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Extra resources for A l'abri des chateaux forts du moyen-age 120296
11) or some other dance. He would walk around the board, then jump on it, and dance in a manner as though he would pick it up with his feet, jump-off, again walk around, and say something nigger like and dance again. ”57 So Diamond walked around then jumped on the shingle to demonstrate his champion steps, and he “came in black” and talked like a slave to transform those steps into “Negro dancing,” the product of exchange between blacks and whites in the United States. The challenge dancer’s audience was well aware that jigs were Irish and hornpipes English.
46 “House-slaves,” like Dubois, “wielded considerable influence on the others,” recalled ex-slave Austin Steward. But not all New Jersey competitors danced the same way. Field-hand-style steps were conspicuous among public dancers too. On Sunday mornings in 1839, “troops” of Jersey slaves from the countryside danced against city blacks at Philadelphia’s Callowhill Street Market, where as many as sixty contestants assembled along with an integrated crowd of spectators. ” These steps developed into the style known in the United States as flatfoot and in Ireland as sean nós dancing.
These young dancers attracted young, diverse audiences to their shows. 54 Among the “unheard-of, outlandish and inimitable licks” touted in his playbills were the “regular double shuffle” (three beats made by a step and two strokes with the opposite foot, moving out and back), “locomotive imitations” (sounds created by sliding or dragging the feet along the floor), “rattling” (rapid- fire toe and heel taps), and running on his heels. 55 Itinerant circus and theater dancers spread these creolized steps throughout North America.
A l'abri des chateaux forts du moyen-age 120296 by Pernoud+Brochard