Dein Perry’s 1996 Tap Dog’s performance is a clear representation of the male Aussie Ocker in their true essence of appearance, surrounding and the Australian way of making a living. Throughout Perry’s boisterous performance displays a warehouse-like setting in which each performer plays a part as a Australian tradesmen working in an industrial environment. Perry has manipulated the Dance Components of the genre tap to create a complex, raw and effective extravaganza which many Australians can relate to in one way or another.
The opening scene displays a small rectangular platform in which five of the performers tap in canon, unison and solo with a curtain blocking all body parts and only revealing the dancers’ feet. This set-up represents a male cubical block in which Perry has sophisticatedly manipulated the scenery and technical tap movements to portray a mockery of the classic Australian public toilet. The sharp, defined ,fast and unhesitant beats including stamps, scuffs, heel and toe digs represents power and masculinity through the tapping. The unison movements, consistent canons and similar scuffed work boots, ripped jeans and thick socks displays the co-operation of a team and creates unity throughout the dance piece. Red and white wash lighting is used during this sequence on the podium to create focus on the feet and resemble dominance as a ‘player’ in the work field. Perry has cleverly characterized the performers through costuming such as worn denim, faded chestys’ and flannelette shirts to further enhance the symbolization of the Aussie Ocker.
As the piece progresses, the stage is filled with misty blue and white lighting to resemble morning haze and the beginning of a new day on the jobsite. The performers then one at a time take turns to take centre stage. Each dancer shows off their individual technical talent through tapping and their characters ‘Aussie Ocker’ personality through facial expressions and body language. Perry has carefully...