1.
Scottish Gaelic
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Scottish Gaelic or Scots Gaelic, sometimes also referred to as Gaelic, is a Celtic language native to Scotland. A member of the Goidelic branch of the Celtic languages, Scottish Gaelic, like Modern Irish and Manx, developed out of Middle Irish. The 2011 census of Scotland showed that a total of 57,375 people in Scotland could speak Gaelic at that time, the census results indicate a decline of 1,275 Gaelic speakers from 2001. A total of 87,056 people in 2011 reported having some facility with Gaelic compared to 93,282 people in 2001, only about half of speakers were fully literate in the language. Nevertheless, revival efforts exist and the number of speakers of the language under age 20 has increased, Scottish Gaelic is neither an official language of the European Union nor the United Kingdom. Outside Scotland, a group of dialects collectively known as Canadian Gaelic are spoken in parts of Atlantic Canada, mainly Nova Scotia and Prince Edward Island. In the 2011 census, there were 7,195 total speakers of Gaelic languages in Canada, with 1,365 in Nova Scotia and Prince Edward Island where the responses mainly refer to Scottish Gaelic. About 2,320 Canadians in 2011 also claimed Gaelic languages as their mother tongue, with over 300 in Nova Scotia, aside from Scottish Gaelic, the language may also be referred to simply as Gaelic. In Scotland, the word Gaelic in reference to Scottish Gaelic specifically is pronounced, outside Ireland and Great Britain, Gaelic may refer to the Irish language. Scottish Gaelic should not be confused with Scots, the Middle English-derived language varieties which had come to be spoken in most of the Lowlands of Scotland by the modern era. Prior to the 15th century, these dialects were known as Inglis by its own speakers, from the late 15th century, however, it became increasingly common for such speakers to refer to Scottish Gaelic as Erse and the Lowland vernacular as Scottis. Today, Scottish Gaelic is recognised as a language from Irish. Gaelic in Scotland was mostly confined to Dál Riata until the 8th century, when it began expanding into Pictish areas north of the Firth of Forth, by 900, Pictish appears to have become extinct, completely replaced by Gaelic. An exception might be made for the Northern Isles, however, however, though the Pictish language did not disappear suddenly, a process of Gaelicisation was clearly underway during the reigns of Caustantín and his successors. By a certain point, probably during the 11th century, all the inhabitants of Alba had become fully Gaelicised Scots, by the 10th century, Gaelic had become the dominant language throughout northern and western Scotland, the Gaelo-Pictic Kingdom of Alba. Its spread to southern Scotland, was even and totalizing. Place name analysis suggests dense usage of Gaelic in Galloway and adjoining areas to the north and west as well as in West Lothian, less dense usage is suggested for north Ayrshire, Renfrewshire, the Clyde Valley and eastern Dumfriesshire. In south-eastern Scotland, there is no evidence that Gaelic was ever widely spoken, the area shifted from Cumbric to Old English during its long incorporation into the Anglo-Saxon Kingdom of Northumbria
2.
