Hubbry Logo
Shim ShamShim ShamMain
Open search
Shim Sham
Community hub
Shim Sham
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
Shim Sham
Shim Sham
Shim Sham
View on Wikipedia
from Wikipedia
The Shim Sham being danced in Montreal in 2022

The Shim Sham Shimmy, Shim Sham or just Sham originally is a particular tap dance routine and is regarded as tap dance's national anthem.[1] For today's swing dancers, it is a line dance.[2]

History

[edit]

In the late 1920s, when Leonard Reed and Willie Bryant were with the Whitman Sisters troupe on the T.O.B.A. circuit in Chicago, they created a tap dance routine they called "Goofus"[3] to the tune Turkey in the Straw.[1][4][5] The routine consisted of standard steps: eight bars each of the Double Shuffle, the Cross Over, Tack Annie (an up-and-back shuffle), and Falling Off a Log.[1][5][6]

In early 1930s, the Shim Sham was performed on stage in Harlem at places like Connie's Inn,[5][6] Dickie Wells's Shim Sham Club,[1][5] the 101 Ranch,[7] the LaFayette Theatre,[1] and the Harlem Opera House.[1]

At the end of many performances, all of the musicians, singers, and dancers would get together on stage and do one last routine: the Shim Sham Shimmy. Tap dancers would perform technical variations, while singers and musicians would shuffle along as they were able.[5] For example, in 1931 flash dance act The Three Little Words would close their show at Connie's Inn with the Shim Sham, and invite everyone to join in, "and the whole club would join us, including the waiters. For awhile people were doing the Shim Sham up and down Seventh Avenue all night long," according to Joe Jones.[6]

According to tap dancer Howard “Stretch” Johnson the word "Shim" was a contraction of the term "she-him", a reference to the fact that the female chorus line dancers at the 101 Ranch were played by men.[7]

At the Savoy Ballroom, some lindy hoppers did the shim sham as a group line dance, without the taps. A bunch of dancers would just jump up and start doing the shim sham on the side of the ballroom, over in the corner. Although a few people might join in, most everybody else kept on dancing without paying any attention to it.[2]

In the mid-1980s, Frankie Manning introduced the shim sham at New York Swing Dance Society dances, and he also created a special version of the shim sham for swing dancers. Frankie Manning's version of the shim sham caught on, and it's now done at swing dances worldwide.[2]

Variations

[edit]

There are several variations of "shim sham" choreography. There is the choreography used by Leonard Reed and Willie Bryant, as well as a number of variations by Leonard Reed and others. Other "shim sham" choreographies include ones by Frankie Manning, Al Minns and Leon James (also called the "Savoy Shim Sham"), and Dean Collins.

The Leonard Reed Shim Shams:

  • The original Shim Sham from 1927, a 32-bar chorus composed of four steps and a break
  • The Freeze Chorus, circa 1930s, the original Shim Sham without the breaks
  • The Joe Louis Shuffle Shim Sham, 1948, a tap-swing dance 32-bar chorus number that Leonard Reed performed with the World Heavyweight Boxing champ Joe Louis
  • The Shim Sham II, 1994, a 32-bar chorus dance based on the original Shim Sham
  • The Revenge of the Shim Sham, 2002, a 32-bar chorus dance, Leonard Reed’s final Shim Sham, which builds upon his original four (the name was suggested by Maxwell DeMille at a performance at the Orpheum Theatre in Los Angeles).

The dance

[edit]

The Shim Sham is 10 phrases of choreography (each phrase lasting four 8-counts), so it does not usually take up an entire song. After the Shim Sham was over, the dancers then would exit either stage left or right, depending on what was agreed upon for that show.

Today in the Lindy Hop scene, once the Shim Sham choreography is over, dancers typically find a partner and break into lindy hop for the remainder of the song. During this portion of the song, the band or a DJ may call out "Freeze!" or "Slow!" instructing the dancers to either stop where they are or dance slowly, then call out "Dance!" to tell everyone to resume normal dancing. The Frankie Manning version repeats the basic choreography (replacing each of the break steps with an 8-beat hold), then adds two Boogie Back/Boogie Forward phrases and two Boogie Back/Shorty George phrases to the end of the second repetition of the basic choreography.[8] Only after the final Shorty George is completed do the dancers break into freestyle Lindy Hop.

