melb" (Australia/Melbourne), "MAS"/"Malay" (Malaysia) or "Cali" (California). These distinctions cause a lot of confusion for newcomers and those who are unfamiliar with the dance.

 

Mambo

Mambo is a Latin dance of Cuba. Mambo music was invented during the 1930s by Arsenio Rodríguez,  developed in Havana by Cachao and made popular by Dámaso Pérez Pradoand Benny Moré.

In the late 1940s, Perez Prado came up with the dance for the mambo music and became the first person to market his music as "mambo". After Havana, Prado moved his music to Mexico, where his music and the dance was adopted. The original mambo dance was characterized by freedom and complicated foot-steps. Some Mexican entertainers became well known dancers like Tongolele, Adalberto Martínez, Rosa Carmina, Tin Tan and Lilia Prado. Most of these accompanied Prado in live presentations or were seen in Mexican films.

The original form of the dance and music are alive and well in Cuba and in taught in dance studios in Mexico City. An example of authentic Mambo dance can be seen in the film The Motorcycle Diaries.

MAMBO ON 2

The Mambo dance that was invented by Perez Prado and was popular in the 1940s and 50s Cuba, Mexico City, and New York is completely different to the modern dance that New Yorkers now call 'Mambo', which is also known as Salsa "on 2". The original mambo dance contains no breaking steps or basic steps at all. The Cuban dance wasn't accepted by many professional dance teachers. Cuban dancers would describe mambo as "feeling the music" in which sound and movement were merged through the body.^]Professional dance teachers in the US saw this approach to dancing as "extreme," "undisciplined," and thus, deemed it necessary to standardize the dance to present it as a sell-able commodity for the social or ballroom market The modern dance from New York was popularized in the 70s by Eddie Torres and his contemporaries who were 1st or 2nd generation Puerto Rican immigrants. This style is not danced to Mambo music, for which it is poorly suited, but instead to Salsa music.

The Eddie Torres version of Mambo (or Salsa On 2) was actually developed by dropping the chase from cha cha, when the music became too fast to diligently carry out the chase as a technique. Since the forward break is on 6 it would suggest that the cha cha from which the dance was derived was 1) counted in 4s not 8s and 2) was started with the back break and not the forward break. So, arguably, it is actually On 6 (if you take the beat the forward break is on as the datum). Note, all aspects of the moves are shifted more than one beat which also gives the hint it is missnamed.

Ballroom version of Mambo forward breaks On 2, with a pause/chill on the 1 beat. This makes more sense as all aspects of the moves are then shifted up only one beat.

B-boying

B-boying or breaking, sometimes called doing the Matthew/the matthew shake, is a style of street dance that originated among African and Latino American youths in New York City during the early 1970s. Fast to gain popularity in the media, the dance spread worldwide especially in South Korea, United Kingdom, Germany, France, Russia, and Japan. While diverse in the amount of variation available in the dance, b-boying consists of four primary elements: toprock, downrock, power moves, and freezes. B-boying is typically danced to hip-hop and especially breakbeats, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns.

A practitioner of this dance is called a b-boy, b-girl, or breaker. Although the term "breakdance" is frequently used to refer to the dance, "b-boying" and "breaking" are the original terms. These terms are preferred by the majority of the pioneers and most notable practitioners.

HISTORY

B-boying at its inception borrowed from other performance styles, as many elements of b-boying may be seen in other antecedent cultures prior to the 1970s. Concerning martial arts, b-boying looks very similar to the movement found in the Brazilian martial art capoeira which came about in the 1500s; however, b-boy pioneers Richard "Crazy Legs" Colon and Kenneth "Ken Swift" Gabbert, both of Rock Steady Crew, said they never witnessed capoeira when they were young; they cite James Brown and Kung-Fu films as influences instead. Many of b-boying's more acrobatic moves, such as the flare, show clear connections to gymnastics. An Arab street dancer performing acrobatic headspins was recorded by Thomas Edison in 1898. However, it was not until the 1970s that b-boying developed as a defined dance style.

Beginning with DJ Kool Herc, Bronx-based DJs would take the rhythmic breakdown sections (also known as the "breaks") of dance records and prolong them by looping them successively. The breakbeat provided a rhythmic base that allowed dancers to display their improvisational skills during the duration of the break. This led to the first battles – turn-based dance competitions between two individuals or dance crews judged with respect to creativity, skill, and musicality. These battles occurred in cyphers – circles of people gathered around the breakers. Though at its inception the earliest b-boys were "close to 90 percent African-American", dance crews such as "SalSoul" and "Rockwell Association" were populated almost entirely by Latino Americans.