Folk dance
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Folk dances are dances that are developed by people that reflect the life of the people of a certain country or region. Not all ethnic dances are folk dances, for example, ritual dances or dances of ritual origin are not considered to be folk dances, ritual dances are usually called Religious dances because of their purpose. The terms ethnic and traditional are used when it is required to emphasize the roots of the dance. In this sense, nearly all folk dances are ethnic ones, if some dances, such as polka, cross ethnic boundaries and even cross the boundary between folk and ballroom dance, ethnic differences are often considerable enough to mention, e. g. Czech polka vs. Dances not generally designed for performance or the stage, though they may later be arranged. Execution dominated by a tradition from various international cultures rather than innovation. New dancers often learn informally by observing others and/or receiving help from others, more controversially, some people define folk dancing as dancing for which there is no governing body or dancing for which there are no competitive or professional institutions. The term folk dance is sometimes applied to dances of historical importance in European culture and history, for other cultures the terms ethnic dance or traditional dance are sometimes used, although the latter terms may encompass ceremonial dances. A number of modern ballroom dances originated from folk ones, varieties of European folk dances include, Sword dances include Longsword dances and rapper dancing. Some choreographed dances such as dance, Scottish country dance. Country dance overlaps with contemporary dance and ballroom dance. Most country dances and ballroom dances originated from folk dances, with gradual refinement over the years, people familiar with folk dancing can often determine what country a dance is from even if they have not seen that particular dance before. Some countries dances have features that are unique to that country, for example, the German and Austrian schuhplattling dance consists of slapping the body and shoes in a fixed pattern, a feature that few other countries dances have. Folk dances sometimes evolved long before current political boundaries, so that certain dances are shared by several countries, for example, some Serbian, Bulgarian, and Croatian dances share the same or similar dances, and sometimes even use the same name and music for those dances. International folk dance groups exist in cities and college campuses in many countries, in which dancers learn folk dances from many cultures for recreation
3.
Folk music
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Folk music includes both traditional music and the genre that evolved from it during the 20th century folk revival. The term originated in the 19th century, but is applied to music older than that. Some types of music are also called world music. Traditional folk music has been defined in several ways, as music transmitted orally, music with unknown composers and it has been contrasted with commercial and classical styles. Starting in the century, a new form of popular folk music evolved from traditional folk music. This process and period is called the revival and reached a zenith in the 1960s. This form of music is called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times and this type of folk music also includes fusion genres such as folk rock, folk metal, electric folk, and others. Even individual songs may be a blend of the two, a consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions and they are extensions of the term folklore, which was coined in 1846 by the English antiquarian William Thoms to describe the traditions, customs, and superstitions of the uncultured classes. Traditional folk music also includes most indigenous music, however, despite the assembly of an enormous body of work over some two centuries, there is still no certain definition of what folk music is. Some do not even agree that the term Folk Music should be used, Folk music may tend to have certain characteristics but it cannot clearly be differentiated in purely musical terms. One meaning often given is that of old songs, with no known composers, the fashioning and re-fashioning of the music by the community that give it its folk character. Such definitions depend upon processes rather than abstract musical types, one widely used definition is simply Folk music is what the people sing. For Scholes, as well as for Cecil Sharp and Béla Bartók, Folk music was already. seen as the authentic expression of a way of life now past or about to disappear, particularly in a community uninfluenced by art music and by commercial and printed song. In these terms folk music may be seen as part of a schema comprising four types, primitive or tribal, elite or art, folk. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre
4.
England
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England is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west, the Irish Sea lies northwest of England and the Celtic Sea lies to the southwest. England is separated from continental Europe by the North Sea to the east, the country covers five-eighths of the island of Great Britain in its centre and south, and includes over 100 smaller islands such as the Isles of Scilly, and the Isle of Wight. England became a state in the 10th century, and since the Age of Discovery. The Industrial Revolution began in 18th-century England, transforming its society into the worlds first industrialised nation, Englands terrain mostly comprises low hills and plains, especially in central and southern England. However, there are uplands in the north and in the southwest, the capital is London, which is the largest metropolitan area in both the United Kingdom and the European Union. In 1801, Great Britain was united with the Kingdom of Ireland through another Act of Union to become the United Kingdom of Great Britain and Ireland. In 1922 the Irish Free State seceded from the United Kingdom, leading to the latter being renamed the United Kingdom of Great Britain, the name England is derived from the Old English name Englaland, which means land of the Angles. The Angles were one of the Germanic tribes that settled in Great Britain during the Early Middle Ages, the Angles came from the Angeln peninsula in the Bay of Kiel area of the Baltic Sea. The earliest recorded use of the term, as Engla londe, is in the ninth century translation into Old English of Bedes Ecclesiastical History of the English People. According to the Oxford English Dictionary, its spelling was first used in 1538. The earliest attested reference to the Angles occurs in the 1st-century work by Tacitus, Germania, the etymology of the tribal name itself is disputed by scholars, it has been suggested that it derives from the shape of the Angeln peninsula, an angular shape. An alternative name for England is Albion, the name Albion originally referred to the entire island of Great Britain. The nominally earliest record of the name appears in the Aristotelian Corpus, specifically the 4th century BC De Mundo, in it are two very large islands called Britannia, these are Albion and Ierne. But modern scholarly consensus ascribes De Mundo not to Aristotle but to Pseudo-Aristotle, the word Albion or insula Albionum has two possible origins. Albion is now applied to England in a poetic capacity. Another romantic name for England is Loegria, related to the Welsh word for England, Lloegr, the earliest known evidence of human presence in the area now known as England was that of Homo antecessor, dating to approximately 780,000 years ago. The oldest proto-human bones discovered in England date from 500,000 years ago, Modern humans are known to have inhabited the area during the Upper Paleolithic period, though permanent settlements were only established within the last 6,000 years
5.
