This study sought to determine the relationship of motor creativity, tap dance skill, and experience in tap dance choreography to the ability to choreograph tap dances.

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.

Through spectral analysis, synthesis, and manipulation, I incorporate the transient and resonant sounds of tap dance into an acoustic piece, Aperture Assonance, for chamber orchestra. By means of abstraction, I explore the idioms of tap dance through distortions, common to practices of spectral composition. The title, metaphorically, refers to the small opening through which light travels (an aperture) and the manipulation of that light to create a resemblance of like-sounds (assonance). Instead of light, however, I treat sound as the source that travels through the, metaphorical, aperture. The pitch and rhythmic material were derived from the analysis of me dancing. The frequencies discovered were approximated to the nearest quarter-tone (24-tone equal temperament). These approximations served as a reservoir of pitch material to be explored throughout Aperture Assonance. Formally, the piece unfolds through explorations of the transient (the attack that instigates a sound) and resonant (the sustain that occurs after the instigation) properties of my tap dance recordings. By separating the transience from the resonance, I am able to isolate or rearrange each element to create new, musical gestures. For example, the transience and resonance may be reversed where the resonance instigates the gesture and the transient ends it. In a fractal manner, many gestures from the motivic, cellular level were rhythmically augmented to serve on the phrasal, mid-level form or become part of a larger texture. The macro level of the piece is divided into three sections: Transience, Resonance, and Transience Through Resonance. The abstraction of this material allows for differing, sonic interpretations. Because of the unique sounds created through tap dance, Aperture Assonance serves as a model for further transient and resonant exploration through the investigation of non-musical sounds.

This motion-sensing phenomenological inquiry explores relational flow moments experienced by five professional tap dance artists in improvisational inter-action with jazz musicians to better understand the meaning of feeling relational flows in inter-activities. Guided through the Function-to-Flow conceptual framework, interviews and study with the five research participants focused on the functional capacities required to feel relational flows (e.g. movement repertoire and listening being), the form and structures of feeling relational flows (e.g. visible, audible, animatable and tangible forms of relational flows), and the feelings of relational flow experiences (e.g. connecting to, disconnecting from and transcending the self, Other and spiritual world) to discern meaning from inter-active, improvisational jazz-tap experiences. A motion-sensing phenomenological approach, which combines Max van Manen's hermeneutics with Michel Henry's material phenomenology of life to turn not simply to the things themselves but to the how of their appearing - that is, to the affective resonances of living, of bodily being - enables a primacy of sensorial attunement to the affects of kinaesthetic being or the feelings of being a body in motion. Interviews with the participants reveal meanings of relational flow in improvisational tap dance practices, and align with Maxine Sheets-Johnstone's call to phenomenologically inquire into the extraordinary experiential movement realities of professional dancers to deepen our understanding of the effect of their honed kinetic capacities. This inquiry seeks to not only deepen our knowledge of relational flow experiences, but also to add to research on tap dance, improvisational practice, and dance education more broadly.

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This paper examines the dialects of the language that is tap dance. Unlike more codified forms of dance such as ballet, which utilize a universally-accepted technique system, the evolution of tap dance has been largely rooted in oral tradition. During Broadway’s early years, entrepreneurs in the dance training business published manuals and dictionaries on tap, as did several self-styled experts in the 1990s; because many of these books are self-published, referring to them requires educated discrimination. Drawing on my own experience as a dance student, performer, choreographer, and educator, I have observed the preferred verbal language, dance styles, and technical applications of professional and amateur dancers in the Midwest, Mid-Atlantic, New England, and the Pacific Northwest. This research combined with a comparative analysis of tap dance as portrayed in commercial theatre as well as concert dance lays the groundwork for future study in tap dance pedagogy.

The purpose of this qualitative study was to collect descriptive data pertaining to students’ perceptions regarding the use of tap dance movement and its effect on the understanding of rhythms found in choral literature. This enquiry investigated the following questions: (a) What are the perceptions of high school students regarding the difficulty of tap dance movement? (b) What are the perceptions of high school students regarding the effectiveness of tap dance movement as a method toward promoting their rhythm accuracy when performing rhythms featured in choral music? (c) What are the perceptions of high school students regarding the effectiveness of integrating tap dance movement with the study of select rhythm patterns chosen from choral literature in their retention of the rhythms? Over a five-month period, high school choral ensemble members (N = 88) were taught twenty-five rhythm patterns excerpted from choral literature, integrating tap dance movement with the instruction. The results revealed that the difficulty level of the movement, tempo at which it is executed, the changing of feet while performing the movement, and the amount of tap experience an individual possesses influence students’ perceptions regarding the degree of complexity of tap dance movement. Additionally, the data indicate the enjoyment of the movement, the demonstrations of the movement, the integration of music with the movement, the use of step names and counting, and the use of tap shoes are elements related to tap dance movement that students perceived to help promote their understanding of rhythms found in choral music. Moreover, the results pertaining to the students’ perception of how tap dance movement was an effective method of promoting their retention of rhythms found in choral music indicate a lack of agreement. While there were singers who found the movement to benefit their ability to memorize the examined rhythms, there was a comparable amount of students who indicated that they were unable to remember the rhythms following the instruction. Lastly, the findings provide information regarding the specific types of movements that students found beneficial to their rhythmic comprehension, adding to the existing literature and useful for replication in future studies.

For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service. / Dance

The following purposes were proposed for the development of this study: A. To determine whether or not rhythmic ability as measured by the Harvey Rhythm Test is developed through participation in a folk dance class. B. To determine whether or not rhythmic ability as measured by the Harvey Rhythm Test is developed through participation in a modern dance class. C. To determine whether or not rhythmic ability as measured by the Harvey Rhythm Test is developed through participation in a tap dance class. D. To compare results of the Harvey Rhythm Test at the completion of the experimental period and to indicate any differences in development of rhythmic ability in the organized classes of folk dance, modern dance, and tap dance.