Jig

It first gained popularity in 16th-century England, Ireland, Scotland, and other parts of the British Isles,[1][2] and was adopted on mainland Europe where it eventually became the final movement of the mature Baroque dance suite (the French gigue; Italian and Spanish giga).

The term jig was probably derived from the French giguer, meaning 'to jump' or the Italian giga.

Many set dances are performed in treble jig time, a few being Drunken Gauger, Blackthorn Stick, The Three Sea Captains, and St Patrick's Day.

Danced to five-string banjo or fiddle tunes in 22 or 24 metre played at schottische tempo, the minstrel jig (also called the "straight jig" to distinguish it from Irish dances) was characterized by syncopated rhythm and eccentric movements.

Jig dancers employed a repertoire of "hits" on the heel or toe, "hops" on one foot, "springs" off both feet as well as various slides and shuffles.

[17] The most famous early jig dancer was Master Juba, an African-American who inspired a host of white imitators, many of whom performed in blackface.

John Diamond, an Irish-American who competed with Master Juba in a series of "challenge dances", was among the most prominent of these white minstrel jig dancers.

Minstrel jigs, as well as clogs and breakdowns, were crucial to the evolution of 20th-century tap and soft-shoe dancing.

[18] Sand dancing was a staple of minstrelsy, variety and vaudeville, and was kept alive in later decades largely by African-American tap dancers, including John Bubbles, Bill "Bojangles" Robinson, Sammy Davis Jr., Harriet Browne and, most prominently, Howard "Sandman" Sims.