Baroque
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The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
6.
Old English
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Old English or Anglo-Saxon is the earliest historical form of the English language, spoken in England and southern and eastern Scotland in the early Middle Ages. It was brought to Great Britain by Anglo-Saxon settlers probably in the mid 5th century, Old English developed from a set of Anglo-Frisian or North Sea Germanic dialects originally spoken by Germanic tribes traditionally known as the Angles, Saxons, and Jutes. As the Anglo-Saxons became dominant in England, their language replaced the languages of Roman Britain, Common Brittonic, a Celtic language, Old English had four main dialects, associated with particular Anglo-Saxon kingdoms, Mercian, Northumbrian, Kentish and West Saxon. It was West Saxon that formed the basis for the standard of the later Old English period, although the dominant forms of Middle. The speech of eastern and northern parts of England was subject to strong Old Norse influence due to Scandinavian rule, Old English is one of the West Germanic languages, and its closest relatives are Old Frisian and Old Saxon. Like other old Germanic languages, it is different from Modern English. Old English grammar is similar to that of modern German, nouns, adjectives, pronouns, and verbs have many inflectional endings and forms. The oldest Old English inscriptions were using a runic system. Old English was not static, and its usage covered a period of 700 years, from the Anglo-Saxon settlement of Britain in the 5th century to the late 11th century, some time after the Norman invasion. While indicating that the establishment of dates is a process, Albert Baugh dates Old English from 450 to 1150, a period of full inflections. Perhaps around 85 per cent of Old English words are no longer in use, Old English is a West Germanic language, developing out of Ingvaeonic dialects from the 5th century. It came to be spoken over most of the territory of the Anglo-Saxon kingdoms which became the Kingdom of England and this included most of present-day England, as well as part of what is now southeastern Scotland, which for several centuries belonged to the Anglo-Saxon kingdom of Northumbria. Other parts of the island – Wales and most of Scotland – continued to use Celtic languages, Norse was also widely spoken in the parts of England which fell under Danish law. Anglo-Saxon literacy developed after Christianisation in the late 7th century, the oldest surviving text of Old English literature is Cædmons Hymn, composed between 658 and 680. There is a corpus of runic inscriptions from the 5th to 7th centuries. The Old English Latin alphabet was introduced around the 9th century, with the unification of the Anglo-Saxon kingdoms by Alfred the Great in the later 9th century, the language of government and literature became standardised around the West Saxon dialect. In Old English, typical of the development of literature, poetry arose before prose, a later literary standard, dating from the later 10th century, arose under the influence of Bishop Æthelwold of Winchester, and was followed by such writers as the prolific Ælfric of Eynsham. This form of the language is known as the Winchester standard and it is considered to represent the classical form of Old English
7.