The music

[edit]

The Shim Sham goes best with swing songs whose melody lines start on beat eight, as does the choreography. An obvious choice is The Shim Sham Song (Bill Elliot Swing Orchestra), which was written specifically for this dance and has musical effects (e.g., breaks) in all the right places. However, today the Shim Sham — particularly the Frankie Manning version — is danced more often to "'Tain't What You Do (It's The Way That Cha Do It)" by Jimmie Lunceford and His Orchestra, or "Tuxedo Junction" by Erskine Hawkins. In fact, it is typical now at a Lindy dance party for dancers to start up a Shim Sham whenever "'Tain't What You Do" is played. There is also a recording "Stompin' at the Savoy" with the George Gee band where Manning himself calls out the moves.

The steps

[edit]

These are the steps of the original 32-bar Shim Sham:

Step 1: The shim sham/double shuffle

[edit]
Bar Time Steps Left/Right
1 8e1 stomp spank step RRR
2e3 stomp spank step LLL
2 4e1e stomp spank ball change RRRL
2e3 stomp spank step RRR
3+4 repeat with sides reversed
5+6 repeat bar 1-2, ending with:
6 2e3 stomp spank touch RRR

[9]

The break

[edit]
Bar Time Steps Left/Right
7 8 1 stamp toe RL
2 3& step hop step LLR
8 (4)a5 hop step RL
6 7 step step RL

Step 2: Push and cross/Crossover

[edit]
Bar Time Steps Left/Right
9 8123 stamp step stamp step RLRL
10 4 1e step heel step (crossing in front of right foot) RRL
(2)e3 heel step LR
11+12 repeat with sides reversed
13+14 repeat bars 9+10
15 4 1e step heel step (crossing) LLR
(2)e3 heel step RL
16 repeat bar 15 with sides reversed

Step 3: Tacky Annies/Tack Annies

[edit]
Bar Time Steps Left/Right
17 e4e1 stamp stamp spank touch (crossing behind) RLRR
2e3 stamp spank touch (crossing behind) RLL
18 4e1 stamp spank touch (crossing behind) LRR
2e3 stamp spank step (crossing behind) RLL
19-22 repeat twice, ending with:
22 2e3 stamp spank step RLL
23+24 Break as before

Step 4: Half breaks/Falling-off-the-log

[edit]
Bar Time Steps Left/Right
25 8 1 stamp step RL
e2e3 shuffle ball change RRRL
26 repeat
27+28 break as before
29-32 repeat 25-28, ending the break with:
32 (4)e1 hop step RL
2 3 jump out, jump in BB

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Shim Sham

View on Grokipedia
from Grokipedia
The Shim Sham, also known as the Shim Sham Shimmy, is a classic routine that originated during the era in the and is recognized as the of tap dancers worldwide. Choreographed by Leonard Reed and Willie Bryant in the late as a routine initially titled the "Goofus," it features a sequence of precise steps including crossovers, shuffles, and heel drops, typically performed in a line formation. The dance has endured for nearly a century, often serving as a finale or encore in tap performances to encourage participation. Beyond its tap roots, the Shim Sham evolved in the swing dance community during the 1930s and 1940s, where Lindy Hop dancers at New York's Savoy Ballroom adapted it into a non-tapped group line dance, emphasizing rhythmic footwork and social interaction. This version gained renewed prominence in the mid-1980s through the efforts of Frankie Manning, a pioneering Lindy Hop dancer, who expanded the routine to a full 32-bar chorus and popularized it among modern swing enthusiasts. Commonly performed to jazz standards such as "Tuxedo Junction" by Glenn Miller or live swing arrangements, the Shim Sham bridges historical tap traditions with contemporary social dancing, fostering inclusivity across skill levels. Its enduring appeal lies in its simplicity, accessibility, and role in preserving African American contributions to American vernacular dance forms.

History

Origins in Vaudeville and Tap

The Shim Sham emerged in the late 1920s as a routine within African American communities, particularly in , New York, amid the vibrant cultural scene of the . It developed on the Theater Owners Booking Association (TOBA) circuit, a network of theaters that provided performance opportunities for Black entertainers across the , fostering the evolution of and tap forms in segregated venues. The routine drew influences from earlier popular dances such as the , characterized by rapid shoulder shakes, and the Black Bottom, a lively from the that emphasized rhythmic footwork and hip movements. These elements contributed to the Shim Sham's transformation into a structured tap routine, blending improvisational flair with precise, repeatable patterns suitable for stage performances. Initial performances occurred through groups like the Whitman Sisters, a renowned African American troupe active from the early , who incorporated the routine into their shows as a high-energy finale involving the entire cast. This marked the Shim Sham's shift from informal social dancing to a choreographed form, with tap dancers Leonard Reed and Willie Bryant credited for its creation around 1927 while touring with the Sisters on the TOBA circuit. Originally titled "Goofus," it later became known as the Shim Sham after the nightclub where it gained popularity. By the late 1920s, it had gained a standardized structure as a short, accessible tap sequence on these touring circuits, often performed to simple melodies and adopted by chorus lines for its ease and crowd appeal.

Choreography and Early Performers

The Shim Sham routine was choreographed by tap dancers Leonard Reed and Willie Bryant in the late 1920s, originally titled "Goofus," during their time touring with the Whitman Sisters' revue on the Theatre Owners Booking Association (TOBA) circuit. This quick-to-learn finale incorporated standard tap steps of the era, designed for easy execution by performers of varying skill levels at the close of shows. In the early 1930s, the routine was performed at venues including the Lafayette Theatre. Willie Bryant, who later became a prominent , contributed by integrating the Shim Sham into his musical ensembles' acts, enhancing its rhythmic synchronization with live accompaniment. Early documentation of the Shim Sham appears in performances at Harlem nightclubs such as the and integration into Black acts through troupes like the Three Little Words, who popularized it as an audience participation number starting in 1931. In the , the routine was showcased in stage shows and recordings as a transitional element, beginning as a solo or duo demonstration before expanding into a group involving musicians, singers, and dancers.

Revival in Swing and Lindy Hop

The Shim Sham, originally choreographed as a tap routine by Leonard Reed and Willie Bryant, saw its adaptation within swing dancing emerge prominently at the , where dancers performed a non-tap version as a group during social sessions. This early integration highlighted the routine's versatility beyond tap stages, allowing Savoy regulars to execute it with standard shoes amid the ballroom's vibrant atmosphere. Post-World War II, the Shim Sham experienced a major resurgence through Savoy Ballroom alumni such as Al Minns and Leon James, who reintroduced and taught the routine in New York performances and workshops during the and . As original dancers and members of , Minns and James preserved the dance's jazz roots, demonstrating variations like the Savoy-style Shim Sham in archival films and stage shows that bridged the to modern audiences. Their efforts helped sustain the routine during a period when swing waned, laying groundwork for broader revival by emphasizing its rhythmic, improvisational qualities suited to contexts. In the 1980s, amid the swing dance revival, Frankie Manning, a Savoy veteran and Lindy Hop innovator, significantly popularized the Shim Sham by teaching it to emerging Lindy Hoppers at the New York Swing Dance Society events. Manning simplified the original tap elements—such as replacing complex shuffles with straightforward slides and stamps executable in regular shoes—transforming it from a specialized tap form into an accessible vernacular jazz dance that anyone could join without formal training. This adaptation underscored the routine's communal appeal, enabling non-tap dancers to participate fully in its syncopated, call-and-response structure. Key milestones in this revival included high-profile performances that showcased the Shim Sham's renewed vitality, such as leading group routines at major swing gatherings, which cemented its role as a unifying finale in jams. By the late 1980s, the routine had become a staple at events worldwide, often concluding jams with dancers forming lines to execute the steps collectively before transitioning into partnered swings, fostering inclusivity and shared celebration of heritage.

Description

Performance Characteristics

The Shim Sham is structured around 8-count phrases in 4/4 swing time, emphasizing through accents on off-beats and polyrhythmic patterns that phase against the , often beginning on the "and" of count 8 to create a dynamic rhythmic interplay. This foundation highlights heel-toe taps as a core element, where dancers execute precise heel drops followed by toe brushes to generate crisp, resonant sounds that align with the music's swing groove. Performance style features an upright posture with a grounded yet elongated torso, enabling fluid weight shifts and clear lines that convey rhythmic precision and jazz-era elegance. Arm swings accompany the footwork, providing a loose, swinging motion that enhances the overall groove and body isolation, while the routine's fixed structure permits improvisational flair through personalized accents or stylistic variations. Originally conceived as a solo tap routine, the Shim Sham has become predominantly a group performance executed in lines facing the audience, fostering unity through synchronized movements and visual symmetry across rows of dancers. The dance typically spans 32 counts—four 8-count sections—though extensions to 64 counts occur via repetition, with pacing that gradually builds energy through recurring motifs like escalating taps and breaks.

