Title: Shim Sham Shimmy Sponsoring Association: National Dance Association Speakers: Sharon Rae - Mount Union College, Nancy Kane, Ph.D – State University of New York, College at Cortland, Chelsea Gavazzi Email: nancy.kane@frontiernet.net Return To Contents Track: Best Practices Keywords: active participation, dance, multiculturalism/cultural diversity The Shim Sham: Tap History in Motion by Nancy Kane, SUNY Cortland Performing Arts Department Sharon Rae, Mount Union College, OH & Chelsea Gavazzi, Alumna, SUNY Cortland Performing Arts Department (c) 2009, Nancy Kane, Sharon Rae, Chelsea Gavazzi The Shim Sham is the National Anthem of tap Its historic roots go back to Leonard Reed and Willie Bryant, touring with the Whitman Sisters in the American South in the 1920s Under its original name, "Goofus," it made its way to New York where one of the Whitman Sisters' troupe members had started a trio called "Three Little Words," who performed the dance nightly at the Shim Sham Club in Harlem.1 It was designed as a democratic dance, easy enough to pick up and meant to be performed by dancers and audience members who were encouraged to join tappers onstage at the end of performances Early on, female dancers would sometimes add a bit of shoulder shaking, and the dance was sometimes called the Shim Sham Shimmy for that reason The tradition has continued to the present, and tap concerts often conclude with an invitation to audience members to participate in the dance The historical and multicultural connections of the Shim Sham are important to maintain This was an American dance, to American jazz music, but the original choreographers also were African-American The dance speaks to a sense of community among tappers, and is especially suited to performance on May 25, National Tap Dance Day (celebrated in honor of Bill "Bojangles" Robinson's birthday) The dance has several versions and alternate steps, but the basic four steps created by the original choreographers are still used today There is an element of gentle teasing humor in the surprise repeat chorus, where dancers often forget to keep their feet still on the "breaks." Fellow dancers can all appreciate the mistake and everyone gets a good laugh There is a certain bonding that happens when this dance is performed, because it ties all tappers back to the first golden age of tap Respect for the past and continuity of tradition are instilled through the language of the soles In addition to the four basic steps, described in the accompanying notes, several variations are extant Several variations may be seen in an excellent instructional DVD about the Shim Sham by Rusty E Franks, which may be purchased with or without a CD of music in different tempos (with and without tap sounds) The DVD, entitled Leonard Reed's The Shim Sham Shimmy, is a popular resource for tap teachers.2 The Tap Legacy Foundation includes the Shim Sham as a closing number for its dance performances, as does the Tap Kids workshop north of New York City and any number of other performances or capstone experiences At SUNY Cortland, facility in performance the Shim Sham is currently required as part of the basic musical theatre tap technique course of study Of special interest to social dance enthusiasts and historians, Lindy hopper extraordinaire Frankie Manning adapted the Shim Sham for swing dancers, and the instructions for that version of the dance are also available on a DVD entitled Shim Sham with Frankie Manning The swing version of the dance will not be taught at the AAHPERD Convention in 2009 Anyone with knowledge of, and experience teaching, the swing version might consider submitting a proposal for a session at a future AAHPERD Convention, and/or a possible performance in the dance Gala Regardless of the technique, style, or variations used, the Shim Sham is meant to bring dancers together in a democratic celebration of history in motion The dance is intended to be shared and spread wherever dancers get together, so please feel free to teach and perform this dance as often as possible, on National Tap Dance Day, during National Dance Week, or any time it seems appropriate Notes Feldman, A (1996) Inside tap: Technique and improvisation for today's tap dancer Pennington, NJ: Dance Horizons, pp 105-106 Leonard Reed's The Shim Sham Shimmy, presented by Rusty E Frank On Tap Enterprises, 8564 Chalmers Drive, Suite 2, Los Angeles, CA 90035 Frankie Manning, Learn the Shim Sham with Frankie Manning! Bibliography Feldman, A (1996) Inside tap: Technique and improvisation for today's tap dancer Pennington, NJ: Dance Horizons Shim Sham Steps Section Shim Sham