WORLDWIDE EXPANSION

Brazil

Ismael Toledo was one of the first b-boys in Brazil. In 1984, he moved to the United States to study dance. While in the U.S. he discovered breaking and ended up meeting b-boy Crazy Legs who personally mentored him for the four years that followed. After becoming proficient in breaking, he moved back to São Paulo and started to organize b-boys crews and enter international competitions. He eventually opened a hip-hop dance studio called the Hip-Hop Street College.

South Korea

B-boying was first introduced to South Korea by American soldiers shortly after its surge of popularity in the U.S. during the 1980s, but it was not until the late 1990s that the culture and dance really took hold. 1997 is known as the "Year Zero of Korean breaking".A Korean-American hip hop promoter named John Jay Chon was visiting his family in Seoul and while he was there, he met a crew named Expression Crew in a club. He gave them a VHS of a Los Angeles b-boying competition called Radiotron. A year later when he returned, Chon found that his video and others like his had been copied and dubbed numerous times, and were feeding an ever-growing b-boy community.

In 2002, Korea's Expression Crew won the prestigious international b-boying competition Battle of the Year, exposing the skill of the country's b-boys to the rest of the world. Since then, the Korean government has capitalized on the popularity of the dance and has promoted it alongside Korean culture. R-16 Korea is the most well-known government-sponsored b-boy event, and is hosted by the Korean Tourism Organization and supported by the Ministry of Culture, Sports, and Tourism.

Japan

Shortly after the Rock Steady Crew came to Japan, b-boying within Japan began to thrive. Each Sunday b-boys would perform breaking in Tokyo's Yoyogi Park. One of the first and most influential Japanese breakers was Crazy-A, who is now the leader of the Tokyo chapter of Rock Steady Crew. He also organizes the yearly B-Boy Park which draws upwards of 10,000 fans a year and attempts to expose a wider audience to the culture.

Cambodia

Born in Thailand and raised in the United States, Tuy "KK" Sobil started a community center called Tiny Toones in Phnom Penh in 2005 where he uses b-boying, hip-hop music, and art to teach Cambodian youth language skills, computer skills, and life skills (hygiene, sex education, counseling). His orgranization helps roughly 5,000 youth a year. One of these youth include Diamond, who is regarded as Cambodia's first b-girl.

DANCE ELEMENTS

There are four primary elements that form breaking. These include toprock, downrock, power moves, and freezes/suicides.

Toprock generally refers to any string of steps performed from a standing position. It is usually the first and foremost opening display of style, though dancers often transition from other aspects of breaking to toprock and back. Toprock has a variety of steps which can each be varied according to the dancer's expression (ie. aggressive, calm, excited). A great deal of freedom is allowed in the definition of toprock: as long as the dancer maintains cleanness, form and the b-boy attitude, theoretically anything can be toprock. Toprock can draw upon many other dance styles such as popping, locking, tap dance, or house dance. Transitions from toprock to downrock and power moves are called "drops"

Downrock (also known as "footwork" or "floorwork") is used to describe any movement on the floor with the hands supporting the dancer as much as the feet. Downrock includes moves such as the foundational 6-step, and its variants such as the 3-step. The most basic of downrock is done entirely on feet and hands but more complex variations can involve the knees when threading limbs through each other.

Power moves are acrobatic moves that require momentum, speed, endurance, strength, and control to execute. The breaker is generally supported by his upper body while the rest of his body creates circular momentum. Some examples are the windmill, swipe, and head spin. Some power moves are borrowed from gymnastics and martial arts. An example of a power move taken from gymnastics is the Thomas Flair which is shortened and spelled flare in b-boying.

Freezes are stylish poses, and the more difficult require the breaker to suspend himself or herself off the ground using upper body strength in poses such as the pike. They are used to emphasize strong beats in the music and often signal the end of a b-boy set.Freezes can be linked into chains or "stacks" where breakers go from freeze to freeze to the music to display musicality and physical strength.

Suicides, like freezes, are used to emphasize a strong beat in the music and signal the end to a routine. In contrast to freezes, suicides draw attention to the motion of falling or losing control, while freezes draw attention to a controlled final position. Breakers will make it appear that they have lost control and fall onto their backs, stomachs, etc. The more painful the suicide appears, the more impressive it is, but breakers execute them in a way to minimize pain.