Group Dynamics and Context

The Shim Sham functions prominently as an inclusive jam or finale in swing dance social events, where participants of mixed skill levels spontaneously form lines to execute the routine together, creating a communal flash-mob atmosphere that unites the crowd toward the end of the evening. This role encourages broad participation, as the choreographed steps transition into freer improvisation, allowing novices to join without pressure while experienced dancers add personal touches. In competitive and showcase contexts, the Shim Sham appears in performances and tap festivals, where groups or individuals incorporate added flair, such as elaborate solos or synchronized variations, to demonstrate precision and creativity. It serves as a recognized "" for tap communities during these events, often closing festivals with collective renditions that highlight ensemble dynamics. Instructionally, the Shim Sham is taught in workshops across global swing and tap scenes as an accessible entry-level routine that emphasizes timing, rhythm, and group coordination, making it ideal for building foundational skills and social bonds among learners. These sessions, held in studios and at camps worldwide, cater to beginners by breaking down the steps progressively, while also serving intermediate dancers through opportunities for stylistic exploration. The dance's inclusivity stems from its gender-neutral, solo format, which accommodates all ages and physical abilities, from children to older adults, by relying on adaptable, low-impact movements that prioritize enjoyment over complexity. This setup fosters camaraderie on the dance floor, as participants share a universal routine that bridges skill gaps and promotes a welcoming environment in diverse social settings.

Music

Original and Traditional Accompaniments

The Shim Sham's original accompaniment centered on from the late 1930s, with "" by and His Orchestra serving as the primary tune following its 1939 recording. This instrumental piece, co-written by Hawkins, saxophonist Bill Johnson, and composer Julian Dash, features a driving swing in a 32-bar AABA form that aligns precisely with the routine's phrasing and structure, making it ideal for group synchronization during performances. In its earliest iterations during the and on the Theatre Owners Booking Association (TOBA) circuit, the Shim Sham—initially known as the "Goofus"—was often set to jazz standards and medleys typical of the era's tap and variety shows. Notable early alternatives included "T'Aint What You Do (It's the Way That You Do It)," first recorded instrumentally by and His Orchestra in 1939, which provided a playful, syncopated backdrop emphasizing the dance's rhythmic breaks. Other period pieces, such as adaptations of folk-derived tunes like "," were used to fit the routine's 32-bar format in live theater settings. Accompaniments were provided by live big bands, including Willie Bryant's , where Bryant himself—as both choreographer and —integrated the music with the through on-the-spot , particularly during the routine's signature breaks to heighten audience engagement. These performances occurred in houses and clubs, with the band's brass and rhythm sections underscoring the tappers' precision. Traditional tempos for these accompaniments fell in the mid-range of 120 to 140 beats per minute (BPM), enabling clear articulation of the Shim Sham's footwork while maintaining the energetic swing feel essential to the era's context.

Contemporary Musical Choices

In the post-revival era since the , the Shim Sham has been frequently performed to neo-swing tracks from bands like , whose energetic sound revitalized interest in swing dancing during the 1990s and was commonly featured at workshops and social events. Similarly, electronica-infused compositions, such as the Jamie Berry of "Shim Sham" by Marina & The Kats, have gained popularity in contemporary workshops for their fusion of vintage swing rhythms with modern electronic beats. The routine's versatility allows adaptations to a range of genres beyond traditional swing, including and tracks that emphasize its rhythmic foundations, as demonstrated in performances like pianist Jorg Hegemann's boogie-woogie rendition of the "Shim Sham Shimmy." Since the 2000s, fusion events have incorporated hip-hop beats to reinterpret the Shim Sham, blending its steps with contemporary urban grooves for innovative settings. Dancers often prefer edited versions of classic tunes or original compositions tailored for performance length and energy, such as Swing Orchestra's "The Shim Sham Song," which has been a staple in festival soundtracks and competitions for its precise alignment with the routine's structure. Global influences are evident in international events, where European jazz ensembles like the accompany Shim Sham classes and performances, integrating local swing interpretations during festivals such as JazzAscona in . This builds on traditional accompaniments like "," extending the routine's appeal across diverse musical landscapes.

