Dancing Shoes Part Three (Jive to Disco)


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A brief history of dancing shoes

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Dancing Shoes Part Three (Jive to Disco)

  1. 1. Cameron Kippen toeslayer2000@yahoo.com.au
  2. 2. War played a major role in creating the cult of the teenager. For the first time teenagers had disposable income Saturday nights, crowds of teenage kids converged on their local dancehalls.
  3. 3. An absent father and working mother attributed to the alienated working class teenagers who roamed the streets at night creating havoc. American teens started wearing motor cycle jackets T-shirts, jeans and boots or penny loafers.
  4. 4. Dick Clark The show featured teenagers dancing to Top 40 music. Camera shots Included dancers‘ feet so viewers could learn the dances. By 1959 the show had a North American audience of 20 million.
  5. 5. Post war youth had thrown off the old image of Dancing locked together. They no longer needed the dress as their forebears but instead wanted to be free to move. Saddle shoes or sneakers became popular . Jive was the frankest portrayal of sex yet performed in public.
  6. 6. This was a hand dance associated with rhythm and blues. It resembled a highly elaborate version of Pat-a-cake and involved a Complicated pattern of hand moves and claps on various parts of the body, including thigh slapping, cross-wrist slapping, fist pounding, hand clapping, and hitch hike moves. It became popular in intimate clubs where there was no room for dancing.
  7. 7. Canvas topped, rubber soled shoes became the fashion icon of rebellious youth.
  8. 8. Originally were to be called Peds (Latin for foot), but a problem arose when the name was already a trademark. Keds were worn by cheerleaders but quickly were adapted to fast dancing. Keds were worn with ankle socks, tight sweaters and short dirndl skirts called poodle skirts. Pony tails were popular among young teenagers. Sock Hops
  9. 9. The Bunny Hop was a conga type dance. Participants held the hip of the person in front of them and moved left from right with their feet, as they hopped to the beat.
  10. 10. The Bop consisted of couples facing each other and jumping up and down. As they landed they ground their heels loudly into the floor. A laid back version was known as the Sloppy and bopping while skipping in place was called the pony. Doing the bop to other animal mimicry became the chicken, monkey, the dog and the alligator. These were often banned from dance halls because they were considered too risqué.
  11. 11. Released in 1953, the movie was iconic. Based on those disenfranchised ex-servicemen unable to adjust to society after the Second World War their wayward ways held allure to would be delinquents. Brando's sartoria became popular with rebellious youths. His haircut inspired a craze for sideburns and bikers’ boots became popular. The film was banned in the United Kingdom for fourteen years.
  12. 12. Alan Freed popularized the term Rock ‘n’ Roll in 1951 An acrobatic combination of the Lindy Hop and Jive
  13. 13. The most famous shoes of the rock and roll era were Carl Perkin's Blue Suede Shoes. Although Elvis Presley had the big hit the credit was always given to Perkins for composing the song.
  14. 14. The shoes united the world’s youth in rebellion but the shoe styles were quite different in the US and the UK. In American they were quality ‘penny loafers as worn by preppies, whereas The UK Teddy boys; German Halbstark; and French Blousans noirs wore thick crepe soled suede shoes, called Brothel Creepers. Brothel Creepers were cheap and crude shoes made specifically for the emerging youth market with soles more like platforms.
  15. 15. The famous Duck Walk was included on stage because the artist had a wrinkled suite. So popular it instantly became Berry’s trademark for live performances. Chuck Berry
  16. 16.  Fingertip Jacket  Drain Pipes  Bootlace Tie  Brothel CreepersThe style favoured white rockabilly combined with Edwardian tailored jackets.
  17. 17. When the French designer Roger Vivier created the Stiletto heel (4" in height) it became a fashion phenomena. The advent of seamless stockings without heel reinforcement brought the sling back into fashion. Rising hemlines ensured legs were at a Premium. High heels were considered symbols of Playful defiance, and heightened sexuality, and the shoes became the trademark of the naughty girl. Despite their bad reputation by the end of the 50's stilettos were the only shoes a fashionable woman wore.
  18. 18. UK Skiffle did not contribute significantly to popular music per se, but did give prominence to the guitar. Beatniks were unconventional and followed the beat generation as typified by Alan Ginsberg and Jack Kourack. Modern dance put stress on torso using contact- release, floor work, fall and recovery, and improvisation. It was usually performed in bare feet, often with non- traditional costuming.
  19. 19. The popularity of transistor radios sparked a change in popular music listening habits, allowing people to listen to music anywhere they went.