Hip Hop

HIP HOP DANCE

Hip-hop dance refers to street dance styles primarily performed to hip-hop music or that have evolved as part of hip-hop culture. It includes a wide range of styles primarilybreaking, locking, and popping which were created in the 1970s and made popular by dance crews in the United States. The television show Soul Train and the 1980s filmsBreakin', Beat Street, and Wild Style showcased these crews and dance styles in their early stages; therefore, giving hip-hop mainstream exposure. The dance industry responded with a commercial, studio-based version of hip-hop—sometimes called new style—and a hip-hop influenced style of jazz dance called jazz-funk. Classically trained dancers developed these studio styles in order to create choreography from the hip-hop dances that were performed on the street. Because of this development, hip-hop dance is practiced in both dance studios and outdoor spaces.

The commercialization of hip-hop dance continued into the 1990s and 2000s with the production of several other television shows and movies such as The Grind, Planet B-Boy, Rize, StreetDance 3D, America's Best Dance Crew, Saigon Electric, the Step Up film series, and The LXD, a web series. Though the dance is established in entertainment, including mild representation in theater, it maintains a strong presence in urban neighborhoods which has led to the creation of street dance derivatives turfing,krumping, and jerkin'.

1980s films, television shows, and the Internet have contributed to introducing hip-hop dance outside of the United States. Since being exposed, educational opportunities and dance competitions have helped to maintain its presence abroad. Europe host several international hip-hop competitions such as the UK B-Boy Championships, Juste Debout, and EuroBattle. Australia host a team-based competition called World Supremacy Battlegrounds and Japan host a two-on-two competition called World Dance Colosseum.

What distinguishes hip-hop dance from other forms of dance is that it is often freestyle(improvisational) in nature and hip-hop dance crews often engage in freestyle dance competitions—colloquially referred to as battles. Crews, freestyling, and battles are identifiers of this style. Hip-hop dance can be a form of entertainment or a hobby. It can also be a way to stay active in competitive dance and a way to make a living by dancing professionally.

HISTORY

Hip-hop dance is a broad category that includes a variety of urban styles. The older dance styles that were created in the 1970s include uprock, breaking, and the funk styles. Breaking was created in The Bronx, New York, incorporating dances that were popular in the 1960s and early 1970s in African-American and Latino communities. In its earliest form, it began as elaborations on James Brown's "Good Foot" dance which came out in 1972. Breaking at this period was not primarily floor-oriented as seen today; it started out as toprock which dancers perform while standing up. An influence on toprock was uprock which was created in Brooklyn, New York. Uprock looks similar to toprock, but it is more aggressive and looks like a fight. It is also performed with partners, but in toprock—and in breaking in general—each person takes turns dancing. In 1973, DJ Kool Herc invented the break beat. A break beat is a rhythmic, musical interlude of a song that has been looped over and over again to extend that instrumental solo. Kool Herc did this to provide a means for dancers who attended his parties to demonstrate their skills. B-boy and b-girl stands for "break-boy" and "break-girl"; b-boys and b-girls dance to the break of a record.^[10] Further influenced by martial arts and gymnastics, breaking went from being a purely upright dance style—toprock only—to becoming more floor-oriented.

At the same time breaking was developing in New York, other styles were being created in California. The funk styles refers to severalstreet dance styles created in California in the 1970s such as roboting, bopping, hitting, locking, bustin', popping, electric boogaloo, strutting, sac-ing, and dime-stopping. Out of all of these dances, boogaloo is one of the oldest. It started out as a 1960s fad dance and was the subject of several songs released during that time such as "Do the Boogaloo" and "My Baby Likes to Boogaloo". From being a fad, it developed into a dance style called electric boogaloo and a music genre called Latin boogaloo. The most popular and widely practiced of the funk styles are locking and popping. The television show, Soul Train, played a large role in giving these styles commercial exposure. Both The Lockers and The Electric Boogaloos—dance crews responsible for the spread of locking and popping—performed on this show.^[15]

It is historically inaccurate to say that the funk styles were always considered hip-hop. The funk styles were adopted into hip-hop in large part due to the media. Once hip-hop activist and DJ, Afrika Bambaataa, used the word "hip-hop" in a magazine interview in 1982, "hip-hop dance" became an umbrella term encompassing all of these styles. Due to the amount of attention locking and popping were receiving, the media brought these styles under the "breakdance" label causing confusion about their origin. They were created on the west coast independent from breaking and were originally danced to funk music rather than hip-hop music.