Choreography

Core Structure and Rhythm

The Shim Sham routine is structured around four principal steps integrated with breaks, forming a complete 32-bar chorus typically performed in swing time at a moderate of 120-160 beats per minute. This format aligns with the AABA phrasing common in standards, providing a balanced progression that accommodates group while allowing individual expression during breaks. The overall length ensures the dance fits neatly within one musical chorus, making it accessible for social settings like ballrooms or jam sessions. At its core, the rhythm emphasizes syncopated patterns of alternating shuffles, crosses, and stamps executed on the balls of the feet, creating a lively, propulsive feel that echoes the upbeat . These elements are organized into 8-count phrases, with breaks inserted after each major step to introduce 8-count pauses for stylistic flair, holds, or brief , enhancing the routine's dynamic contrast without disrupting the flow. The breaks, often featuring freezes or simple poses, serve as rhythmic anchors that reinforce the underlying 4/4 meter. Transitions between the steps are engineered for seamless continuity, relying on natural weight shifts and directional changes that maintain momentum across the 32 bars, leading to a unified ending pose or gradual dispersal among dancers. This fluid connectivity underscores the routine's design as a , where participants align in rows to mirror movements collectively. In adaptations ranging from tap to non-tap versions, the fundamental 32-bar framework and rhythmic essence persist as the unifying thread, preserving the dance's integrity while permitting stylistic variations.

Step 1: Shim Sham/Double Shuffle

The opening step of the Shim Sham routine, known as the Shim Sham or Double Shuffle, involves a series of heel-toe movements that form the foundational shuffling action. Dancers begin with the right foot executing a —heel drop, tap, heel drop, tap—followed immediately by the left foot performing the same heel-toe-heel- , with the entire pattern repeated twice to fill an 8-count phrase. This footwork starts on the right side and incorporates opposite arm swings to maintain balance and propel the body's natural groove forward. The step's design emphasizes a light, rhythmic propulsion that sets the energetic tone for the full routine, drawing from tap traditions while adapting for group in ensembles. A frequent challenge in execution is over-emphasizing the foot strikes as heavy taps, which disrupts flow; instead, performers should prioritize a relaxed, swinging motion to evoke the routine's signature shimmy-like shake and establish immediate rhythmic engagement.

Break

The Break serves as a transitional pause and accent within the Shim Sham routine, typically executed on counts 7-8 of each 8-count phrase following the preceding shuffles. In the swing dance adaptation popularized by Frankie Manning, it often involves a stomp with the left foot on count 7 followed by a clap on count 8, or alternatively a brush-step backward, with dancers frequently adding a subtle body roll through the torso or an extra hand clap for rhythmic emphasis. These elements create a sharp, percussive halt that punctuates the movement. Variations in emphasis allow for a full stop to heighten dramatic effect, such as freezing in place briefly to build tension, and the Break is repeated after each major step in the routine to maintain its structural rhythm. This flexibility enables performers to adapt the intensity based on the performance context, from subtle resets to bold highlights. The Break's role is multifaceted: it provides essential breathing space for dancers to recover and reposition, underscores group synchronization by requiring precise timing across the line, and offers opportunities for individual styling through added gestures or flair. Historically, the Break derives from "breaks" in early 20th-century Black performance circuits like the TOBA, where such pauses facilitated audience interaction, such as calls and responses or comedic interludes to engage viewers.

Step 2: Push and Cross/Crossover

The Push and Cross, also referred to as the Crossover, constitutes the second step in the Shim Sham routine, originally choreographed by Leonard Reed and Willie Bryant in 1932 as a showpiece. This step emphasizes rhythmic propulsion through repeated forward pushes, followed by crossing footwork that introduces lateral and crossing motions to the dancer's path. Beginning on the right side, the dancer executes three pushes: on counts 1, 3, and 5, the right foot steps forward with a slight body angle to the right and hip emphasis, pulling back on the even counts (2, 4) to create a bouncing, energetic feel; this is followed by a left foot kick forward on count 6, crossing the left foot over the right on count 7, and uncrossing with a step to the side on the right foot on count 8. The sequence is immediately mirrored to initiate the left side, starting with pushes on the left foot, a right foot , right over left, and left side step, before repeating the right-side pattern once more to complete the full 24-count section (three 8-count phrases). Arm integration enhances the momentum, with the left arm swinging forward opposite the right-foot pushes (and vice versa for the left side) to propel the body and accentuate the directional shift into the crossover. This coordination of arms and legs adds a layer of stylistic flair, common in tap executions of the routine. The step's design injects dynamic energy and visual contrast after the preceding break, propelling dancers forward and sideways to build momentum toward subsequent, more intricate movements like the Tacky Annies, while maintaining the routine's accessible, line-dance format for group synchronization. Performed within an 8-count basic unit—with crosses landing on counts 7-8 of each —the Push and Cross highlights the Shim Sham's blend of simplicity and rhythmic drive, making it a pivotal transitional element in the .