  20. 20. The Cha Cha Cha originated in Cuba and was danced with elbows bent at right angles, chest puffed, feet shuffling snugly side by side. The 'cha‘ embodied the dance's extra step rhythm. The dance was popular with old and young because it allowed youngsters to display individualism and older people Were already familiar with the dance steps of the mambo and rumba.
  21. 21. The burst of newly invented dances and improved sound systems meant there was a upsurge in ballroom dancing which had enormous appeal to the over 25 age group. Professionals like Lionel Blair analyzed, codified, published and taught a number of standard dances. In the UK Come Dancing (BBC) ran on and off from 1949 to 1998, becoming one of television's longest-running shows. The format of the newer show has been successfully exported to other countries under the name Dancing with the Stars. Lionel Blair dances with Cilla Black and Joe Loss
  22. 22. The twist required the dancer to move the shoes in a left and right fashion as if stubbing out a cigarette, then to combine this with swinging the arms and hips as if an imaginary towel was drying the back. Clothes became more tailored and suits were the order of the day.
  23. 23. Wrinkle pickers or needlepoint shoes replaced cumbersome crepe soled shoes. They were lightweight streamlined shoes with dandy looks yet menacingly dangerous. The heel of the female foot was considered particularly erotic in the 60s and backless mules were all the rage. The advent of seamless stockings without heel reinforcement brought the sling back into fashion.
  24. 24. Between the years 1960-63 Tin Pan Alley moguls kept cash registers filled by adhering to the tried and tested systems of previous decades. Stifling originality a return to tailored suits and patent leather shoes was the stage fashion as the beat generation metamorphosed into the new Mersey Beat. Brian Epstein had the original Beatle Boots custom made by stage clothiers.
  25. 25. In the early days of the Beatles wore Cuban heeled boots. Needless to say the fashion became ubiquitous before the toes began to widen and the Chelsea boot or chisel toe became vogue. The boots often incorporated a French seam or central stitch running from ankle to toe on the upper.
  26. 26. Dave Clark Five Beatles Tights and mini skirts meant legs became the focus of attention and the longer the better. Court style shoes took on in the sixties when Jacky Kennedy made them the shoe. Women's hemlines became shorter matching the length of men's jackets. Tight fitting bolero suits (or bum freezers) for men and two piece outfits for women were accompanied with trendy slip-ons.
  27. 27. If the Beatles were the conventional side of pop then the Stones were definitely not. Anarchy ruled, or at least so it was portrayed, and the scruffy lads expressed their individualism on stage by wearing clothes that suited their personality. Perhaps the only physical link that united the five piece band was the sneakers they wore.
  28. 28. The Shake The Mashed Potato
  29. 29. In the mid-sixties exuberant youths divided into two rival factions: the nouveaux moderns or mods that danced to black music and wore designer clothes; and Rockers, or neo Teddy boys. Needless to say they did not enjoy each other's company or their favourite music and took every opportunity to rumble. In England, Mods and Rockers Terrorized coastal towns on Bank Holidays with enormous running fights on the beaches.
  30. 30. Mods wore designer shoes or light dessert boots to protect their ankles from the hot exhausts of their Italian scooters. Rockers sported swashbuckling engineer boots. Their music was distinctly Rock & Roll and they listened to it on jukeboxes, drinking coke or expresso, in coffee bars.
  31. 31. A form of Opvnkv Haco (a traditional dance of the Indigenous American tribes), dancers went barefoot but was banned from many clubs because of the noise. The dance emphasized movements of the feet and postures for the head but the arms were not considered important. The dance was popular among beatniks, ton up boys (pre-rockers) and Australian surfies.
  32. 32. By the late 60s most young Idealists followed the road to Enlightenment and self discovery. Many rejected materialism displaying this symbolically by going barefoot. The sandal or foot thong Became part of the accepted outfit along with kaftans, bells, loons and Afghan coats.
  33. 33. A counter unisex culture grew among working class youths who shaved their heads, wore tailored shirts, half mast Levi jeans and Dr Marten Boots. Skinheads danced to Jamaican and Black American Soul.
  34. 34. By the 70s dancing took place within the confines of high tech disco's with light shows and glamorous settings. Statuesque dancers needed to stand out and the fashion for elevated or platform shoes came to pass.
  35. 35. How about a pair of pink side winders And a bright orange pair of pants You could really be a Beau Brummel, baby If you just gave it half a chance Don’t waste your money on a new set of speakers You get more milage from a cheap pair of sneakers Next phase new wave, dance craze, always Its still rock and roll to me. Billy Joel
  36. 36. WARNING This material has been copied and communicated to you by or on behalf of Cameron Kippen pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice Copyright Regulations 1969