As breaking, locking, and popping gained popularity in the 1980s, hip-hop social dancing (party dancing) was starting to develop.Novelty and fad dances such as the Roger Rabbit, the Cabbage Patch, and the Worm appeared in the 1980s followed by the Humptydance and the Running Man in the 1990s. The music of the day was the driving force in the development of these dances. For example, the 1980s rap group Gucci Crew II had a song called "The Cabbage Patch" that the dance of the same name was based on.^[21] 2000s era social dances include the Cha Cha Slide, the Cat Daddy, and the Dougie. The previously mentioned dances are a sample of the many that have appeared since hip-hop developed into a distinct dance style. Like hip-hop music, hip-hop social dancing continues to change as new songs are released and new dances are created to accompany them.

MAIN STYLE

Breaking

Breaking was created in the South Bronx, New York City during the early 1970s. It is the first hip-hop dance style. At the time of its creation, it was the only hip-hop dance style because Afrika Bambaataa classified it as one of the five pillars of hip-hop culture along with MCing(rapping), DJing (turntablism), graffiti writing, and knowledge. Though African Americans created breaking, Puerto Ricans maintained its growth and development when it was considered a fad in the late 1970s. In a 2001 interview Richard "Crazy Legs" Colón, the president of Rock Steady Crew, commented on how Puerto Ricans contributed to breaking: "I think the difference is when the brothas first started doing [it] and it was at its infancy they weren't doing acrobatic moves. That didn't come into play until more Puerto Ricans got involved in the mid 70s. We then took the dance, evolved it and kept it alive. In '79 I was getting dissed. I would go into a dance and I would get dissed by a lot of brothas who would ask 'Why y'all still doing that dance? That's played out'. By 79, there were very few African American brothas that was doing this... We always maintained the flava. It was like a changing of the guard and all we did was add more flava to something that already existed." Breaking includes four foundational dances: toprock, footwork-oriented steps performed while standing up; downrock, footwork performed with both hands and feet on the floor; freezes, stylish poses done on your hands; andpower moves, complex and impressive acrobatic moves. Transitions from toprock to downrock are called "drops."

Traditionally, breakers dance within a cypher or an Apache Line. A cypher is a circular shaped dance space formed by spectators that breakers use to perform or battle in. Cyphers work well for one-on-one b-boy (break-boy) battles; however, Apache Lines are more appropriate when the battle is between two crews—teams of street dancers. In contrast to the circular shape of a cypher, competing crews can face each other in this line formation, challenge each other, and execute their burns (a move intended to humiliate the opponent, i.e. crotch grabbing).

[edit]Locking

Locking, originally called Campbellocking, was created in 1969 in Los Angeles, California by Don "Campbellock" Campbell and popularized by his crew The Lockers. In addition to Campbell, the original members of The Lockers were Fred "Mr. Penguin" Berry, Leo "Fluky Luke" Williamson, Adolpho "Shabba Doo" Quiñones, Bill "Slim the Robot" Williams, Greg "Campbellock Jr" Pope, and Toni Basil, who also served as the group's manager. At the 2009 World Hip Hop Dance Championships, Basil became the first female recipient of the Living Legend Award in honor of her role in giving locking commercial exposure.^[42]

Locking looks similar to popping, and the two are frequently confused by the casual observer. In locking, dancers hold their positions longer. The lock is the primary move used in locking. It is "similar to a freeze or a sudden pause." A locker's dancing is characterized by frequently locking in place and after a brief freeze moving again. It is incorrect to call locking "pop-locking". Locking and popping are two distinct funk styles with their own histories, their own set of dance moves, their own pioneers, and their own competition categories. Locking is more playful and character-driven, whereas popping is more illusory. In popping, dancers push the boundaries of what they can do with their bodies. Locking has specific dance moves that distinguish it from popping and other funk styles. In the 2006 book Total Chaos, hip-hop historian Jorge "Popmaster Fabel" Pabon lists some of these moves which include "the lock, points, skeeter [rabbits], scooby doos, stop 'n go, which-away, and the fancies." According toDance Spirit magazine, a dancer cannot perform both locking and popping simultaneously.