Step 3: Tacky Annies

The Tacky Annies step, the third segment in the Shim Sham routine, features rotational footwork that introduces twisting motions following the linear crossovers of the previous step. Dancers begin with a quick preparatory step to the right followed by a step to the left on the "&8" counts, then execute a series of toe taps behind the supporting leg, alternating sides: right toe behind on count 1, left toe behind on count 2, right toe behind on 3, left toe behind on 4, right toe behind on 5, left toe behind on 6, and a weighted step on the left on 7, all while bending the knees downward on the steps and rising on the taps to create a bouncy, undulating . This circling action—where the right foot sweeps behind the left (the "Tacky" portion) and the left behind the right (the "Annie" portion)—is repeated three times over 24 counts in the routine, with each 8-count phrase emphasizing knee bends for rhythmic propulsion. Styling emphasizes playful exaggeration, with hips swaying in opposition to the circling feet to enhance the step's comedic, asymmetrical flair; dancers often accentuate the knee isolations and torso twists for visual humor, contrasting the upright, forward momentum of earlier segments. The step's name derives from vaudeville-era anecdotes, including tap dancer Jack Wiggins' onstage quip to his partner Annie during a 1927 performance—"Annie, next step may be tacky, but I'm gonna do it for you!"—which captured the move's cheeky, irreverent spirit amid the routine's goofus style. This humorous asymmetry serves to inject levity into the choreography, reflecting the Shim Sham's roots in 1920s tap and jazz vaudeville traditions where performers like Leonard Reed and Willie Bryant blended precision with theatrical whimsy. As the routine progresses, the repetitions encourage building speed in the circles and taps, heightening the energetic flow before transitioning to the half breaks.

Step 4: Half Breaks/Falling off the Log

The Half Break, also known as Falling off the Log, is the fourth and final step in the Shim Sham routine, characterized by off-balance leans and recovery movements that simulate the precarious motion of log-rolling. This step evokes imagery of lumberjacks balancing and tumbling from floating logs, a visual rooted in early 20th-century performances. In execution, dancers begin facing right, leaning forward onto the right while dropping the for stability, followed by a twisting shuffle back to recover balance; the movement alternates to the left side in a rolling . The footwork involves a half-turn on the , a stamp for recovery, and often incorporates shuffles or ball-changes to maintain rhythm, typically performed over two counts of eight in 4/4 time. This twisting action, sometimes varied with leaps or hops, emphasizes a heel drop and stand on the supporting foot, creating an illusion of imbalance. The step serves to culminate the Shim Sham routine with dynamic contrast, building tension through its unsteady quality before resolving into the final break, enhancing the overall energetic flow of the dance. For effective performance, dancers maintain a controlled lean to prevent actual falling, using arm extensions or counterbalances for stability while keeping the upper body engaged to amplify the log-rolling effect. This approach, popularized in tap traditions by performers like Pat Rooney Jr., ensures the movement remains playful yet precise.

Variations

Tap Dance Interpretations

In Leonard Reed's original version of the Shim Sham, choreographed with Willie Bryant in the late 1920s as a vaudeville finale, performers emphasized percussive elements such as robust shuffles and scuffs to ensure audibility and projection on stage without amplification. These steps, including the double shuffle and half breaks, were executed with forceful taps to carry the rhythm across large theaters, reflecting the era's demand for bold, audible footwork in live ensembles. Modern tap interpretations of the Shim Sham often incorporate additional flourishes, such as wings or pulls during the break sections, to add visual and rhythmic complexity while preserving the routine's foundational structure of shuffles, crossovers, Tacky Annies, and falling off the log. These enhancements are frequently showcased in competitive settings like tap festivals, where dancers adapt the classic sequence for contemporary audiences and judging criteria focused on precision and . Influential performers have shaped tap-specific evolutions of the Shim Sham; for instance, in the late 20th century, Savion Glover contributed to revivals by infusing the routine with intricate layering and improvisational depth, as seen in his collaborative performances that blend traditional form with postmodern tap sensibilities. Tap dancers executing the Shim Sham rely on hard-soled oxford-style shoes fitted with metal tap plates to produce distinct, resonant sounds, particularly on wood floors that amplify clarity and prevent muffled rhythms. This equipment choice ensures the percussive nuances of shuffles and scuffs stand out, maintaining the dance's integrity across varied performance venues.