Music of Ireland
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Irish Music is music that has been created in various genres on the island of Ireland. The indigenous music of the island is termed Irish traditional music and it has remained vibrant through the 20th and into the 21st century, despite globalising cultural forces. It has occasionally been fused with rock and roll, punk and rock, some of these fusion artists have attained mainstream success, at home and abroad. It is still a vibrant genre with many composers and ensembles writing and performing art music in the classical tradition. On a smaller scale, Ireland has also produced many musicians of note. 1011, Connmhach Ua Tomhrair, priest and chief singer of Cluain-mic-Nois,1168, Amhlaeibh Mac Innaighneorach, chief ollamh of Ireland in harp-playing, died. 1269, Aed Ó Finn, master of music and minstrelsy,1329, Maol Ruanaidh Cam Ó Cearbhaill, tiompanist, murdered during the Braganstown Massacre in County Louth. 1330, Mael Sechlainn Mac Carmaic, an entertainer, died. 1343, Donnchad Clereach Ó Maol Braonáin, a canon of Elphin, was killed by an arrow. 1357, Donn Shléibhe Mac Cerbaill, an accomplished musician,1360, Gilla na Naem Ó Conmaigh, music ollamh of Thomond. Magraith Ó Fionnachta, Chief Musician and Tiompanist to the Síol Muireadaigh,1364, Bran Ó Brain, a skilful tympanist. 1369, John Mac Egan, and Gilbert Ó Bardan, two accomplished young harpers of Conmaicne, died,1469, Ruaidrí mac Donnchad Ó Dálaigh, the most musical-handed harpist in all Ireland. 1490, Diarmait MacCairbre, harper, was executed,1553, Tadhg, son of Ruaidhri Ó Comhdhain, i. e. the ollamh of Éire and Alba in music, died. 1561, Naisse mac Cithruadh, drowned on Lough Gill, daighre Ó Duibhgeannáin, a most affable, musical man, died. Early Irish poetry and song has been translated into modern Irish and English by notable Irish poets, song collectors and musicians. The 6th century hymn Rop tú mo baile by Dallán Forgaill for example, was published in 1905 in English by Mary Elizabeth Byrne, the Blackbird of Belfast Lough has been notably translated by poets such as Seamus Heaney, Ciaran Carson and Frank OConnor. Some musicians were acclaimed in places beyond Ireland, cú Chuimne lived much of his adult life in Gaelic Scotland, and composed at least one hymn. Foillan, who was alive in the century, travelled through much of Britain and France, around 653 at the request of St. Gertrude of Brabant
8.
Minstrel show
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The minstrel show, or minstrelsy, was an American form of entertainment developed in the early 19th century. Each show consisted of skits, variety acts, dancing. The shows were performed by people in make-up or blackface for the purpose of playing the role of black people. There were also some African-American performers and all-black minstrel groups that formed and toured, Minstrel shows lampooned black people as dim-witted, lazy, buffoonish, superstitious and happy-go-lucky. Minstrel shows emerged as brief burlesques and comic entractes in the early 1830s and were developed into full-fledged form in the next decade, by 1848, blackface minstrel shows were the national artform, translating formal art such as opera into popular terms for a general audience. By the turn of the 20th century, the show enjoyed but a shadow of its former popularity. The form survived as professional entertainment until about 1910, amateur performances continued until the 1960s in high schools, the genre has had a lasting legacy and influence and was featured in a television series as recently as the late 1970s. Generally, as the civil rights movement progressed and gained acceptance, the typical minstrel performance followed a three-act structure. The troupe first danced onto stage then exchanged wisecracks and sang songs, the second part featured a variety of entertainments, including the pun-filled stump speech. The final act consisted of a slapstick musical plantation skit or a send-up of a popular play, Minstrel songs and sketches featured several stock characters, most popularly the slave and the dandy. These were further divided into such as the mammy, her counterpart the old darky, the provocative mulatto wench. Minstrels claimed that their songs and dances were authentically black, although the extent of the black influence remains debated, spirituals entered the repertoire in the 1870s, marking the first undeniably black music to be used in minstrelsy. Blackface minstrelsy was the first theatrical form that was distinctly American, during the 1830s and 1840s at the height of its popularity, it was at the epicenter of the American music industry. For several decades it provided the means through which American whites viewed black people, on the one hand, it had strong racist aspects, on the other, it afforded white Americans a singular and broad awareness of what some whites considered significant aspects of black culture in America. Although the minstrel shows were popular, being consistently packed with families from all walks of life and every ethnic group. Although white theatrical portrayals of black characters date back to as early as 1604, by the late 18th century, blackface characters began appearing on the American stage, usually as servant types whose roles did little more than provide some element of comic relief. Eventually, similar performers appeared in entractes in New York theaters and other such as taverns. Author Constance Rourke even claimed that Forrests impression was so good he could fool blacks when he mingled with them in the streets, Thomas Dartmouth Rices successful song-and-dance number, Jump Jim Crow, brought blackface performance to a new level of prominence in the early 1830s
9.