[edit]Popping

Popping was created in Fresno, California in the 1970s and popularized by Samuel "Boogaloo Sam" Solomon and his crew the Electric Boogaloos. It is based on the technique of quickly contracting and relaxing muscles to cause a jerk in a dancer's body, referred to as a pop or a hit. Each hit should be synchronized to the rhythm and beats of the music. Popping is also used as an umbrella term to refer to a wide range of closely related illusionary dance styles such as strobing, liquid, animation, twisto-flex, and waving.Dancers often integrate these styles with standard popping to create a more varied performance. In all of these subgenres it appears to the spectator that the body is popping. The difference between each subgenre is how exaggerated the popping is. In liquid, the body movements look like water. The popping is so smooth that the movements do not look like popping at all; they look fluid.The opposite of this is strobing (also called ticking) in which the movements are staccato and jerky.

Popping as an umbrella term also includes floating, gliding, and sliding. These are lower body dances performed with little to no movements in the chest or arms. In floating, gliding, and sliding a dancer appears as if they are drifting across the floor on ice.^{[note 2]}Opposite from gliding is tutting, an upper body dance that uses the arms, hands, and wrists to form right angles and create geometric box-like shapes. Tutting can be done primarily with the fingers rather than the arms. This method is called finger tutting. In both variations the movements are intricate, linear, and form 90° or 45° angles. In practice, tutting looks like the characters on the art of ancient Egypt, hence the name—a reference to King Tut.

While popping as an umbrella term is widely used by hip-hop dancers and in competitive hip-hop dancing, Timothy "Popin' Pete" Solomon of the Electric Boogaloos disagrees with the use of the word "popping" in this way. Many of these related styles (animation, liquid, tutting, etc.) can not be traced to one person or group. Solomon states "There are people who wave and there are people who tut. They’re not popping. I say this to give the people who created other styles their just dues and their props."

Tap Dance

Tap dance is a form of dance characterized by using the sound of one's tap shoes hitting the floor as a percussive instrument. As such, it is also commonly considered to be a form of music. Two major variations on tap dance exist: rhythm (Jazz) tap and Broadway tap. Broadway tap focuses more on the dance. It is widely performed as a part of musical theater. Rhythm tap focuses more on musicality, and practitioners consider themselves to be a part of the Jazz tradition.

The sound is made by shoes with a metal "tap" on the heel and toe. Tap shoes can be bought at most dance shops. There are different brands of shoes which sometimes differ in the way they sound.

"Soft-Shoe" is a rhythm form of tap dancing that doesn't require special shoes, and while rhythm is generated by tapping of the feet, it also uses sliding of the feet (even sometimes using scattered sand on the stage to enhance the sound of the performer's sliding feet) more often than modern rhythm tap. It preceded what is currently considered to be modern tap, but has since declined in popularity.

HISTORY

Tap dance has roots in African American dancing such as the Juba Dance, English Lancashire Clog dancing, and probably most notably Irish stepdancing. It is believed to have begun in the mid-1800s during the rise of minstrel shows. White performers would imitate Southern blacks and satirize their dance forms while incorporating step-dancing. In later minstrel shows, black performers in blackface would play roles in which they imitated the Irish imitation of black dance forms, further mixing the two. Famous as Master Juba, William Henry Lane became one of the few black performers to join an otherwise white minstrel troupe, and is widely considered to be the most famous forebear of tap dance.

As the minstrel shows began to decline in popularity, tap dance moved to the increasingly popular Vaudeville stage. Due to the two-colored rule, which forbade blacks from performing solo, the majority of Vaudeville tap acts were duets. This gave rise to the famous pair "Buck and Bubbles," which consisted of John "Bubbles" Sublett tap dancing and Ford "Buck" Washington on piano. The duo perfected the "Class Act", a routine in which the performers wore impeccable tuxedos, which has since become a common theme in tap dance. The move is seen by some as a rebuttal to the older minstrel show idea of the tap dancer as a "grinning-and-dancing clown."

Another notable figure to emerge during this period is Bill "Bojangles" Robinson. Well versed in both Buck and Wing dancing and Irish Step dancing, Bill Robinson joined the Vaudeville circuit in 1902, in a duo with George W. Cooper. The act quickly became famous, headlining events across the country, and touring England as well. In 1908, however, the two had an altercation, and the partnership was ended. Gambling on his popularity, Robinson decided to form a solo act, which was extremely rare for a black man at that time. Despite this, he had tremendous success and soon became a world famous celebrity. He went on to have a leading role in many films, notably in the Shirley Temple franchise.