Swing and Social Dance Adaptations

Frankie Manning's adaptation of the Shim Sham in the late 1980s transformed the original tap routine into a soft-shoe version suitable for Lindy Hop dancers, eliminating the need for full taps and incorporating optional light footwork to focus on fluid body swings and the natural proximity of dancers in social lines. This version added elements like boogie forwards, boogie backs, and Shorty Georges, culminating in a transition to partnered Lindy Hop freestyle after the final sequence, enhancing its role as a communal closer in swing events. In social swing environments, the routine underwent tweaks to promote group participation, such as replacing traditional full breaks with eight-count holds that allow for quicker re-entry by newcomers without disrupting the flow. Some performances integrate Charleston-inspired steps, like the Tack Annie, to blend historical flavors into the line formation, making it adaptable for mixed-skill jams at dances. Regional variations have emerged to suit local swing styles. These adaptations prioritize accessibility, reducing technical demands by encouraging basic jazz steps and personal flair over precise rhythms, enabling casual dancers to join jams confidently and fostering inclusivity across skill levels.

Cultural Impact

Role in African American Dance Heritage

The Shim Sham, a tap dance routine developed in the 1920s by African American performers Leonard Reed and Willie Bryant in Harlem, draws deeply from African diasporic rhythms, incorporating percussive footwork and syncopated patterns that echo the polyrhythmic structures central to West African dance traditions fused with European influences in the Americas. This fusion positions the Shim Sham as a cornerstone of African American vernacular dance, embodying the improvisational and rhythmic vitality that defines jazz dance. As a line dance performed in communal settings like jazz clubs and theaters, it served as a social ritual, promoting unity and collective expression within Black communities during the Harlem Renaissance era. The routine's preservation within African American dance heritage is evident in the documentation of tap dance traditions in major institutional archives, including the , which features oral histories from figures like Frankie Manning. Organizations such as the American Tap Dance Foundation further sustain its legacy through teaching initiatives and awards that emphasize tap's African American roots. Despite its foundational role, the Shim Sham has endured challenges of erasure in mainstream dance narratives, where its origins in Black innovation are frequently minimized or overshadowed by white appropriations, contributing to a broader historical marginalization of African American contributions to American dance. This invisibility has been actively addressed by Black dance historians since the 1970s, including Lynne Fauley Emery in her seminal Black Dance: From 1619 to Today (1978), which traces the continuum of African American social and concert dances, and Marshall and Jean Stearns in Jazz Dance: The Story of American Vernacular Dance (1968, revised 1979), underscoring the Shim Sham's place in tap and jazz evolution against systemic exclusion.

Global Influence and Modern Practice

The Shim Sham has achieved widespread international adoption through swing dance festivals and global collaborations, with instruction offered in numerous countries. The Herräng Dance Camp in , a premier event for swing and jazz dance enthusiasts established in the 1980s, draws participants from over 70 countries each year and incorporates Shim Sham workshops as a core element of its programming. This exposure has facilitated the routine's teaching and performance across continents since the 1990s, embedding it in diverse cultural contexts. As of 2025, the Herräng Dance Camp continues to host thousands of participants from around the world, incorporating Shim Sham workshops. A notable demonstration of its global reach occurred in 2009 with the Global Shim Sham project, a coordinated effort uniting thousands of dancers from 22 countries in a compilation video honoring tap pioneer Frankie Manning. In contemporary settings, the Shim Sham remains a staple in dance education, featured in online tutorials that have proliferated since the early ; for example, instructional videos on platforms like provide detailed breakdowns, amassing hundreds of thousands of views and enabling widespread self-learning. The routine's modern practice extends to fitness-oriented classes and social events, where it serves as an accessible entry point to principles, emphasizing rhythm and coordination. Following the onset of the , virtual workshops surged in popularity, allowing remote participation in Shim Sham sessions and preserving community connections during lockdowns.

