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Introduction
It is hard to disagree that dances are an integral part of culture and humanity as a whole. From the course of history, one can learn that centuries ago, dances were used in different situations. For example, shamans added intricate rhythmic movements to their rituals, a won battle was celebrated with victorious dances, and special dancing performances were also included on other holidays. Most nationalities have their own national dances, which symbolize their cultural heritage and customs. Further, dances are still an important part of everyday life – they can be found in most commercials, music videos, and on the streets of cities. The same dance style, chosen by two separate dancers, can make a different impression on the audience and carry various meanings. Though the performances of Chloe Arnold and Dormeshia both incorporate the primary and more advanced elements of the tap dance, the messages, emotions, and some other features of their performances are still different.
Background of the Tap Dance
One of the most famous and fun dancing types is tap. According to Frank, this is a “style of dance in which a dancer wearing shoes fitted with heel and toe taps sounds out audible beats by rhythmically striking the floor or any other hard surface.” Initially, it occurred in the U.S. through the fusion of several ethnic percussive dances (Schroeder 7). The main ones were English, Irish, and Scottish jigs and hornpipes and West African secular and sacred step dance known as gioube (Frank). From the 1920s to the 1940s, the tap dance, a highly rhythmical and engaging style, became a regular feature of nightclubs and then entered films and stages.
Later, the tap dance was upgraded, improvised, and changed by introducing new features. It has many easy and more advanced steps and elements, in which the main dance load goes to the muscles of the legs and arms (Seibert). The former move continuously, beating the rhythm with a toe or heel. As for the arms, the dancers swing them in the air to maintain balance.
Description of Chloe Arnold Performance – Beyoncé’s “Formation”
This dance that incorporates the tap elements is performed to Beyoncé’s song “Formation.” Overall, this is an incredibly powerful, energetic, and rhythmical performance that features several dancers, the central one being Chloe Arnold. The dance organization is the following: first, only Chloe is performing, then another woman joins her, and the other three dancers enter the illuminated part of the stage. When the music video begins, the dancer is motionless – Chloe froze with her head down, her arms along her body, and her feet shoulder-width apart (Musco Center for the Arts). At the same time, the audience can feel the tension in her body and readiness to move. A second later, the dancer begins to move, gently but powerfully raising her head, placing her hand on her hip, and moving her hip to the left (Musco Center for the Arts 00:00:02). These first movements are like coming out of a trance or the blooming of a flower – on the one hand, gentle, but on the other hand, dangerous, poisonous, and energetic.
In this particular performance, the dancers’ entire bodies are involved in the process. Chloe Arnold uses her arms, legs, hips, head, and other body parts to make specific movements that either do or do not belong to the tap dance style (Scacchetti 12). For example, the dancers spin around, touch each other, and perform movements either simultaneously or in turn (Musco Center for the Arts 00:01:33-00:01:42). They bend and unbend their knees and arms at the elbow, move their pelvis and chest, creating smooth rotational or sharp movements, and lean their body forward many times during the dance (Musco Center for the Arts 00:01:47). Thus, it can be seen that indeed the entire body of each of the five dancers is involved in the process.
As for the elements, sounds, and rhythms of the tap dance that are incorporated in this performance, it is possible to identify several of them. To begin with, the women show the basic elements of the tap: shuffle ball, single buffalo, step-heel, and ball change (Scacchetti 12). The sounds and rhythms of the tap dance itself appear when the dancers hit the floor with the toes and heels of their special shoes while performing. It is these sounds that complement the song of the performance and create the image of marching soldiers and an atmosphere of power, energy, and fighting spirit. The women perform these movements so abruptly and powerfully that their combination with gentle and smooth movements makes the dance rather meaningful. For instance, one can interpret this dance as a statement about freedom, equality, limitless energy, and the unification of people and entire nations. After all, tap dancing itself is a combination of dances of different peoples that unites their cultures.
