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Compare and contrast the styles of two tap dancers: Fred Astaire and Bill Robinson and explain what they brought to the tap danc - Research Paper Example

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Name Instructor Course Date Tap Dance Tap dance is an old form of dance in the Western cultures that involves the use of the heels to produce secondary tap sound often contributing to the rhythm of the music. Tap is, therefore, not just a type of a dance but also a genre of music…
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Compare and contrast the styles of two tap dancers: Fred Astaire and Bill Robinson and explain what they brought to the tap danc
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Compare and contrast the styles of two tap dancers: Fred Astaire and Bill Robinson and explain what they brought to the tap danc

Download file to see previous pages... It is performed as part of a musical theater. The sounds produced by the heels are called taps (Gates 43). Several iconic artists have perfected in the dance style always trying to perfect the dance and make it more converted. Dance just as any other form of art is subject to different interpretation as the discussion below portrays through the use of the two iconic tap dancers. Just as any other type of art, tap dance is relative but has a number of conventions to ensure perfect performance. Several artists have perfected in the dance, thereby contributing to its expansion by introducing new moves. Among some of the most iconic contributors to the development of the dance are Fred Astaire and Bill Robinson. Born in different times, the two worked hard perfecting their skills and talent, thus contributing to the development of the art (Sarah 12). The two perfected in different types of the dance each introducing newer concepts. Tap dance just as any other form of dance thrives on improvisation; the two dancers used innovation to improvise the existing tap styles to widen the scope of the dance, thereby making it more interesting. Born in 1899, Fred Astaire was a Broadway tap dancer. In his seventy-six-year career, he produced a number of dance films employing his multiple skills and interest in the production of numerous tap dance styles and incorporating the art into other arts, thereby making it a holistic piece of entertainment. Fred was a choreographer, a dancer, a singer and a musician, among other forms of visual arts. He managed to fuse the different talents into a holistic art that incorporated the different elements into one. His contribution to the development of tap dance as both a music and a dance is therefore substantial. He produced more than thirty dance films, in all of which he incorporates the Broadway type of the tap dance. Fred worked with other iconic choreographers with whom they developed new dance moves and raised younger talents. Through the works of dance academies, they organized dance competitions and rewarded creativity, thereby nurturing talents and improving interest in the performance of tap dance. Being a virtuoso dancer, he incorporated creativity in his career and coupled it with improvisation of the existing dance styles to create intriguing performances, which communicated deep emotions and lighthearted venture sameness. His ability to communicate through dance contributed to making tap dance a genre of music. As a Broadway tap dancer, he believed that the dance followed the rhythm of the music. However, he understood the important contribution of the tap sounds in enriching the rhythm of the music but failed to associate the sound with the sounds of other musical instruments used in enriching the song. This way, he simply adhered to the contours of musical rhythms. This led him to contribute to the invention of soft tap as a genre of the tap dance style. Soft tap is one in which the tap sound of the feet of the dancers is inaudible. Therefore, dancers simply dance to the rhythm of the song without contributing to the rhythm through the production of their own tap sounds. Broadway dancers concentrate on the dance; they let the music control their movements. As such a dancer, Fred believed that music often led the dancer into different dance moves once on the dance floor (Billman 23). He followed the contours of music dutifully without trying to influence the rhythm of sound through his dance moves. However, he was also a ...Download file to see next pagesRead More
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