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Abstract This chapter focuses on tap artist Dianne Walker, whose story is iconic of generations of largely unacknowledged black women dancers who have engaged in evolving tap dance as an art form and as an expression of the feminine in the form. Born in Boston, Massachusetts, on March 8, 1951, Walker was raised in the racially mixed but predominantly black neighborhood of Roxbury, with its profusion of jazz clubs and social gatherings. She made her first imprint on the New York tap scene at age thirty-one when she attended the By Word of Foot II tap festival in New York City, a three-day event of classes and performance jams organized by Jane Goldberg that included, among others, Honi Coles, Mable Lee, and Leon Collins, Walker’s mentor and protégé. The chapter then considers how black women adapted the concept of Black Feminism, which addressed the multilayered needs of African American women that the feminist movement largely ignored. Despite the subtle differences between Womanism and Black Feminism, both supported an agenda of black women’s self-definition and self-determination. Teaching and co-directing the Leon Collins Star Steps Dance Studio in Boston’s black community and in Brookline, Walker remained intent on teaching and helping to revive tap dance for youth, particularly black dancers inculcated with the new rap and hip-hop, and who had little understanding of their roots in jazz.