Description of Dormeshia’s Performance
Dormeshia’s dance is highly skillful and emotional – a genuine example of tap dance. In the first almost four minutes of the performance, the camera and the eyes of the audience are directed at the musicians who have begun to play. At these moments, the main stage is darkened, and there is no movement on it (“Dormeshia’s ‘And Still You Must Swing’” 00:00:40-00:03:50). However, the main part of the performance begins soon: several lamps are lit and aimed at Dormeshia already dancing on the stage. The audience catches her in motion, and having made several tap-dancing elements, Dormeshia again disappears into the darkness of the scene (“Dormeshia’s” 00:03:55). This performance is mesmerizing from its first seconds, and the atmosphere is felt as airy and mysterious. After a few seconds, another part of the stage is illuminated, and the audience sees a man dancing – the same then happens with the opposite side of the stage. The dancers seem to be presented to the audience separately, in order to then unite on the same stage and in a single dance.
During the major part of the performance, the dancers are in the middle part of the stage, but sometimes they smoothly swift to the right or the left. Although they use all body parts, they mainly move their arms and legs, rarely stopping tapping. Therefore, the tap elements are not just a part of the dance, but the dance itself, and more advanced elements like a double flap, Shirley temple, and seven-count riff are used. Overall, the whole performance seems like a skillful improvisation and demonstration of the most interesting tap steps.
Further, it is essential to discuss the meaning of the performance. According to critics, Dormeshia is considered the queen of tap dance, and her skills and emotions make her performances splendid and mesmerizing (Seibert). The same may be said about this particular dance – it is delightful to watch it, even though it probably lacks a special meaning or message. Indeed, as noticed by National Dance Education Organization, “dance uses movement to communicate thoughts and ideas,” but “sometimes a ‘lack of meaning’ in a dance may be its entire reason for being” (1). When watching this purely abstract performance by Dormeshia and other dancers, the audience may see it as a way for the dancers to have fun. They enjoy the dance, demonstrate their skills, entertain the public, and pay homage to the cultures that influenced this style.
Comparison of the Dances
Based on the descriptions of the dances, it is possible to compare and contrast them. First of all, both performances are highly entertaining and energetic, and it is delightful to watch them more than once. Tap moves are incorporated in each of them, but in Chloe Arnold’s performance, the elements of the tap dance are just a part of the whole process. Sometimes, the dancers stop tapping and show other dance elements, while in Dormeshia’s performance, tapping is an integral part. Further, in the first video, the meaning and message of the dance may be easily received. As for Dormeshia’s dance, it is abstract and aimed at relieving feelings without any particular idea. Finally, the way the dancers move their bodies also differs. For instance, in Chloe’s dance, the movements are evidently divided into gentle and passionate and abrupt and sharp ones; the dancers also use their corpus, chest, and hips for other moves. The dancers in Dormeshia’s performance make more sliding movements and concentrate on tapping.
Conclusion
To draw a conclusion, one may say that both dances are splendid and energetic. The tap dance is a unique style that combines the cultural heritage of different nationalities. It allows dancers not only to add power and abruptness to their performances but also to make them soft and emotional. These differences are evident in the performances of Dormeshia and Chloe Arnold. Although both are mainly based on the elements of the tap dance, these performances differ – while the former is purely abstract, the latter sends an essential message.
Works Cited
“Dormeshia’s ‘And Still You Must Swing’.” Vimeo, Web.
Frank, Rusty. “Tap Dance.” Encyclopedia Britannica, 2021, Web.
National Dance Education Organization. “Understanding Context in the National Core Arts Standards for Dance.” NDEO, Web.
Scacchetti, John. Tap Dance: The Heartbeat of American Dance Culture. 2020. Montclair U, Master’s thesis, Web.
Schroeder, Janet Kathleen. Ethnic and Racial Formation on the Concert Stage: A Comparative Analysis of Tap Dance and Appalachian Step Dance. 2018. Ohio U, PhD dissertation.
Seibert, Brian. “She’s the Queen of Tap. Is Her Moment Now?” The New York Times, Web.
“Tap Dancing Diaspora: Syncopated Ladies – “Formation.” YouTube, uploaded by Musco Center for the Arts, Web.
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