American - Dancer | November 19, 1973 -
I like to express myself inside of the work that is given, and I let the dancers do the same.
Savion Glover
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Movie making is such a long process, and they only use that one take, although you do it over and over about 30 times. Live theatre is that one time and one time only.
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They all come from the street - tap, jazz and flamenco. And the streets are always changing. If it comes from the streets, change is the only thing that's consistent.
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There are people who take tap class, do a tap dance. And then there are people who know the dance, who know why they take tap classes. Who know why they do 20 shuffles, or 50 shuffles, before they go on.
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I used to think I had this responsibility to carry on this tradition. Now I just feel like I have to keep the dance out there, keep it in the public eye.
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I want tap to be something danced in arenas. Sort of like a rock group. Other art forms happen every night. Take theater, opera; there's always opera happening every night.
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Whatever you do, just learn about what you're doing; get into it.
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The sound of tap is not 'clickety clickety tap tap,' this monotone thing. The sound of tap has depth. We want you to hear the different highs and lows, the bass, the trebles and the melodies, if you can.
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My mom always had me and my brother watching old Fred Astaire movies.
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I can hold a note, but that's about it.
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Just like a comedian has a certain joke or a jazz musician has a riff that they know will get the crowd, a tap dancer always has a step.
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I can produce any instrument, any sound that I can imagine; it may be percussive to the audience, but in my mind it may be a piano, a melody, or a tuba, or a harp, or a harmonica. My mission is to allow people to hear the dance in its purity and up against any other type of sound or music.
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