Master Juba
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Master Juba was an African-American dancer active in the 1840s. He was one of the first black performers in the United States to play onstage for white audiences and his real name was believed to be William Henry Lane, and he was also known as Bozs Juba following Dickenss graphic description of him in American Notes. As a teenager, he began his career in the saloons and dance halls of Manhattans Five Points neighborhood. Master Juba frequently challenged and defeated the best white dancers, including the period favorite, at the height of his American career, Jubas act featured a sequence in which he imitated a series of famous dancers of the day and closed by performing in his own style. Being a black man, he appeared with minstrel troupes in which he imitated white minstrel dancers caricaturing black dance using the phenomenon Blackface, even with his success in America, his greatest success came in England. In 1848 Bozs Juba traveled to London with the Ethiopian Serenaders, Bozs Juba became a sensation in Britain for his dance style. He was a favorite and the most written about performer of the 1848 season. Nevertheless, an element of exploitation followed him through the British Isles, records next place Juba in both Britain and America in the early 1850s. His American critics were less kind, and Juba faded from the limelight and he died in 1852 or 1853, likely from overwork and malnutrition. He was largely forgotten by historians until a 1947 article by Marian Hannah Winter resurrected his story. Existing documents offer confused accounts of Jubas dancing style, but certain themes emerge, it was percussive, varied in tempo, lightning-fast at times, expressive, and unlike anything seen before. The dance likely incorporated both European folk steps, such as the Irish jig, and African-derived steps used by plantation slaves, by having an effect upon blackface performance, Juba was highly influential on the development of such American dance styles as tap, jazz, and step dancing. Little is known about Jubas life, scant details appear in primary sources, and secondary sources—most dating to years after his death—are of dubious validity. Dance historian Marian Hannah Winter proposed that Juba was born to parents in 1825 or later. Showman Michael B. Leavitt wrote in 1912 that Juba came from Providence, Rhode Island, according to an item in the August 11,1895 edition of the New York Herald, Juba lived in New Yorks Five Points District. This was a slum where Irish immigrants and free people lived amidst brothels, dance houses. The Irish and black populations intermingled and borrowed elements of culture from each other. One area of exchange was dance, and the Irish jig blended with black folk steps, in this environment, Juba learned to dance from his peers, including Uncle Jim Lowe, a black jig and reel dancer who performed in low-brow establishments
10.