References

  1. https://www.ndeo.org/Learn/Online-Courses/Course-Catalog/OPDI-M24
  2. https://austinswingsyndicate.org/its-sham-sham-time/
  3. https://labanlab.osu.edu/rhythmsfolder/rhythmshelppages/shimshammore.html
  4. https://dancespirit.com/the_shim_sham_a_tap_tradition/
  5. https://authenticjazzdance.wordpress.com/2014/01/07/the-short-story-of-the-shim-sham/
  6. https://capetownswing.co.za/2023/06/the-shim-sham-a-brief-history-of-a-swing-dance-institution/
  7. https://swingdancehome.com/en/the-history-of-the-shim-sham/
  8. https://www.triplestepstudios.com/blog/the-shim-sham-routine
  9. https://pancocojams.blogspot.com/2015/04/taint-what-you-do-record-shim-sham-dance.html
  10. http://www.nytimes.com/1969/01/20/archives/two-jazz-dancers-recreate-the-past.html
  11. https://socialdance.stanford.edu/Syllabi/Madison.pdf
  12. http://www.jitterbuzz.com/shmhis.html
  13. https://scholarsbank.uoregon.edu/server/api/core/bitstreams/304689e9-6c25-425c-b18f-b3d5d49ddc71/content
  14. https://us.blochworld.com/blogs/beyond-the-barre/history-of-our-favorite-tap-steps
  15. https://letitswing.tv/workshops/swing-into-joysolo-jazz-and-charleston-choreo/
  16. https://www.sugarfootstomp.co.nz/blog/2019/3/10/what-is-this-thing-called-the-shim-sham
  17. https://www.atdf.org/events
  18. https://www.jazzmad.co.uk/classes/
  19. https://swing-in-the-isle.mailchimpsites.com/the-shim-sham
  20. http://www.swingdancevegas.academy/shimsham.html
  21. http://www.tapdancingresources.com/products/music/shim-sham.htm
  22. https://secondhandsongs.com/work/40117/all
  23. https://swingonin.com.au/neo-swing-bit-history/
  24. https://electroswing.bandcamp.com/album/shim-sham-jamie-berry-remix
  25. https://www.youtube.com/watch?v=4HfddcCHy0s
  26. https://rikomatic.com/2012/12/the-b-boy-shim-sham-a-fusion-of-lindy-hop-and-hip-hop-video.html
  27. https://trumpet-marigold-26cx.squarespace.com/s/Shim-Sham-routine-with-Rusty-Franks-Extended-Section.pdf
  28. https://jazzascona.ch/en/caffe-corretto-jazz-2/
  29. https://www.copperknob.co.uk/stepsheets/38149/the-shim-sham
  30. https://www.ocswing.com/pages/review/shimsham.pdf
  31. https://swingdanceleeds.com/flashback-vaudeville/
  32. https://nybaroquedance.org/wp-content/uploads/2017/07/jplys_seattle-historic-dance-wknd-notes.pdf
  33. https://www.idance.net/en/lessons/1118-tap-shim-sham-3-pushes-and-cross-online-tap-dance-lesson-with-evita-arce-nathan-bugh
  34. https://academic.oup.com/book/32849/chapter/275639561
  35. https://static1.squarespace.com/static/5de32600f9af5e6088855e01/t/5e87d9a3c77d204f579ad927/1585961379464/Shim+Sham+routine+with+Rusty+Frank%27s+Extended+Section.pdf
  36. http://tifd.org/camp2015/201511TexasCampSyllabus.pdf
  37. https://secretsofsolo.com/2020/06/solo-jazz-steps-and-history/
  38. https://taphistory.wordpress.com/standard-style-steps/
  39. https://www.dancespirit.com/the_shim_sham_a_tap_tradition/
  40. https://lindyland.com/dance-styles/line-dances/shim-sham-cb/
  41. https://www.youtube.com/watch?v=h3_1fO-6NMw
  42. https://www.youtube.com/watch?v=I4w7nGMsyIg
  43. https://danceinteractive.jacobspillow.org/themes-essays/tap/savion-glover/
  44. https://dancewearfashion.com/blogs/tips/ideal_dance_flooring_for_tap_dance
  45. https://nottinghamlindyhop.com/2023/05/14/may-classes-shim-sham-frankie-6s-frankie-manning-world-lindy-hop-day/
  46. https://www.facebook.com/groups/nwalindyhopandswing/posts/2639075082793480/
  47. https://digitalcommons.pace.edu/cgi/viewcontent.cgi?article=1193&context=honorscollege_theses
  48. https://www.washingtonpost.com/archive/lifestyle/1992/05/20/a-jumpin-jazz-weekend/4b7eb030-fef2-44cf-96ac-a06b503fc2e1/
  49. https://www.npr.org/transcripts/1066965712
  50. https://www.atdf.org/preservation-bios
  51. https://www.swingindenver.com/blog/shim-sham-and-cultural-appropriation
  52. https://online.ucpress.edu/res/article/1/4/412/116091/Black-Soundwork-Knowledge-Production-and-the
  53. https://academiccommons.columbia.edu/doi/10.7916/D80C5356/download
  54. https://www.frankiemanning.com/
Add your contribution
Related Hubs
Contribute something
User Avatar
No comments yet.