caa a22 4500 386309639 CHVBK 20180307111541.0 cr unu---uuuuu 161130s1988 xx s 000 0 eng 10.2307/1478812 doi S0149767700010214 pii (NATIONALLICENCE)cambridge-10.2307/1478812 Malone Jacqui "Let the Punishment Fit the Crime”: The Vocal Choreography of Cholly Atkins [Elektronische Daten] [Jacqui Malone] From the Twenties through most of the Forties, American tap dance in the jazz/rhythm tradition experienced its heyday. Suddenly in the late Forties, the bottom dropped out for many rhythm tap dancers who had established successful careers in vaudeville, musicals, and with big bands. The great chronicler of jazz dance, Marshall Stearns, died wondering whether or not American vernacular dance was vanishing forever. Even today, many still believe that tap absolutely ended with the advent of rock-and-roll, or that it remained in a deep freeze until its revival in the late Sixties. However, the existence of black vocal groups such as those in the Motor Town Revue helped retain and preserve much of the vocabulary of American vernacular dance, including that of tap. The man largely responsible for this retention and cultural transference was Cholly Atkins, who worked as choreographer for Motown Records from 1965-1971. Copyright © Congress on Research in Dance 1988 Dance Research Journal Cambridge University Press 20/1(1988), 11-18 0149-7677 20:1<11 1988 20 DRJ https://doi.org/10.2307/1478812 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.2307/1478812 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Malone Jacqui NATIONALLICENCE 773 0- Dance Research Journal Cambridge University Press 20/1(1988), 11-18 0149-7677 20:1<11 1988 20 DRJ CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge