When it comes to legendary dancers, many people know about Bill “Bojangles” Robinson, Sammy Davis Jr. and Gregory Hines. However, men were not the only talented black/a> to grace the stage. There were also many other moderns worthy of some consideration today. In honor of Black History Month, here’s a quick look at a few others:
Johannis Bullae (1902-1986 .).
If you ask me, no catalog of hoof legends should be complete with a nod to John Bulls. He was a native of Kentucky and considered by many to be the father of Rhythm Tap. During his career, he starred in movies, on Broadway and in places like the Apollo Music Hall and Radio City. I wanted to acknowledge him because he and his partner Buck Washington were two of the men who crossed the line of color in the heyday of vaudeville. I think it’s a lot of guts to do in those turbulent times.
Peg Leg Bates (1907-1998).
Peg Leg Bates was a talented sound dancer from South Carolina. One of them that sets it apart from the others in this catalog is that it has only one leg. Although his disability did not stop him. Over the course of his career he performed on Broadway, on television and in venerable venues such as the Cotton Club. I wanted to highlight that he also had guests at the Catskills hotel industry, which I know. He and his wife opened a resort there called Publ Leg. In its heyday, the club was the place to be if you wanted to watch the sound of dancers and listen to phenomenal jazz music . He later sold the establishment and moved to South Carolina. He remained there until his death in 1998.
Charles Honi, Coles (1911-1992).
Charles “Honi” Coles is another man who should be recognized for his talent. He was a Pennsylvania native who enjoyed a long and distinguished tap dancing career. Film, television and television buffs may recognize him from appearances in such productions as “The Cotton Club” and “The Best of Bad Blondes.”
Chuck Green (1919 – 1997
Chuck Green was a famous sound dancer from Georgia. I wanted to recognize him for his great comeback. In one run, he was hospitalized for more than a decade. But, immediately released, he took center stage again by force. I think this took a huge amount of moxie. If you want to learn more about him, I would suggest a copy of “No Maps On My Taps” (1978). It is an excellent document that partially highlights Green’s work.
On the Brothers of Nicholas
The last legendary hoofers to make my list are The Nicholas Brothers, Harold and Fayard. Tarentum was an incredible achievement. That’s why I chose them. Some of the productions associated with them are “Storm of Storms” (1943) and “The Argentine Way Down” (1940). You can learn more about the pair on their website or by watching “The Nicholas Brothers: We Can and We Dance” (1992).
Source: Personal Use
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