Blackface
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Blackface is a form of theatrical makeup used predominantly by non-black performers to represent a black person. The practice gained popularity during the 19th century and contributed to the spread of racial stereotypes such as the happy-go-lucky darky on the plantation or the dandified coon. In 1848, blackface minstrel shows were an American national art of the time, translating formal art such as opera into popular terms for a general audience. Early in the 20th century, blackface branched off from the show and became a form in its own right. Blackface was an important performance tradition in the American theater for roughly 100 years beginning around 1830, in both the United States and Britain, blackface was most commonly used in the minstrel performance tradition, which it both predated and outlasted. Later, black artists also performed in blackface, in some quarters, the caricatures that were the legacy of blackface persist to the present day and are a cause of ongoing controversy. Another view is that blackface is a form of cross-dressing in which one puts on the insignias of a sex, class, or race that stands in opposition to ones own. By the mid-20th century, changing attitudes about race and racism effectively ended the prominence of blackface makeup used in performance in the U. S. and it remains in relatively limited use as a theatrical device and is more commonly used today as social commentary or satire. Perhaps the most enduring effect of blackface is the precedent it established in the introduction of African-American culture to an international audience, there is no consensus about a single moment that constitutes the origin of blackface. Whites routinely portrayed the characters in the Elizabethan and Jacobean theater. The play attracted notice, and other performers adopted the style, from at least the 1810s, blackface clowns were popular in the United States. Rice introduced the song Jump Jim Crow accompanied by a dance in his act in 1828. Rice traveled the U. S. performing under the stage name Daddy Jim Crow, the name Jim Crow later became attached to statutes that codified the reinstitution of segregation and discrimination after Reconstruction. In the 1830s and early 1840s, blackface performances mixed skits with comic songs, stereotyped blackface characters developed, buffoonish, lazy, superstitious, cowardly, and lascivious characters, who stole, lied pathologically, and mangled the English language. By 1852, the skits that had part of blackface performance for decades expanded to one-act farces. The songs of northern composer Stephen Foster figured prominently in blackface minstrel shows of the period, though written in dialect and certainly politically incorrect by todays standards, his later songs were free of the ridicule and blatantly racist caricatures that typified other songs of the genre. Fosters works treated slaves and the South in general with a cloying sentimentality that appealed to audiences of the day. White minstrel shows featured white performers pretending to be blacks, playing their versions of black music, Minstrel shows dominated popular show business in the U. S. from that time through into the 1890s, also enjoying massive popularity in the UK and in other parts of Europe
11.
Clog dancing
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Clog dancing is dancing whilst wearing clogs. Clogging an American style which is not necessarily danced in clogs, klompendansen a Dutch style of dance. Morris dance sometimes danced in clogs, tap dance which developed in part out of clog dancing
12.
Tap dance
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Tap dance is a form of dance characterized by using the sounds of tap shoes striking the floor as a form of percussion. Two major variations on tap dance exist, rhythm tap and Broadway tap, Broadway tap focuses on dance, it is widely performed in musical theater. Rhythm tap focuses on musicality, and practitioners consider themselves to be a part of the jazz tradition, the sound is made by shoes that have a metal tap on the heel and toe. There are different brands of shoes which sometimes differ in the way they sound and it preceded what is currently considered to be modern tap, but has since declined in popularity. Tap dance is believed to have begun in the mid-1800s during the rise of minstrel shows, as the minstrel shows began to decline in popularity, tap dance moved to the increasingly popular Vaudeville stage. Due to the rule, which forbade blacks from performing solo. This gave rise to the famous pair Buck and Bubbles, which consisted of John Bubbles Sublett tap dancing, 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 minstrel show idea of the tap dancer as a grinning-and-dancing clown. John Bubbles Sublett is also known famously for popularizing rhythm tap which incorporates more percussive heel drops, another notable figure to emerge during this period is Bill Bojangles Robinson who was a protégé of Alice Whitman of The Whitman Sisters around 1904. Well versed in both Buck and Wing dancing and Irish Step dancing, Bill Robinson joined the Vaudeville circuit in 1902, 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 success and soon became a world-famous celebrity. He went on to have a role in many films. Shortly thereafter, the Nicholas Brothers came on the scene, during the 1930s tap dance mixed with Lindy Hop. Flying swing outs and flying circles are Lindy Hop moves with tap footwork, in the mid- to late 1950s, the style of entertainment changed. Jazz music and tap dance declined, while rock and roll, 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 included Arthur Duncan and Tommy Tune. No Maps on My Taps, the Emmy award winning PBS documentary of 1979, the outstanding success of the animated film, Happy Feet, has further reinforced the popular appeal
