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The article focuses on Andrew Carr, a young and talented tap dancer from Chicago, U.S. highlighting his early start in choreography, viral video success, meticulous schedule management as a student at DePaul University, and upcoming projects in the tap dance community.

The article focuses on AC Lincoln's journey as a tap dancer deeply rooted in Black American traditions. Topics include his familial influences from renowned performers like Marion Cowings and Kim Kalesti, the historical significance of tap dance originating from rhythms of the plantation, and his personal dedication to expressing freedom and soul through music and dance.

The article focuses on the American tap dancer and choreographer, Ayodele Casel gives world premiere of ‘While I Have the Floor'. Topics include the beginning of her exploration of presenting tap in a narrative form that included the voices and experiences of the dancers; and Casel was alarmed at how little documentation there was of the lives and careers of female tap dancers, such as Jeni LeGon, Alice Whitman and Lois Bright.

The article looks at how dance and ballet competition judges are thinking imaginatively using new ideas to deliver meaningful feedback. Topics covered include a system developed by tap dancer Anthony Morigerato called CODA for Break the Floor in response to the need for more genre-specific feedback from judges, the importance of in-person discussion, and the importance of judging the performance and not the performer.

The article provides information of 2018 Cover Model Search finalists Sydney Burtis, Shelby Patterson, and Jacalyn Tatro of the dance spirit magazine. Topics include information of Sydney burtis co-foundered of Orlando Tap Festival and professional tap dancer; Shelby patterson professional ballet dancer and Top 10 Teen Finalist at The Dance Awards; and Jacalyn Tatro a veteran professional dancer.

The article features several tap dancers such as Jason Samuels Smith, Dormeshia Sumbry-Edwards and Derick K. Grant who discuss the state of tap dance and its connection to other forms of dance, their friendship, and existing collaboration. Topics also include their partnership to co-direct the first annual Tap Family Reunion in New York in May 2018, their effort to increase the consciousness of the community about the dance, and their own roles to influence the future dancers.

In the article, the author discusses the reasons why African American tap dancers deserve more accolades and his experiences of tap dancing, particularly with his brother Gregory Hines. Also cited are how famous tap dancers like Bunny Briggs, Teddy Hale, and the Step Brothers inspired the author to become a tap dancer, and the improvisation of African American tap dancers.

The article focuses on the tap dancer and superstar Savion Glover, who is the artistic director and advisor at the performing arts theater New Jersey Performing Arts Center (NJPAC) in Newark, New Jersey.

The article profiles British tap dancers Clare Halse and Peggy Sawyer who are successful both in the American and British musical theatre sector. Halse and Sawyer were both born in Great Britain and attended theatre school. Topics include the work ethic of both performers, their career backgrounds, claims to fame, and relationship with colleagues. Also discussed are the requirements of dancing in musicals.

The article reviews a performance by tap dancer Michela Marino Lerman at Harlem Stage in New York on February 24-25, 2023.

The article presents the view of tap dancer Michela Marino Lerman on the reason why she dances.

The article features tap dancer Gaby Diaz who won the Season 12 of the "So You Think You Can Dance," (SYTYCD) American dance television (TV) show. It mentions her audition in Dallas, her performance during the final show, and her versatality which help her won the competition. Also presented the verdicts of judges such as Nigel Lythgoe and Paula Abdul.

The article discusses the highlights of the 10th anniversary celebration of MOVE IT dance event held in London, England in February 2015. Other highlights include a solo dance routine by 79-year-old tap dancer Alan Beattie, an intermediate ballet session presented by Performing Arts Studio Scotland, and a program called "PERFORM" that focuses on vocational study.

The article reviews performances of several tap dancers including Jabu Graybeal, Joe Lescher-Liao and Jalen Phifer.

The article offers information on the life and works of tap dancer Savion Glover. According to Glover, they had a recital at the Hines and Hatchett Dance Studio in New York where his mother has signed him for dance. Glover sees his mission in life of educating the public as next in line of continuum which stretches to the yesteryear of great tap dancers. Glover says that tap dancers are dancers as well as musicians, but they are also communicators, storytellers and narrators.

The article profiles American tap dancing group Dorrance Dance who will perform at Sadler's Wells Theatre in London, England on July 12 to 15, 2017.

The article focuses on teachings of tap dancing by dance teacher Claudia Rahardjanoto. Topics discussed include Rahardjanoto's classes at Steps on Broadway in New York City takes basic building-block steps such cramp rolls, flaps and stepheels; first physical challenge at the end of the warm-up and center work, The Marathon which features several minutes of constant movement, no stopping; and offers step-by-step instructions for Crossover Step performed by the great Bill "Bojangles" Robinson.

In this article, the author discusses how American tap dancer Aaron Tolson teaches rhythm tap at the Broadway Dance Center in New York City. Tolson makes his students do exercises beyond their technical levels to develop confidence and to know what they are capable of. Tolson also provides some tap dance techniques by crossing legs and lowering right toes.

The article offers information on the importance of comprehending live music and musicians for tap dancing students, emphasizing on pointers including learning basic music jargon, preparation of sheet music and working on the desired tempo. Also mentioned are other imperatives such as setting up sign language and signals for use during improvisations, familiarizing oneself with jazz music, being courteous to the musicians and receptive to their advice and expertise.

The article offers information on maintaining speed with quality foot work in tap dancing. According to tap dancer Joseph Wiggan, when learning a new complex step, it is best to start practicing slowly and than building the speed gradually. Sarah Savelli, tap teacher and choreographer, comments that dancers should keep revising in their heads the steps learned for fast execution. Another tap teacher Starinah Dixon comments that the speed is on no use if the foot sound is not clear.