Stomp R, Spank R, Step R (8&1) Stomp L, Spank L, Step L (2&3) Stomp R, Spank R, Ballchange R L, Stomp R, Spank R, Stomp R (4&5&6&7) Reverse counts beginning L (8&1, 2&3,4&5&6&7) Repeat counts beginning R (8&1, 2&3,4&5&6&7) Break Step R, dig L, step L, hop, step R, hop, step L, stamp R, stamp L (8,1,2,3&Hold4,&5,6,7) Section Cross Over Step Clap or Hold (8) Stamp R to R, step L, step R, step L (1,2,3,4) Stamp R, scuff L, hop R, step L (crossing front of R) step R (5& Hold 6, &7, 8) Stamp L to L, step R, step L, step R (1,2,3,4) Stamp L, scuff R, hop L, step R (crossing front of L) step L (5&Hold 6, &7, 8) Stamp R to R, step L, step R, step L (1,2,3,4) Stamp R, scuff L, hop R, step L (crossing front of R) step R (5&Hold 6, &7, 8) Stamp L, scuff R, hop L, step R (crossing front of L) step L (1&Hold2,&3,4) Stamp R, scuff L, hop R, step L (crossing front of R) step R (5&Hold6&7) Section Tack Annie Stamp R, Stamp L (&8) Spank R, dig R, step R, Spank L, dig L step L, Spank R, dig R, step R, Spank L, step L, (&1,2&3,4&5,6&7) Repeat more times (&8,&1,2&3,4&5,6&7) Repeat Break from Section (8,1,2,3,&Hold4,&5,6,7) Section Half Break Leap forward on R, step back on L, shuffle R, ballchange R,L (8,1&2&3) Repeat above counts (4,5&6&7) Repeat break from Section (8,1,2,3&Hold4,&5,6,7) Repeat above 16 counts (8,1&2&3,4,5&6&7) (8,1,2,3&Hold4,&5,6,7) Repeat Section and freeze on break counts Repeat Section Repeat Section and freeze on break counts Repeat Section and freeze on break counts Shave and a Hair Cut Two Bits Double chug, double pullback, step R, step L, slam R Enjoy!!!! About The Speakers: Nancy Jo Kane - Dance Teacher ma Kane a "leader and trendsetter" in She has earned international reco dancer, teacher, choreographer, l and her writings have been publis Impulse, Dance Teacher, and The Circle Her exciting and original c been performed in New York, Avig London, and across the United St been recognized by Dance Magaz innovative work, The Swingin' Nu Her ability to teach a wide variety has made her a valued faculty me universities, and private studios character ballet, pointe, modern/c theatre dance, and tap, she also t creative dance, folk dance (mostl ballroom/social dance, Appalachia improvisation, choreography, and classes are informed and support studies in dance history, educatio criticism, and arts administration Nancy's teaching style reflects Br Fonteyn's belief that "We should t but we should not take ourselves that studio work must be done to each student's ability, but creatin classroom by use of force or hars one and can actually adversely aff Different students need different encouragement, humor, prodding understand concepts, but all mus spirit of mutual respect A former National Endowment for scholar, she is a former member Directors for the American Dance served as the Vice President for D District Association of the Americ Health, Physical Education, Recre (AAHPERD) She holds degrees in education from New York Univers Fellow), the Laban Centre for Mov London (M.A.), and the University Boulder (B.F.A., Phi Beta Kappa) Quic kTime™ and a TIFF (Uncomp ressed) decompress or are needed to see this picture Sharon Rae - Sharon Rae has a B.A in T M.S in Education She also holds an Ohio She has taught for the University of Akron South School of Performing Arts, Mount been Director of the Sharon Rae Dance Sc Sharon is a member of AAHPERD, NDA America Life Member, Dance Masters of Sharon has worked with directors from N Lyle Dye of As the World Turns, and Bob Street Her award winning choreography h stages of Carnegie Hall in New York City Walt Disney World She is also listed in th in NYC as the original choreographer for Angel! Love, Gino She also coordinated Down Main Street" to break the Guinness Rae was named Ohio Dance Educator of t Midwest Dance Educator of the Year in 20 director for the Akron ShoBiz Kidz, a mu students age 8-18 Sharon has presented w SCAHPERD, AAHPERD, and the Ohio T taught an estimated 20,000 students the jo teaching and enjoys the people she meets ... about the Shim Sham by Rusty E Franks, which may be purchased with or without a CD of music in different tempos (with and without tap sounds) The DVD, entitled Leonard Reed's The Shim Sham Shimmy, ... 105-106 Leonard Reed's The Shim Sham Shimmy, presented by Rusty E Frank On Tap Enterprises, 8564 Chalmers Drive, Suite 2, Los Angeles, CA 90035 Frankie Manning, Learn the Shim Sham with Frankie Manning!... extraordinaire Frankie Manning adapted the Shim Sham for swing dancers, and the instructions for that version of the dance are also available on a DVD entitled Shim Sham with Frankie Manning The swing