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as a "revue of fabulous
Philadelphia artists," "Stepping in Time" featured professional African American tap dancers from the 1930s, 40s, and 50s. The show opened at the Arts Bank in Philadelphia on February 4–5, 1995. Ingram was the show's project director, organizer, executor, and performer. Her other major work "Plenty of Good Women Dancers" (1996) was inspired by brave Black female dancers from the Swing Era following the
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release of the documentary Plenty Of Good Women
Dancers: African American Women Hoofers from Philadelphia, which is about Black female dancers who secured a spot in the world of tap despite restrictions, limited roles, and lack of recognition. Ingram became a choreographer commissioned by Manhattan Tap and Tappers with Attitude, a
91:, she pursued dancing. As her teacher, Robinson encouraged Ingram to find her own voice and to use her whole body. In 1984, Ingram performed with Robinson at the Smithsonian Folklife Festival. By 1985, she was performing on stages and in festivals across the country, and in 1989, Ingram was featured on an Emmy Award-winning
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in
Philadelphia. Ingram's law practice, which spanned thirty years from 1971 to 2001, focused on child welfare, education reform, arts, and equality in the workplace. As an attorney, she defended discrimination class action suits and fought for gender and minority equality in the workplace. In 1994,
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mentored Ingram. In recalling her earliest memories of working with
Robinson, Ingram says simply, "It was all hard." Robinson, according to Ingram, danced without music, which was challenging for Ingram. Two of her major artistic works include "Stepping in Time" and "Plenty of Good Women." Described
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as a Fellow in Law and
Humanities. Following her graduation, Ingram worked as an attorney for thirty years; she focused on laws and advocacy work in the areas of child welfare, education reform, and the arts. As a practicing attorney, Ingram defended discrimination class action suits and fought for
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In 2005, she published an article titled "Chronicling
Resistance Fellow" about the contributions of performer Louise Madison who challenged gender norms in dance by outdancing her male peers, wearing male dance attire, and raising questions about her sexual orientation. In 2010, she also co-wrote
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In the early 1990s, Ingram began working on an oral history project under with the
Philadelphia Folklore Project. This project evolved into a stage production called "Stepping in Time"—which celebrated the careers of Black artists dating back to the 1920s-1950s. In 1996, Ingram helped create and
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is an
American lawyer, dancer, and choreographer. She was also the first Black woman to be appointed as a full-time faculty member at Temple University School of Law in Philadelphia in 1972. Prior to earning the title of assistant professor, Ingram served as a law clerk in Pennsylvania's
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gender and minority equality in the workplace. In 1994, Ingram served as chief of staff for
Philadelphia Superintendent David Hornbeck. While working for the Philadelphia School District, Ingram led the effort to ensure that poorer districts receive fair and proper funding.
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Ingram graduated from the
University of Pennsylvania School of Law in 1971. She then served as a law clerk in Pennsylvania's Supreme Court for Judge Theodore Spaulding. In 1972, she became the first Black woman to be appointed as a full-time faculty member at
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In 2012–13, Ingram was commissioned to create a performance about the African Methodist Episcopal Church in Philadelphia. In 2014, she collaborated with violist Diane Monroe on a project called "Freedom Underfoot," which commemorated the
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using her background in law, Ingram worked as chief of staff for Philadelphia's public school system. In this position, she prioritized the allocation of proper and fair funding to poorer districts.
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where she also worked as a research assistant for the Voluntary Defender Association and participated in the Law Students Civil Rights Research Council. She also completed post-graduate work at
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for Judge Theodore Spaulding. Furthermore, she was the recipient of the Rocky Award from DanceUSA in 2011 and the Tap Preservation Award in 2016, among many others.
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Library of Congress. (n.d.). Germaine Ingram. American Memory: Remaining Collections. Retrieved April 2, 2022, from
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2012: Recipient of the Philadelphia Folklore Project's Award for Folk Arts & Cultural Heritage Practice
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Member of the Leadership Circle for IMPACT, an initiative based in Brandeis University to support the arts
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Member of the Public Art Committee of the Philadelphia Redevelopment Authority's 1% for Art program
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201:"First Black." New York Amsterdam News (1962-), Jul 29 1972, p. 1. ProQuest. Web. 10 Mar. 2022 .
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International Advisory Board for the International Center for Ethics, Justice, and Public Life
443:"Tap Is the Means — An Interview with Germaine Ingram | Lynn Matluck Brooks | thINKingDANCE"
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In 1980 at the age of 33, Ingram put her law career on hold, and under the mentorship of
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In her early thirties, Ingram developed an interest in tap dancing.
423:"The Spidering Life of Louise Madison – Chronicling Resistance"
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Board member for the Leeway Foundation and Arts Nova Workshop
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262:"Germaine Ingram to deliver 2016 'DEIS Impact keynote"
103:company. She partnered with Robinson for 25 years.
241:Zalenski, L. (2007, December 7). Steppin' it up.
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366:"Hangin' with Hank" Episode #5 - Germaine Ingram
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