The article discusses concepts of teaching tap dancing by tap dancer Roxanne "Butterfly" Semadeni, inspired by her mentor, rhythm tap legend Jimmy Slyde. Roxanne has launched an improvisational class which engages practising familiar steps modified to fit unfamiliar time signatures or space parameters. It presents and demonstrates Roxanne's maxi ford sequence which includes a pull-back, the 5-count riff, and Roxanne's own riff.

This article presents a critical history of male dancers in the U.S. in the 20th century in light of masculinity and gender roles in art. The author discusses the gender expectations of male dancers and the portrayal of gender roles in American dance. Dancers discussed include David Dorfman, Steve Paxton, and Fred Astaire. Other topics include differences in gender expectations between tap dancers and ballet dancers, duets in dance, and male choreographers.

The author reflects on his career as a tap and swing dancer and choreographer, the start of his passion for dancing, the struggles he experienced during the pandemic and the change he experienced after returning to his job when the world reopened after months of pandemic.

The article profiles Charles "Honi" Coles, tap dancing legend, in the U.S. Lena Horne, jazz singer and actress, stated that Coles made butterflies look clumsy. Coles was well-known for his grace, speed, precision and rhythmic sophistication which are all products of extreme self-discipline. His role in the "My One and Only" allowed him to win a Tony Award.

The article profiles Jason Samuels Smith, performer, choreographer and director in New York. At the early age of 15, Smith's career blossomed through his first appearance on "Sesame Street" under the artistic direction of Tarik Winston. He became a tap master and international star. He is also considered as one of the best tap dancers in the country at an incredibility young age.

An essay is presented on drumming and dancing. It highlights performer Savion Glover, a drummer and tap dancer, who wanted tap to be accepted as a sound. It also describes the performance of Glover and his drummates in his latest tour, "Bare Soundz" at the Park City's Eccles Center for the Performing Arts.

The article discusses injuries commonly experienced from tap dancing. Common tap injuries are listed, including plantar fasciitis, fallen arches, and shin splints. Several causes for injuries are mentioned, including bad floors, failing to warm up properly, and dancing with tight ankle muscles. Tips are also given for preventing tap injuries, such as knowing one's own body, keeping the entire body stretched and strengthened, and knowing when to seek medical aid.

The article presents an overview of the history of tap dancing in the United States. A discussion of several tap dancers, including William Henry Lane and Bill "Bojangles" Robinson, who were influential in the history of tap in the United States is presented. Research on the history of tap dancing which has been conducted by professor Ann Kilkelly from Virginia Tech is discussed.

The article focuses on the growing popularity of tap dancing around the world. Thirty countries are represented in the International Tap Association. Due to technology and the relentless enthusiasm of tap aficionados all over the world, there is now more contact between places that have a percussive dance tradition and those that did not until a short while ago. The foundation for this expansion was laid with the international tap festivals and tap workshops of the late 1980s. INSET: Sounding Off.

The article presents insights of several top dancers regarding tap dance education and the their visions for the future growth of the art of top dancing in the U.S. Brenda Bufalino stated that today's young tappers are dancing with their hearts which shows how tap education have flourished over the last ten years. LaVaughn Robinson, a retired tap master stresses that tap dancing is just beginning to prosper in the universities.

The article profiles veteran tap artist LaVaughn Robinson, winner of the 2006 Dance Teacher Lifetime Achievement Award. He began performing on the streets of Philadelphia, Pennsylvania. He later graduated to the nightclub circuit, where the performed with Ella Fitzgerald and John Coltrane. He has performed before various audiences around the world and garnered honors such as the Pennsylvania Artist of the Year and the National Heritage Award. INSET: It Takes Two.

The article discusses the efforts of director Derick Grant in making the theatrical production "Imagine Tap!" The revue-style production will in part draw on historic styles like classical tap and rhythm tap and will also incorporate a few elements of tap mixed with breakdance, a Latin-style number and even a piece accompanied by a gospel choir. The cast include eight soloists and eight dancers. Grant hopes his venture into directing will show the rest of the world that tap dancers are capable of more than being artists for hire. Imagine Tap! will run from July 11, 2006 to August 6, 2006 at The Harris Theater for Dance and Music.

The article focuses on tap dancer Lynn Dally. Staying close to home, she pursued a double major in dance and French literature at Ohio State University and developed an interest in modern dance. After graduation, Dally went on to obtain a master's degree in dance and theater at Smith College in Northampton, Massachusetts. She started the company Jazz Tap Ensemble (JTE). Though JTE performs the work of other choreographers in addition to Dally's, the company's style strongly bears her imprint, blending the sweeping, full-body motion of modern dance with the earthy floorwork of rhythm tappers.

Tap dancer Jason Samuels-Smith's hoofing style leans heavily on rhythm, and less on elegance, but the rhythms are steeped in the masters' traditions. Watching him is a prism of tap history, made all the richer because Samuels-Smith knows what he is talking about when he throws out the names of tap legends. He has talked with many, studied with others and watched footage of the rest. Samuels-Smith tries to convey the importance of students researching the history of tap. When talking about tap, which he calls "the artform," Samuels-Smith gets almost as worked up as he does when dancing. His aggressive, slam-dunk style of laying down the iron matches his passion for promoting tap, a duty he feels all tappers share. "We need to create places for tap to exist and thrive," he says.

Presents an interview with tap dancer Savion Gloverng. His reputation in the field of dance; Recognition received; His views on tap dance.

Presents information on the story of a tap dancer for the children illustrated by the authors. Invitation given by the authors to the children to extend the story of a tap dancer; Line given by the authors to the children who would try to complete the story.