During the 1930s tap dance mixed with Lindy Hop. "Flying swing outs" and "flying circles" are Lindy Hop moves with tap footwork. In the 1950s, the style of entertainment changed. Jazz music and tap dance declined, while rock and roll and pop music and the new jazz dance emerged. What is now called jazz dance evolved out of tap dance, so both dances have many moves in common. But jazz evolved separately from tap dance to become a new form in its own right. Well-known dancers during the 1960s and 1970s includedArthur Duncan and Tommy Tune.

No Maps on My Taps, the Emmy award winning PBS documentary of 1979, helped begin the recent revival of tap dance. The outstanding success of the animated film, Happy Feet, has further reinforced the popular appeal^[4] National Tap Dance Day in the United States, now celebrated May 25, was signed into law by President George Bush on November 7, 1989. (May 25 was chosen because it is the birthday of famous tapper Bill "Bojangles" Robinson.) Prominent modern tap dancers have included Brenda Bufalino,The Clark Brothers, Savion Glover, Gregory and Maurice Hines, LaVaughn Robinson, Jason Samuels Smith, Chloe Arnold, and Dianne "Lady Di" Walker Indie-pop band Tilly and the Wall also features a tap dancer, Jamie Pressnall, tapping as percussion.

CHARACTERISTIC OF TAP DANCE

Tap dancers make frequent use of 

syncopation. Choreography typically starts on the eighth or first beatcount. Another aspect of tap dancing is improvisation. This can either be done with music and follow the beats provided or without musical accompaniment, also known as a cappella dancing.

Hoofers are tap dancers who dance primarily "closer to the floor", using mostly their footwork and not showing very much arm or body movement. This kind of tap dancing, also called "rhythm tap", was part of the dancing of slaves in America. Because the slaves were generally not allowed to practice their own culture and customs, they mixed their form of dancing with Irish step dance to create tap dances that they managed to sneak by slave owners and over-seers. This is the origin of tap and what later evolved into (what most people know as tap now) "show tap" because it uses more arm movement. This form evolved because show tap was thought to be more exciting to watch and became famous when show tap was put on Broadway. Rhythm tap is not well known although the history of it is important to know as rhythm tap is often considered the "father of show tap."

Steve Condos rose out of his humble beginnings in Pittsburgh, PA to become a master in rhythmic tap. His innovative style influenced the work of Gregory Hines, Savion Glover and Marshall Davis, Jr. The majority of hoofers, such as Sammy Davis, Jr., Glover, Hines, andLaVaughn Robinson are African American men, although today the art form transcends racial and gender stereotypes. Savion Glover is the best-known living hoofer, who helped bring tap dance into mainstream media by choreographing and dancing for the major motion picture Happy Feet, a film about a tap dancing penguin. Another well-known tap film is 1989's Tap, starring the late Gregory Hines and many of the old-time hoofers.

Early tappers like Fred Astaire provided a more ballroom look to tap dancing, while Gene Kelly used his extensive ballet training to make tap dancing incorporate all the parts of the ballet. This style of tap led to what is today known as "Broadway style," which is more mainstream in American culture. It often involves high heeled tap shoes and show music, and is usually the type of tap first taught to beginners. The best examples of this style are found in Broadway musicals such as Anything Goes and 42nd Street.

Common tap steps include the shuffle, shuffle ball change, flap, flap heel, cramproll, buffalo, Maxi Ford, single and double pullbacks, wings, Cincinnati, the shim sham shimmy (also called the Lindy), Irish, Waltz Clog, the paddle roll, the paradiddle, stomp, brushes, scuffs, riffs, and single and double toe punches, hot steps, heel clicks, single, double, triple, and double-triple time steps, over-the-tops, military time step, New Yorkers, and chugs. In advanced tap dancing, basic steps are often combined together to create new steps. Timesteps are widely used in tap and can vary in different areas. These consist of a rhythm that is changed to make new timesteps by adding or removing steps.

Tap dancing can also be done using an a cappella method. Similar to singing without instrumental accompaniment, tap dancers are not dancing to any music but creating a rhythm by using different steps at the same time. In a tap a cappella, the steps are normally kept simple (such as the most common steps listed above) and easy to control. The group of dancers must work together to create the sound keeping their steps at the correct speed to match each other.